‘Funny People’ — not so funny, really (2/5)

Funny People

Starring: Adam Sandler, Seth Rogen, Leslie Mann.
Directed by: Judd Apatow
Rating: R for language and crude, sexual humor throughout, and some sexuality.
Running time: 2 hours, 26 minutes.

If you’re looking for a quick chuckle or two, you might want to pass over “Funny People.”

Sure it has its moments — but considering it’s a two-and-a-half-hour movie, if it didn’t have any good moments, you might personally request reimbursement from director Judd Apatow.

Although Apatow is the mind behind “The 40-Year-Old Virgin” and “Knocked Up,” he takes a very different — and risky — angle with “Funny People.”

And that angle might not have paid off. The comedic moments that you may go in expecting based on the title, actors and advertising campaign aren’t what you get.

In fact, “Funny People” is surprisingly dark and depressing at times. Might have been nice to know beforehand. If a person isn’t in the mood for a drama, tricking them into thinking that it’s a comedy won’t make them like it any better. On the contrary.

“Funny People” tries to be both. It swings like a pendulum between a very light, crude comedy and a dark drama.

Couple that with an immense running time and a halved plotline, and you’ll think you just watched two boring movies with the same characters back-to-back instead of just one. Despite the stellar cast list, “Funny People” is too long and too bland to truly capture your interest.

The movie follows George Simmons (Adam Sandler), a highly successful comedian/actor who, despite his riches, has pushed away any kind of personal relationship he could have had, alienating his family, girlfriends and friends.

When he is diagnosed with a blood disease, George begins to take another look at his life and at the people who could have been a bigger part of it.

Following a depressing and audience-unsettling set at a comedy club, George crosses paths with struggling stand-up artist Ira Wright (Seth Rogen) and invites Ira to write jokes for him.

Because George has alienated everyone else from his life, Ira quickly becomes the closest thing to a friend that George has. He confides in Ira about his blood disease and together the two wrestle with the disease, as well as friendships and betrayals.

That’s part 1.

Part 2 takes a look at George’s attempt to win back the former love of his life, Laura (Leslie Mann), who has moved on with her life and married the unfaithful Australian Clarke (Eric Bana). This leads to a very in-depth (read: lengthy) and at times humorous encounter at Laura and Clarke’s home.

I’ll give “Funny People” one thing: The acting was awesome. Adam Sandler is George Simmons, I didn’t doubt him for a second. A slim Seth Rogen was great as Ira, as well. I only wish there were more Eric Bana!

The countless cameos were hilarious and one of the best parts of the movie. But, unfortunately, watching Eminem talk trash to Ray Romano can only take a film so far.

The incredibly lengthy runtime and tonal imbalance may make you regret watching this movie. Too, like a footprint in the sand (without the wet, sandy part), it won’t leave much of an impression. If anything, you’ll remember the bad parts over the good.

It’s a good nap-on-a-rainy-day kind of movie. Otherwise, don’t expect too much.

2 of 5 stars

‘Avatar’ not all it’s cracked up to be (4/5)

Avatar

Starring: Sam Worthington, Zoe Saldana, Sigourney Weaver.
Directed by: James Cameron
Rating: PG-13 for intense epic battle sequences and warfare, sensuality, language and some smoking.
Running time: 2 hours, 42 minutes.

“Avatar” has been said to be the movie that reinvents how movies are made.

That’s quite the statement. And, in my opinion, it’s also not true.

That’s not to say that “Avatar” isn’t a fantastic movie that will engage you at frame 1. In fact, it’s a spectacular movie, and the technology is nothing short of revolutionary. Director James Cameron has had his heart set on making this movie for about a decade, but wisely decided to hold back until the scope of computer graphics matched his grandiose plans.

Plot-wise, “Avatar” is the equivalent of an inter-planetary “Pocahontas” without the Disney singalongs. But visually, it’s a spellbinding adventure that is breathtaking in 3-D (and I would highly recommend taking the opportunity to see the movie in 3-D).

If you’re capable of not taking yourself too seriously and are able of enjoying what is essentially a decent science fiction movie, then “Avatar” could quickly rise up among your list of favorites.

It takes place on the planet Pandora, where bossman Parker Selfridge (Giovanni Ribisi) has set up a mining operation in search of “unobtanium,” a very rare and very valuable rock found under Pandora’s surface. But it just so happens that the planet’s natives, known as the Na’Vi, live directly above the richest vein of unobtanium.

Understanding the bad press that would be given by simply wiping out the Na’Vi, Parker allows a team of scientists to interact with the natives with the intention of getting them to move.

And so, paraplegic Marine Jake Sully (Sam Worthington) finds himself with the rare opportunity of walking again — only not in his own body. Aided by the team of Dr. Grace Augustine (Sigourney Weaver), Sully is able to transfer his consciousness into that of an “avatar,” an engineered creature made to look like a 10-foot-tall, blue, felinesque Na’Vi.

Sully is quickly recruited by Colonel Miles Quaritch (Stephen Lang), who wants Sully to spy for him in order to gather as much intel on the Na’Vi and their location as possible.

But after spending days as his avatar, Sully soon finds himself unsure as to whether he is human or Na’Vi. Add to that a blossoming love interest in the Na’Vi princess, Neytiri (Zoe Saldana), and Sully’s loyalties begin to blur.

Despite the unfathomable $400 million budget, “Avatar” was still unable to pull away from the notorious sci-fi pitfalls of good versus evil and cookie-cutter characters.

What amazed me was the fact that, despite this being a two-and-a-half-hour movie, so many characters managed to fall by the wayside. Parts of the movie seemed made up of solely Jake Sully and Neytiri with an occasional popup of one of the other dozen characters.

I was a little disappointed with the role of scientist Norm Spellman. His early introduction and and overall attitude may lead you to believe that he will achieve “sidekick” status, but his character quickly drops out and is barely noticeable by the end. Weaver’s character was one of the more significant and even she had less screen time than I would have expected.

And even those who managed to show up on the screen seemed very archetype — you’re the battle-hungry war guy, you’re the tree-hugging scientist, you’re the money-loving capitalist.

But, what this movie may lack in characterization, it more than makes up for in the visual aspect and overall wonder the film brings with it. And, though I knock it, the plot itself isn’t bad — it was enough to keep me riveted even after the 162 minutes were over. The Na’Vi are exceptional and just plain fun to watch. And James Horner’s musical contributions were, as usual, stellar, especially when incorporating the Na’Vi language into the soundtrack.

The movie that reinvents movies? Maybe not. But it’s a definite step in the right direction.

4 of 5 stars

Flicks to get you into the holiday spirit

Feeling particularly “bah-humbug” this year? It’s understandable, given the poor economy and the fact that holiday décor seemed to peek its little head out of store shelves soon after the red, white and blue decorations were taken down July 5th.

One trick I use to cool down my inner Grinch is to watch a few heartwarming (albeit often cheesy) holiday movies. There’s nothing better this time of year than curling up with a cup of hot chocolate and watching Rudolph and friends travel to the Island of Misfit Toys, or seeing Will Ferrell parade around New York City in elf tights.

So step aside, Scrooge, here are the top movies to get you back in the holiday spirit:

• A Charlie Brown Christmas (1965, TV-G) — A classic for a reason. Charlie Brown and his little fir tree have long been the image of many people’s December, and I wouldn’t want to see one without it.

• A Christmas Carol (1999, TV) — Patrick Stewart makes the perfect Scrooge. An adaptation of Charles Dickens’ famous story, Scrooge’s inspirational transformation asks the viewer to question their own greed and anger in favor of love, generosity and family.

• Elf (2003, PG) — When one of Santa’s elves (Will Ferrell) discovers he’s not really an elf, he must travel to New York City to connect with his naughty-listed father. Bright and enjoyable, “Elf” is a lighthearted venture into the realms of family and belonging.

• The Holiday (2006, PG-13) — A bit of a sappy pick, but definitely an excellent chick flick/holiday film. Two women switch locations to escape the men in their respective areas and end up finding precisely what they were trying to avoid.

• Home Alone (1990, PG) — Although this movie is perfect at any time, it’s even more enjoyable this time of year. The scene with Kevin and Marley in the church is one of my favorites. The light-heartedness of “Home Alone” makes me not mind the snow and early sunsets quite as much.

• How the Grinch Stole Christmas (1966, TV-G) — Sorry, Jim Carrey, but Boris Karloff will forever remain the ultimate Grinch. Dr. Seuss’ words come to life, the Grinch’s showdown with the unknowing Whos is a holiday must-see.

• It’s A Wonderful Life (1946, Approved) — Of course, but the film also touches on some of the true meanings of the holidays. With the economy being as it is this year, the inscription “no man is a failure who has friends” is especially important.

• Love Actually (2003, R) — Hilarious, heartwarming and, at times, wrenching, “Love Actually” follows a predominantly British ensemble as they discover that love, while not always what they may expect, is all around them.

• Rudolph, the Red-Nosed Reindeer (1964, TV-G) — Another holiday staple. It’s never really Christmas for me unless I’ve seen claymation Rudolph guide Santa’s sleigh. Obvious sexism of the movie aside (Donner’s ”this is man’s work” makes me laugh every time), it’s still the No. 1 movie I have to watch every year.

• The Santa Clause (1994, PG) — Disregarding Tim Allen’s law issues, “The Santa Clause” is still a pretty awesome movie. Fun and humorous, the film touches on the belief in not only Santa Clause, but also in yourself.

Did I miss your favorite holiday film? Let me know about it by sending me an e-mail at rcrofut@fltimes.com.

‘All Saints Day’ sequel will keep fans happy (3/5)

The Boondock Saints: All Saints Day

Starring: Sean Patrick Flannery, Norman Reedus, Billy Connolly.
Directed by: Troy Duffy.
Rating: R for bloody violence, language and some nudity.
Running time: 1 hour, 58 minutes.

Sequels are difficult beasts to tackle. Not only do you have to maintain the feel of the original which drew in the fans to begin with, but you’re also obligated to make it even better.

This, as most of us know, is rarely (if ever) accomplished.

In the case of “The Boondock Saints II: All Saints Day,” a sequel that has been heavily anticipated for 10 long years, director Troy Duffy had a lot to live up to.

For those unfamiliar, “The Boondock Saints” was a limited-release film focusing on the Irish MacManus brothers (Connor and Murphy) as they follow their religious calling to kill murderers, rapists and general scum of Boston. It made a mere $30,000 in American theaters, but, once released on video, “The Boondock Saints” erupted into a cult classic, making $50 million in home sales. The film’s excellent balance of comedic and serious tones matched with a quotable script and superb casting (Willem Dafoe, anyone?) made “The Boondock Saints” a fast favorite for many viewers.

When director Troy Duffy and actors Norman Reedus (Murphy MacManus) and David Della Rocco (who plays a beloved character of the same name) came to my college in the spring of 2005, there was a lot of talk about a sequel. It seemed that the script was mostly ironed out, but rumor had it that Duffy was a difficult director to work with from the production company’s side.

Whispers of a sequel continued for several more years until, at last, IMDB confirmed what many fans had been waiting for.

The film followed the original in terms of limited release, but thanks to the underground following, “All Saints Day” has swiftly expanded through the country (it’s even opening in Geneva tomorrow).

“The Boondock Saints II: All Saints Day” picks up about eight years after the first movie’s ending. Connor and Murphy are living with their father (Il Duce, a fellow “killer angel”) when word comes of the murder of their Boston priest. Seeking vengeance, the brothers head back to America and are joined by newcomers Romeo (Clifton Collins Jr.) and Secret Agent Eunice Bloom (Julie Benz) as well as viewers’ favorite cops of Boston — Dolly, Duffy and Greenly.

“All Saints Day” will keep you entertained with plenty of shootouts and slapstick humor. But for those hoping for a film that can rival the original, this is not it.

You might think that having nearly a decade to work on a script could only benefit a sequel. But somewhere along the way, Troy Duffy seemed to forget all the things that made “The Boondock Saints” so engaging for its fans.

The vital target “All Saints Day” didn’t even seem to bother shooting at was viewer investment. “Boondock Saints” made you care about the brothers and their “mission.” Luckily, that attachment softly lingers on in the sequel — but Duffy forgot to reinforce it.

Too, the vigilante spirit, religious tone and general Irishness that the original is so steeped in seemed to have gotten spilled over in an attempt to, perhaps, attract a wider audience. Duffy would have been better off appealing to the already substantial fanbase rather than spreading himself too thin.

Duffy’s attempt to replace two of the original movie’s anchors (David Della Rocco and Agent Paul Smecker) with two far less engaging characters (Romeo and Secret Agent Eunice Bloom) was not appreciated.

Despite its shortcomings, “All Saints Day” is an above-average action film that tosses in a few priceless gems to the original’s fans that will keep them salivating.

In short, watch and love the original. Watch the sequel just for fun.

3 of 5 stars

‘Mr. Fox’ adaptation not so clever (2.5/5)

Fantastic Mr. Fox

Starring: George Clooney, Meryl Streep, Jason Schwartzman.
Directed by: Wes Anderson.
Rating: PG for action, smoking and slang humor.
Running time: 1 hour, 27 minutes.

“Fantastic Mr. Fox?” Not so fantastic.

To say this movie is quirky is far beyond an understatement. It’s hard to expect anything else from director Wes Anderson, but maybe I was biased going in.

Not many people know about writer Roald Dahl’s work beyond the “Chocolate Factory,” so it doesn’t surprise me (but does sadden me) that most movie goers will see this film without reading or even knowing about the book.

And I guess in this day and age I should just accept the fact that few people read. But when a director takes what he touts as being one of his favorite books and totally changes it? That’s when I start getting annoyed. “Creative license” only takes you so far, Mr. Anderson.

My brother jokingly suggests that I should just stop reading — or at the very least stop watching adaptations. But with so few original movies nowadays, it’s almost impossible not to see an adaptation (especially when you write a weekly review column!).

Also, many people I’ve heard who enjoyed this film were Wes Anderson film fans from the start, and not Roald Dahl fans. Or they had simply not read the book and therefore had no idea how dramatically the plot and characters were altered.

Although “Fantastic Mr. Fox” didn’t irk me nearly as much as “Where the Wild Things Are,” it still makes me question directors’ motives and thought processes during writing and filming.
But, back to the film.

“Fantastic Mr. Fox” is about a fox (voiced by George Clooney, one of the few reasons to actually watch the movie) who steals from the properties of three local, and notoriously “evil,” farmers — Boggis, Bunce and Bean. Having been stolen from just a few too many times, the farmers decide to hunt and kill Mr. Fox, Mrs. Fox (Meryl Streep), son Ash (Jason Schwartzman) and nephew Kristofferson (Eric Chase Anderson).

The stop-motion filming used in “Fox” gives it a unique feel, but at times makes you wonder if you could have achieved the same result with the money you spent on the movie ticket.

An enormous hindrance to the movie is Mr. Fox himself. The leading character is selfish, arrogant and a plain brute to his son. Clooney’s voice can charm you only so much.

The only good change Anderson made to the book was the development of Mr. Fox’s son, whom the movie names “Ash.” Without Ash, this movie would have been a total disappointment. Granted, this development would have been unnecessary if you actually cared about Mr. Fox, but lacking any kind of emotional connection with the main character, Ash will have to do. You’ll find yourself wading through Mr. Fox’s scenes in the hopes that his son will soon make an appearance.

Another reason to dislike this movie? The pure random inclusion of Kristofferson. He adds nothing to the plot and is more of an unwilling rival to Ash than anything the audience should be interested in. And for a “deep” character, he’s awfully flat, hinging his entire being on yoga and naiveté.

In an effort to be edgy, Anderson also felt the need to taint a perfectly good children’s book with having the characters insert the word “cuss” as a not-so-subtle reference to a variety of swear words. I’m not always an angel when it comes to speaking, but this seemed like a desperate attempt to get a couple of chuckles from the adults or to give the teenagers a brand new catchphrase.

In short, if Twentieth Century Fox truly wanted a film version of “Fantastic Mr. Fox,” Wes Anderson should never have been let anywhere near it. If you haven’t read the book, you may be able to give the movie a decent chance. But for those who loved Dahl’s heroic fox, this is an adaptation you won’t want to see.

2.5 of 5 stars