Tag: Rashida Jones

ON THE ROCKS (2020) – Review

Okay, who’s ready for “family time” at the movies? Now I’m not talking about the standard “family flick” that’s usually the big animated musical fable that many use as a weekend afternoon “out of the house” excursion. And lots of you may feel a tad skittish about trotting all the kids over to the multiplex (soon we hope). This week we’ve got a real “family” film dealing with lots of adult themes that are aimed at the “grown-ups”. Oh, and it’s focused on a rare “family dynamic”: the father-daughter relationship (or to be precise in this case, mother-grandfather). Often we see dynamic clashes between mother and daughter (2017’s SNATCHED comes to mind) or brittle reunions of fathers and sons as when Indy and his pop went on that “last crusade”. On TV this pairing has been a staple from “My Little Margie” to “Gidget” leading up to the recent, sublime duo of Keith and Veronica Mars (more please Hulu). Oh, did I mention this film is also a most anticipated reuniting of the director and actor from one of the early 2000s most beloved movies? Like the former flick, there’s a marriage at its center, which, like the many cocktails downed over its 90 or so minutes, is ON THE ROCKS.

But things weren’t always that way. We first meet Laura (Rashida Jones) and Dean (Marlon Wayans) on their wedding night, still giddy about their future as they doff their gown and tux to enjoy the honeymoon suite’s hot tub. Jumpcut to that future. They’re living in a plush Manhatten condo with their two daughters, about 9 and 5 years-old. While she’s running the household and trying to finish a new book, he’s dashing and hustling with the new PR firm he formed. Actually, Dean’s gone a lot. And when he is home he’s glued to his phone. This doesn’t concern Laura till one night. Dean returns from a trip in the wee hours and hops into bed with her, waking her with kisses. But when she says hello, Dean is stunned as though he has woken from a trance, rolls off of her, and goes into a deep sleep. Later, when she unpacks his suitcase, Laura finds a women’s toiletries travel case. When asked about it, Dean says it belongs to his co-worker Fiona, who couldn’t fit it in her luggage. That evening at his company’s launch party/open house Laura meets “Fi-Fi” (Jessica Henwick) who is dismissive of her as she runs to be by Dean’s side as his “work wife”. Laura’s “radar” is up and on, though her Gran, Mom, and sister think nothing of it. Then Laura phones her father about it. And he agrees, so much so that he flies in. Felix (Bill Murray), who used to own a “high end” NYC art gallery, adores his grandbabies and his daughter “Shorty”. Over drinks, he bolsters her fears, but Laura isn’t convinced. Then Dean tells her that he can’t be there for her birthday (first time ever) and gives her an early present, a deluxe kitchen mixer/processor before he jets off to a meeting …at a resort on the beach in Mexico…with Fiona. When told about this, Felix erupts, insisting that they also make that “South of the Border” trip. But if they confront Dean, can the marriage be saved?

Perhaps the most compelling aspect of this low-key family “dramedy” is the surprisingly potent, enduring star power of Murray. Yes, he’s been an “above the title” leading man for over 40 years now, but as that whisp of hair goes shiny silver, he can move us unexpectedly by revealing new textures beneath his “laid back” forever cool persona. Is it old fashioned charm or his unique charisma that still connects? Murray utilizes all of it as the rakish Felix, who’s always “hustling”, whether it’s attending a wake to scope out a potential art score or casually “schmoosing” a server (“You studied ballet, right?”). But he’s pure in his love of his daughter. Does that account for his zeal in uncovering her marital worries? Partly, but more likely it’s a form of atonement. In their quieter conversations, Felix cuts through his anthropological and biological justifications (“Monogamy’s not in the male DNA”) and shows us a man of many years facing past regrets, hoping that his helpful actions will somehow ease the guilt of his weaknesses. This aging player’s more tragic than funny. And Murray is more than up to this acting challenge with his most subtle work in years. Luckily, he’s got a terrific screen partner in Jones, who has mostly made her mark on TV with the great comedies “Parks and Recreations”, “Angie Tribeca” and “#BlackAF”, here establishes herself as a gifted film actress. Her Laura still has a great passion for life and her family but thinks that perhaps she’s lost her hubby’s eye, that her domesticity has made her less worldly and interesting. But she’s got to put up a “solid front” as she hides her discomfort at the office party, then feign joy over an appliance gift, while also disappointed that Dean will be away on her birthday. She is also smitten with Felix but finally vents her anger over being swept up in his “mindset” as she calls him out on his “science” excuses for bad behavior. Jones makes Laura a great heroine to root for, and gives the story its beating heart. Another pleasant surprise is Wayans, who jettisons his zany comic persona, to be an affable, but often clueless “everyman”, who just can’t quite “get the vibe” of his partner, nor her pop. An added bonus is the fabulous Jenny Slate who elicits lots of laughs as the “emotional vampire” Vanessa. another mom at the school where Laura’s eldest attends, who drones on about her romantic problems as Laura is trapped with her in a hallway or at the school entrance. Slate’s way overdue to lead another quirky comedy.

Oh, the reunion I mentioned earlier? It’s a reteaming of Bill Murray with director/screenwriter Sofia Coppola, seventeen (really) years since the much loved LOST IN TRANSLATION. Ms. Coppola again takes double duty (triple since she’s also a producer) and has created another relationship and bonding fable between the generations that offers lots of wit while not backing away from life’s darkest fears and worries (what if he’s moved on). Though not using the exotic locales of the earlier project, Coppola finds the spacious beauty in the canyons of NYC, even in the big rental buildings and the “old school watering holes”. Ah, but there is that third action section in Mexico where the ocean breezes seem to slow down time, but not ease Laura’s near-panic. All are captured in warm golden hues by cinematographer Phillipe Le Sourd and accompanied by the soulful music score from Phoenix. And although most of the humor is subdued, a scene in which Felix picks up Laura in a classic 60s convertible for a night of spying uses some great slapstick (the car looks great, but sputters and backfires as they zoom past angry commuters) and is topped with another remarkable bit of Murray charm (it works on the ladies, but what about “John Law”). As far as daughter/father family dramedies go, ON THE ROCKS is on the money, a very bright spot in a dark dreary year.

3.5 out of 4

ON THE ROCKS opens in select theatres on Friday 10/2. It will be streaming on AppleTV beginning on 10/23.

Watch Sofia Coppola’s ON THE ROCKS Trailer Starring Bill Murray, Rashida Jones And Marlon Wayans

In theaters and on Apple TV+ in October is A24’s ON THE ROCKS. Check out the new trailer now.

A young New York mother faced with sudden doubts about her marriage teams up with her larger-than-life playboy father to tail her husband. What follows is a sparkling comic adventure across the city—drawing father and daughter closer together despite one detour after another. Acclaimed filmmaker Sofia Coppola brings a light touch to this blend of an exuberant love letter to New York, a generation-clash comedy about how we see relationships differently from our parents, and a funny celebration of the complications that bind modern families even as they tie us in crazy knots.

Laura (Rashida Jones) thinks she’s happily hitched, but when her husband Dean (Marlon Wayans) starts logging late hours at the office with a new co-worker, Laura begins to fear the worst. She turns to the one man she suspects may have insight: her charming, impulsive father Felix (Bill Murray), who insists they investigate the situation. As the two begin prowling New York at night, careening from uptown parties to downtown hotspots, they discover at the heart of their journey lies their own relationship.

SPIES IN DISGUISE – Review

The morning of the big day has finally arrived. The toys are opened and the house is “knee-deep” in glossy wrapping paper. After a big breakfast or brunch, what are you going to do when the tots start to bounce off the walls? Well, you pile them in the car and head out to the movies, at least that’s what the studios are hoping. So after playing with the toys from Santa, how about a new animated kid flick that’s about toys? We’re not talking about Woody and Buzz (so last Summer), but high tech spy gadgets and gizmos aplenty. Bond won’t be back for a few more months, and he’s a bit too “randy” for the wee ones, so who’s more family-friendly (especially in ‘toon form’ than Will Smith? He has had a busy year, going from Genie to Gemini Man and now he’s one of the SPIES IN DISGUISE.


But we don’t meet “big Willie” when the story starts. It’s a flashback, fifteen years ago, with a little guy who amuses his policewoman mom with his cardboard and paste devices that explode in glitter. He seems to be a grade school spy guy. Flash forward cut to now, as the real deal, super-secret agent Lance Sterling (voice of Smith) infiltrates a snow covered fortress. His mission: stop Killian (Ben Mendelsohn) from acquiring a list of all active undercover agents from data kingpin Kimura (Masi Oka). After evading the horde of assassins and hitmen, Lance almost succeeds until he’s tripped up by a bit of tech. But the pursuit of Killian has to be put on hold as he’s called back to HQ in D.C. (under the pool at the Lincoln Memorial). On the way in he dresses down and fires newbie gadget inventor Walter Beckett (Tom Holland), the now-adult kid from earlier. But the routine meeting with Lance’s boss Joy Jenkins (Reba McEntire) goes off the rails when she shows him a video of the data thief, who now has Lance’s face (though with Killian’s robotic hand). Suddenly the doors burst open to reveal the head of the agency security, Marcy Kappel (Rashida Jones) with her aides Eyes (Karen Gillan) and Ears (DJ Khaled), who are there to detain and question Lance. But he escapes, hoping to clear his name. He’ll need some more gizmos so he goes to the home of the guy he just fired. Luckily Walter’s working on the ultimate disguise formula and shows the agent some of his new projects. Thinking it’s a glass of water, Lance gulps down that formula and changes into a…pigeon. It’ll take Walter 18 hours to make a possible antidote, but Marcy has tracked them down. They’ve got to avoid her and her crew while following Killian’s trail from a swanky Mexican ocean resort to the streets and canals of Venice. But how can Lance accomplish this when he’s (in his own words) a “feathered street rat”?

The voice cast brings a great deal of energy and expert timing to the often meandering script. Particularly entertaining is the chemistry between the film’s “action buddy” pairing of the lead duo. Each of them brings a lot of their previous feature film personas into these roles. Smith’s Lance has much of the cool swagger of his MEN IN BLACK’s Agent J mixed with the bravado of his last real secret agent roles in the box office fizzles GEMINI MAN and WILD WILD WEST (whew that one still smells after 20 years). And he’s just got a way with the wisecracks as he’s walloping a nearly endless stream of thugs. He’s an engaging counterpart to Holland’s brainy but timid Walter who’s a not so distant cousin to Peter Parker (minus the arachnid abilities and Stark upgrades). Luckily he’s got an infectious enthusiasm and appears to enjoy getting away from the lab, despite his trembling qualms. These two truly “play” well together. And they work splendidly against Mendelsohn who seems to be doing a whimsical comic “riff’ on his many sneering baddies as Killian. Jones makes Marcy most endearing as Marcy, who’s a more quick-witted take on the old “good guy who figures out she’s trying to nab another good guy” ala Tommy Lee Jones in THE FUGITIVE. And McEntire is a terrific “boss Lady” as Joy, though I really thought it was Holly Hunter when she first ordered Lance about.

Hard to believe, but this is the 13th feature film from Fox’s animation branch Blue Sky Studios (the first ICE AGE was in 2002), but the film certainly deserves a place at the “table’ along with the Disney/Pixar folks and Illumination. The movement is fluid and the colors, especially in the exotic locales, really pop off the screen (hopefully 3D doesn’t dull their luster). Particularly impressive is the character design work with Lance and Walter really resembling their human actors, but with some fun “tweaks”. Lance really captures Smith’s head shape, with subtle shading to denote a chiseled cheek, which flows right into the puffed upper body (perhaps the legs could be a bit thicker to support that torso). Walter’s got a clown-like bulbous nose which is well framed by his frizzy-mopped hair, all atop a gangly body that recalls many a silent movie clown. Really, the visual performances of the two are terrific. Unfortunately, lance spends a bit too much time in pigeon form, with a bowling pin design that’s weighted at the bottom, making him move like a billiard ball in a wet sack. The other birds they encounter aren’t much more visually interesting, despite the weird thing (a stick candy “drop”) on the head of one (guess he’s “zany”). The first time feature-directing duo of Nick Bruno and Troy Quane handle the big action set piece with vigor, but the film falters a bit in the quieter moments. That may be the main fault in the script which too often goes for easy “gross-out” gags (massive Kimura is without his robe while losing control of his “functions”). And Lance is much more interesting in his human form (the lil’ ones may be impatient for more funny spy action minus the feathers). But it’s a relief that the moral of learning to ask for help and not getting too “cocky’ isn’t “hammered” home as in too many family-friendly flicks. SPIES IN DISGUISE has enough eye candy, wit, and vocal talent to be a pretty painless post-holiday trek to the multiplex. It doesn’t soar, but the flick never crashes, as Lance does at his first flight attempt. Maybe for the follow-up they’ll lose the avian angle.

2.5 Out of 5

DR. SEUSS’ THE GRINCH – Review

While you’re still finding bits of the jack o’lantern in the front yard or porch, and probably still munching from the big bowl of “fun-sized” candy, Hollywood is dashing right past Thanksgiving (much like retail stores and the remaining malls) to present us with the first big Christmas themed feature film. Yes, though it’s over six weeks away the multiplex hallways will be filled with some familiar carols. And it’s an animated feature, since the end of the year is a major release time for those, too. It’s been well over a year since we’ve seen a new flick from the fine folks at Illumination, home of the DESPICABLE ME franchise along with SING and THE SECRET LIFE OF PETS. So, is this a story of the Minions getting all merry (you can just imagine their bug eyes appearing in the eggnog pitcher). No, that’s because the Universal-based animation house has a deal with the Dr. Seuss estate (going back to their 2012 treatment of THE LORAX). So Seuss and Christmas can only mean one thing: the return of that grumbling green “meanie” who despises all the icons of yule time. And now he’s come somewhat full circle. The children’s book curmudgeon was first brought to life via 2D cell animation for TV in 1966, then Ron Howard directed Jim Carrey (in terrific prosthetics and makeup from Rick Baker and his team) in a live-action feature in 2000, and now he’s back in animation, computer generated with optional 3D, with the title shortened considerably (perhaps to not give away too much of the well-known plot). The holiday tale is now simple DR. SEUSS’ THE GRINCH.

The story’s narrator whisks us away to the snow-covered town of Whoville as the citizens happily begin three weeks of preparation and decorating mania in anticipation of the big December holiday. Getting caught up in the frenzy is harried working (in and out of the home) single mom Donna Lou Who (voiced by Rashida Jones). As she catches a quick snooze on the trolley, someone else is just waking up. In cave inside a mountain overlooking the village resides the green, furry, ill-tempered Grinch (Benedict Cumberbatch), who’s about to enjoy a breakfast served by his tiny dog, Max. But wait, the shelves and fridge are bare. Ah yes, the holidays cause him to “stress eat”. Now, he’ll have to go into town for supplies. Meanwhile, Donna is also about to have breakfast with her twin toddler boys and her pre-teen daughter Cindy Lou (Cameron Seely), who’s focused on a letter she wants to send to the North Pole, home of, ya’ know. As she dashes off to catch the letter carrier, Cindy nearly collides with the Grinch and Max. He sneers that the letter, no doubt with a huge wishlist, will be lost in Santa’s mountain of mail. Leaving the grocery store, the Grinch tries and fails to avoid the number one Whoville holiday enthusiast Bricklebaum (Kenan Thompson), who believes the green guy is his best buddy. Back at his cave, the Grinch comes up with his own Christmas plans, not celebrating nor decorating, but “stealing” the happy day from the town. This just as Cindy Lou, with the help of her pals, hatches her own plan to get in her request to the jolly ole’ elf. With that December deadline approaching, the Grinch, along with his over-worked pooch, goes through his checklist (sled, costume, reindeer?), and delights in getting revenge against that magical, merry day.

For some inexplicable reason, the filmmakers have insisted that Cumberbatch, yes the definitive modern-day Sherlock (sorry Jonny Lee), perform the lead role with an American accent. Hey, his natural speech worked for Karloff over 50 years ago, so why must the “mean one” sound like he’s applying for Harvard (or any of the Ivy League)? Mind you, the right tone of snark is there in his contempt for the happy goofballs that live below him, but he sounds like a cousin of Dr. Steven Strange with a case of the “hangries”. It’s an odd choice that takes some getting used too. Fortunately, he still has a great chemistry with Thompson who brings the same zany energy to the affable, but clueless Bricklebaum that he has for the last fifteen (wow) years as a regular cast member on TV’s “Saturday Night Live”. With his bushy beard obscuring his mouth, he tosses off hilarious jokes much like the masterful Jack Mercer did as Popeye in countless cartoons (I wonder if they might have been added in post, much like Mercer did). Jones as Donna doesn’t have nearly as much fun as that duo. She’s there to be the dutiful, tired, but noble matriarch who says just the right things to encourage and inspire her daughter. As the said daughter, Seely is sweet, but not saccharine with just the correct dose of spunk without becoming obnoxious. I also couldn’t “get” the use of Pharrell Williams as the narrator with his rather listless line reading. Now maybe if Cumberbatch had told the tale in his smooth British baritone. And they bring in family film superstar Angela Landsbury for one scene as the town’s mayor? Talk about under-utilizing an extraordinary talent! that’s “Mrs. Potts” for gosh sakes!

Directors Yarrow Cheney and Scott Mosier have delivered a flick that’s most pleasing to the eyes with colors that pop, clever designs (I like how the tiny Whoville shops spin around to show their wares), and characters close to the original Seuss pen and ink sketches. But, as with the 2000 feature, it’s all in service to a story that was told almost perfectly in 23 minutes in 1966. Unlike the last version, we don’t delve as much into the pre-adult Grinch (here spending 12/25 all alone in an orphanage), but we get new characters that “pad’ the tale (or to sell more toys, if you want to be cynical). As I said earlier Thompson is tons o’ fun as Bricklebaum, but he doesn’t advance the plot one lick (of a candy cane). The same could certainly be said of the cohorts of Cindy (certainly much older than two, this time out). Again, more merch and maybe a chance to be more diverse. Then there’s Fred, the lone waddling, beefy reindeer with a Shemp Howard-styled orange tuft of hair. He drifts in and out of the film (because Max has to pull that big sled solo). Plus Fred helps to eliminate one of the greatest images of the story, that being the Grinch triumphantly lifting the massive, stuffed sled over his head. Yes, really! The blame can rest at the screenplay by Michael LeSieur and Tommy Swerdlow (it took two), which somehow expands and simplifies the story. Now we get to see the Whovians waking to empty living rooms, along with an explanation of the holiday’s true meaning from Donna to Cindy (that singing circle is not enough). And in one tired gag, the Grinch tries to use a giant catapult (did he have one gathering dust in a corner of the cave, or is the empty Acme Company crate nearby). Oh, and we’re “treated” to a modern take (rap) on those classic, timeless Eugene Poddany tunes (you are so missed, Thurl Ravenscroft). The little ones may be amused by the flick’s first act, but their patience will be sorely tested. Though not a big lump of coal, DR. SEUSS’ THE GRINCH is not the upgrade that’s on anybody’s wish list.

2.5 Out of 5

Bill Murray Joins DreamWorks Animations’ Supernatural Action Comedy B.O.O.: BUREAU OF OTHERWORLDLY OPERATIONS

bill murray

Ghost stories will never be the same again … Just in time for Halloween, DreamWorks Animation has a big treat for audiences: legendary funny man Bill Murray will join the all-star cast of B.O.O.: BUREAU OF OTHERWORLDLY OPERATIONS as villainous ghost, Addison Drake.

Jennifer Coolidge, best known for her role as Stifler’s mom in American Pie will play Carol Sue, a bubbly transitions-relations officer and Academy Award winner Octavia Spencer will play the tough as nails Sr. B.O.O. officer, Captain Book.

The trio will join the previously announced Seth Rogen, Melissa McCarthy, Rashida Jones and Matt Bomer in this original film set to be released by Twentieth Century Fox on June 5, 2015.

“Bill Murray is the perfect actor to bring this character to life – or should I say ‘after-life?” said Director Tony Leondis. “Along with Jennifer and Octavia, this is a dream cast. I can’t imagine a team more capable of packing a funnier punch to this broadly comedic ghost story.”

This supernatural action comedy follows two bumbling apparitions who find themselves in an extraordinary after-life adventure when they join the Bureau of Otherworldly Operations (B.O.O.) – the ghost world’s elite counter-haunting unit – and ultimately must face off against the planet’s greatest haunter.

Based on an original idea by Tony Leondis (Igor), who is also directing, the film is produced by Maryann Garger (Flushed Away) and the screenplay is being written by Tom Wheeler (Puss in Boots). Executive Producers are Gil Netter and Courtney Pledger.

CELESTE AND JESSE FOREVER – The Review

Now, this is an interesting twist on a film genre. Seeing the poster, you might think that CELESTE AND JESSE FOREVER is another frothy, lighthearted ” rom-com”. You’d be mistaken. This could be called an anti ” rom-com”. Well most of these flicks are about the two main characters meeting cute, having conflict, resolving said conflict and living happily ever after, CELESTE is about a couple who’ve been through all that and then fall out of love. It’s the ” ever after”.  The big romance is pretty much covered with a photo montage during the title and opening credits. Ah, but you think ” These two are so adorable, they must work things out”. I won’t say if they do, but I will say that this flick is full of surprises. Kind of like real life, as opposed to movie ” rom-com life.

As I said, by the time the opening credits are done, Celeste ( Rashida Jones ) and Jesse ( Andy Samberg ) are a married couple who have separated. You’d never guess as they tease each other in her car on the way to Dinner with their soon-to-be-married best pals Beth ( Ari Graynor ) and Tucker ( Eric Christian Olsen ). The friendly behavior of C & J freak out B & T. Soon-to-be-exes just shouldn’t behave like that! After their pals storm out of the restaurant, C & R return to her house. Celeste lives in the main house while Jesse lives in the garage/ art studio out back. The guy has little work ethic concerning his art career and can’t seem to get around to signing those divorce papers. But he does start dating which prompts Celeste to make him move out on his own. In the weeks leading up to the big wedding Celeste struggles with her job at a media consulting firm and dipping her toes back into the dating pool while trying to deal with the future ex-husband that’s still her best buddy in the whole-wide world.

I’ve enjoyed the TV work of both actors, so I went into this flick rooting for them. My enthusiasm was severely tested when C & R read aloud ( in exaggerated German accents ) from  a Mexican restaurant menu. Well, maybe even earlier as they simulated a sex act on a tube of lip balm in the car on the way there. But the film got back on track and was tougher than the bouncy trailers would let on. What they don’t tell you that even though two names are in the title, we spend most of the film’s running time with Celeste ( Jones did co-write the script, after all ). Jesse’s really short-changed. When they meet up after quite a bit of screen time apart, he’s changed radically. It’s a shame we don’t get to see more of that progress. Instead we get to see Celeste’s dating disasters ( she’s at fault for most of them ). When she does meet nice guy Paul ( Chris Meesina from RUBY SPARKS ), Celeste is such a flakey pill we question his determination. The gal’s got some issues including some frustration at the fact that Jesse’s life is not falling apart after leaving her. A subplot involving one of her work clients, pop-songstress teen temptress Riley ( Emma Roberts ) doesn’t seem to go anywhere and Elijah Wood is wasted as Celeste’s work boss/ gay supportive pal ( even his character mentions this hackneyed stereotype ). Luckily the two stars have enough chemistry and charm to make this story more engaging than it should be. Samberg’s done a lot of great work over the last few years on TV’s SNL, but his film work’s been spotty. This movie gives us a chance to see his dramatic skills. Jones has been stellar in supporting roles on TV ( ” The Office “, ” Parks and Recreations ” ) and films ( THE SOCIAL NETWORK, THE BIG YEAR ) and here, as a lead, she’s able to make the exasperating Celeste fairly endearing. It’s a long trek to the film’s big wedding finale’, but there are a few solid laughs along the way to make CELESTE AND JESSE FOREVER a flawed, but enjoyable ” break-up- com “.

Overall Rating 3 Out of 5 Stars

Rashida Jones and Andy Samberg Star In CELESTE AND JESSE FOREVER HD Trailer

Check out the new trailer for Sony Pictures Classics CELESTE & JESSE FOREVER. One of the most talked about films at the 2012 Sundance Film festival (Official Selection), the romantic comedy stars Rashida Jones, Andy Samberg, Chris Messina, Ari Graynor, Will McCormack, Emma Roberts, and Elijah Wood.

CELESTE & JESSE FOREVER is about two people who met in high school, married young and are growing apart. Now thirty, they decide to get divorced and attempt to stay best friends while pursuing other relationships. This plan is not as simple as they had imagined.

Celeste— imperious, successful and driven– is convinced that divorcing the boyish Jesse is the right thing to do. Jesse passively accepts this transition into friendship, even though he still is in love with her. As the reality of their separation sets in, Celeste slowly and painfully realizes she has been cavalier about their relationship. But her timing with Jesse is less than fortuitous. While navigating the turbulent changes in their lives and in their hearts, these two learn that in order to truly love someone, you may have to let them go. The film is a humorous and honest examination of a broken heart and the long, hard road it takes to heal it.

In late January Sony Pictures Classics announced that they had acquired all North American, Latin American and Eastern European rights to CELESTE & JESSE FOREVER. The film, directed by Lee Toland Krieger (THE VICIOUS KIND) and cowritten by Rashida Jones and Will McCormack, is produced by Jennifer Todd and Suzanne Todd of Team Todd and Lee Nelson of Envision Media Arts, who also financed the film. The deal was negotiated by UTA’s Independent Film Group.

The film opens in New York and Los Angeles August 3.

Top Ten Tuesday: Special Edition THE MUPPETS Hall of Fame

Once upon a time not long ago, in a living room not so far away, was a television set that opened up a magical, comical, crazy world filled with fuzzy, funny make-believe characters too great to simply be called puppets. No, these were The Muppets, and we loved them completely. Great thanks goes out to Jason Segel for making his dream of a Muppets return come true this Wednesday, but most importantly, boundless thanks should be given to Jim Henson himself, creator of The Muppets, on the holiday of gratitude. We Are Movie Geeks would like to extend our own thanks, and in doing so, presents out Top Ten MUPPETS Hall of Fame. Continue reading Top Ten Tuesday: Special Edition THE MUPPETS Hall of Fame

THE BIG YEAR – The Review

With a cast this impressively eclectic, THE BIG YEAR is not nearly as ridiculous as I was expecting. While the hilarity factor falls short of anticipated, the film still delivers plenty of humor, but the approach is far more charming than absurd, resulting in a pleasantly entertaining, somewhat uplifting dramedy.

Directed by David Frankel, THE BIG YEAR is a film which clearly falls somewhere between MARLEY & ME and THE DEVIL WEARS PRADA on his range of storytelling prowess and style. What the film does is to take an otherwise mundane subject that the average viewer would find dull and uninteresting, but fills it with a message of finding one’s true priorities, then wraps it up with a talented cast.

THE BIG YEAR follows three main characters, all three are passionate birders, as they venture out to set the world record for spotting the most bird species in North America in a single calendar year. Sound exciting? Exactly. However, the film actually does end up being rather exciting, sort of, in the sense that I actually cared about all three characters, even the one I was meant to hate, somewhat.

“Birding” is the observation of birds in their natural habitats as a hobby. Therefore, a “birder” is one who partakes in birding.

THE BIG YEAR is told from the perspective of Brad Harris (Jack Black), a thirty-something divorcee living with his parents and working a dead end job he hates, but whose passion for birding drives his will to push on each day toward his dream of being the best. This presents something of a dilemma, as the current record holder and inspiration for Brad is Kenny Bostick (Owen Wilson), who happens to be planning his own “big year” for a second consecutive time in an effort to secure his world record. Brad and Kenny are diametrically opposite personalities. Brad has a child-like passion for the art and wonder of birding, while Kenny appears to be far more interested in the fame of being the best.

Our third main character is Stu Preissler (Steve Martin), a successful CEO struggling to force himself into retirement so he may finally pursue his own big year, a dream he’s had since a child. Brad, Kenny and Stu all pursue the same goal, but tension emerges as they attempt to keep this a secret from one another in an effort to avoid heated competition. Brad and Stu are well aware of Kenny’s reputation for being a relentlessly brilliant birder who plays the game from any angle necessary, but rumors of being a cheat sparks an increased level of distrust toward him from both Brad and Stu.

I can only assume that the acts of birding in THE BIG YEAR are accurately portrayed, as I’ve never participated myself, but there is a very real sense of authenticity in the film. All of that aside, the movie isn’t really about birding, but rather about realizing what’s really important in the characters’ lives. This ultimately proves to be the families and loves ones of all three characters, but only two of them will end their journey having had that epiphany in a positive way. The other will ultimately learn a valuable lesson from his mistakes.

THE BIG YEAR doesn’t always hit the comedic nails squarely on the head, but the overall product is well worth the effort. With moments of slightly off-kilter timing or less-than-perfect delivery, the film stumbles slightly on occasion, but always manages to pick itself up and stabilize before ever falling flat on its face. Jack Black manages to pull back the reigns a bit, allowing his character to develop without Black’s trademark orneriness getting in the way, while Owen Wilson pretty much plays his character in his typical fashion, but it works. On the other hand, it was Steve Martin who impressed upon me the most connection with his character. Perhaps seeing a bit of his own life in Stu, Martin drew upon my empathy with astonishing ease. Stu is also something of a catalyst, a mentor even, for Brad’s own growth as a well-rounded individual.

What made the biggest impression on me while watching THE BIG YEAR was the supporting cast, filled to the gills with veteran cameos and recognizable fresh faces. Brian Dennehy plays Brad’s unsupportive, hard-nosed father while Dianne Wiest plays his loving, exceedingly supportive mother Brenda. JoBeth Williams plays Stu’s supportive wife Edith, Kevin Pollak and Joel McHale (TV’s COMMUNITY) play Stu’s corporate yes men, Rosamund Pike plays Kenny’s lonely and frustrated wife Jessica, Jim Parsons (TV’s BIG BANG THEORY) plays birder-groupie and blogger Crane, and Rashida Jones plays Brad’s love interest Ellie. And, as if this isn’t alluring enough, the film is brimming with cameos including Tim Blake Nelson, Anjelica Huston, Corbin Bernsen, Steven Weber and Al Roker.

When its all said and done, THE BIG YEAR is essentially a dramedy, finding its niche somewhere between quirkiness and melodrama, a film that could easily fall through the cracks if not properly marketed. So, this is my final word… THE BIG YEAR is not a great film, but its a reasonably good film that’s fun without being stupid, dramatic without being emotional, and friendly audiences of all ages, but intended for the grown-ups.

Overall Rating: 3.5 out of 5 stars

THE BIG YEAR opens in St. Louis theaters on Friday, October 14th, 2011.

Watch Steve Martin, Jack Black and Owen Wilson In THE BIG YEAR Trailer

In this trailer for THE BIG YEAR, Steve Martin, Jack Black and Owen Wilson are at a crossroads — one is experiencing a mid-life crisis, another a late-life crisis, and the third, a far from ordinary no-life crisis.

Synopsis

From David Frankel, the director of The Devil Wears Prada and Marley & Me, comes a sophisticated comedy about three friendly rivals who, tired of being ruled by obligations and responsibilities, dedicate a year of their lives to following their dreams. Their big year takes them on a cross-country journey of wild and life-changing adventures.

From 20th Century Fox, THE BIG YEAR will be in theaters October 14, 2011.