Tag Archives: Rose Byrne

Get Him to the Greek (2010, Nicholas Stoller)

From Nicholas Stoller’s writing credits, I wouldn’t have thought him capable of such a funny movie. I hadn’t realized he’d directed Forgetting Sarah Marshall. Get Him to the Greek is a spin-off more than a sequel (though Kristen Bell shows up for a cameo). Stoller’s third act problems–when Greek becomes painfully unfunny and life affirming–aside, it’s almost the funniest movie in years.

Stoller does luck out to some degree, given his two leads. In one lead, he’s got Jonah Hill, who plays the Jonah Hill persona (Superbad grown up with girlfriend) and whose quiet delivery is perfect. The other lead, the absurdly extroverted Russell Brand, has a perfect loud delivery. Brand infuses his drug-addled rock star with these occasional moments of sarcastic clarity, which really adds to the experience.

Both Hill and Brand stumble through Stoller’s anti-drug message at the end, however. And while Stoller recovers the ending, he doesn’t resolve lots of issues he raises after turning it into a friendship drama.

For the majority of the running time, Greek‘s the funniest human comedy in a long time. Brand’s character is great for allowing absurd situations firmly set in reality. It never feels artificial… even with Sean Combs showing up.

Combs is hilarious in the film but gives one of the worst acting performances I’ve ever seen.

The rest of the cast–Rose Byrne (until the dramatics) and Colm Meaney in particular–are great.

It’s good. It should have been a lot better though.

2.5/4★★½

CREDITS

Directed by Nicholas Stoller; screenplay by Stoller, based on characters created by Jason Segel; director of photography, Robert D. Yeoman; edited by William Kerr and Michael L. Sale; music by Lyle Workman; production designer, Jan Roelfs; produced by Stoller, Judd Apatow, David L. Bushell and Rodney Rothman; released by Universal Pictures.

Starring Jonah Hill (Aaron Green), Russell Brand (Aldous Snow), Elisabeth Moss (Daphne Binks), Rose Byrne (Jackie Q), Colm Meaney (Jonathon Snow) and Sean Combs (Sergio Roma).


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Just Buried (2007, Chaz Thorne)

It’s a terrible thing to say, but I can’t figure out why Rose Byrne did this movie. Not to knock it with a generalization, but Just Buried‘s a Canadian production. Even though Jay Baruchel’s on the rise, besides her, everyone in the principal cast is Canadian. For a while, I thought I had it figured out–why Byrne would do the film. For the first half, it’s a black comedy about she and Baruchel accidentally killing people and their funeral home profiting. Her character’s interesting, she and Baruchel have chemistry, the script still seems like it might develop somewhere. The script’s the most disappointing thing about Just Buried–it’s so full of potential and Thorne wastes all of it. Instead of doing a peculiar black comedy–the film’s still a black comedy in the end, but it’s a cheap farce of one, a TV movie black comedy, the kind USA would do in the mid-1990s after To Die For. It goes from being a pleasant surprise to a dismal failure, with Byrne’s presence somehow being its greatest setback. Seeing her–she’s excellent throughout, even in the end–essaying the crappy parts of the script… it’s depressing. It maddens.

Here’s what Thorne wastes. There aren’t really any spoilers, but I need to get the list down. He wastes a loser moving from a city where he flounders to a small town where he prospers. He wastes a son getting it on with his father’s trophy widow. He wastes a priest who drinks, plays poker and eyeballs girls. I’m trying to think of what else, but maybe I don’t want to remember it. Thorne flushes away all that potential, instead using each of them for a couple or three jokes. Instead of embracing what makes Just Buried unique, he goes with what makes it common. He turns more than the film into a farce, he turns the viewer’s experience into one as well.

Oh, I just remembered what I forgot (and, yes, it does depress me to recall). Just Buried has some of the finest people hanging out and drinking scenes I think I’ve ever seen on film. Baruchel and Byrne go on a couple of late night benders and Thorne beautifully captures the reality of it, each person’s relative solitude. These scenes happen in the first half, when Just Buried still has a bunch of potential.

Thorne obviously thinks he’s pretty witty with the conclusion, because he’s put clues in the film throughout. Sure, they require people not being able to hear what people whisper to other people, no matter how close they are, but whatever. Once the inevitable conclusion becomes clear–Thorne’s camera sits calmly for too long, like he forgot what they were shooting and just kept rolling–Just Buried just gets boring. Thorne has abandoned his characters, leaving the actors to drown.

Byrne’s great. Graham Greene’s pretty good. Baruchel’s very good in the first half, with his big transition not coming through so well. Sergio Di Zio is hilarious as the priest brother and Reagan Pasternak is funny as the stepmother. Nigel Bennett, Thomas Gibson and Brian Downey all appear to be sleepwalking through their performances, letting their costumes (two cops and an ex-clown) do the heavy lifting.

After Just Buried leapt off its cliff, I kept hoping Thorne knew what he was doing. He apparently does not.

1/4

CREDITS

Written and directed by Chaz Thorne; director of photography, Christopher Porter; edited by Christopher Cooper; music by Darren Fung and Scott Loane; production designer, William Fleming; produced by Nigel Bennett, Pen Densham, Bill Niven, Thorne and John Watson; released by Seville Pictures.

Starring Rose Byrne (Roberta Knickel), Jay Baruchel (Oliver Whynacht), Graham Greene (Henry Sanipass), Nigel Bennett (Chief Knickle), Sergio Di Zio (Jackie Whynacht), Reagan Pasternak (Luanne), Thomas Gibson (Charlie Richmond), Brian Downey (Pickles), Slavko Negulic (Armin Imholz), Jeremy Akerman (Rollie Whynacht) and Christopher Shore (Wayne Snarr).


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Sunshine (2007, Danny Boyle)

Sunshine appears to be an amalgam of Alien, 2001 and Event Horizon (at least, if Event Horizon‘s previews adequately communicate the film’s content, not having seen it). There are Alien references abound, a handful of 2001 ones, and no Event Horizon ones I’m aware of… I imagine they’d try to hide those as well as possible. It also owes more than a little to Solaris–both versions. And for the majority of Sunshine, it’s a frequent disappointment. Danny Boyle and Alex Garland–after 28 Days Later–doing sci-fi doesn’t make much sense, especially since the resulting Sunshine is a standard science fiction movie, as opposed to Days doing something different, both in terms of story and technology.

So, during that first forty-five minutes when bad things happen and characters develop and the story moves along towards the inevitable final question… I got a little bored. Boyle’s finest contribution to the film, I thought during those minutes, was his ability to cast, direct and shoot actors. Cillian Murphy and Rose Byrne are, obviously, excellent and there was never any question as to whether or not they would be excellent. But Chris Evans also turns in a really great performance, as does Cliff Curtis. It’s the best Cliff Curtis in eight years or so. So Boyle casts well, big deal. No, it’s what a good performance he gets out of Michelle Yeoh and even Troy Garity. Yeoh’s got a couple really good scenes and Garity’s sturdy throughout.

But, one must remember, all Alien did was tell a science fiction in “scary movie” language and Sunshine‘s no different. The moment my fiancée jumped space ship was when “Freddy Kruger” showed up. The monster, the bad guy, the whatever–Sunshine needed to have one because, besides some really good acting moments and a couple really nice dilemma in space scenes, the film was nothing new. Until the hero moments, which, of course, signal the beginning of the third act, I kept wishing Murphy, Bryne and Evans would reunite for some other movie. I always forget–even when I’m comparing Boyle’s success at directing actors in this film to Trainspotting–I always forget Boyle’s visual ability, through shot, sound and editing. Trainspotting‘s full of it, but didn’t think those abilities would translate. And I was wrong.

I have never seen a movie–with so many mediocre plot points and set-pieces–ascend as quickly as Sunshine. One moment it’s a disappointment, the next it’s middling, then it’s getting up there, and, finally, it’s pure wonderment at the possibilities of the film medium. It’s not a long period of sustained enchantment, but it’s a really good three or five minutes. Boyle does things in those last minutes nearer the level of 2001 than most of his fellows. Of course, they didn’t have Cillian Murphy, so it’s probably not a far comparison, which is why I didn’t name them.

I don’t know if I was expecting–from the plot description–the Apollo 13 of fictionalized space adventure (after the trailer, I knew I was getting something more comparable to Days). But it wouldn’t work as anything but Danny Boyle and Alex Garland remaking Event Horizon, because otherwise… it would have probably been The Core in space.

Looking at the response, I realize, even thought Murphy suffers a lot of complements, I did not emphasize enough how good Byrne and Evans are in this film. It’s not even Byrne’s best performance of the year, which is unfortunate since that performance is in 28 Weeks Later (just because the character has more to do). But Evans is an unexpected talent.

4/4★★★★

CREDITS

Directed by Danny Boyle; written by Alex Garland; director of photography, Alwin Küchler; edited by Chris Gill; music by John Murphy and Underworld; production designer, Mark Tildesley; produced by Andrew Macdonald; released by Fox Searchlight Pictures.

Starring Rose Byrne (Cassie), Cliff Curtis (Searle), Chris Evans (Mace), Troy Garity (Harvey), Cillian Murphy (Capa), Sanada Hiroyuki (Kaneda), Mark Strong (Pinbacker), Benedict Wong (Trey) and Michelle Yeoh (Corazon).


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28 Weeks Later (2007, Juan Carlos Fresnadillo)

If 28 Weeks Later weren’t executive produced by Danny Boyle and Alex Garland and produced by Andrew Macdonald, it would not be any better (in some ways it would be worse) but it certainly would be less offensive. Before seeing the film, I remarked to friends about what made 28 Days Later, in the end, work. It wasn’t cheap. Weeks isn’t just cheap, it’s also gimmicky. It’s the worst written, well-made, frequently well-acted film I’ve seen in quite a while. It’s not just a bad script, it’s a cheap, incompetent one. The setup for the film is fine, but then instead of playing the Drew Barrymore role in Scream (in what I understood to be a thirty minute or so episode, I had understood the film to be episodic… but it doesn’t really make up for going to see it), Robert Carlyle becomes the subject, sort of, of the whole film. At first he’s a tragically human coward, but at the thirty minute or forty minute mark, he becomes the zombie version of Jack Nicholson in The Shining. I suppose it’s lousy to spoil that one for interested viewers, but really, if you’re going to like a piece of crap like this film, you’re not going to care.

But the gimmicks don’t end with Carlyle becoming a super-zombie (he’s apparently got some consciousness and a real hatred for his family). No, see, Carlyle’s wife (played by Catherine McCormack, which I had no idea about until I looked at IMDb), who he left for dead, see… she’s a carrier, but immune. So, the whole plot rests around Carlyle’s family. How convienient his lame and fearless kids have just come to London, so they can restart the zombie holocaust.

As a director, Juan Carlos Fresnadillo shoots and edits some great montages. It’s all very frenetic, but it actually works with the content here. Lots and lots of beautiful visual montages. There’s even a really nice montage scene where the U.S. Army snipers, bored with lack of zombies to shoot, watch the repatrioted Brits. Even after the really cheap gimmicks, the film maintains a level of intensity until it just becomes cheap overall, with characters doing unbelievable things–smart ones becoming stupid. So stupid I almost spelled it stoopid, Weeks‘s stupidity has killed so many of my brain cells.

It’s frustrating because there are some nice scenes and some good performances. When he’s not super-zombie, Carlyle is fantastic. Even better is Jeremy Renner as a sniper. Renner’s got very little to do besides be a decent human being, but he does it with a lot of force and it’s good stuff. Rose Byrne is the, obviously, best, because she rules this movie in her terrible role. She’s an army doctor and she doesn’t want kids, but then she hangs out with them, but is it just because they might carry the cure? Who knows, because Weeks doesn’t even give subtext to its contrived coincidences. The kids, Imogen Poots and Mackintosh Muggleton, both stink. Muggleton’s worse, but it might not be his fault, the script sets him up as the kid from The Shining but ominous and possibly evil (so I guess more Omen-esque, but not having ever seen one of those, I’m not sure). Harold Perrineau’s in it a bit and I’m glad he got a job in something intended to be high-profile, but he’s way too good for this kind of work. He, Byrne and Renner ought to reunite for something written by someone not trying to remake Halloween 4. Hell, Fresnadillo could even direct it. The only times he fails in Weeks are with the lengthy action scenes. The chase scenes, when from the chasee’s perspective, get tiring, but the action scenes are boring. You can’t tell what is going on so why even bother trying (or carrying).

I find it horrifying Alex Garland could make the time to write a Halo movie, but it couldn’t give this crappy script a rewrite. It’d take maybe a week to fix it. Some of the dialogue especially. My friend said it sounded like a bad Spanish-to-English babelfish translation.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Juan Carlos Fresnadillo; written by Rowan Joffe, Fresnadillo, Enrique López Lavigne and Jesús Olmo; director of photography, Enrique Chediak; edited by Chris Gill; music by John Murphy; production designer, Mark Tildesley; produced by López Lavigne, Andrew Macdonald and Allon Reich; released by Fox Atomic.

Starring Robert Carlyle (Don), Rose Byrne (Scarlet), Jeremy Renner (Doyle), Harold Perrineau (Flynn), Catherine McCormack (Alice), Mackintosh Muggleton (Andy), Imogen Poots (Tammy), Idris Elba (General Stone) and Emily Beecham (Karen).

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