Pay no attention to the trailer for “Baby Mama,” as it does the movie absolutely no justice. This is one funny movie, often eliciting the biggest laughs from the most throwaway jokes. The formulaic story structure bogs things down some, but the characters within that formulaic story structure are as sharp and unique as any rom-com – particularly pregnancy-related rom-coms – in recent memory.
By all rights, Captain America should be the lamest, worst Avenger. He came of age decades before the topic of segregation was even entertained. Rock & roll hadn’t been invented yet. If Steve Rogers is a real person, he’s likely a racist crank, yelling at the other Avengers to get off his lawn.
There was much ado when Disney announced that they were going to make live action versions of some of their most beloved animated films, but so far, the results are a far better than what the naysayers were predicting. “Cinderella” was a lovely, if safe, first step, and while “The Jungle Book” doesn’t quite hit the same highs that “Cinderella” does, it’s packed with thrills, and it has the courage to go about the material in its own way. It should be noted, though, that this ‘own way’ may scare the hell out of young children.
“The Boss” is pitifully lacking in self-awareness. It’s a film that wants to live in Will Ferrell and Adam McKay’s universe, where there are real-life news anchor gang wars that end in people losing limbs. To be fair, it’s easy to see why they thought the audience might view the films the same way. “Anchorman” and “Talladega Nights” both feature pompous shells of a human being who are humbled on a grand scale, much like Melissa McCarthy’s character here, but that is where the similarities end. What “The Boss” gets wrong is the meanness factor. Will Ferrell’s characters in the aforementioned films are dim and shallow, but harmless, while McCarthy’s character is an unrepentant, hostile sociopath from birth. Worse, the film treats this as a virtue.
As the “Divergent” series unfolds, it feels more and more like a giant bluff. Now in the homestretch, Veronica Roth’s not-too-distant dystopian nightmare is slowly devolving into a needlessly complicated metaphor for high school. There are factions, they keep to themselves, and once you switch factions, you cannot visit anyone from your previous faction. There is melodrama by the truckload. One boy does not like the special attention his girl is getting from the grown-ups, who are grooming her for Bigger, More Important Things. He is jealous. High school, high school, high school.
“Zootopia” might be the cleverest bait-and-switch Disney has ever pulled. All of the teaser ads and promotional materials are pushing the adorable Judy Hopps and her very funny encounter with the sloths running the DMV. What they conveniently leave out is that the movie is an on-point commentary about prejudice and racism, their origins, how they’re used as a weapon for political gain, and how we’re all guilty of them in one form or another. In fact, it’s tempting to resent the film a little, because it explains these subjects to children better than most parents ever could.
There is a scene in the Coen Brothers’ latest film “Hail, Caesar!” where a movie exec has a meeting with four clergymen of different denominations to see if any of them takes issue with how Christ is portrayed in one of their upcoming films. It’s one of the funnier scenes in the movie; it’s also why most Biblical retellings reek of focus groups and compromise, because the last thing a studio wants is to be perceived as insensitive when it comes to religion. “Risen” manages to avoid those trappings by doing the simplest thing: it focuses on one specific event – the Resurrection, along with the subsequent two weeks or so – and in the process sets a ceiling on the audience’s expectations. This sounds like damning with faint praise, but it turns out to be a very shrewd move.
Don’t let the dirty talk and rampant sex fool you: “How to Be Single” is as safe as kittens. It might be the most harmless raunch-com ever made, a mash-up of several other mediocre relationship films (and one baby film) rolled into one profane package. The four leads sell it as well as they can, but this film was going to be a nonstarter regardless of whom they cast.
I love Pixar. Despite the fact that a few of their recent non-sequels were not the moon shots that their first seven or so films were (ahem, “The Good Dinosaur”), they’re still, pound for pound, the best movie studio on the planet. And I was really excited for “Inside Out,” despite its similarity to the early ‘90s Fox sitcom “Herman’s Head,” something my brother and I watched every week because a) we didn’t have cable, b) it was too late in the evening to plug in the guitars, and c) it followed “The Simpsons,” and “Simpsons” voice actors Hank Azaria and Yeardley Smith were in the cast. It was the path of least resistance.
An unsettling trend is starting to appear in Pixar’s work. When the visuals are more eye-popping than usual, it’s a sign that something more important is lacking (see: “Brave”). “The Good Dinosaur” is visually breathtaking, featuring the most lifelike water that has ever graced an animated film. The story structure, however, is one of Pixar’s weakest, feeling more like old-guard Disney than the kind of thing Pixar normally produces. There are valuable lessons for children to learn here, but there is also a fair amount of trauma. Little Arlo gets his ass handed to him early, then spends the rest of the movie trying to survive.