I suppose if someone wanted to think really hard about it, there’s something to be said about adapting short stories for Hollywood. Jeffrey Eugenides’s source short story was in The New Yorker. Is it ripe for mainstream Hollywood adaptation? Given the adaptation, The Switch, failed at the box office, one might say no. But then if people don’t see good movies (or read good fiction), maybe a New Yorker short story is a good starting place for a mainstream movie.
The Switch is a completely predictable family comedy. It’s not really a romantic comedy because the romance between Jennifer Aniston and Jason Bateman is tertiary to Bateman forming a relationship with the son he never knew he had, played by Thomas Robinson.
The opening third is set seven years before (odd how Aniston and Bateman didn’t age a day) and has a different tone. It’s a lot funnier. The film opens on a hilarious urban sequence. Then the supporting cast–Jeff Goldblum, Juliette Lewis and Patrick Wilson–get introduced and they’re a lot funnier than they get to be when there’s a kid around.
Gordon and Speck earn a bunch of good will and basically spend the last hour of the film using it and it works. It doesn’t hurt the film’s got one of the single best romantic comeback lines since, I don’t know, Empire Strikes Back.
Bateman’s really good here. All of the casting is good, but Bateman’s performance suggests he’s capable of great things.
It’s totally fine.
Directed by Josh Gordon and Will Speck; screenplay by Allan Loeb, based on a short story by Jeffrey Eugenides; director of photography, Jess Hall; edited by John Axelrad; music by Alex Wurman; production designer, Adam Stockhausen; produced by Albert Berger and Ron Yerxa; released by Miramax Films.
Starring Jason Bateman (Wally), Jennifer Aniston (Kassie), Patrick Wilson (Roland), Jeff Goldblum (Leonard), Juliette Lewis (Debbie) and Thomas Robinson (Sebastian).
Posted in 2010, ★★½, Color, Comedy, Drama, English, Miramax Films, Romance, USA
Tagged Adam Stockhausen, Albert Berger, Alex Wurman, Allan Loeb, Jason Bateman, Jeff Goldblum, Jeffrey Eugenides, Jennifer Aniston, Jess Hall, John Axelrad, Josh Gordon, Juliette Lewis, Patrick Wilson, Ron Yerxa, Thomas Robinson, Will Speck
I was going to start this post off with a mention I had no idea spoof movies were back–then I realized I just hadn’t been partaking in them (I’m thinking the Scary Movie series and whatever else the Brothers Weinstein squeeze out between Oscar-lusts). Hot Fuzz is a technical spoof for the most part–though I think there are a lot of Bad Boys II and Point Break references–with lots of fast cuts, fast pans, rapid montages. There’s a good deal of Lethal Weapon references, as well as Terminator 2 ones. Hot Fuzz‘s most admirable trait–its ability to keep with this crap and ride it through–is also the most irritating. There’s little actual content beyond these technical references–except, there should be, because Hot Fuzz has a great cast. With a handful of exceptions–the 1970s-looking detectives make no sense–the supporting characters are perfect. But Simon Pegg’s lead is an action hero among regular folk… Hot Fuzz reminds me a lot of Last Action Hero. Pegg plays the character as an action hero lost in the real world (with a few hinky exceptions, like the detectives) and it works against the film.
Pegg’s actually really good as the action hero. He’s a fine actor. But he’s–I need a metaphor for something moving against the grain and I’m not getting one. There’s also some serious writing problems–I’m sure one could defend it as some kind of a reference to plot holes in action movies, but there’s no real excuse for it. My biggest problem with Hot Fuzz, besides that plot hole, is it’s unnecessary. Action movies reference, homage, and mock each other and have been doing it for twenty years. Pointing out all the stereotypical film techniques–down to Lethal Weapon‘s music, in fact–well, if Hot Fuzz had been fifteen minutes–or even eighty-five–but it’s two hours. The jokes get old after about five seconds, long enough to notice the references, then Hot Fuzz carries them through… so it’s admirable, but pointless.
The supporting cast–especially Timothy Dalton–is all good. Dalton’s great throughout while other characters have reveals and don’t do as well… script problems too.
I find it odd movielens said I’d give it three, but IMDb correctly suggests five bad movies to see if I liked it. Including Lethal Weapon and Bad Boys II. Though I’m just guessing on Bad Boys II (I try not to see things like that).
Directed by Edgar Wright; written by Wright and Simon Pegg; director of photography, Jess Hall; edited by Chris Dickens; music by David Arnold; production designer, Marcus Rowland; produced by Nira Park, Tim Bevan and Eric Fellner; released by Rogue Pictures.
Starring Simon Pegg (Nicholas Angel), Nick Frost (Danny Butterman), Jim Broadbent (Frank Butterman), Paddy Considine (Andy Wainwright), Timothy Dalton (Simon Skinner), Anne Reid (Leslie Tiller), Rafe Spall (Andy Cartwright), Billie Whitelaw (Joyce Cooper), Edward Woodward (Tom Weaver), Bill Nighy (Chief Inspector), Martin Freeman (Sergeant) and Steve Coogan (Metropolitan Police Inspector).
Posted in 2007, Action, ★, Color, Comedy, English, France, Mystery, Rogue Pictures, UK, USA
Tagged Anne Reid, Bill Nighy, Billie Whitelaw, Chris Dickens, David Arnold, Edgar Wright, Edward Woodward, Eric Fellner, Jess Hall, Jim Broadbent, Marcus Rowland, Martin Freeman, Nick Frost, Nira Park, Paddy Considine, Rafe Spall, Simon Pegg, Steve Coogan, Tim Bevan, Timothy Dalton