Talking Movies

August 12, 2016

Mike & Dave Need Wedding Dates

Zac Efron and Adam Devine need nice girls to accompany them to Hawaii for their sister’s wedding. Instead they get Aubrey Plaza and Anna Kendrick.

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The inseparable Stangle brothers Mike (Adam Devine) and Dave (Zac Efron) live together in a chaotic flat, work together selling liquor to the harassed likes of Marc Maron, and party together just a bit too hard. And so their parents (Stephen Root and Stephanie Faracy) insist that they both find nice girls to bring as wedding dates or be barred from the wedding of their beloved younger sister Jeanie (Sugar Lyn Beard). The idea being that the brothers rile each other up when they go stag, whereas some respectable girls will calm them down. But when their Craigslist ad goes viral, they get royally played and end up taking Tatiana (Aubrey Plaza) and Alice (Anna Kendrick). Soon the self-absorbed co-dependent hedonistic BFFs Tatiana and Alice have wreaked more destructive chaos on the wedding than the brothers stag ever could have.

Bill Nighy at a 2009 L&H Q&A promised with perfect deadpan that The Boat That Rocked contained “a lot of stupid jokes … profoundly stupid jokes.” One might say that Mike & Dave Need Wedding Dates is a stupid comedy, a profoundly stupid comedy, without many jokes. It is in fact a variation on the great transatlantic comedy chasm, but unlike previous summer puzzlers Let’s Be Cops and The Heat this is not an obvious thriller script repurposed as a comedy by the addition of crassness, crudity, and mugging for laughs rather than the insertion of jokes and comic characters. Bad Neighbours writers Andrew Jay Cohen and Brendan O’Brien have penned a cookie-cutter Apatow gross-out rom-com about accepting responsibility, but without Rogen or Hill to riff absurdly, the improvisation encouraged by SNL director Jake Szymanski produces little of true value.

Continuing the trend noted by Bret Easton Ellis whereby gay characters fade out of spectacle aimed at the international market but proliferate in domestic fare, we have stand-up Alice Wetterlund as Cousin Terry; a bisexual yuppie tormenting Mike in a fashion not dissimilar to Kieran Culkin’s constant poaching of Anna Kendrick’s boyfriends in Scott Pilgrim. Except that, as with Silicon Valley star Kumail Nanjiani’s bizarre cameo as a masseur, in the absence of charm and wit you find yourself unsure how to interpret this. Laughing at and with minorities at the same inclusive time? Is it a bold move or sheer laziness to have Jeanie’s black fiancé Eric (Sam Richardson) be so unambiguously boring? Is the movie’s apparent need for Beard to do what Plaza and Kendrick presumably wouldn’t slightly creepy or predictable? And can zippy pacing and breeziness overcome inanity?

Mike & Dave Need Wedding Dates, like Suicide Squad, contains lines in TV spots and trailers that don’t appear in the movie. But we don’t need Szymanski’s director’s cut.

2.5/5

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July 25, 2016

Jamie & Spencer Need Movie Dates

“Life imitates art far more than art imitates life” said Oscar Wilde, and so to celebrate the release of Mike & Dave Need Wedding Dates on August 10th, eligible bachelors Jamie Laing and Spencer Matthews are looking for two friends to join them as their dates to a preview screening of the film in London on August 2nd.

To enter the competition, applicants must comment on Jamie Laing’s post on Twitter or Instagram, tagging 1 friend that they would like to enter the competition with, explaining why they would make the best dates for Jamie and Spencer.

Entry for the competition is open now and closes Wednesday 27th of July at 11:59pm GMT.

See here for terms and conditions. Entrants must be 18 or older.

Mike & Dave Need Wedding Dates sees hard-partying brothers Mike (Adam Devine) and Dave (Zac Efron) place an online ad to find the perfect dates for their sister’s Hawaiian wedding. They’re looking for respectable girls at the insistence of their father (Stephen Root) who doesn’t want them ruining the wedding. But the ad soon goes viral and instead of respectable girls they get a conniving and uncontrollable duo (Aubrey Plaza, Anna Kendrick) and find themselves outsmarted and out-partied.

Kendrick’s 50/50 director Jonathan Levine produces a script by Bad Neighbours creators Andrew Jay Cohen and Brendan O’Brien as SNL and Funny Or Die director Jake Szymanski makes his cinematic debut.

January 27, 2015

Top Performances of 2014

As the traditional complement to the Top 10 Films, here are the Top Performances of 2014. The refusal to isolate single winners is deliberate; regard the highlighted names as top of the class, the runners up being right behind them, with also placed just behind them. They’re all superb performances.

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Best Supporting Actress

Patricia Arquette (Boyhood) Arquette’s character grows older but not wiser, instead we see her becomingly increasingly brittle as even she realises that she’s sensible about everything except her romantic choices.

Carrie Coon (Gone Girl) Forming a great double act with Ben Affleck, Coon broke out from theatre with a glorious turn as his twin sister– the foulmouthed and spiky voice of reason.

Jennifer Lawrence (American Hustle) Lawrence was perhaps too young for the part, but she played it with such comic panache that her sporadic appearances energised an overlong film.

Runners Up:

Maggie Gyllenhaal (Frank) Gyllenhaal was pitch-perfect as scary obscurantist Clara, with wonderful nuance in the slow reveal of how such off-kilter music bonds her and Frank’s damaged and isolated psyches.

Mackenzie Foy (Interstellar) Foy was bright, furious, and resentful, and blew Jessica Chastain off the screen as the younger iteration of their character, the indomitable Murph.

Sarah Paulson (12 Years a Slave) Paulson’s casual brutality towards slaves was deeply shocking, but her horror at being replaced sexually by a slave subtly underscored her menace.

Also Placed:

Amber Heard (3 Days to Kill) Parodying her hyper-sexualised persona (The Informers) Heard, in leathers and wigs, flirted with burlesque girls and sexualised both driving fast and injecting medicine.

Joey King (Wish I Was Here) Pitted against Zach Braff’s glibly sarcastic agnosticism the sincerity of King’s adherence to Jewish faith, language, and cultural identity blew him off the screen.

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Best Supporting Actor

Jared Leto (Dallas Buyers Club) His character’s drugs spiral, even as his friendship with Ron becomes beautiful, was extremely moving, with his fierce commitment extending to deliberately ravaging his appearance.

Michael Fassbender (12 Years a Slave) His vicious bible-thumping alcoholic was terrifying, but also complex; slaves are either sub-human or masters are guilty, and Epps is self-destructing from mercilessly exploiting his slaves.

Ethan Hawke (Boyhood) Hawke physically filled out in a career-best performance of serious comedy as deadbeat dad whose rebelliousness was an affectation thrown off for mellow acquiescence with the world.

Runners Up:

Andrew Scott (The Stag, Locke) Scott was their sole highlight: his Locke vocal performance exuded excitability and exasperation, while Davin was a man fatally wounded by romantic rejection being tortured some more by his ex-girlfriend.

Killian Scott (Calvary, ’71) His Calvary misfit Milo was dementedly funny in rambling frustration, and he so transformed into ruthless IRA leader Quinn that he seemed not only older and tougher, but almost taller.

Zac Efron (Bad Neighbours) Efron’s previous subversions of his image were nothing next to this jackpot: his squeaky clean looks have never been put to such diabolical and hilarious use.

James Corden (Begin Again) Corden not only frequently gave the impression that he was ad-libbing great comedy moments, but also that he was improvising Knightley into unscripted corpsing bonhomie.

Dave Bautista (Guardians of the Galaxy) Bautista took what could have been a tiresome running gag and instead by dedicated deadpan made utter literalness to the point of insanity infinitely unexpected and hysterical.

Also Placed:

Adam Driver (What If, Tracks) Sparring against Mackenzie Davis and Daniel Radcliffe in What If he was highly amusing and occasionally sagacious, and was both funny and adorably awkward in Tracks.

Gene Jones (The Sacrament) He was patently playing Jim Jones, and turned the charisma up to 11 for a TV interview that was so mesmerising it explained Father’s cult of personality.

Mandy Patinkin (Wish I Was Here) Patinkin brought deep humanity and biting humour to his wise, religious father disappointed by his glib, agnostic son but delighted by his bright, devout granddaughter.

Tyler Perry (Gone Girl) The man can actually act! And as celebrity defence attorney Tanner Bolt he transformed the oily character from the novel by bringing palpable warmth to the part.

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Best Actress

Keira Knightley (Begin Again) Knightley sang rather well, but not only did she carry a tune she also carried the movie with a return of her old confidence. Maybe all that’s needed to restore the old swagger is James Corden ad-libbing her into improvising so she forgets her stage-fright.

Mackenzie Davis (We Gotta Get Out Of This Place, What If) Her What If wild child was oddly reminiscent of Katy Perry, albeit interpolated with Daisy Buchanan, and was strikingly different from her reserved bookworm subtly using her wits to escape a noir nightmare in We Gotta.

Runners Up:

Rose Byrne (Bad Neighbours) It’s always a joy when Byrne gets to use her native Australian accent, and she swaggered with such foul-mouthed comedic assurance that at times Seth Rogen became her foil as the sensible one in their marriage.

Agyness Deyn (Electricity) Deyn was a commanding presence. She grabbed with both hands this defiant character, who wears short dresses and fluorescent jacket; drawing the eye to a body covered in cuts; and had no vanity in showing these effects of seizures.

Also Placed:

Juno Temple (Magic Magic) Temple reprised some elements of her naïf in Killer Joe, though thankfully she was less over-exposed here, and made her character’s steady descent into insomniac madness chillingly plausible.

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Best Actor

Matthew McConaughey (Dallas Buyers Club) McConaughey’s physical commitment to the role was jaw-dropping, initially rake-thin before then wasting away before your eyes to harrowing effect. Initially unsympathetic, he patiently revealed the hidden softer side which engaged Dr Eve, and beautifully developed an unlikely and most affecting friendship with Rayon.

Runners Up:

Daniel Radcliffe (What If) Radcliffe is sensational as the hero who’s crippled romantically by his traumatised desire to act ethically. A Young Doctor’s Notebook served notice of his comedy chops, but combining uncomprehending deadpan and dramatic sharpness this was a comic role of unexpected substance.

Mark Ruffalo (Begin Again) It’s hard to imagine anyone else, save 1973 Elliot Gould, pulling off this role quite as well. The Ruffalo exudes immense shambolic charm, shuffling about in scruffy clothes, doing permit-free guerrilla location live music recording that would make Werner Herzog proud.

Dan Stevens (The Guest) The Guest is a high-risk gamble that would fail spectacularly if its leading man was not on fire. Luckily for all concerned Stevens burns a hole in the screen with a Tom Hiddleston as Loki level performance – playing scenes tongue-in-cheek serious as the charismatic helpful stranger.

Also Placed:

Ben Affleck (Gone Girl) Affleck as an actor too often contentedly coasts, and (even when gifted zingers as in Argo) acts as a still centre. But, with Fincher pushing him with endless takes, he was fantastic as the hapless everyman; who we root for despite his flaws.

Pal Sverre Hagen (Kon-Tiki, In Order of Disappearance) The imposing Norwegian perfectly captured old-fashioned grit, naive enthusiasm, and quiet heroism as Thor Heyerdahl, and then played crime-lord The Count as an epically self-pitying vegan equally stressed by divorced parenting with his ex-wife, and a nasty turf war with Serbian mobsters.

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