Tag Archives: Seth Rogen

Steve Jobs (2015, Danny Boyle)

Steve Jobs is unexpected. It is a parody of itself, it is a parody of being an “Oscar-worthy” biopic about a topical, zeitgeist figure. Down to having Seth Rogen in a dramatic part. Steve Jobs feels very conscious. In Michael Fassbender’s Jobs, the film gets to create a world where Steve Jobs doesn’t just get to act like a movie star, he gets to look like one too. Director Boyle, cinematographer Alwin H. Küchler, editor Elliot Graham, they embrace the artificiality of it all. Because Aaron Sorkin’s script isn’t a screenplay as much as a filmed stage play, the performance is part of it. The casting is part of it.

Just getting it out there–Rogen’s good. Boyle’s a good enough director, Sorkin’s a good enough writer, they can turn Rogen’s inability to actually act into an asset. Rogen’s so disarming, one really does believe he can do math (and all the other stuff Steve Wozniak can do). It’s a strange performance and Fassbender plays off it a little differently than any other in the film.

Every actor has a different style. Fassbender treats the whole thing as a metamorphosis without every determining whether he’s going from caterpillar to butterfly or butterfly to something else. There’s a weight to the role. Fassbender’s this perfect Aaron Sorkin lead–abrasive but almost always right, condescending but strangely earnest–and Boyle just sits back and watches him go, watches him play off the other actors, who are doing different things.

Kate Winslet’s got this big performance. It’s supporting, but it’s another perfect Sorkin character. Except Winslet’s got her own performance going on, her own understanding of the character. It’s a very different approach than Rogen gets. The film’s about its actors and how they perform the script. Just Sorking walking and talking-style; everyone popping in like it’s A Christmas Carol to tell Ebenezer Jobs how he still hasn’t figured it out yet.

Great supporting performances from Jeff Daniels, Michael Stuhlbarg and Katherine Waterston.

It’s an understated, strange, wonderful film. Boyle and Sorkin get along like Capra and Riskin, Fassbender and Winslet are phenomenal. Steve Jobs is magnificent.

4/4★★★★

CREDITS

Directed by Danny Boyle; screenplay by Aaron Sorkin, based on the book by Walter Isaacson; director of photography, Alwin H. Küchler; edited by Elliot Graham; music by Daniel Pemberton; production designer, Guy Hendrix Dyas; produced by Boyle, Guymon Casady, Christian Colson, Mark Gordon and Scott Rudin; released by Universal Pictures.

Starring Michael Fassbender (Steve Jobs), Kate Winslet (Joanna Hoffman), Seth Rogen (Steve Wozniak), Jeff Daniels (John Sculley), Michael Stuhlbarg (Andy Hertzfeld), Katherine Waterston (Chrisann Brennan), Makenzie Moss, Ripley Sobo & Perla Haney-Jardine (Lisa Brennan) and Sarah Snook (Andy Cunningham).


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The Watch (2012, Akiva Schaffer)

The Watch deals in caricature and stereotype. Ben Stiller’s the anal-retentive, Vince Vaughn (can anyone even remember when he tried acting) is the aging bro, Jonah Hill’s the kid in his early twenties who lives with his mom (and hordes guns, which dates the film) and Richard Ayoade’s the deadpan, socially awkward British guy. If anything, hopefully The Watch at least got one person to see Ayoade’s good work.

Oh, and Rosemarie DeWitt’s the sturdy, but doesn’t have enough to do wife (to Stiller). Actually, more than anyone else in the cast, Will Forte has the most to do as the dumb local cop. He at least gets to emote. Vaughn should get to emote because he has a whole (lame) subplot with daughter Erin Moriarty (who, like DeWitt, Forte and Ayoade, acts instead of apes), but it’s Vaughn and he doesn’t. Obnoxious charm is supposed to carry him, just like awkward charm is supposed to carry Hill and persnickety charm is supposed to carry Stiller.

Watching The Watch, I couldn’t help but think of it as ephemera. None of the jokes are smart enough on their own– Jared Stern’s script, with a credited revision from Seth Rogen and Evan Goldberg, has no aspirations. Not even to be appreciated multiple times. The Watch is designed to amuse once and never too much. Thanks to Akiva Shaffer’s mediocre direction, comes off like an unambitious episode of “Home Improvement.” One with a lot of product placement.

But, thanks to the cast, it’s amusing enough. They’re good at their schticks and the movie does move rather well. It’s a little too forced with its attempts at edgy humor, but the whole thing is too forced. Shaffer’s doing an alien invasion movie without, apparently, any knowledge of any alien invasion film ever made.

Really bland photography from Barry Peterson doesn’t help anything and Christophe Beck’s music (which starts all right) doesn’t either.

In trying too hard to be dumb, The Watch occasionally succeeds. Though the pointlessness of Billy Crudup’s (uncredited) supporting role sort of sums up the entire misdirection of the film.

Everyone should watch “The IT Crowd” instead.

1/4

CREDITS

Directed by Akiva Schaffer; written by Jared Stern, Seth Rogen and Evan Goldberg; director of photography, Barry Peterson; edited by Dean Zimmerman; music by Christophe Beck; production designer, Doug J. Meerdink; produced by Shawn Levy; released by 20th Century Fox.

Starring Ben Stiller (Evan), Vince Vaughn (Bob), Jonah Hill (Franklin), Richard Ayoade (Jamarcus), Rosemarie DeWitt (Abby), Erin Moriarty (Chelsea), Will Forte (Sgt. Bressman), R. Lee Ermey (Manfred) and Billy Crudup (Paul).


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Knocked Up (2007, Judd Apatow), the unrated version

Once upon a time, I read how what Apatow really does with Knocked Up is make a film about how men need to change to be acceptable for women. I think the article used stronger language. While that aspect of the film is present, it’s an extreme reading. It could just as well be about how a contentless young woman learns there’s something more important in life than shoes. Apatow backs off that aspect in terms of lead Katherine Heigl (she couldn’t have handled it anyway), but does give Leslie Mann (as her sister) a decent arc.

Unfortunately, he eventually loses track of Paul Rudd (as Mann’s husband) on his arc.

The film never really succeeds because it eventually requires the viewer to believe Heigl’s a good person. She’s not a murderer or anything… but good person is a stretch. Heigl doesn’t have any dramatic range (though her comedy timing is surprisingly good) and the romance between her and Seth Rogen, which one might say is essential, fails.

So, instead, Knocked Up is often just really funny. Even when Apatow’s doing his heartfelt scenes, he manages to get in a bunch of dick and fart jokes.

It helps he’s got Rogen, who’s fantastic, and the rest of the supporting cast. Jason Segel’s awesome; Jay Baruchel, Jonah Hill, Martin Starr, all good. Alan Tudyk and Kristen Wiig (especially Wiig) are great in small parts.

Apatow seems to want the viewer to think about Knocked Up, which doesn’t play to its strengths.

1.5/4★½

CREDITS

Written and directed by Judd Apatow; director of photography, Eric Alan Edwards; edited by Craig Alpert and Brent White; music by Joe Henry and Loudon Wainwright III; production designer, Jefferson Sage; produced by Apatow, Shauna Robertson and Clayton Townsend; released by Universal Pictures.

Starring Seth Rogen (Ben Stone), Katherine Heigl (Alison Scott), Paul Rudd (Pete), Leslie Mann (Debbie), Jason Segel (Jason), Jay Baruchel (Jay), Jonah Hill (Jonah), Martin Starr (Martin), Charlyne Yi (Jodi), Iris Apatow (Charlotte), Maude Apatow (Sadie), Joanna Kerns (Alison’s Mom), Harold Ramis (Ben’s Dad), Alan Tudyk (Jack), Kristen Wiig (Jill), Bill Hader (Brent), Ken Jeong (Dr. Kuni) and Craig Robinson (Club Doorman).


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The Green Hornet (2011, Michel Gondry)

Of the Seth Rogen films I’ve seen—those he’s written, I mean—The Green Hornet is the weakest. It’s only partially Rogen and cowriter Evan Goldberg’s fault. The concept does not present them with the best opportunities.

At its most amusing, it’s usually Rogen and costar Jay Chou bickering. Rogen and Goldberg’s strength is when the film is a bromance, something they eventually have to abandon in order to have a superhero movie. Unfortunately, the big superhero plot they come up with is pretty weak—there’s only so much one can do with the character, like I said—and it gets a tedious in the third act.

Rogen and Chou are both excellent; they make the movie worth watching. Cameron Diaz is actually not annoying as their unwilling joint love interest (major potential is actually wasted with her, though the unlikely sequel would have probably put her to better use). Her success is the script’s fault. Rogen and Goldberg actually write a good script… just not the masked adventurers parts of it.

Tom Wilkinson is wasted. David Harbour’s bad in a supporting role. Edward James Olmos is fine; Edward Furlong has a good cameo… as does an uncredited former costar of Rogen’s.

As the villain, Christoph Waltz tries hard but too much. He can’t sell the absurdity of his character.

Gondry’s direction is actually pretty indistinct. A stronger hand might have made it work.

Good photography from John Schwartzman and bad music from James Newton Howard.

It’s an interesting failure.

1/4

CREDITS

Directed by Michel Gondry; screenplay by Seth Rogen and Evan Goldberg, based on a radio series created by George W. Trendle; director of photography, John Schwartzman; edited by Michael Tronick; music by James Newton Howard; production designer, Owen Paterson; produced by Neal H. Moritz; released by Columbia Pictures.

Starring Seth Rogen (Britt Reid / The Green Hornet), Jay Chou (Kato), Cameron Diaz (Lenore Case), Tom Wilkinson (James Reid), Christoph Waltz (Chudnofsky), David Harbour (D.A. Frank Scanlon), Edward James Olmos (Mike Axford), Jamie Harris (Popeye), Chad Coleman (Chili) and Edward Furlong (Tupper).


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