Blu-ray Review: The Nut Job (2014)

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What a difference a film’s length can make as we learn in director Peter Lepeniotis’s overlong (even at 86 minutes) feature length adaptation of his briskly paced 2005 roughly 10 minute animated short Surly Squirrel.

In The Nut Job Lepeniotis transfers the same unique premise which finds the aptly named, quick-thinking yet self-serving and quick to con squirrel Surly (Will Arnett) in the midst of a real live human bank robbery while planning the perfect heist in his eternal quest for food.

Whereas the short film kept its sights small, the feature length Universal Picture borrows the oft-utilized caper set-up derived from the classic Italian comedy Big Deal on Madonna Street (that’s been repurposed in dozens of pictures since) as Surly plots to steal the inventory of a nut store without realizing that the shop is a cover for crooks trying to tunnel into the nearby bank.

Simultaneously casing the job while also recruiting new allies to his side such as the crooks’ tough-looking but softhearted Pit bull (voiced by Maya Rudolph) Arnett’s Surly even finds himself working alongside his old forest friends who’d banished him from the park after being burned one too many times by the selfish squirrel.

Desperate for food to feed the entire park, Katherine Heigl’s brainy Andie is cautious about her new partnership from the start but finds her alliance tested even more when Surly and his sources discover that the real reason the park is having a food shortage is due to a furry friend that Andie’s trusted her entire life.

While there are some dynamic action sequences that are brought vividly to life in the warm-toned visually stunning CG animation from former Toy Story 2 animator turned director Lepeniotis (including an inventive opener and an interesting chase that uses birds as parachutes), compared to the overwhelming dull stretches, the diversions are few and far between.

Bogged down by a hero you can’t really root for until he inevitably and rather abruptly sees the error of his ways by the end, you can’t help but wonder how much better the film would’ve been if say, Andie had been bumped to the lead role and Surly had been turned into a supporting player.

For while Surly was ideal in a 10 minute classic Looney Tunes inspired production, he isn’t the best main character to build an entire plotline around. However, to be fair, Nut’s pretty unbalanced in the way it seasons its cast of characters as far too often the film relies on bodily function sidekick humor for cheap laughs rather than serving up solid roles.

One bright light in this lackluster Job is unexpected MVP Brendan Fraser’s spirited vocal performance as a dimwitted wannabe hero Grayson whose knack for failing his missions is nearly equal to the size of his own ego.

Completely wasting the talented Arnett on a character who loses his spunky personality in favor of a redemptive formulaic paradigm that rings false by coming completely out of left field (as never once were we led to believe earlier on that Surly even wanted to change), The Nut Job is a missed opportunity on a number of levels.

All in all, it’s a vital reminder that there is still a worthwhile market for high caliber short films as perhaps Surly would’ve entertained us better as part of an anthology film that introduced us to all the characters in a series of shorts that were each as unique and inventive as the filmmaker’s 2005 introduction to the squirrel.

While younger children may be more forgiving than older ones despite lulls that may make them restless in the film’s running time that feels nearly double its length, hopefully by stepping back to watch this full-bodied roast side-by-side with the shorter serving, the filmmakers will be able to reevaluate exactly where they went right and wrong while whipping up this batch for the big screen.

Though admittedly blandly appetizing, here’s to hoping that the next Nut they make will follow a less familiar recipe in order to deliver something to the audience that’s not only much more flavorful but filled with greater opportunities for its talented cast to crack us up in Universal's upcoming sequel to this forgettable first Job. 

Text ©2014, Film Intuition, LLC; All Rights Reserved. http://www.filmintuition.com Unauthorized Reproduction or Publication Elsewhere is Strictly Prohibited and in violation of the Digital Millennium Copyright Act.  FTC Disclosure: Per standard professional practice, I may have received a review copy of this title in order to evaluate it for my readers, which had no impact whatsoever on whether or not it received a favorable or unfavorable critique.

Blu-ray Review: Spring Breakdown (2009)

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You know how annoying it is when you're at a party and you see one of those guys who just assumes that the more beer he pounds and the louder he gets, the more hilarious he is? Or the random drunk girl who shows up at the party already loaded and proceeds to dirty dance with a wall... even though there's no music playing? Well, if you multiply these poor unfortunate souls by a dozen, that's basically how obnoxious movies about spring break are.

It's sort of like when you're forced to look at a photo album at a family function when you politely inquire about a trip and the person describing everyone in each picture states "oh man, you should've been there," every five minutes or as disheartening as meeting a friend you haven't seen in years and in the attempt of catching up with them, you realize that most of their stories begin with, "and this one time, I got so wasted..."

Crude, rude, and filled with the type of cardboard characters we'd normally try to avoid in real life-- you get a sense that Spring Breakdown screenwriter Ryan Shiraki (working from a story idea by Shiraki and Rachel Dratch) was hoping his film would be Romy and Michelle's Spring Break or a female-centric version of Old School at the very least.

But and so unfortunately, essentially what we have with this Warner Premiere is the equivalent of a Saturday Night Live skit that killed in rehearsal, was left in the show with the highest of expectations where instead of sending us into hysterics it died halfway through the five minute sketch. Yet, instead of jumping ship, the actors all kept working at it for eighty additional minutes-- just like the drunk dude who gets louder or the girl who spins faster at the party to try and make you laugh or at least notice them.

Unfortunately, it fails miserably, so like the loud guy's skanky counterpart who shakes it like Gwen Stefani (not understanding that maybe it's inappropriate to do so at a dinner party)-- the insanely talented cast of the film willingly puts themselves through comedy hell just to try and steal even the tiniest chuckle or half-smile from viewers who've taken a chance on it due to the sheer star power involved.



Although in You've Got Mail Parker Posey proved just how masterful she is at bossing people around (even yelling at the tic-tacs in her purse!), in Spring Breakdown she turns into a frumpy environmentalist working for an oil addicted, shotgun toting female senator played by one of my favorite scene stealers in the form of Role Models, For Your Consideration, and 40 Year Old Virgin star Jane Lynch.

Set in Washington D.C. fifteen years after Posey's Becky and her two best friends Judi (Rachel Dratch) and Gayle (Amy Poehler) were booed off the stage of their collegiate talent show for their love of performing "women centered folk music," they realize that although they have fun with their make your own pizza parties, karaoke Fridays, and yearly Americana road trips, they're not exactly living the lives they always wanted.

While Posey's Becky is constantly humiliated by her boss, she gets an unexpected opportunity for a higher staff position when she's persuaded to travel to South Padre Island to covertly keep an eye on the senator's daughter Ashley (Amber Tamblyn) during spring break.



Despite fearing she's going to be letting down her friends and their plans to travel to a women's folk celebration in Tempe, AZ-- after seeing eye dog trainer Gayle is rejected by a blind guy for not being beautiful enough (Poehler's husband Will Arnett in a nice cameo) and the living-in-denial Judi finally figures out the millionth clue everyone else knows in realizing her fiance is gay-- the two decide they'll tag along with Becky to party away their problems.



Although they're led to believe that Ashley is a stereotypical girl-gone-wild, she's essentially a younger version of Becky as a nerdy college student who lives for the renaissance festival and is crushed when her boyfriend dumps her for a beautiful sorority bimbo.

Determined to prove her boyfriend wrong that good girls can be bad and her mother right that she's as popular and as wild as her mother had been at her age, Tamblyn's Ashley ventures to South Padre where Becky and her friends hope to accidentally encounter her, without letting on that they were sent to South Padre for that very reason.

Of course, Becky and Ashley hit it off since they have so much in common. But while Becky takes her duty seriously in trying to as she notes, "turn girls into better human beings," Mean Girls star Poehler ends up reliving that film's plot as the Lindsay Lohan character this time when she befriends the hot sorority sisters by getting rid of predatory, horny males with her dog training skills and Dratch discovers what she's been missing out on by living life with a gay guy. To make up for lost time, she begins drowning her sorrows in endless alcohol along with the scene-stealing Missi Pyle as an old cougar who runs the hotel they're staying at and is celebrating her sixteenth spring break.

So what begins with some mild promise in its amusing set up of nerdy women trying to stand up for themselves ends up collapsing into an obnoxious, tasteless, and painfully unfunny version of all of the spring break stereotypes and annoying rejects from parties, bars, and clubs that you can imagine stuffed into an eighty-four minute work that feels twice as long.

Granted, the likable cast and especially Pyle who damn near saves the whole film and the under-utilized Lynch try their best. Of the main trio, special credit should be given to Poehler who-- similar to her work alongside Tina Fey in the weak but more amusing Baby Mama-- manages to improve every scene she's in by going all out in any given situation no matter how ridiculous or demeaning it may be, attempting to at least keep you interested even when the characters have long since worn out their welcome.

The Blu-ray technical aspects are solid sound-wise especially given the film's fitting soundtrack that compliments the setting and although the picture is very clear, some of the flesh tones appear a bit soft and as I can only suggest it as a rental anyway (unless you find you just have to have it)-- depending on product availability you'd probably do just as well to rent it in DVD since my guess is that the quality is probably fairly similar.



With a ho-hum commentary by Shiraki and Dratch, extra scenes that don't add any bonus humor and a laughless gag reel-- the major highlight of the Blu-ray if you become a fan that is would be the digital copy feature which is compatible with Windows Media and portable devices.



Moreover, of the recent female-driven films I've seen lately on disc-- it's somewhere in the middle. The break-down: on the one hand, it's infinitely better than the talented Heather Graham being relegated to starring in what is essentially one extended toilet joke in Baby on Board; given far more bonus points for genuine "girl power" sentiment than the anti-feminist Bride Wars despite the fact that that film actually felt like its screenplay was a bit more polished; yet not quiet as genuinely entertaining as the overwhelmingly predictable but more earnest and emotionally satisfying Renee Zellweger vehicle New in Town.

While it's challenging to make any movie about spring break or beach life actually worthwhile (see Surfer Dude for proof)-- save perhaps for the tongue-in-cheek underrated '80s take on the Frankie and Annette pictures as witnessed in Shag--the biggest disappointment is that we're dealing with a dream movie cast of great female comedic talent. In fact, these women are so perfect that they almost made me wish other funny women would've been brought to the table as well such as Maya Rudolph, Sarah Silverman, Kathy Griffin, Tina Fey, Cheri O'Teri, Debra Messing, Lauren Graham, Lisa Kudrow, Megan Mullaly, Cheryl Hines, Judy Greer, and Molly Shannon. Furthermore, it would've been preferable if they would've sat down to write something that would've been much better suited to their tremendous talent rather than forcing the Breakdown stars to endure salsa fights and keg stands.

Of course-- as a woman who wishes there would be more films for women that we can actually laugh with rather than just turning us into stereotypical bridezillas or house bunnies-- it's definitely worth a look for fans of the cast alone to send a message to Hollywood to at least make more films with a large female cast since for every one Spring Breakdown we're faced with roughly twenty frat pack male buddy movies. Still, that's not enough to recommend doing more than just saying you can rent it for a few chuckles. However, like the drunk girl or loud bombed guy at the party, once it ends, you'll quickly forget about it.

Movie Review: Monsters Vs. Aliens (2009)

You've heard of TV’s Bridezillas, the multiplex’s Bride Wars, Tim Burton's Corpse Bride, along with the horror classic Bride of Frankenstein.

But this week we meet an entirely new bride in DreamWorks Animation’s brand-new 3-D feature length film Monsters Vs. Aliens as the petite Academy Award winner Reese Witherspoon plays a Modesto, California girl who unwittingly morphs into the kiddie version of "The Attack Of the Nearly 50-Foot Woman" after getting slimed by meteor residue just before she's set to walk down the aisle.

While initially her beaming glow is mistaken for her wedding day excitement, soon Susan (Witherspoon) quickly grows into the 49 to 11 inch tall “Ginormica” before our military intervenes, a tranquilizer dart hits the target and she's whisked away to a secret governmental holding cell for “monsters” currently supervised 24/7 by Uncle Sam.

Befriending other creatures also residing in the prison-like atmosphere (despite a feeble attempt to ease Susan’s nerves with a retro kitty “Hang in There” poster for her cell), soon the young woman becomes acquainted with the rest of the film’s genre fitting group of lovable eccentrics.

Headed up by the Ph.D insect Dr. Cockroach (House’s Hugh Laurie), Arrested Development’s hilarious Will Arnett as a half-fish, half-ape gung-ho monster dubbed The Missing Link, the scene-stealing Seth Rogen (Kung Fu Panda, Pineapple Express) as the adorable but dim-witted blue blob aptly dubbed B.O.B. which DreamWorks notes is “short for benzoate-ostylezene-bicarbonate” and the enormous Insectosaurus—soon the X-Men meets Dirty Dozen gang of unlikely outsider underdogs is called upon when the evil alien mastermind Gallaxhar (The Office’s Rainn Wilson) sends an ominous robot to the planet Earth set on destruction.

In addition to see the filmmakers’ easily identifiable B movie influences from the monster and alien movie heyday of the cold-war era 1950s along with “the style of poster art of the genre,” and “Mad Magazines of the period,” as the DreamWorks and Paramount Pictures press release reveals that savvy Mad Magazine and ‘50s film enthusiasts will “recognize the homage to these sources during the war room playback of archival footage of the pre-capture sprees of Dr. Cockroach, Ph.D., The Missing Link, B.O.B. and Insectosaurus,” cinematic referential jokes fill the entire film with shades of Close Encounters of the Third Kind, E.T., Dr. Strangelove, The Dirty Dozen, The Blob, and countless other movies running throughout.

This is especially the case in the heavily Dr. Strangelove inspired relationship between the animated films president voiced by Comedy Central’s Stephen Colbert and Kiefer Sutherland’s dynamically creative and surprisingly laugh-out-loud funny launch away from 24’s intense and “whispery” heroic Jack Bauer into a “country accent,” as director Rob Letterman muses, “he just started screaming at the top of his lungs… [and] broke out into something brand new and that really nailed the character.”

Similar to the highly successful blending of adult and child friendly humor that's made DreamWorks Animation’s hits such as Shrek, Madagascar, and Kung Fu Panda such a success—it’s the great and lively ensemble that helps add flavor to the film’s story-line that’s ultimately a bit simplistic and straightforward despite the fact that this flaw is hidden extraordinarily well by its stunning 3-D animation and mind boggling action sequences.

Although I think the film may not have been quite as enjoyable without the 3-D which amazes right from the start-- aside from the fact that it has some very positive morals woven throughout as those whose society have named “monsters” end up being the ones to save the day and Susan discovers that her previous ambition to become the picture-perfect and tirelessly supportive wife of her self-involved fiance Derek (Paul Rudd) pales in comparison to her own goals when she begins to believe in herself and what she has to offer as a human being.

The first film served up by the studio in “Tru 3D,” and unlike some of the more gimmicky 3-D films in recent memory, the format perfectly fits this material. This it does in not only reviving that same drive-in B-movie feel for which the filmmakers were aiming but it also brings to mind the idea of once again making filmgoing a true experience.

With increasingly impressive home theater technology including Blu-ray and lifelike video game systems, the box office has taken quite a hit and so it makes perfect sense that just like when television kept viewers in their homes in the 1950s prompting studios to create widescreen, Vistavision, Cinemascope, Cinerama, and 3-D-- once again Hollywood is taking a cue from lessons learned in the past in terms of not just subject matter (as the 50s truly were the era of monsters and aliens) but style as well.

The film will be available in various versions from 2-D to 3-D to 3-D IMAX and it should be interesting as time will tell just how successful the film and indeed this medium is when it reaches viewers at home via DVD and Blu-ray. And admittedly while the level of writing doesn’t match the incredible artistry and craftsmanship of the other departments involved in Monsters that we’ve come to expect from the studio that recently gave us the incredibly witty Madagascar: Escape 2 Africa and Kung Fu Panda, it’s sure to be one of the first major blockbusters of 2009 and one that definitely needs to be seen on the big screen to be best appreciated.

However, this being said-- as far as "monsters" are concerned, I still hold those wise-cracking and power-absorbing huggable characters from Pixar's Monsters Inc. up as my favorite animated variety offered to families thus far in a wholly satisfying blend of animation and comedy.

DVD Review: Dr. Seuss' Horton Hears a Who (2008)

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In 2008 with the release of-- what could very well be the most wholly satisfying animated feature of the year-- Dr. Suess' Horton Hears a Who!, Fox's CGI divisional company Blue Sky Studios proudly announced to Pixar and DreamWorks Animation, "WE ARE HERE!"

Having already burst onto the scene with Ice Age as well as providing some truly spectacular bits of CGI for our pop culture landscape such as augmenting David Fincher's incredible Fight Club and the memorable "talking fish" episode of The Sopranos, Blue Sky has always been one of the best kept secrets in effects work and computer animation.



However, with this tremendous new release of Horton, which-- typical for computer animated works-- stuns in a visually eye-catching transfer to DVD and Blu-ray and in doing so we're actually let behind-the-scenes of the company to see the talented and impossibly young inventors at work. But before I delve into the extra features, here's a reprint of my original theatrical review of Horton.

Dr. Suess' Horton Hears a Who!

Alternate Title: Horton Hears a Who!
Directors: Jimmy Hayward & Steve Martino
Original Publication Date: 3/29/08

“I meant what I said, and I said what I meant. An elephant’s faithful one hundred percent,” so goes the famous quote from Dr. Seuss’ Horton Hatches the Egg that seems to be even more poignant when scripted for actor Jim Carrey as he lends his vocal talents to bring children’s literature’s best loved elephant to life in Dr. Seuss’ Horton Hears a Who! From the same studio that created the family films Ice Age and Robots, Blue Sky Studios of 20th Century Fox, directors Jimmy Hayward and Steve Martino craft not only the best adaptation of Dr. Seuss brought to screen thus far but also the best family film of 2008 as of this review.

For years, I’ve been wondering if I was simply growing too impatient with animated features, having found myself bored by critical smashes such as the overly long Pixar hits The Incredibles and Cars and struggling to stay awake during films such as Curious George and Bee Movie and although there’s been a few notable exceptions (Surf’s Up, Over the Hedge), I’ve found myself steering clear of animation. However, it wasn’t until I saw Horton Hears a Who that I fell back in love with the concept of bright, magical animated family films that manage to blend positive messages with high flying entertainment and quality humor that gave at least this viewer the same kind of amazing theatrical experience that I had while seeing Finding Nemo or the Toy Story films years earlier.

While on one hand, the film, like several animated works filled with A list stars for better or worse (which take jobs away from voice-over actors), has a boast worthy roster that comprise a comedic dream team in the form of not only Carrey but also Steve Carell, the legendary Carol Burnett, Seth Rogen, Will Arnett, Amy Poehler and Isla Fisher, I found myself forgetting the magnitude of the stars after only a few lines by each were uttered as admirably they began to ham less and instead preferably stick with telling the terrific tale.



For those who, like myself, barely remember the book, I’ll bring you up to speed—moments into the film we meet our unlikely elephant hero Horton who hears a noise coming from a tiny speck on a clover flower, only to discover that he’s listening to residents of the tiny universe Whoville or more accurately, the mayor of Whoville (Steve Carell). Eventually concluding that “a person’s a person, no matter how small,” Horton tries to save Whoville by bringing the flower to a place where it will be protected from outside forces such as the disbelieving kangaroo (Carol Burnett) who feels Horton is becoming a dangerous agitator that must be stopped and hires the Russian vulture Vlad (Will Arnett) to do just that.

Touching, beautifully animated, fast-paced (refreshingly just 88 minutes) and undeniably heroic, Horton Hears a Who is the type of film that will entertain adults just as much, if not more than children as I found myself laughing frequently throughout by the increasingly wild situations and characterizations by the cast.

Note: The book, which was published in 1954 sent some readers and journalists looking at Seuss’ work as a political allegory and in a fascinating sidebar “Who are the Whos?” by Entertainment Weekly’s Adam Markovitz (3/21/08, p. 42) he chronicles three takes on the work, including the two likeliest which saw it as first a look at postwar Japan (which Seuss has admitted) and secondly as yet another 1950’s artistic offering that echoed the political climate of America during the devastating McCarthy hearings.

The DVD

Having seemed to been sent a combination of both the Single Disc and Two-Disc Special Edition of the film all included on one critical screener copy, I'm unable to dissect exactly which version I'm reviewing but wanted to deliver you the inside scoop on the bonuses included throughout. Containing an entertaining director's audio commentary with the filmmakers Jimmy Hayward and Steve Martino-- both the single and two-disc versions also boast an all-new animated Ice Age short featuring the memorable characters Sid and Scrat, which is aptly dubbed Surviving Sid.

Reminiscent of vintage Warner Brothers cartoons, Surviving Sid is filled with misadventure and comical peril as little animals try to endure camp counselor Sid and while cute-- it's instantly outdone by two more memorable shorts included with animated features-- the brilliant BURN-E available on the WALL-E DVD as well as the bonus DVD Secrets of the Furious Five which came along with Kung Fu Panda.



Yet, the most fascinating extras for me all surrounded the making of the film. While sometimes we're overwhelmed by insistent and phony Electronic Press Kit styled interviews filled with pompous narration and interviews that nearly seem scripted, what's apparent right from the start of these extras is just how passionately everyone involved felt about the making of Horton. Also containing deleted footage and animation screen tests (with optional introductions and commentaries), it's an amazingly inspiring all-access pass to the dedication and tireless energy of the young animators who tried to stay true to Suess' trademark drawings filled with curves, wrinkles, swirls, and the struggle they had to make the short classic book into a compelling feature that still captured the same heart and spirit of the tale.



Ensuring they had the blessing of Dr. Suess' widow-- the filmmakers note that Suess had never been adapted as a feature length animated work and they discussed the trials and joys of translating the author's 2-D designs into a 3-D world, right down to certain shadings and even making their first version of the screenplay a book-like treatment with the original animation in tact when they made their presentation to the Suess family. Once they received the go-ahead to make the film, Blue Sky developed a critical style guide and complete set of rules for everyone involved to follow as they point out the various Suess qualities that animators had to reproduce faithfully.

And while it's a riot to watch the all-star cast record their scenes, which then sends the animators back to the storyboard panels to re-imagine and invent the animation yet again-- going as far as to literally act out the scenes themselves in front of computer cameras, just lip-syncing to the actors to get their movements, it's even more intriguing to watch the brainy, young animators themselves. Agonizing over different reads and styles of relaying a thought or action with varying body language by bringing in other colleagues to do an alternate "read" of their scene, one reveals they shoot twenty minutes of live video, then edit it until they have a usable tiny amount they animate to fit the right emotional core of the scene and stay faithful to the actor's voice work. And thankfully, they note that some of the actors allowed themselves to be filmed while they were in-house doing their voice-work, and the artists noted that they'd take some strange visual cues or movements possessed by cast-mates such as Steve Carrell, Will Arnett, and Amy Poehler and incorporate it directly into the drawings.

Horton also offers a treasure trove of features from elephant fun facts, interviewing kids about how the smallest of actions can help promote a more peaceful existence, to the importance of being open-minded and without judgment in others with "A Person is a Person: A Universal Message," along with games and cast interviews. Additionally, saving the best for last-- there is some terrific footage of Jim Carrey as he relishes in completing his first CG cartoon and what drew him to the part of Horton-- the innocent elephant and it's humbling and admirable to witness his own anxieties and perfectionism in wanting it to be a success. Moreover, it's a wonderful addition to an already superior year of animated DVDs and Blu-rays, along with the recent releases of Panda, WALL-E, Tinker Bell, Sleeping Beauty, and others.

Also available as a special gift set with a Horton plush toy available this coming Tuesday right in time for holiday shopping-- no matter which version of Horton you pick up, the result is anything but "small" as it's sure to become a modern, childhood favorite. Moreover, it's a highly recommended, life-affirming, positive, and inspiring film. And it's truly exciting to anticipate what Blue Sky and the other first-rate animation studios will release next to a world that desperately needs to be reminded right now that we're more alike than one thinks and in this time of conflict (as opposed to the brilliant yet bleak last forty-five minutes of WALL-E) that there's always hope if we band together. So clean out those ears, pick up a flower, and get ready to listen to some Whos.

Read the Books

The Rocker (2008)

As he says in The Rocker,
"too loud," is not in Rainn Wilson's vocabulary.

What can I say about Rainn Wilson?

Aside from believing he’s phenomenally underrated as the sycophantic Dwight Schrute to Steve Carell’s Michael Scott on NBC’s award-winning The Office, I’ve never really found him that promising as an actor. He seems to be one of those comedians who does one thing really well and then milks it for all its worth… and then some.

After bombing in his hosting duty at this year’s Independent Spirit Awards when no less than Dustin Hoffman ad-libbed the ceremony’s funniest line (which I won’t even begin to repeat here but involved making love to Javier Bardem), Wilson seemed to have suffered the fate of a majority of TV stars in being more or less pigeonholed to his alter ego Dwight Schrute. And this was all the more evident during his squirm-inducing, awfully delivered “Fertile Myrtle,” “That ain’t no etch-a-sketch” brief cameo opposite the Oscar nominated Ellen Page in last year’s critical darling, Juno. For proof replay his performance in a scene that — despite my adoration for the film and Diablo Cody’s writing — I still feel would’ve been best left on the cutting room floor.

So needless to say, when I first saw the trailer for The Rocker, I braced myself for the worst in what looked like would ultimately be a School of Rock rehash, minus Jack Black. But having been a fan of two of British director Peter Cattaneo’s previous films — The Full Monty and Lucky Break -- I wanted to give the movie the benefit of the doubt.

Of course, I was nearly forced into merriment at a screening complete with The Rocker groupies who were coming back for their fifth, sixth, and even seventh screening of the film. If movie characters lived in an alternate universe, no doubt Kate Hudson’s Almost Famous self-described “Band-Aid,” Penny Lane would be proud. In fact, it’s ironic that it called to mind the aforementioned films since as a word-of-mouth campaign I hadn’t seen one this effective since the likes of Juno or School of Rock. And while I don’t think I’ll be coming back tri-weekly and will be able to hold off until DVD for another viewing, sure enough, when the film started, I quickly found myself in hysterics. Additionally, I realized that, while indeed most will compare the film to School of Rock and Wilson to Black, it’s been quite awhile since Jack Black genuinely made me laugh. In fact, the last time could very well have been in School of Rock.

Therefore, I was pleasantly surprised to forgo the advice of “accept no substitutes,” and let Wilson and not Black rock the audience for 102 minutes. Obviously, it helps if one is old enough to remember the '80s as we open via a pitch-perfect flashback in Cleveland, 1986 as Wilson’s overly enthusiastic and extremely sweaty drummer Robert “Fish” Fishman and his hair metal band Vesuvius (led by no less than Arrested Development’s Will Arnett as the front-man) rock their own on-screen audience. On the cusp of a record deal with a major label, Vesuvius discovers that fame comes with a price — namely nepotism — when the one thing standing in their path is Fish, as he’s ousted by disloyal band-mates and an industry man’s nephew is lined up to step in as their new drummer.

In one of several overly-broad sequences that begin with refreshingly wild comedic abandon until becoming the cinematic equivalent of a run-on sentence (as it crosses the line into the just plain chaotic and overly ridiculous), pratfall prone Fish chases down his band’s van. Running with the speed of Robert Patrick in Terminator 2 and attacking the vehicle with his drumsticks, Wilson's Fish constantly battles like a zombie that refuses to stay dead in a horror movie. Similar to Fish’s admission that “too loud is not in my vocabulary,” Wilson never lets a moment go by without chewing every piece of scenery in sight a la Jack Black and Will Ferrell. And while he does indeed garner some laughs, as it continues — quite similar to the way it plays out on The Office — it’s The Rocker’s minor Dwight Schrute-like characters who manage to earn the longest laughs with ironically the shortest amounts of screen time.

The film catches up with Fish twenty years later, in an all too identifiable dead-end-job as a phone-based customer service representative. But after a coworker forces him to listen to the latest smash success album by Vesuvius, Fish snaps, a fight ensues, and a few scenes later he’s out both a job and a relationship when his long-suffering girlfriend Jane Krakowski evicts him from her apartment.

Now stuck sleeping on an inflatable air mattress bed in the attic of his sister Lisa (Jane Lynch) and her husband Stan (Jeff Garlin), Fish gets an unlikely second chance at rock success when his nerdy, awkward M.I.T.-bound nephew Matt (Josh Gad) recruits his reluctant uncle to play in his band, A.D.D.

Hoping to stand for Attention Deficit Disorder instead of “add,” Fish soon fills out the small ensemble consisting of keyboardist Matt along with his post-modern, unsmiling, no-nonsense bassist Amelia (Emma Stone) and the gorgeous but melancholic lead singer Curtis (musician Teddy Geiger). Although Curtis’ perpetual abandonment issues over his deadbeat father comprise most of the depressing lyrics, Fish begins to rock their songs metal-style. The change is made first to their horror but then after they’re boosted to fame via an unflattering “naked drummer” YouTube video starring Fish, soon A.D.D. becomes an overnight sensation.

While the film makes Fish’s buffoon-like behavior the impetus for their success, there’s no denying the undeniable talent of real-life musician Geiger, whose music in the film is so impressive, it’ll immediately send you chasing down the soundtrack.

And while the music does indeed get your toes tapping and there is a similar “car test” scene to hear a demo while you drive, the film never mistakes itself for last year’s amazing art house ode to musical love, Once, always remembering its initial goal is to first and foremost make audiences laugh.

And like the ensemble quality of The Office, The Rocker’s ensemble makes the film a success with great, subtle, flirtatious support by Christina Applegate as Curtis’s hot mom (in a role that reminded me of her excellent turn opposite Ferrell in Anchorman), the under-utilized Will Arnett, Curb Your Enthusiasm’s Jeff Garlin, and Christopher Guest frequent cast member Jane Lynch, all of whom are a joy to comedy fans.

Yet, I was completely bowled over by the hilariously hyper and obnoxious turn by Jason Sudeikis playing the ultimate hype-monger in the form of the endlessly quotable, politically incorrect, and sleazy, two-faced sycophantic industry man, David Marshall. After just a few ridiculously off-the-wall lines penned by husband and wife screenwriting team Maya Forbes (The Larry Sanders Show) and Wallace Wolodarsky (The Simpsons), I found myself looking forward to the next appallingly hilarious thing he would say and as engrossed by his brief screen time just as much as I was during last week’s Tropic Thunder where Tom Cruise played a similarly hammy exec as well.

Hmm… something tells me we’ll be getting a new Will Ferrell styled Frat Pack buddy comedy about industry executives in the near future. And if Ferrell’s busy, possibly they could employ Rainn Wilson and Jack Black. Since, goodness knows that while they definitely are capable of making us laugh, both could use the benefit of superior writing to make them the genuine stars of their own films. However, until then, there are plenty of backstage antics in this film to keep you entertained. So ultimately, to misquote AC/DC, to “those about to rock” I “salute you.”

Semi-Pro

Director:
Kent Alterman

What they lack in free corndogs, the Flint Michigan Tropics make up for in ridiculous stunts whether it’s dancing in family friendly costumes when serving as their own halftime show entertainment or watching the death-defying antics of their player, owner, announcer and coach Jackie Moon (Will Ferrell) as he roller skates over several bikini clad ball-girls or wrestles a bear. Aside from forbidding homemade nachos at the game, Jackie seems to only have one rule when it comes to running his fictitious ABA 1976 ball club and that is “E.L.E.” or “Everybody Love Everybody.” It’s these words he’s tried to personally take to heart with his one-hit wonder “Love Me Sexy,” that he never fails to mention or play with zero to minimal prompting, especially when celebrating with his teammates and their comely groupies at his own private club, decked out like a stereotypical 70’s era pimp, sporting a wild Caucasian version of the Afro.

When Jackie learns that at the end of the season the ABA will merge with the NBA with only four teams absorbed before the rest dissolve, he ignores the rumors that it will most likely be the Nets, Spurs, Pacers and Nuggets and decides to fight for professional glory by trading in the team’s washing machine for Monix (Woody Harrelson), a once-great NBA point guard whose reputation for having at one time either broken the collarbone or punched everyone else in the face makes Jackie’s wish for a Flint Tropics version of a love-in seem far more unlikely. Yet when Monix puts equal dedication into making plays as he is in trying to make a play for former flame Lynn (Maura Tierney), some of team’s most promising players, including Coffee Black (Andre Benjamin) decide that Mr. White Men Can’t Jump should be the one calling the shots in lieu of Elf.

While frankly not nearly as hilarious as some of Ferrell’s alternate frat-pack comedies like the outstanding Anchorman as well as his other sports films (Ricky Bobby) and I know I’ll lose some film snob “cred” for admitting this, I found myself laughing more often than not throughout Semi-Pro. And this was far easier to concede given all of the surprisingly unique gags such as Jackie’s unfortunate choice to overlook the perils of sweat and makeup, insisting the entire team don eyeliner for their televised game, a constantly smoking and drinking Will Arnett who’s so erroneously convinced he was in Vietnam that he’s willing to play Russian Roulette at a spirited poker game, and their constant arguments with the priest-- Father Pat-- who also serves as the referee.

Even though a few of the jokes fall flat and it never quite scores on some of its creatively off-the-wall potential especially when considering the characters played by Tierney as well as smaller, muddled and vaguely written turns by Rob Corrdry, Andy Richter, and Andrew Daly, it’s great to see Harrelson tackling a movie in the same vein as Kingpin, especially coming off of the heels of impressive work in the Oscar winning No Country for Old Men. Still, it’s a Will Ferrell movie first and foremost and his loyal fan base won’t want to miss the chance to see the funnyman trying to encourage everyone to love him sexy while getting tropical in Flint, Michigan.

Dr. Seuss’ Horton Hears a Who!

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Alternate Title: Horton Hears a Who!
Directors: Jimmy Hayward & Steve Martino

“I meant what I said, and I said what I meant. An elephant’s faithful one hundred percent,” so goes the famous quote from Dr. Seuss’ Horton Hatches the Egg that seems to be even more poignant when scripted for actor Jim Carrey as he lends his vocal talents to bring children’s literature’s best loved elephant to life in Dr. Seuss’ Horton Hears a Who! From the same studio who created the family films Ice Age and Robots, Blue Sky Studios of 20th Century Fox, directors Jimmy Hayward and Steve Martino craft not only the best adaptation of Dr. Seuss brought to screen thus far but also the best family film of 2008 as of this review.

For years, I’ve been wondering if I was simply growing too impatient with animated features, having found myself bored by critical smashes such as the overly long Pixar hits The Incredibles and Cars and struggling to stay awake during films such as Curious George and Bee Movie and although there’s been a few notable exceptions (Surf’s Up, Over the Hedge), I’ve found myself steering clear of animation. However, it wasn’t until I saw Horton Hears a Who that I fell back in love with the concept of bright, magical animated family films that manage to blend positive messages with high flying entertainment and quality humor that gave at least this viewer the same kind of amazing theatrical experience that I had while seeing Finding Nemo or the Toy Story films years earlier.

While on one hand, the film, like several animated works filled with A list stars for better or worse (which take jobs away from voice-over actors), has a boast worthy roster that comprise a comedic dream team in the form of not only Carrey but also Steve Carell, the legendary Carol Burnett, Seth Rogen, Will Arnett, Amy Poehler and Isla Fisher, I found myself forgetting the magnitude of the stars after only a few lines by each were uttered as admirably they began to ham less and instead preferably stick with telling the terrific tale.

For those who, like myself, barely remember the book, I’ll bring you up to speed—moments into the film we meet our unlikely elephant hero Horton who hears a noise coming from a tiny speck on a clover flower, only to discover that he’s listening to residents of the tiny universe Whoville or more accurately, the mayor of Whoville (Steve Carell). Eventually concluding that “a person’s a person, no matter how small,” Horton tries to save Whoville by bringing the flower to a place where it will be protected from outside forces such as the disbelieving kangaroo (Carol Burnett) who feels Horton is becoming a dangerous agitator that must be stopped and hires the Russian vulture Vlad (Will Arnett) to do just that.

Touching, beautifully animated, fast-paced (refreshingly just 88 minutes) and undeniably heroic, Horton Hears a Who is the type of film that will entertain adults just as much, if not more than children as I found myself laughing frequently throughout by the increasingly wild situations and characterizations by the cast.

Note: The book, which was published in 1954 sent some readers and journalists looking at Seuss’ work as a political allegory and in a fascinating sidebar “Who are the Whos?” by Entertainment Weekly’s Adam Markovitz (3/21/08, p42) chronicles three takes on the work, including the two likeliest which saw it as first a look at postwar Japan (which Seuss has admitted) and secondly as yet another 1950’s artistic offering that echoed the political climate of America during the devastating McCarthy hearings.

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