Saturday, April 19, 2008

Forgetting Sarah Marshall

It’s a familiar story: someone spurned by their ex-lover goes abroad to escape, only to find their ex everywhere they go. Yet in FORGETTING SARAH MARSHALL, actor/writer Jason Segel uses the type of R-rated humor that made producer Judd Apatow’s films so popular to amusing effect, even if the film struggles to reach the genuine emotion that made the producer’s works so critically acclaimed.

Composer Peter Bretter (Segel) was just dumped by his longtime girlfriend, television star Sarah Marshall (Kristen Bell). Unable to forget his past girlfriend and unable to attempt a physical relationship without bursting into tears, Bretter goes to a luxury hotel in Hawaii, a place he remembered Sarah talking about. Sure enough, the first people he runs into are his ex-girlfriend and her new beau, British rock star Aldous Snow (Russell Brand). He tries to avoid them, but finds himself near them all the time. The only way he manages to escape from them is to turn to his burgeoning relationship with hotel employee Rachel (Mila Kunis). As he spends more time in the hotel, he begins to know more about himself and about the value of living.

As has been common with recent comedies, Segel and director Nicholas Stoller strive to create a film that’s not just about the laughs. And although it does contain a level of sweetness and sincerity that is still surprising in such a raunchy comedy, it is no more genuine or sweet than an average romantic comedy. Peter is a flawed character, but the negative effect his behavior has on people is touched on all too briefly. And aside from the always affirming “stop worrying and just live life” sentiment, the film is primarily successful in making jokes.

And the film is funny. Very funny. Segel already has gotten notices for his daring full-frontal nudity (which begins mere minutes into the film), but as a leading man he’s a bit on the bland side. He handles the jokes extremely well, but is nothing more than serviceable when trying to be dramatic. He is lucky that the amount of real drama required is rather small, and clearly knows where he excels. Bell and Kunis are pleasant as the women in Peter’s life; they inject their characters with mounds of personality but obviously got the short end of the stick when it comes to the jokes. Cameos from Apatow regulars give the film some of its lightest moments. However, the film truly belongs to Russell Brand. As the philandering and ridiculously spiritual rock star, every line he speaks packs a punch. He steps just across the line of being over-the-top, but does it with enough confidence to keep attention on him at all times.

FORGETTING SARAH MARSHALL will never be the juggernaut that films like KNOCKED UP and SUPERBAD turned into, but that shouldn’t speak for its quality. It is still a tremendously enjoyable film that keeps you laughing throughout. It moves past the shock laughs of the frank nudity and sex jokes typical in a film like this to demonstrate a great deal of thought and wit. Slim but fast-paced, the film is a perfect exercise into escapism.

***/****

Friday, April 4, 2008

Leatherheads

George Clooney has often been called the Cary Grant of our generation, a comparison he clearly hopes to capitalize on in LEATHERHEADS, a true sports story via screwball comedy that makes one long for the cleverness of the old days rather than fondly recall them, as a good homage should do. While the filmmakers mean well, the script is not snappy enough and the stars not as charismatic as their 1930s counterparts to be consistently funny.

The year is 1925, and the Duluth Bulldogs are struggling to survive in the failing world of professional football. Coach Dodge Connelly (Clooney) sticks as many dirty tricks into plays as he can to ensure his team’s success, but they are nearing the end of their rope. Suddenly, Dodge has an idea; recruit a major figure onto the team to get publicity. He sets his sights on Carter Rutherford (John Krasinski) a college football star and decorated war hero. He lures him to the team with a large contract, but finds a snag accompanies it. Newspaper reporter Lexie Littleton (Renee Zellweger) has been sent by her editor to interview Rutherford and expose the truth behind his supposed heroics. Soon, Dodge and Rutherford are fighting for Lexie’s affections as national football, led by the Bulldogs, begins to gain momentum.

Most sports movies deal almost exclusively with the bond between the players, but this film has almost none of that. In fact, Rutherford is rarely seen speaking to the other players, since most of his scenes are either tender interviews with Lexie or jealous bantering with Dodge. This is one of the film’s main faults; the story is set around a very significant time in the world of sports, but it is rarely touched upon. Aside from a few montages and the obligatory Big Game climax, actual scenes of playing are rare. Instead, Clooney focuses on the romantic triangle of the film and the screwball nature of their relationships. Here again is another one of its faults. The lines are meant to be delivered fast, a la HIS GIRL FRIDAY, but they have little of the zip or wit of its inspiration.

The cast is likable enough, even if they are underserved by their roles. Clooney puts himself in full Cary Grant comedy mode, all extorted facial expressions and one-step-ahead delivery. Krasinski charms throughout, even if his actual comic abilities are only allowed to show in a few scenes; a drunken argument between the three main characters is the highlight of the film, thanks to Krainski. Zellweger proves a decent match for both men, though she is far too sweet and demure to convincingly fill the Rosalind Russell-esque role of ruthless newspaper gal.

Clooney seems far less adept at directing comedy than performing it. While the production values are spectacular and the film is beautifully shot, there is little excitement in the comedic sequences. Any laughs gotten from the film come exclusively from the actors, and while Clooney does inspire humor from his co-stars as an actor, he does them no favors stylistically. So while the film offers fantastic production values and a rousing score from Randy Newman, it never manages to be anything more than cute. And considering the talent involved, cute is a major disappointment.

*1/2/****