Showing posts with label #. Show all posts
Showing posts with label #. Show all posts

Thursday, March 15, 2012

21 Jump Street (2012)

I'm operating under a new theory now: I used to meticulously study each and every film that was about to come out. I would watch all the new trailers released on Apple Trailers, I would rewatch them the day the films came out to remind myself what was out there, and I would look up the Meta Critic and Rotten Tomatoes reviews to find out if any of the films were worth going to. Believe me, if I film I was highly anticipating got universally bad reviews (like The Golden Compass nearly 5 years ago), I changed my mind about seeing it.

I'll still look to the critics to tell me what is good and bad, and dodge those films that get reviled. That will never change. But what I'm trying to do is go into films with as little knowledge about them as possible. To not watch trailers or read reviews (which is where Rotten Tomatoes and Meta Critic come in handy, since you don't need to read reviews). I'll never avoid trailers fully: I still love seeing them before a film in the theater, and there are some great trailers out there that spoil little and are almost works of art in their own right (see The Social Network trailer). But having no expectations, going into a film knowing nothing, can radically alter how you enjoy something.

For instance, I didn't know anything about 21 Jump Street. Not that it was a TV show in the late 80s that gave Johnny Depp his career start, nor what any of the jokes are. Ignorance is bliss, they say, and with this film thats especially true. Which is why I'm going to sum it up for you now. If you haven't see the film, I'll tell you this: go see it, then come back and read my review. I'm not spoiling anything, but gosh would be hypocritical of me to not tell you up front what you want to know and instead make you learn about the film.

Jonah Hill (slimmed down and looking like Slim Shady in the prologue) and Channing Tatum play opposite ends of the High School spectrum, and you can probably figure out where they fit. Fast forward seven years and they are best pals, united in Police Academy because Hill had the brains and Tatum had the brawns. After they flub their first arrest by forgetting to recite the Miranda Rights (you know, the one that starts out with You have the right to remain silent, you have the right to be an attorney), they are reassigned to what their captain aptly describes as, "A revised program from the 80s, which is what the people in charge do when they run out of ideas." If you find that line funny, you're in for the rest of the movie.

Their base of operations is at 21 Jump Street, where Ice Cube plays a foul-mouthed, angry police Captain who cannot believe how dumb his charges are. The purpose of the program? To send young-looking officers undercover to High Schools to bust drug rings ("You some Justin Bieber, Miley Cyrus-looking motherfuckers," Ice Cube helpfully explains). The movie then takes the opportunity to lampoon Hollywood High School films, where all the stars are usually in their late 20s.

I could go on and on about the drug that is infecting the High School, how Tatum and Hill wonderfully play off of each other and end up in role reversals (Tatum suddenly the nerd, Hill in the cool crowd). But what it really comes down to is did I laugh? Was this movie funny? And the answer is a resounding yes. The movie is wall to wall with jokes that don't always make sense, which is explained by the presence of co-writer Michael Bacall (who wrote Scott Pilgrim, also wall-to-wall with jokes). These movies can seem a bit exhausting, and while 21 Jump Street could have lost five or ten minutes it still breezes by, only being stilted by boring action chases (which still provide some laughs).

The film also looks at High School cliques with an almost fresh perspective. So many High School films see it as a division of Cheerleaders and Jocks and Nerds. But its so much more complex then that. There are people who cross the lines, who shade in the areas. In this film, the cool kids care about the environment and don't bully people. Hell, one of them happens to be gay, but its not made into an issue. This perplexes Tatum and Hill, who came from the High School Hollywood feeds us, and though the nerds are still seen as little more then sad virgins, at least the film made an effort to shake up one department.

So see this film already! Sure the story may be slight, and the jokes may not always make sense (Korean Jesus), but it keeps laughing, and somehow makes you care for the characters. Its sad that something like this is rare for Hollywood to put out.

Sunday, August 2, 2009

(500) Days of Summer (2009)

Populating many multiplexes this summer are stupid, idiotic romantic comedies like The Proposal and The Ugly Truth. There's nothing wrong with a romantic comedy; City Lights (1931), Annie Hall (1977), It Happened One Night (1934), and When Harry Met Sally... (1989) are all romantic comedies that I feel are terrific films. Those films somehow fully embodied or transcended the genre, and are not merely completely predictable by-the-numbers films. And while (500) Days of Summer is not in the same league as those four, it's still a pretty damn good movie, and a refreshing look at romance.

The movie does away with any semblance of chronology, starting at Day 488, in many ways the most pivotal day, and then going back to Day 1, only to jump to Day 290 to examine the turmoil the relationship is in. A voice-over at the beginning states that this is a story of boy meets girl, but is not a love story. It's no secret that at the end of the film the two are not together, as evidenced by the title, so the film becomes an observation of Tom's (Joseph Gordon-Levitt) confusion about what went wrong, and not understanding.

The movie seems to have a brutal honesty about relationships, right at the start, as Summer (Zooey Deschanel), the girl Tom is enamored with, right off the bat tells him she is not looking for anything serious. It seems that these two are in a role-reversal of what seems to be the "norm": Tom is looking for love, while Summer just wants to have fun.

The movie is carried by the leads effortlessly, especially Gordon-Levitt who is able to make you empathize with him during his heartbreak. Deschanel as Summer is also great, creating a character that remains a mystery throughout the picture, but also someone you could totally imagine wanting to hang out with.

The movie also has that indelible indie feel, as Tom in depression enters scenes from Persona and The Seventh Seal, or after his first big night with summer dances down the street to Hall & Oate's "You Make My Dreams". The movie has a pretty good soundtrack, which, besides the Hall & Oates, supports the indie feel of the picture.

The movie is directed by Marc Webb, his first feature, and what a breakout. Obviously the next movie is the true test of the director's strength, but here he fills the movie with such joy and sorrow, and you actually feel for these characters, even though the film will jump from early days of happiness to latter days of sorrow. The screenplay is written by Scott Neustadter and Michael H. Weber, who also scripted The Pink Panther 2. I never saw that film, but I am assured that when this duo is working from the heart instead of for the cash, they put a strong film together.

The film is not without its flaws. Most annoying is Chloe Moretz as Tom Hanson's 12-year-old sister who has all the right answers, or doesn't. She's the one character in the film that doesn't have an authentic feel to her, and instead was created as a weird channel for Tom's emotions in times of crises. An early scene of the film has her rushing to Tom's place because Summer has just broken up with him, and the goofiness was a little too much to handle.

Otherwise, I can't recommend this picture enough. 2009 hasn't been a particularly exciting year, but now I've seen The Hurt Locker, and this. Both are fresh breaths of air into their respective genres, and hopefully this means that there will be plenty of films to come.