REVIEW: This Is the End

This Is the End (2013): Written and directed by: Evan Goldberg and Seth Rogen. Starring: James Franco, Jonah Hill, Seth Rogen, Jay Baruchel, Danny McBride, Craig Robinson, Michael Cera and Emma Watson. Rated R (Language and assorted apocalyptic debauchery). Running time 106 minutes.
 

2 ½ stars (out of four)

There are so many references and in-jokes in This Is the End, an end-of-the-world comedy written and directed by Evan Goldberg and Seth Rogen, I can’t imagine the movie will be very funny even just a few years from now. Still, if you see it on a Friday or Saturday night in the next couple of weeks (a comedy like this is always more enjoyable with a packed house), you’ll get your money’s worth of laughs.

And if you already think the guys in this movie are funny, then seeing This Is the End in theaters is a no-brainer. When all hell is (literally) unleashed on the world, a group of Judd Apatow regulars hole up in Hollywood hoping to outlast the apocalypse.

Everyone plays themselves, or rather, caricatured, sometimes self-deprecating versions of themselves. For some of them, the movie is an opportunity to reinforce an already established persona. Seth Rogen, as always, is the affable stoner. He has a remarkable ability to give you the impression that he is already your friend. James Franco is the playboy. He’s the charismatic jerk who hosts the epic banger of a party in his newly bought mansion on the night of the rapture.

Other actors use the movie to play with their celebrity personas. Jonah Hill, wearing a diamond earring in his left ear, is effeminate and full of himself. Apparently still high off his Oscar nomination from a few years ago, the Hill character sees himself as a cut above the rest of these lowbrow comedians. Like many of the other actors in the movie, Hill is one of those guys people always accuse of playing themselves in every movie. Here, he actually does play himself and it’s one of the most individually distinct characters he’s ever played.

Michael Cera has a memorable cameo, playing against his usual awkward adolescent character as a coke-sniffing womanizer. Emma Watson shows up too to prove she’s more than Hermione Granger. (About a dozen more actors and stars have cameos, some of which are inspired.)

Danny McBride was never an actor I particularly liked but here, maybe for the first time, I understand what it is that people like about him. His comedic timing is on point and he is relentlessly, cheerfully tasteless. After a while though, I remembered why it is I can only take him in doses. His sense of humor is exhaustingly crude and cynical. It can be a bit much.

For my money, Craig Robinson made me laugh the most. He’s been stealing scenes in supporting roles for the better part of a decade now and is always a welcome presence in a movie. Perhaps the most likable and relatable guy here, Robinson squeals like a little girl in the face of danger and is delighted to find that drinking his own pee isn’t so bad. He can switch back and forth between straight man and goofball in a way few comedians can.

Then there’s Jay Baruchel, who usually plays the whiny, goody two-shoes of the group. In This Is the End, he plays the whiny, goody two-shoes of the group. With everyone else so gleefully playing into his type or against it, why isn’t Baruchel allowed to join in on the fun? Did Evan Goldberg and Seth Rogen think the movie needed a moral center for the audience to relate to? Someone who scorns the vain lives of Hollywood celebrities? The movie does not need that and would have been more fun without it. Similarly, his bromance with Seth Rogen (in the film, the two are childhood friends reuniting for a weekend of smoking weed at Rogen’s place) is tired and weighs the movie down.

These scenes aside, This Is the End is a lot of fun. These actors are great at banter and the biggest laughs in the movie come not from the gross-out gags but the slick, fast-paced dialogue. At one point, bored in Franco’s fortress of a home, the guys decide to make a homemade sequel to The Pineapple Express. The best thing about This Is the End is that it feels like a movie made by a bunch of friends. All the CGI demons and other hellish effects made possible by the movie’s big budget aren’t necessary. This Is the End puts its stars front and center. They’re having a good time and you will too.

- Steve Avigliano, 6/15/13

REVIEW: Rise of the Planet of the Apes

Rise of the Planet of the Apes (2011): Dir. Rupert Wyatt. Written by: Rick Jaffa and Amanda Silver. Starring James Franco, Andy Serkis, Freida Pinto, John Lithgow, Brian Cox, Tom Felton and David Oyelowo. Rated PG-13 (Violent riots carried out by apes). Running time: 105 minutes.

1 ½ stars (out of four)

Many years from now, long after human society has crumbled, when whatever living sentient race is examining the Planet of the Apes films, I hope they do not linger on the six films that followed the 1968 original starring Charlton Heston. And if they do, let them take the four sequels from the early 70s, Tim Burton’s supremely silly remake in 2001 and now Rise of the Planet of the Apes as examples of Hollywood’s relentless desire to repeat any and all past successes if doing so means a chance at more commercial gain.

The original Planet of the Apes is already something of an old relic, a classic that still resonates in spite of the fact that it now feels a little dated. The Twilight Zone-esque story (Twilight Zone creator Rod Serling co-wrote the script) with its now famous twist ending was very much a product of its time and though its allegorical comments on nuclear war and modern society are as true as they have ever been, they do not necessarily translate to contemporary blockbuster success.

Rise of the Planet of the Apes is an attempt to reboot the franchise from a different narrative starting point. Will Rodman (James Franco) is a scientist at a company called GEN-SYS working on a cutting edge drug that could cure Alzheimer’s. His boss, Steven Jacobs (David Oyelowo), is a pharmaceutical mogul excited about the drug’s financial potential but Will’s stakes in the drug are more personal; his father (John Lithgow) suffers from the degenerative disease. Tests in the lab successfully enhance the brainpower of chimps and the drug’s prospects look good until an accident in the lab puts the project on hold.

In the wake of the project’s failure, Will acquires a newborn chimp birthed by one of the test apes. Caesar, as he is symbolically named, has inherited the effects of the drug from his mother and over the next few years Will nurtures the ape’s inborn intelligence, a choice that leads humanity down a dangerous path the scientists from Project Nim only narrowly avoided.

Unlike the 1968 original or the 2001 remake, the human protagonist is not terribly important here. Rise is very much the apes’ story and because of this, the film makes little effort to offer any worthwhile human characters. Franco, who has a smirking charm in other films, gives a bland and sleepy performance. Mostly he exists to restate plot points in case you miss any of those subversive, glaring looks on the expressive faces of the computer-animated apes.

The rest of the film’s Homo sapiens are equally dull. Will’s girlfriend (Freida Pinto) isn’t given a single thing to do, though she is very pretty and occasionally chimes in a cautious word. And much time is wasted on a handful of feeble human antagonists including Tom Felton of Harry Potter fame as an oddly vicious caretaker at a primate facility who bears more than a little resemblance to the actor’s Draco Malfoy role. The venerable Brian Cox also appears as the facility’s owner but he is underused. The real villain is (or rather, should be) Jacobs, the corporate-minded pharmaceutical exec who pushes for hasty and reckless testing of the drug on as many apes as possible.

But Rise of the Planet of the Apes explores the subtleties of scientific ethics with all the grace of one of its 400-pound stars. “I make money and you make history!” Jacobs shouts to Will late in the film, trying to convince him to go through with the risky tests. The film lumbers along with tedious exposition and clunky dialogue for most of its running time until the final stretch when the uprising promised by the title occurs.

The film’s stupidity does provide some giddy entertainment, if perhaps unintentionally. One scene features Caesar engaging an orangutan in a sign language conversation that is – hilariously – subtitled. Once the action gets going, we also learn that the apes have an unusual affinity for leaping through glass, a feat that apparently does them no harm but makes for a dramatic entrance.

One of the film’s biggest flaws is the apes themselves. The CGI (including a motion-capture performance from CGI veteran Andy Serkis as Caesar) is impressive but cannot hide the fact that all the apes are animated creatures. The overuse of CGI takes the life out of the apes despite the filmmakers’ best efforts to do the opposite. I recall the effectiveness of the original’s costumes – silly though they may now seem – or the eerie unreality of Stanley Kubrick’s apes in the “Dawn of Man” sequence from 2001. Heck, even Tim Burton’s version had great costumes. No degree of skillful animation can beat the tactile pleasure of watching an actor in a monkey costume and I mean that with the utmost sincerity.

Rise of the Planet of the Apes wants to revive an outdated franchise but doesn’t have any drive or purpose beyond the commercial obligation to use the rights to the title while the studio still has it. In another ten years we may get another Apes film (be it remake, reboot or regurgitation) and when that happens, will anyone care about this film? Will they even remember it? Or will it be wait to be scrutinized an eon or two from now as a prime example of perfunctory summer entertainment?

- Steve Avigliano, 8/11/11

REVIEW: 127 Hours

127 Hours (2010): Dir. Danny Boyle. Written by Simon Beaufoy and Danny Boyle, based on the memoir Between a Rock and a Hard Place by Aron Ralston. Starring James Franco. Rated R (language and some disturbing violent content/bloody images). Running time: 95 minutes.

3 ½ stars (out of four)

In reviewing Conviction a few weeks ago, I wrote that “some great stories just aren’t cinematic stories.” 127 Hours argues quite convincingly, however, that in the hands of a skilled enough director, any story can become cinematic. At first, the story of Aron Ralston (played in the film by James Franco) would seem to be as inherently un-cinematic as they come. Trapped for 127 hours in the crevice of a Utah canyon with a rock crushing his arm, Ralston fought the elements to survive and wrestled with his personal demons during his isolation. Director Danny Boyle, fresh off an Oscar win for Slumdog Millionaire, takes up the difficult task of transforming this material into something visually interesting and the result is exhilarating.

Following Slumdog, audiences should be familiar with the director’s kinetic style. His films are fueled by an inexhaustible energy, incorporating handheld camerawork, split screens and any other device at Boyle’s disposal. One would think that being confined to such a physically small space as he is here would limit his style, but Boyle makes the most of the canyon crevice’s spatial limitations. His camera takes the viewer to the bottom of Ralston’s water bottle, miles up into the sky to provide a literal bird’s-eye view, and even inside the very muscles of Ralston’s injured arm.

Boyle’s stylistic flourishes are not self-indulgent though, but essential to bringing out the humanity of the story. The film visualizes the internal struggle of an isolated man with nothing to listen to but his own thoughts. As Ralston’s mind races, the viewer dives in and out of memories and fantasies. Here we get snippets of backstory. Ralston is confident to the point of arrogant and has pushed away the most important people in his life – his girlfriend, his parents. He’s so cocky that he doesn’t even need to tell anyone where he’s going or what he’s doing the day of the accident. From the bottom of a crevice in the middle of nowhere he replays the accident in his mind and cannot help but see his current situation as the inevitable result of his egotism.

Much credit must also be given here to James Franco, whose performance is a career-best. When presented with a story such as Ralston’s, we often wonder: What would we do if faced with the same situation? Franco understands this and brings us even deeper into the film by making his performance relatable. We see his initial bewilderment and feel his frustration and eventual despair. By the end of the film, Franco has taken us through every step of an emotional catharsis and the experience is a draining one.

Fortunately, that experience is brief and editor Jon Harris keeps the film at a manageable 95 minutes. As editor, Harris maintains complete control over the film’s chaotic style. The combination of handheld cameras and fast-paced editing can often have nauseating results, but Harris knows how to use these techniques to elicit a response from the audience. We only feel claustrophobic or dizzy when he wants us to. And despite the quick cuts in cramped quarters, the audience is always fully aware of what is happening.

Perhaps this is the film’s greatest strength. Danny Boyle has not only succeeded in making a seemingly unfilmable movie, but he somehow made it accessible too. There are a few scenes in 127 Hours not for the feint of heart (Boyle doesn’t shy away from some of the more gruesome moments in Ralston’s story), but the film does a wonderful job of taking an extraordinary experience and putting it into terms we can all understand. More so than Slumdog, 127 Hours puts Danny Boyle on the map of today’s best directors and shows that films can tell any story as long as the filmmakers are up to the challenge.

- Steve Avigliano, 12/07/10