This year the summer holidays seemed to have been owned by the unlikely figure of T.J. Miller, deadpan comedian, supporting actor and eerily familiar background figure. In Yogi Bear he was the ambitious but dim deputy park ranger easily duped by Andrew Daly’s smarmy Mayor into helping him sell out Jellystone to corporate logging interests, in Gulliver’s Travels he was the ambitious but as it turns out dim mail room supervisor who provokes Jack Black into plagiarising his way into a fateful travel writing gig and in Unstoppable he’s the slightly less dim (and certainly less ambitious) mate of the doofus who leaves the handbrake on and then watches his enormous freight train full of toxic waste roll away.
So, a good summer for T.J. Miller then, what about the rest of us?
It’s a little known fact in the movie industry that most cinema releases serve no greater purpose than to provide some advance publicity for an inevitable DVD release. This week seven new films were released into the Wellington market and barely more than a couple of them justified taking up space and time on a big movie screen.
First up, I Love You, Man – another in the endless parade of cash-ins on the formula literally coined by Judd Apatow with 40-year-old Virgin and Knocked Up. In this version usual side-kick Paul Rudd takes centre-stage as mild-mannered real estate agent Peter Klaven, engaged to be married but with no Best Man. All his friends are women, you see, and hijinks ensue as he attempts to generate some heterosexual male friendships and get some bro-mance in his life.
The key thing to point out here is that I love You, Man isn’t very funny and is very slow, but it will trot out the door of the video shop when the time comes, thanks to people like me giving it the oxygen of publicity. Dash it, sucked in again.
It’s the weirdest coincidence. In two out of the three films I saw this week someone was shot in the ear. Seriously, go figure. Since I started this gig I’ve seen more than 400 films and no one has ever been shot in the ear and then, just like that, two come along at once.
That’s the only thing that connects two very different but very good films: Courtney Hunt’s debut thriller Frozen River and David Gordon Green’s very funny Pineapple Express. Frozen River is being sold as a thriller, and it does have some very tense edge-of-your-seat moments, but it’s actually a gritty drama about America’s rural poor with plenty of understanding and forgiveness running through its heart.
We open on a hard-faced woman’s tears. Melissa Leo plays Ray, whose husband Troy has given in to his gambling addiction and scarpered with the balloon-payment on their new trailer and it’s two days before Christmas. She’s bringing up her two children in a tiny trailer down a muddy driveway in a small town on the snowy border between New York state and Quebec, working part time in the Yankee Dollar store and trying to make ends meet.
Searching for the deadbeat husband at the local, Mohawk-run, bingo hall she meets Lila Littlewolf who is driving Troy’s abandoned car. Lila (Misty Upham) is a depressed young woman, living in her own lonely trailer, who intends to use the car to bring a few illegal immigrants in to the country, crossing the frozen river at the Indian reservation where the State Troopers can’t go. Needing money (and having rights to the car), Ray agrees to help, gambling everything she has on making a couple of trips so she can get her family through Christmas.
Gambling is the thread running through the film – the First Nation Mohawk people fund their programmes and maintain their independence through gambling and the working poor like Ray gamble every day that the few choices they have won’t see them falling through the cracks in the ice – metaphorically or in reality.
A brilliant debut, though not tightly-plotted enough to really qualify as a thriller, Frozen River is up there with 4 Months, 3 Weeks and 2 Days as an earnest representation of people who would otherwise be invisible to us.
Rogen also stars as pot-head process server Dale Denton, who witnesses a murder and, in his panic, hides out with his dealer Saul (James Franco). Unfortunately for both of them, this brings the wrath of the pot-mob down on both of them and they are chased across suburban Glendale by a motley crew of ruffians and hoodlums, all the while making good use of the herb that gives the film its title.
Rogen and Franco both came to producer Judd Apatow’s attention during the short-lived but well-loved tv show “Freaks & Geeks” (which also starred Forgetting Sarah Marshall’s Jason Segal) and their easy rapport is a strength that gets the film through some of its shakier moments.
Stocktaking the new digital 3D realm, we have now had an animated original (Beowulf), a couple of concert movies (including the brilliant U2), a live-action dud (Journey to the Center of the Earth) and now we see the results when Hollywood goes back to the vault and re-masters an older film for the new technology. The Nightmare Before Christmas from 1993 is an excellent introduction to the process (if you haven’t been tempted before). It was always a vivid and original production (watched over by Tim Burton) and the 3D really makes it pop.
Jack Skellington is the king of Halloween but is jaded and bored. Discovering Christmas-town, he decides that he wants Christmas all to himself and hi-jacks it (kidnapping Santa Claus in the process). Animated (using similar stop-motion techniques to the Aardman films) by Henry Selick, Nightmare is wonderful to look at and not too long for kids, although if you have little tolerance for musical thee-ater no amount of glorious 3D will counteract Danny Elfman’s soundtrack. Me, I loved it.
Printed in Wellington’s Capital Times on Wednesday 29 October, 2008.
Due to exams I skipped a week writing for the CT so there was no scheduled entry for 5 November. You haven’t missed anything. Now, I have to start catching up on movies before I’m swamped by the Christmas rush. This year has gone by so fast.
Forgetting Sarah Marshall is an ideal post-Festival palate cleanser: a saucy comedy fresh off the Judd Apatow production line (The 40 Year Old Virgin, Knocked Up). Here he gives the spotlight to one of his supporting players: Jason Segal (Knocked Up) plays tv composer Peter who within two minutes of the start of the film is dumped by tv star Sarah M. (Kristen Bell from “Veronica Mars”). He goes to Hawaii to recover only to discover that his ex is also there – with her new English rock star boyfriend. Very funny in parts, surprisingly moving at times thanks to a heartfelt performance from big lump Segal, FSM gets an extra half a star for featuring professional West Ham fanRussell Brand, playing a version of his sex-addicted stage persona.