Showing posts with label David Paymer. Show all posts
Showing posts with label David Paymer. Show all posts

Monday, September 3, 2012

The Five-Year Engagement

The Five-Year Engagement - Dir. Nicholas Stoller (2012)


Director Nicholas Stoller and Jason Segel first worked together on the short-lived television series Undeclared, which was produced by Judd Apatow. They firmly established themselves in feature film with their smash-hit comedy Forgetting Sarah Marshall. Though Stoller worked with Segel again on "The Muppets," he was only a writer and executive producer with James Bobin of Flight of the Conchords fame directing. The Five-Year Engagement is their first official follow-up to Sarah Marshall as they once again explore the volatile minefield that is the adult relationship.

Five-Year Engagement begins where most romantic comedies end with the proposal. Tom Solomon (Segel) is a successful sous chef making a name for himself in the trendy restaurant scene of San Francisco. He's been dating psychology student Violet Barnes (Emily Blunt) for a year and pops the question during a romantic rooftop dinner with the Golden Gate Bridge in the background. A wedding date is set and invitations are sent out, but things hit a snag when Violet gets accepted into the post-doctorate program at the University of Michigan in Ann Arbor. They decide to move to the Wolverine State and postpone the nuptials until she receives her degree in two years.

Violet rises through the ranks of grad students after proposing an experiment to study self-control issues with stale donuts (an offshoot of the Stanford marshmallow experiment) that serves as an obvious metaphor. On the flip side, Tom has a miserable time dealing with the cold weather and lack of job prospects. He's stuck making sandwiches at a deli. The couple drifts further and further apart as the audience wonders whether or not these wacky kids will eventually tie the knot.

Of course, they do, which shouldn't come as a shock unless you've never seen a movie before. While the parts have been rearranged, the underlying spine of the film remains true to formula. As stated in the title, we know it will take Tom and Violet five years before they can enjoy wedded bliss. However, sometimes it's the journey that counts and not so much the destination. The Five-Year Engagement takes a meandering route towards the conclusion and falls into the trap of many Apatow productions by just being too long. The movie runs over two hours all while the story is crying out for a peppier pace.

Segel and Blunt have previously played romantic interests in the embarrassingly bad Jack Black vehicle, Gulliver's Travels. Luckily, they get better material here and display an easy chemistry with each other. The script is even keeled and doesn't paint either one of them as the villain in the relationship. However, they are written rather blandly until the comedy is ratcheted up into slapstick realm. At one point, Tom descends into a self-pitying spiral to the point he's grown muttonchops and shuffles around in a bunny suit.

Engagement scores major points thanks to a supporting cast flush with talented performers. First and foremost are Chris Pratt as Tom's best friend, Alex, and Alison Brie as Violet's younger sister, Suzie. Their impulsive affair acts as a counterpoint to the cautious relationship of the protagonists. Pratt is the overgrown man-child that is the classic Apatow archetype, but he's a nice guy deep down and not nearly as dim as the character he plays on Parks and Recreation. Though it's disconcerting to hear Brie speak with a British accent, she displays the same comedic gifts that have made her a hit on Community. Pratt and Brie also have great chemistry together and it almost makes you wish the movie had been about them instead. Brie and Blunt participate in the picture's most inspired gag in which they argue in the voices of Elmo and Cookie Monster. Second place goes to a running joke where the passage of time is marked by the death of one of Violet's grandparents.

Another NBC alumnus Mindy Kaling shines as one of Violet's fellow grad students along with Kevin Hart, Randall Park, and Rhys Ifans as their professor. Some of the funniest lines come from Tom's new Michigan friends, Brian Posehn as a geeky co-worker with an encyclopedic knowledge of pickles and Chris Parnell as a domesticated husband teaches Tom the delights of deer hunting and knitting. Rounding out the ensemble are Academy Award nominee Jacki Weaver as Violet's mom, David Paymer & Mimi Kennedy as Tom's parents, and Dakota Johnson as a young and sexy party girl. Plus, watch out for cameos by Kumail Nanjiani, Molly Shannon, and Tim Heidecker from Tim & Eric's Awesome Show.

The Five-Year Engagement could have benefited from some judicious editing and a quicker pace. Also, anyone thinking this will be as rambunctious as Bridesmaids may be in for a disappointment. Still, the winning cast and some humorous moments sprinkled throughout make it a notch above the standard rom-coms.

Rating: ** (*****)

Saturday, June 20, 2009

Drag Me To Hell

Drag Me To Hell - Dir. Sam Raimi (2009)


Drag Me To Hell was hyped as a return to true horror. It also marks the return of Sam Raimi to the genre which kicked off his career. Raimi found initial success by rounding up friends and family to film, Evil Dead, a low-budget B-movie which spawned two sequels, comic books, video games, t-shirts, action figures, and made Bruce Campbell into a hero for countless fanboys all over the world. To this day, Raimi and Campbell still get asked at conventions and interviews about the possibilities of Evil Dead 4. Since the conclusion of the Evil Dead trilogy, Raimi has dabbled with various genres such as the Western (The Quick and the Dead) and even sports schmaltz (For the Love of the Game). He found his biggest success with the Spider-Man franchise, but the third film met with a lukewarm response from critics and die-hard fans. Clearly, Raimi was looking for a way to recharge his batteries before launching head first into the currently-in-development Spider-Man 4.

Raimi proves to have found his A-game from the opening moments of the film, featuring a vintage version of the Universal logo. Drag Me To Hell mines the current economic woes and mortgage crisis for its premise which centers on loan officer Christine Brown (Alison Lohman). Brown is bucking for the promotion to her branch’s assistant manager position, but her boss, Mr. Jacks (David Paymer), is also eyeing a shameless brown-noser named Stu Rubin (Reggie Lee). When an old Gypsy woman, Mrs. Ganush (Lorna Raver), begs for an extension on her overdue mortgage, Christine can only eye the empty desk and turns her down. As usual, pissing off a crazy old Gypsy woman turns out to be a bad idea as Mrs. Ganush attacks Christine in the parking garage and places a curse on her. In three days time, a demon called the Lamia will come and drag her to Hell. Christine looks for help from her disbelieving boyfriend, Clay Dalton (Justin Long), and strip mall psychic, Rham Jas (Dileep Rao).

Drag Me To Hell is a welcome breath of fresh air as the horror genre stagnates amidst the rampant glut of torture porn, endless remakes, and the cannibalization of the once trendsetting Asian market. The film is rated PG-13 which seems to be the popular target for studios today. However, Raimi isn’t hampered by the limitations choosing to work within PG-13 standards. He is in rare form using many of his trademark techniques (quick zooms, titled angles) to create a fun and creepy horror film without relying on buckets of blood and gore. It’s a testament to Raimi’s skills that he can make a handkerchief scarier than any dismembered torsos.

Raimi’s penchant for gallows’ humor and over-the-top grotesqueries are in full effect here. Drag features a down and dirty brawl between Christine and Mrs. Ganush. You’d think a fight between a banker and an elderly lady would be rather tame. Instead, this is one nasty scuffle with Ganush even attempting to gum Christine to death. There are other sequences involving a corpse full of formaldehyde and the desecration of a grave that are both wicked and innovative.

If Drag has any weak points, it’s a completely predictable twist in the third act and the film’s fairly nondescript characters that keep it from being a true classic. Still, there’s never a dull moment and this is definitely one of the best horror films to the screens in years.

Rating: ***1/2