We’re the Millers (C+), a comedy directed by Rawson Marshall Thurber, hearkens back to the spirit of National Lampoon’s Vacation, although this time around it’s a fake family on a road trip to smuggle drugs across the Mexican border and get them back to Denver, Smokey and the Bandit style (except in an RV) for a crime boss. Jason Sudeikis and Jennifer Aniston are workmanlike as the leads, neither over the top nor pouring on too much wit or charm into the roles. Individual episodes and lines sporadically land, but there’s too much reliance on throwaway pop culture references for the film to amount to much on its own terms. Still, it’s a funny enough vehicle for its ensemble and an occasionally witty satire about the suburban mystique. More bawdy than brainy but often worth the journey for a handful of laughs.
All posts by Stephen Michael Brown
“Spectacular Now” is Affecting Drama
James Ponsoldt’s The Spectacular Now (B+) reminded me of the ’80s fave Lucas with a similar melancholy I found so affecting in Perks of Being a Wallflower, and lead actor Miles Teller as the effortless charmer harboring an alcohol addiction channels a sort of Say Anything era John Cusack, if he were on an endless bender while winning love with jambox held aloft. The theme is about intoxication, to alcohol and to first love: Shailene Woodley is devastating as the naive good girl heroine, filling her first boyfriend’s flask for him as he drunkenly drives her to a date he’s just dreamed up. It’s eerie how much this could have just been called the Lea Michele/Corey Monteith story. The take-away, that life and relationships are more enduring than the episodes between blackouts, rises above the potential afterschool special pitfalls.
“Oz: The Great and Powerful” Visuals Eclipse Story
Director Sam Raimi has built a palace on a poppy field with the visually resplendent, narratively inert box office hit Oz: The Great and Powerful (C-). Built around a conman protagonist played by James Franco and featuring the most star studded trio of witches since Disney’s similarly hideous Hocus Pocus, this tedious journey through predictable prequeldom is pretty much a mess from start to finish. Ah, but that beautiful spectacle – almost everything emerald or enchanting you could dream of painting on a green screen! Too bad there are only about two or three moments that make you care. When Disney further extends this yellow brick franchise, I suggest new screenwriters behind the curtain.
“Elysium” a Sturdy Sci-Fi Allegory
Although it is most potent in its first hour, Neill Blomkamp’s Elysium (B-) is a sturdily crafted allegory about the haves and have nots of a dystopian future. Matt Damon oozes Everyman charm as the hero, and Jodie Foster chews the scenery of her frosty, somewhat underwritten villainess role. The best parts – the heady, political stuff, dissipates into brief action set pieces toward the end. The effects and art direction are strong throughout. Very good at times and altogether just a bit less than the sum of its ambition. Still recommended.
Blanchett the Best Part of “Blue Jasmine”
Two reasons to see Woody Allen’s Blue Jasmine (C): if you’re a completist of the idiosyncratic writer/director (I am) and to see Cate Blanchett’s layered performance as manic-depressive scorned wife of a Bernie Madoff type (Alec Baldwin). Given the critical adoration of this film, I’d swear there’s some pyramid scheme afoot investing richly in Manhattan’s maestro having a new classic on his hands. There are indeed a few nice moments, and it’s an often fascinating character sketch likely to lead Cate to awards acclaim; but in such a rich canon for Allen, this gloomy bloom isn’t loaded for much of a boom. I will be the first critic to award a “meh” to this summer sleeper.
“Lee Daniels’ The Butler” is Stirring
Lee Daniels’ The Butler (A) is a heart-wrenching Hollywood epic about American race relations through the lens of pacifist father (a solid Forest Whitaker) and action-oriented son (a revelatory David Oweloyo). Even Oprah Winfrey gets every note right as the mighty mom of a great American family. What may be dismissed as overly polished is actually one of the most stirring, touching films of the year. Civil rights teachers will be showing this to students for generations to come.
“The Wolverine” (2013) a Solid Thriller
Director James Mangold channels his inner adamantium to create a steely summer adventure with The Wolverine (B+). This Tokyo-set saga features Hugh Jackman in top form and grounded story and stunts that deliver the goods. This actioner features some nice action alchemy for fans eager to see this character soldier on.
“The To Do List” (2013) Doesn’t Deliver
Writer/director Maggie Carey’s ’90s-set The To Do List (C-) is radical only in its gender-bending-premise of a young female character being the one looking to lose her virginity come hell or high water. Alas a wooden central performance by Aubrey Plaza and a sloppy structure that just doesn’t deliver on enough laughs thwarts this limp episodic comedy. Despite its occasional charms, this carnal clap-trap is definitely not a keeper.
“Before Midnight” Bittersweet
Richard Linklater’s Before Midnight (B) tells an austere, autumnal next chronicle in the romantic saga of Ethan Hawke and Julie Delpy’s Jesse and Celine. This time it’s not all fun and games and wit and wordplay as we witness scenes from a marriage that is real and raw and may not still have much of the magic we remember from the young couple that met one night on a train nearly two decades ago. It is dramatic and tricky but sometimes a little stuck in its own rut. See it for the cannily observant viewpoints on keeping things fresh while aging together. And as fascinating as they are, let’s hope we’re not gearing up two more decades from now for a talky Amour featuring this duo.
2013 “Much Ado About Nothing” Amusing
Despite being a wizard of witty wordplay, Director Joss Whedon belabors The Bard in his black and white limited release Much Ado About Nothing (B-). It’s artfully shot and decently acted by an ensemble of Joss’ journeyman actors, and the film is often frothy and fun. It’s a neat conceit that it’s filmed in and around Whedon’s own home, but alas it doesn’t match or improve on the 1993 version in any notable way. I was hoping the Buffy creator would bring on more blithe and bonny.
“Pacific Rim” Gets Better as it Goes Along
Gueillermo del Toro’s Pacific Rim starts out as an A, drifts into a C and ultimately becomes a better-than-average B movie. The geek-tastic premise: to fight gigantic sea monsters, the nations of earth have created huge robots co-piloted by warriors who mind-meld to spar with the modern-day godzillas. Charlie Hunnam is earnestly appealing and the creature effects better than average. The flick is best when it espouses its bizarro mythology or plumbs the depths of the protagonists’ emotions, even though most are just Starship Troopers deep. Still, it’s a worthy adventure yarn and should appeal to the 11-year-old-boy-brain that yearns for a summer movie that is filled to the rim with adventure.
2013 “Lone Ranger” a Misfire
Not quite the great time robbery it is purported to be, Gore Verbinski’s The Lone Ranger (C-) is nonetheless an endless parade of tonal shifts and missed opportunities bookended by two of the most thrilling locomotive chases to be recently committed to screen. The biggest problem is a bland, underwritten and miscast hero, and Armie Hammer isn’t resourceful enough to imbue his character with any masked momentum. Johnny Depp is likable as Tonto, mixing warrior chic with emo sobbing, although his annual Chaplin meets Bugs Bunny blockbuster kitsch has run its course. High marks for production design, CGI-sparse old-fashioned stunts and potential integration into Disney theme parks’ Frontierland.