Tag Archives: Mila Kunis

Ted (2012, Seth MacFarlane)

Ted has a number of successes; it’s a little hard to identify its most extraordinary one. Is the CG teddy bear, voiced by director MacFarlane, who seems entirely real throughout? Or is it the script, which makes it feasible for a magical, living teddy bear to exist in the real world? Or is it simpler–Ted shows MacFarlane can bring the pop culture references and hilarious inappropriate jokes to live action from adult cartoons?

It’s a good movie, with some major third act problems (mostly revolving around Mila Kunis, whose character arc isn’t believable); Ted goes between being a heartwarming Rob Reiner picture Reiner never made and mocking Rob Reiner pictures. MacFarlane’s direction is surprisingly strong and confident, though he does have a cinematographer (Michael Barrett) who can’t shoot video.

And while MacFarlane and his fuzzy little alter ego are the “star” of Ted, leading man Mark Wahlberg does the film’s heaviest lifting. He makes it believable he’s acting opposite, for extended periods, this talking stuffed animal. There’s an absolutely astounding fight scene between Wahlberg and Ted; it’s too amazing in fact, because one can’t help but wonder how they were able to do it. The special effects technicals overpower the scene’s effectiveness.

The script has a lot of great jokes–the best humor sequence is probably the first one, which had me choking for air–and the supporting cast is strong.

Only Kunis, as Wahlberg’s love interest, falters. She can’t pull off the sophistication required.

Ted‘s an outstanding comedy.

3/4★★★

CREDITS

Directed by Seth MacFarlane; screenplay by MacFarlane, Alec Sulkin and Wellesley Wild, based on a story by MacFarlane; director of photography, Michael Barrett; edited by Jeff Freeman; music by Walter Murphy; production designer, Stephen J. Lineweaver; produced by Jason Clark, John Jacobs, MacFarlane, Scott Stuber and Wild; released by Universal Pictures.

Starring Mark Wahlberg (John Bennett), Mila Kunis (Lori Collins), Seth MacFarlane (Ted), Joel McHale (Rex), Giovanni Ribisi (Donny), Patrick Warburton (Guy), Matt Walsh (Thomas), Jessica Barth (Tami-Lynn), Aedin Mincks (Robert), Bill Smitrovich (Frank) and Sam J. Jones as the Savior (of the Universe); narrated by Patrick Stewart.


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Black Swan (2010, Darren Aronofsky)

I hate responding to films like Black Swan because I don’t know where to start.

From the first sequence, Aronofsky defines his approach as singular. Except for that first sequence, he never tries to film a ballet. He’s always filming a ballet performance. But he manages, filming those performances, which he tends to shoot in long shot–approximately the audience’s view of the dancers–to make them the most exquisitely filmic ballet sequences I can remember having ever seen.

While ballet makes up a good portion of the film’s running time, it’s not necessarily a film about the ballet. Until the third act, Aronofsky is making one of the stranger character studies. We spend the entire film with Natalie Portman’s ballerina and I don’t think there’s a single expository conversation involving her. Aronofsky and screenwriters Heyman, Heinz and McLaughlin (given the importance of gender, it was a shock to discover three men wrote the film) offer infrequent insights into Portman’s character. Black Swan is a character study with very few people and a lot of “action” (the ballet scenes); the discovery is gradual.

Saying Portman’s performance here is her best work is misleading. Her previous work never suggested she was capable of such a performance.

Aronofsky holds her in these intense broken moments and brings in Clint Mansell’s beautiful, disturbing score and the film transcends.

Great supporting work from Mila Kunis, Vincent Cassel and Barbara Hershey.

I’ve been waiting nine years for Black Swan and I didn’t even know it.

4/4★★★★

CREDITS

Directed by Darren Aronofsky; written by Mark Heyman, Andres Heinz and John J. McLaughlin, based on a story by Heinz; director of photography, Matthew Libatique; edited by Andrew Weisblum and Kristina Boden; music by Clint Mansell; production designer, Thérèse DePrez; produced by Mike Medavoy, Arnold Messer, Brian Oliver and Scott Franklin; released by Fox Searchlight Pictures.

Starring Natalie Portman (Nina Sayers), Mila Kunis (Lily), Vincent Cassel (Thomas Leroy), Barbara Hershey (Erica Sayers), Winona Ryder (Beth Macintyre), Benjamin Millepied (David) and Ksenia Solo (Veronica).


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The Book of Eli (2010, Albert and Allen Hughes)

I guess if The Book of Eli were a bigger hit, someone would have told Nick Cave composers Atticus Ross, Leopold Ross and Claudia Sarne ripped off the beginning of his “In the Ghetto” cover and turned it into the musical score’s theme.

Someone else might let Kevin Costner know about the… ahem… similarities between Eli and The Postman, but… those are the only good parts of Eli, so maybe don’t.

For about half the movie–it’s so split there should be a title card reading “End of Part One”–The Book of Eli is real good. It’s Denzel Washington doing an action movie, but one where he gets to play his age, and also a samurai. There’s Gary Oldman playing the boss of an Old West town, only in a post-apocalyptic future. It’s solid. It’s good.

I mean, the Hughes Brothers can direct. Their action sequences in this film, undoubtedly tied together with CG, are astoundingly good.

So what goes wrong? A couple things. First, Mila Kunis. She’s more convincing as a voice on “Family Guy” than actually giving a full performance. She’s incredibly weak and it’s not believable Washington’s hardened road warrior would have let her tag along, much less become emotionally attached to her.

Second, it’s got a moronic, “affecting,” “real” ending. I’m sure the filmmakers thought it was honest or something.

But it’s not honest to the good parts of this film, so it must be being honest to something else.

Total waste of time.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Albert and Allen Hughes; written by Gary Whitta; director of photography, Don Burgess; edited by Cindy Mollo; music by Atticus Ross, Leopold Ross and Claudia Sarne; production designer, Gae Buckley; produced by Joel Silver, Denzel Washington, Broderick Johnson, Andrew A. Kosove and David Valdes; released by Warner Bros.

Starring Denzel Washington (Eli), Gary Oldman (Carnegie), Mila Kunis (Solara), Ray Stevenson (Redridge), Jennifer Beals (Claudia), Tom Waits (Engineer), Frances de la Tour (Martha) and Michael Gambon (George).


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