SAUSAGE PARTY

SAUSAGE PARTY is a very funny very smutty animated comedy by the team that brought you THE INTERVIEW and PINEAPPLE EXPRESS. Evan Goldberg and Seth Rogen make R rated comedies that contain a lot of truth and some things you just can't believe are being put on screen.  To wit, they have a Holocaust joke in the opening 3 minutes of this film, the first of many, liberal use of the C word, and a plot that basically hinges on a radical atheistic debunking of religion and breaking the fourth wall.

The conceit is that all the characters are foodstuffs being sold in a supermarket.  They believe that the Great Beyond lies on the other side of the supermarket doors, with benevolent Gods (humans) caring for them in paradise. The drama begins when a jar of mustard is returned and reveals the shocking truth that humans EAT food.  This prompts our hero and heroine, a sausage and a bun, to escape their trolley and go in search of the real story from a bottle of fire-water and his baked side-kicks.  Meanwhile, another hot dog is trying to find his way back to the store and stumbles onto some handy scientific knowledge from a Stephen Hawking-style piece of gum.

MAGGIE'S PLAN

MAGGIE'S PLAN is a delightful film that where's it's profundity lightly.  Written and directed by Rebecca Miller, based on an unpublished story by Karen Rinaldi, it's basically a film that what happens after you marry the Manic Pixie Dreamgirl.  That's the whimsical, pretty young woman that exists in many modern romantic comedies to allow the sad, depressed, trapped male hero to escape into a better happier world once the credits rolls.  These poor girls - often played by through the ages by actresses like Audrey Hepburn, Jennifer Aniston, Zooey Deschanel, Natalie Portman or Cara Delevigne - don't really have an interior life of their own, or any kind of aims for their own life beyond rescuing their beloved men.  This has been somewhat grating for female viewers, and presumably for the actresses themselves.

And so we get the wonderful Greta Gerwig - who has played plenty of these supremely capable fixers of broken men and women  in her time - as the lead character in this amazing film.  She plays Maggie - a loving and lovely woman who decides she wants to have a baby despite not having a boyfriend.  She gets an old college friend called Guy (Travis Fimmel) to be a sperm donor, but on the night she's going to do the deed ends up shagging a married college professor called John (Ethan Hawke) instead.  Long story short, she decides to rescue him from his apparently horrendous high-maintenatnce super-successful wife (Julianne Moore), and they have a kid together.  At this point the conventional rom-com ends.

TRAINWRECK

TRAINWRECK is just like every other Judd Apatow comedy. There's a character who's essentially a loveable gorgeous person but because of various issues has an infantile attachment to booze, weed and the sofa, so much so that said character almost loses the love of their life. But after a final act come to Jesus moment, wises up, realises that it's just fine to admit you want a conventional married life with kids and a mortgage and goes ahead and gets those things.  Because make no mistake, despite the frank sexual content, Judd Apatow comedies are very socially conservative, as well as being very formulaic and occasionally very funny.  The only difference in the case of TRAINWRECK is that the immature character is a woman - as written and played by Amy Schumer. She's the one who's getting drunk and having one night stands, and feels weird when her boyfriend says he loves her for the first time. And the guys in the movie - including a brilliantly cast LeBron James - are the ones who aren't afraid to talk about their feelings and are generous in bed and want to get married.  That the movie is formulaic doesn't matter because it's still brilliantly written and acted. It's laugh-out-loud funny, it's not afraid to take its lead character to some dark places, and there's real chemistry between the romantic leads.  

LIVE FROM NEW YORK! - BFI London Film Festival 2015

LIVE FROM NEW YORK! is the directorial debut of Bao Nguyen, chronicling the history of the iconic comedy skit-show Saturday Night Live. He does so in 80 minutes so it would be easy to put this film's superficiality down to its brief run-time but I suspect it has more to do with the director having bought Lorne Michael's kool-aid, wanting to diminish the non-Lorne years and not having the guts to seriously interrogate the charges of institutionalised sexism and racism. And I don't by that "where was the black Friend" argument.  SNL was meant to be different - cutting edge radical. This is what skewers the director's use of hyperbolic opening music - Gil Scott Heron's The Revolution Will Not Be Televised - this may have been true in the 70s and 80s but for the past fifteen years it feels as though the cutting edge of radical satire has lived on South Park or The Daily Show. Let's be honest, isn't SNL mostly harmless by now? Isn't everything that Julia Louis-Dreyfus says about the 80s true now, where SNL was desperately trying to keep pace with pop culture rather than setting the pace?

THEY CAME TOGETHER

THEY CAME TOGETHER is a high quality spoof of the romantic-comedy genre from writer-director David Wain (ROLE MODELS) and Michael Showalter. It stars Paul Rudd and Amy Poehler as the lovers and features comedians of the calibre of Ed Helms, Bill Hader and Jack McBryer (30 ROCK). It comes out of the gate strong - absolutely nailing every cliche of every dumbass Jennifer Aniston or Katherine Heigl movie you've ever seen.  "New York is almost another character in the story" leading to those opening credits where a helicopter sweeps over the city on a bright sunny morning. The romantic lead Joel (Rudd) is a nice guy with a bitch girlfriend who he catches cheating.  He has close friends who fit all the stereotypes - the married one with kids, the dickhead womaniser who isn't as hot as he thinks he is - and as they rightly point on the basketball court - he needs to combine all their strengths to win!  Meanwhile, the romantic heroine Molly (Amy) is a classic manic pixie-dreamgirl in the Zoe Deschanel mould - running a cutesy shop threatened by evil corporates where, you got it!, Joel works. They meet cute at a party, and ultimately get over their immediate antipathy.

As I said, the film is absolutely spot on in how it skewers lazy rom-com screenwriting. Let's be honest - has there been a good romantic comedy since WHEN HARRY MET SALLY?   And it's absolutely the right choice for all the actors to play it straight.  But even with the short running time of the film (80 minutes) it still got pretty boring and felt a bit like an SNL skit stretched beyond itself.  The movie didn't run out of steam but I did.

THEY CAME TOGETHER has a running time of 83 minutes and is rated R in the USA.  The movie played Sundance 2014 and was released earlier this year in the USA and Canada. It went on release in the UK and Ireland this weekend.

iPad Round-Up 3 - PAUL

What is it about British comedians that they go to America, garner a little success, and then get the urge to mock the key difference between America and Britain - Christian fundamentalism. Don't get me wrong - people who believe in Intelligent Design give me the heebie-jeebies - but there does seem something rather odd, and pathological even - in these movies that delight in undermining religious belief. I speak here of Ricky Gervais' THE INVENTION OF LYING and, now, Nick Frost and Simon Pegg's new film, PAUL.

The plot is simple.  Frost and Pegg play two best friends and sci-fi geeks who attend a convention in the US. They pick up an alien who needs to get home, voiced by Seth Rogen, and so set up a comedy road-movie that could've been a clever satire on genre films, just in the same way that SHAUN OF THE DEAD brilliantly spiked zombie movies, or HOT FUZZ spiked cop films.  But  no, Frost and Pegg add a fourth character to their movie - a religious fundamentalist (Kristen Wiig) whose entire world-view is over-turned by her realisation that there is life on other planets.  

Of course this could've been as funny as anything in HOT FUZZ or SHAUN, but somehow - maybe the sensitivity of this material in the US, or maybe the real Hollywood money behind the picture - dulled their wit. (Or maybe it's that Frost and Pegg are without their usual collaborator - Edgar Wright?)  There are still flashes of the kind of ribald, laugh-out-loud comedy that we got in the earlier films, but overall this seems like a much tamer, and less memorable affair.  That unmistakeable damp squib sensation that settles in at about the hour mark isn't helped by a rather flat cameo by Jason Bateman as the spooky Fed, and can't be saved by a cameo from Sigourney Weaver. I also feel that Seth Rogen is straying into the territory occupied by Jack Black - that of always playing himself - even when voicing a CGI alien. 

PAUL was released earlier this year in the UK, Ireland, Belgium, France, Canada, the US, Belarus, Kazakhstan, Russia, the Ukraine, Australia, Croatia, Germany, the Netherlands, Estonia, Hungary, Malaysia, Singapore, Iceland, Italy, the Philippines, Denmark, Finland, Norway and Lithuania. It is currently on release in Sweden, Thailand and Turkey. It opens in Spain on July 22nd.

SCOTT PILGRIM vs. THE WORLD - Heart-stripped Part Deux

So, I want to state that I DO think I have a sense of humour and I'm not some kind of kill-joy. It's not that I hate all things comic book or gamer or hipster, although lately Michael Cera has started to annoy me with his one-note, "hey I'm so geeky, but in a sort of superior way to you", schtick. I think what gets me with these hipsters is the fact that they're all making so much damn mainstream money out of trying to be counter-cultural. Like you can be counter-culture when your interviewed in Interview magazine. Anyways, despite my hipster-fatigue, I was REALLY looking forward to SCOTT PILGRIM vs THE WORLD for the simple fact that I think its director and co-adapter, Edgar Wright, is some kind of comedy genius. This is the man who, with SHAUN OF THE DEAD and the absolutely amazing HOT FUZZ made movies that combined a post-modern, slippery playfulness take on genre-cinema with real heart. And, boys and girls, you gotta have heart. Without heart - without characters that we emotionally engage with - no movie, no matter how clever and witty and inventive, is worth my time. And SCOTT PILGRIM really wasn't worth my time.

This is the concept. Scott Pilgrim is a loser, hipster, geek who plays in a band. He has no money but he can still afford cool trainers. (See video above.) He's dating a psycho-stalker high school chick called Knives Chau who is NOT as cool as her name would suggest and definitely needs to get to a SLAA meeting. But he really wants to be dating a hipster chick called Ramona Flowers, who has outlandishly coloured hair and Seven Evil Ex-es. I have yet to fathom why either girl would want to date Scott - let alone his ex-es, band-mate Kim, and now-successful rock-star, Natalie/Envy. He's a scrawny, incompetent, infantile guy who looks pre-pubescent. I mean, I know some girls like unthreatening, but this is unreal. Anyway, back to the movie. By quasi-dating Ramona, Scott unleashes the Seven Evil Ex-es who he has to fight, video-game stylee, in order to be with her; or gain self-respect; or discover who he really wants to be with; or something. Honestly, by about fight number three I was seriously losing interest. A mock video-game fight HAS NO STAKES. If you lose you don't die - you just click for your second life. If you win, there's just another stupid fight around the corner. And who cares who these characters end up with anyways? Yes the visual tricks are fun - the little knowing comments editorialising the action - and yes, it IS funny to take the piss out of Vegans and pretentious record producers but COME ON! This movie is a one-trick pony. Clever for the first ten minutes, but then repetitive, trite and superficial. I want and expect more from Edgar Wright. I want to see real friendship on screen - friendship like that shared between Simon Pegg and Nick Frost in SHAUN and HOT FUZZ. Not this heart-stripped clever-clever nonsense.

Additional tags: Michael Bacall, Bryan Lee O'Malley, Mary Elizabeth Winstead, Ellen Wong, Kieran Culkin, Anna Kendrick, Ben Lewis, Aubrey Plaza, Nigel Godrich

SCOTT PILGRIM vs. THE WORLD is currently on release in the US, Canada, New Zealand, Australia, Russia, Kazakhstan, Ireland, the UK and Iceland. It opens in late September in Croatia, Estonia, Sweden and Israel. It opens in October in Finland, Norway, Turkey, Greece, Brazil, Argentina and Singapore. It opens in November in Malaysia and Italy and in December in Greece and Spain. It opens in January 2011 in Germany and the Netherlands.

ADVENTURELAND - surprsingly sensitive

ADVENTURELAND is a quiet little drama focusing on the love-lives of a bunch of teenagers working in the eponymous lo-rent amusement park for a summer in the late 80s. Indeed, it's such a sweet, real film that it's hard to believe it was directed by the same guy who made the crass SUPERBAD. Jesse Eisenberg (THE SQUID AND THE WHALE) plays a nice kid, smart, with dreams of summer travelling through Europe. When his parents can't pony up the cash, he ends working in an amusement park. He falls for an emotionally distant girl called Em (Kristen Stewart), who despite her difficulties is also intelligent and sensitive. But, true to life, our hero is distracted by the standard-issue hot chick egged on by the guy (Ryan Reynolds) who Em is already seeing. I love this film because it feels real - anyone who's spent a summer working a shitty job, feeling that their life is on hold, feeling under-appreciated can relate. And anyone who's ever made a dumb decision in a relationship, knowingly, but unable to resist can relate to. Jesse Eisenberg impresses again, but it's Kristen Bell who really struck me as a good actress, in a nuanced performance so much more interesting than that TWILIGHT schtick.

ADVENTURELAND played Sundance 2009 and opened in the US, Canada, Turkey, Australia, Iceland, Argentina, South Africa, Estonia, Italy, Romania, Hungary, Ecuador and Germany earlier this year. It is currently on release in the UK and opens in Spain in two weeks time.

YEAR ONE - sporadically, funnier than I'd been led to believe

YEAR ONE had such a critical basting that I didn't bother watching at first. Good news is that it's really not as unwatchable as I'd been led to believe. Indeed, there were scenes I really liked. Maybe it's just a question of low expectations?

The movie is basically a puerile comedy vehicle for Jack Black and Michael Cera. They start of as a couple of Neanderthals, a hunter and a gatherer respectively. The best contextual and verbal humour is found in these early scenes, and I though Black and Cera worked well together. Both have crushes on girls they can't get so Black eats the forbidden apple from the tree of knowledge. This catapults them into a biblical epic, which the movie then tries to spoof. The Cain and Abel is pretty unfunny and underwritten, but the movie picks up when the protagonists end up Sodom. There's a brief skit by Hank Azaria as Abraham, but the real humour in this session comes from Oliver Platt as a libidinous High Priest.

Overall, I'd say the movie really is worth DVD and pizza night, if entirely forgettable. Still, you'd have hoped that actors of the profile of Jack Black and Michael Cera could find scripts that weren't essentially strung-together skits of variable quality.

YEAR ONE is on release in Australia, Iceland, the USA and the UK. t opens later in July in Finland, Sweden, Portugal, Denmark and Norway. It opens in August in Belgium, Egypt, France, Brazil, Bulgaria, South Africa, Spain, Argentina, Germany, New Zealand and Singapore. It opens in September in the Czech Republic, Greece, Russia, Estonia, Hong Kong and the Netherlands. It opens in October in Italy, Mexico, and Romania.

NIGHT AT THE MUSEUM 2 - Last night I dreamed that somebody loved me

NIGHT AT THE MUSEUM was a sweet kids adventure film featuring Ben Stiller as a dead-beat dad security guard who bonds with his kid when the exhibits in the New York Natural History Museum come alive. Whatever charm the movie had, resided in Stiller's character Larry finding courage and friendship with the miniature cowboys, a statue of Teddy Roosevelt and a big articulated dinosaur. I also loved the fact that the exhibits were basically rubbish. They were exactly the kind of low rent exhibits you can find in many a dusty old museum filled with diaramas and stuffed heads.

NIGHT AT THE MUSEUM 2 is a fundamentally different beast. Propelled by the box office success of the first installment, the movie has a bigger budget, better special effects and an even more star-filled cast. There is a certain fun in seeing the Lincoln memorial spring to life, but I couldn't help feeling, in the words of Emperor Joseph II, that they were simply too many notes. "My dear young man, don't take it too hard. Your work is ingenious. It's quality work. And there are simply too many notes, that's all. Just cut a few and it will be perfect." 

Added to the mish-mash of historical figures, we also get a less interesting protagonist. The security guard has, in the intervening year, become a millionaire inventor of such crappy household objects as glow-in-the-dark torches. The message of the movie seems to be that being rich doesn't make you happy. Still, the soul-searching and character development isn't given much screen-time, and serves only to allow Larry to become such a large benefactor of the museum that he can keep his friends safe.

Despite the lack of compelling plot and over-stuffed character roster, NIGHT AT THE MUSEUM 2 isn't a complete waste of time. And that's because of three people. First, Jonah Hill has a pretty funny five minute cameo as a security guard at the Smithsonian who is full of his own petty power. Second, Steve Coogan is also good value, and reprises his role as Octavius, the miniature Roman general. Third, and best of all, Hank Azaria plays the baddie - an Egyptian Pharoah hell-bent on ruling the world - as a classic Die Hard Jeremy Irons baddie. It's pure comedy gold. This is him diss'ing Darth Vader:

"Is that you breathing? Because I can't hear myself think! There's too much going on here; you're asthmatic, you're a robot. And why the cape? Are we going to the opera? I don't think so." 

Genius. And, of course, Amy Adams is charming as Larry's love interest, Amelia Earheart.

NIGHT AT THE MUSEUM: BATTLE OF THE SMITHSONIAN is on global release.

Random DVD Round-Up 4 - THE BROTHERS SOLOMON

Bad taste alleged comedy in which two intelligent but infantile brothers (Wills Arnett and Forte) decide to shock their dad out of a coma by surrogate fathering a child. Yes yes. The result is as unfunny as the plot is plausible. Clunky direction, thin writing, forced humour make this straight to dustbin as opposed to straight to video.

THE BROTHERS SOLOMON was released in autumn 2007, promptly fell like a stone, and is available on DVD should you care to waste ninety minutes.

TROPIC THUNDER - worth seeing for the odd moment of genius

There are many problems with Ben Stiller’s new Hollywood spoof, TROPIC THUNDER. It’s over-long, too many of the jokes fall flat, and many of the main characters are under-written or just plain redundant. That said, TROPIC THUNDER does contain a handful of genuinely hilarious scenes that are, on balance, worth the price of admission.

The movie features three recognisable types of Hollywood actor – the action hero Tugg Speedman (Ben Stiller); the gross-out comedy star Jeff Portnoy (Jack Black); and the method actor Kirk Lazarus (Robert Downey Junior). Each actor is insecure. The Sly Stallone-spoof Tugg Speedman is desperate to be seen as a real actor, hence his disastrous attempt to play a mentally disabled kid in an I AM SAM type movie called SIMPLE JACK. The Eddie Murphy-spoof, Jeff Portnoy, is upset that he’s only famous for farting on-screen, and consoles himself with Class A drugs. Finally, the Russell Crowe-spoof, Kirk Lazarus, goes so far into his method-acting that he can barely remember who he is any more.

The movie opens with all three actors filming a war movie in Vietnam that’s behind schedule thanks to their tantrums. Under pressure rookie director (Steve Coogan) takes them on a Werner Herzog style journey into the jungle, where they will face real fear and thus give good performances. Problem is, the gun-fire is real, as the actors stumble into the territory of drug war-lord.

The aim of the film is to poke fun at Hollywood actors, producers and agents, with their big egos and insecurities. In addition, the movie spoofs the shameless avarice that creates life-less franchises and paint-by-numbers genre movies as star-vehicles. Most famously, the movie spoofs actors who try to win awards by doing something apparently earnest and issues-based – such as method-acting their way to Oscar by playing a mentally disabled person or an ethnic minority character. This is all good stuff, and I profoundly disagree with anyone who thinks that the movie is being racist by having a character wear black-face, or that the movie is being offensive by having another character play a mentally disabled character.

TROPIC THUNDER succeeds when it proposes an intelligent satire on Hollywood excess. Robert Downey Junior is superb in his nuanced portrayal of a method actor so far under-cover he’s lost himself. The movie also succeeds in its sheer balls-out excess. I defy anyone not to rejoice in Tom Cruise’s cameo as foul-mouthed, angry studio producer, dancing Usher-style and tempting Tugg’s agent (Matthew McConaughey in a brilliant performance). Some of the physical humour also works brilliantly. There’s a scene where a small kid gets tossed off a bridge that’s desperately funny.

TROPIC THUNDER fails miserably when, for the majority of its run-time, it moves down a notch from satire into spoof. Spoof is all well and good, but it’s frightfully thin and one-note. In other words, you can laugh once at Jeff Portnoy needing a fix, or Tugg Speedman being a stupid ass, but you can’t laugh at it again and again for a near 2 hour run-time. In fact, you could’ve lost the Portnoy character altogether. The ancillary characters are also poorly sketched. Poor Danny McBride – so hysterical in PINEAPPLE EXPRESS – is wasted here. Steve Coogan is given no funny lines as the rookie director. Nick Nolte is given nothing to do as the Vietnam vet. And the two characters who act as foils to the three big egos are also given little to do. Jay Baruchel makes the most of his part but poor Brandon T Jackson only exists in the movie as insurance. His character is basically there to diffuse the tension of having Robert Downey Junior dressed in black-face. It’s like the film-makers thought – a lot of African-American people watching this are going to want to slap Downey Junior, so let’s just put an African-American character on screen and have him to do it for them.

TROPIC THUNDER is on release in the US and Russia. It opens later in August in Australia, Iceland, Mexico and Estonia. It opens in September in Argentina, Hungary, Romania, Germany, Austria, Denmark, Finland, the UK, the Netherlands, Slovakia, Norway and Spain. It opens in October in Belgium, France, Venezuela, Singapore and Italy. It opens in November in Egypt.

James Franco is a revelation in PINEAPPLE EXPRESS

Much to our surprise, Chairman Phil and I laughed our asses off throughout PINEAPPLE EXPRESS. We'd both liked THE FORTY-YEAR OLD VIRGIN but more recent Apatow creations had been subject to the law of diminishing returns, culminating in the fatefully titled SUPERBAD. Added to that, the programme notes were full of pretentious wank from Apatow et al about what the movie was trying to do. Our hearts sank. I was unsure that any stoner movie could live up to the brilliance of LEBOWSKI or whether Seth Rogen would be able to exist on screen without annoying the frack out of me. Well, sometimes in cinema, it's wonderful to be wrong!

Of course, PINEAPPLE EXPRESS isn't as good as LEBOWSKI. Then again, it's not really what I would call a stoner movie. Okay, the two lead characters are a pot dealer and his client; they're on the lam after witnessing a drug-gang murder; and they're life problems stem from being wasted; and a lot of the humour rests on taking hits and driving while under the influence......But seriously, even after all that, this movie is really a spoof of cop-buddy-movies like LETHAL WEAPON and 48 HOURS. To that end, writers Seth Rogen and Evan Goldberg send up the inherent homo-eroticism in all buddy movies by making most of the characters ludicrously camp and having the kind of "aw, gee, gosh, I really love ya, buddy" conversations that never actually happen in real life!

The script is absolutely spot on - superbly funny at every turn. And in terms of the movie's technical aspects, you have to love the synth heavy pastiche 70s soundtrack. But what really lifts the film are the performances. This starts with a hysterical cameo by Bill Hader as a soldier in the 50s testing weed for the US government. Seth Rogen does his usual thing as a semi-functional dope smoker, but the scene-stealers are Danny McBride as the camp, drug-dealer Red, and James Franco as the drug-dealer Saul. James Franco is an absolute revelation in this role, and I can't help but feeling that his pin-up good looks have somewhat derailed his career into banal romantic roles, when in reality he should be a comedy star.

PINEAPPLE EXPRESS isn't a perfect comedy. The final shoot-out at the warehouse goes on way too long, and let's face it, despite the real attempt by the film-makers to show genuine stakes, we never really doubt how the movie's going to work out. But in the final scene in a diner, where the protagonists relive their experiences and joke about their scrapes, you realise just what a great time you've had.

PINEAPPLE EXPRESS is on release in the US and Australia. It opens in the UK on September 12th; in Iceland and Turkey on September 19th; in Estonia on October 3rd; in Finland on October 10th; in the Netherlands, Singapore and Venezuela on October 17th; in Germay, Russia and Sweden on October 24th; in Denmark on October 31st; in France on November 12th; in Egypt and Spain on November 19th; in Belgium, Argetina and Italy on November 26th.

Al's review of FORGETTING SARAH MARSHALL

FORGETTING SARAH MARSHALL is the latest romantic-comedy to bear the thumb-print of Judd Apatow (KNOCKED UP, THE 40 YEAR OLD VIRGIN). In true Apatow-style, a geek is dumped by his gorgeous girlfriend. He goes on holiday to forget her, only to land up in the same hotel as her and her ludicrous new boyfriend, a Brit rocker played by Russell Brand. Despite Judd Apatow's involvement, this movie is basically a debutante effort, from director Nicholas Stoller and writer-lead actor Jason Segel. So, let's check out what Al, our Asia-Pac correspondent, makes of it all.....

As screenwriter, Jason Segel's idea of a story is to basically make it as complicated as possible. There's hardly a moment in the story anyone pauses to genuinely think: they're all swaggering around in this giant move-about because something new happens every five minutes. A whole lot of noise: not much meaning.

It's not all bad. Some of the jokes worked, but for every one of those you had 20 stinker gags seriously testing an already bored and quiet audience. You get a heap of low ones like "You sound like the women on Rock of Love-"I'll KILL YOU"-jokes like these seriously question whether there were any standards when it came to writing jokes for the film. The best jokes were no doubt the small ones-slipped into conversations and having little to do with anything. When Segel aims big or tries to pull off situational comedy, I couldn't help flinching, thinking that maybe I had inadvertently walked into a bad Ben Stiller film.

Most of the characters are self-absorbed and obnoxious loudmouths. Jonah Hill & Jack McBrayer (who plays Kenneth in 30 Rock) gave bewilderingly humorless performances and were painful to watch. Plus it didn't look like they were enjoying themselves either. Kristen Bell (who played Veronica Mars brilliantly throughout its 3-season run) is totally devoid of sex appeal in this supposedly sexual role,and is frustratingly whiny and tool-like (appearing right when Segel seems to have come to terms with the break-up, just to inspire another "hilarious" love run-around. Jason Segel himself seems determined to thoroughly humiliate himself for humor, constantly doing dumb things to get the story going (often into new territory). The only characters inspiring real laughs were Paul Rudd's light-headed surfer and Russell Brand's pompous Brit rocker who were both consistently funny and entertaining.

With the amount of comedy talent attached, FORGETTING SARAH MARSHALL should've come out soaring, but the script's limp brand of humor was a damning curse - often immature and just plain unfunny. Also,the way the film goes bulldozing past things and never once considers developing on anything (that past 90 minutes, so many things have happened but it feels like story hasn't taken off). With a loose sense of purpose and no set of bearings, it falls way off the mark and doesn't come close to the ranks of Judd Appatow's previous efforts.

FORGETTING SARAH MARSHALL was released this weekend in Australia, Iceland and the USA. It opens next weekend in Hungary, Russia, Estonia and the UK. It opens in May in Norway and Sweden; in June in France, Italy, Belgium, Germany and Spain; in July in the Netherlands, Denmark and Singapore; in August in Turkey and Mexico and in Argentina in September.

SUPERBAD - 'nuff said

I thought I was going to LOVE Superbad. Puerile humour, geek gags - it's my thing. But to my surprise I found this teen gross-out comedy deeply deeply unfunny, implausible and occasionally offensive. The basic plot is that three high school students need to get their hands on some booze in order to impress and therefore score with hot chicks at a party. This is all fine - it's practically the staple of the teen comedy - geeks desperate to score. But what irked me was that none of the lead characters was remotely likeable in the way that John Hughes leads were always sympathetic. Michael Cera's Evan is weak-willed and ineffectual. Jonah Hill's Seth is just a selfish vulgarian: Cartman without the redeeming humour. Christopher Mintz-Plasse's Fogell has neither the comic timing nor the capacity to inspire sympathy in the way that Anthony Michael Hall's geeks always did. I don't particularly mind all the swearing either, except that it is to no effect. Seth wears a Richard Pryor T-shirt early on in the film and it just served to remind me how when Pryor swore it was because he was really really angry! Not just whining. I also found the menstrual blood gag to be plain unfunny and borderline offensive. So what can I say? I just don't understand the hype about this film.

SUPERBAD is on release in Canada, the USA and the UK. It opens in Australia, Portugal, Denmark, Italy, Sweden, Israel and Iceland later in September. It opens in Germany, Russia, Latvia, Slovakia, Slovenia, Brazil, Hungary, Singapore, Estonia, Spain, Belgium and France in October. It opens in the Netherlands, Finland, Turkey, Argentina and Norway in November.