Midnight in Paris

Director:Woody Allen
Starring: Owen Wilson, Rachel McAdams, Marion Cotillard, Kathy Bates, Adrian Brody, Carla Bruni, Michael Sheen, Alison Pil, Corey Stoll, Tom Hiddleston
Rating: PG-13
Running Time: 94 min.

★★★ (out of ★★★★)

Good news for the present. Someday it'll be the past and then people can finally appreciate it. That's essentially the message of Woody Allen's Midnight in Paris, the most financially successful film of his career, and yet another touching on what's emerged as 2011's recurring cinematic theme: Nostalgia. Whether it was the return of the 70's and 80's in Super 8, The Muppets and Drive, a call back to the silent movie era in films like Hugo and The Artist or a warning against the potential danger of living in the past in Young Adult, 2011 truly was the year we wished we could be in any time but 2011. So now it's Woody's turn and it's kind of unfortunate this carries the baggage of being his biggest moneymaker because now everyone will go in expecting something monumental. It isn't, nor does it signal this huge "comeback" you've been hearing about. In fact, Allen will never need a comeback since he's so inconsistent it would be impossible to tell if it happened. With an unmistakable emphasis on quantity over quality over the years, his output is so hit-or-miss it's almost maddening. More frustrating than that though is an inability to point to anything he specifically does wrong, despite the end result often being unremarkable. This is no exception, but at least it's enjoyable, boasts an interesting premise and features one of the better neurotic Allen protagonists. It's a nice, pleasant diversion. But that's about it.

The story centers on Gil Pender (Owen Wilson), a successful Hollywood screenwriter and wannabe novelist vacationing in Paris with his overbearing fiancee Inez (Rachel McAdams) and her wealthy, ultra-conservative parents (Mimi Kennedy and Kurt Fuller). While there, they run into Inez's former flame Paul (Michael Sheen), a pseduo-intellectual blowhard who arrogantly (and inaccurately) lectures them on Parisian art and history. Of course, Inez is smitten with him, which only enhances Gil's inferiority complex. After a night of drinking, Gil wanders the streets and is picked up at midnight by an antique car and driven to a party where he's magically transported to the 1920's. Given an opportunity to interact with major art and literary figures from his favorite era such as F. Scott and Zelda Fitzgerald (Tom Hiddleston and Alison Pill), Ernest Hemingway (Corey Stoll), Gertrude Stein (Kathy Bates), Cole Porter (Yves Heck) and Pablo Picasso (Marcial Di Fonzo Bo), things get complicated when he falls for Picasso's mistress Adriana (Marion Cotillard). Now he must sort out his present relationship difficulties with Inez and reconcile them with these magical midnight experiences in the past.

Owen Wilson is tremendous in this and maybe the most likable he's been yet in a leading role. He always exudes a goofy charm but here for a change it isn't masked by the sarcasm or smugness of the character he's playing. He's one of those actors we want to like as a comedy lead but because the low brow material he's often chosen it just hasn't come together for him yet. Here it does as he kind of gets to play the same slightly off-kilter, dorky regular guy he has been but in a more sophisticated story and setting. Much of the film's success hinges on how likable, naive and easy to relate to Gil is and Wilson delivers on all fronts, making this one of Allen's more surprisingly inspired casting choices. Beyond seeing Wilson in this type of a role, there isn't a whole lot that necessarily seems fresh, but most of it works anyway, especially the scenes set in the past. The big standout is Corey Stoll, whose movie stealing performance as Ernest Hemingway, however brief, accomplishes the feat of somehow capturing how we'd imagine the author would talk (i.e. exactly how he writes), making it feel authentic rather than a parody. And as Adriana, Marion Cotillard is mesmerizing to the point we'd question why Gil would even want to return to his current life. While the present storyline represents the same old tired Allen material of clearly mismatched lovers fighting all the time, but it's saved by a hilariously bitchy, against type turn by Rachel McAdams and Michael Sheen turning on the sleaze as the ex. Though we're kind of nailed over the head with it, the film's simple message of living for the present is a good one and Allen and Wilson have no problems selling it in the final act.
 
If this seems like an unenthusiastic recommendation that's because it is. The film will probably play best with diehard Woody Allen fans, literary and history buffs and elderly Oscar voters whose fingers are probably ready to fall off right now from checking it off in every possible category it can be nominated for. But it's definitely NOT a giant leap forward creatively for Allen in any way and exactly the same thing he's been doing for the past twenty years but in more international, worldly locations instead of New York. It's kind of disappointing no one's noticed, or if they have, don't seem to care. Maybe that's because he does it well and his movies (even at their worst) tend to be really entertaining in the most harmlessly enjoyable, inoffensive way. So it's a little frustrating when each new Woody Allen picture is treated as this "big event" when nothing he's done since the late 70's or early 80's has lingered in the mind longer than 24 hours after the credits have rolled. This, despite all the praise it's gotten, doesn't either. But it works for what it is. A couple of times in recent years Allen's deviated slightly from his usual template, but not enough to say he's taken any kind of a risk, which could also help explain how he's avoided a steep decline. Midnight in Paris is mildly delightful, but anyone still hoping for that Woody Allen "comeback" might just have to keep waiting.

Marley & Me

Director: David Frankel
Starring: Owen Wilson, Jennifer Aniston, Alan Arkin, Eric Dane, Kathleen Turner
Running Time: 115 min.
Rating: PG

★★★ (out of ★★★★)

SPOILER WARNING! THE FOLLOWING REVIEW REVEALS KEY DETAILS OF THE FILM'S PLOT

Consider yourself warned. The last 45 minutes of Marley & Me are excruciating to sit through, particularly if you've ever owned a dog at any point during your life. If you're like me and haven't, then the last 45 minutes are still excruciating to sit through. It's been promoted as a warm and fuzzy family comedy (which it mostly is) but boy is it sad. You could also call it shameless, manipulative fluff but doing that would completely miss the point. The film has only one goal: Show how dogs can positively impact and sometimes even change our lives. So, to that end, it's an unqualified success.

Whenever someone shows me a photo of their dog it always amazes me how their face lights up as they tell stories about the canine as if it were their own child. Since I've never had one I'll never fully understand that feeling, but I imagine this movie does a pretty good job capturing it. The emotions it explores are very real and it's a safe bet anyone with a beating heart will be moved by this story. There is one charming lead human performance (as well as a really bland one) but nothing else in the picture matters except the dog. And that's how it should be. They really are man's best friend and this movie is a great reminder why.

Based on the beloved, best-selling memoir by Philadelphia Inquirer columnist John Grogan, the film explores what happens when John (Owen Wilson) gives wife Jennifer (Jennifer Aniston) a puppy for her birthday upon their arrival at their new home in South Florida. They name "Marley." Yes, after Bob Marley. Both are hired by competing newspapers as reporters, but at the behest of his editor (Alan Arkin, cranky as always) John takes on a new role as a humor columnist, poking fun at everyday life. Marley turns out to be the dog from hell, a disobedient terror who chews on furniture, eats answering machines and is impossible to control, making great fodder for the column but putting loads of stress on their marriage. When John and Jenny decide to have children the dog becomes an important part of their lives too as the film spans 14 years, even if I'm not entirely sure what that converts to in dog years.

Owen Wilson's laid back, down-to-Earth performance grounds everything, reminding us just how likable he is in the right role. He even kind of even reminds you of a shaggy dog with his appearance which could help explain why he seems right at home opposite the 22 dogs that played Marley. It isn't easy sharing screen time with animals but he makes it look effortless and he shares many surprisingly moving scenes with Marley in the final act. Besides carrying the entire load of the picture he also shares as decent chemistry as is possible with Aniston, who's as bland as ever. Whereas Wilson was hired for what he'd bring to the role, Aniston was only cast because they thought a "big name" would put audiences in seats, which is ironic considering she's never drawn at all at the box office nor given a single performance suggesting she should be known for anything other than posing nude on a magazine cover to promote a family film.

What's funniest is when this opened against The Curious Case of Benjamin Button on Christmas weekend the media hyped it as the latest "battle" between Brad and Jennifer. Too bad they forgot to take into account that Pitt was starring in an epic period film spanning decades where he had to play a character at different ages and act against heavy make-up and visual effects. Aniston is playing a housewife in a dog movie... and not even particularly well. While not actively terrible, she adds nothing to the role and just about any other random actress could have done more with it. Her "star" presence is more of a distraction and she was obviously cast as some kind of olive branch to wronged housewives everywhere who studio executives thought could be the target audience for the picture. Worse yet, the character is a nag who hates the dog and complains about everything. The script blames it on postpartum depression but Aniston just goes all out and practically plays her as a complete bitch. I was waiting for the guy to leave her for Angelina.

Kathleen Turner has a brief cameo as a dog trainer while Grey's Anatomy's Eric Dane is John's best friend Sebastian. He's competent in a part that requires absolutely nothing. He's not necessarily believable as a highly successful reporter (if there is such a thing anymore) but after seeing Kate Bosworth as a Pulitzer Prize winner in Superman Returns I'm willing to buy just about anything. It makes you long for the days where the title of "reporter" or "journalist" commanded respect and a high paying salary, even if I'd question whether it was ever high paying enough for John and his wife to afford that house they live in. But this is still supposed to be a romantic comedy so we'll let that one slide.

What happens in the last hour has to be one of the worst kept movie secrets of 2008. It seemed as if every time I turned on the television or read a review a critic would state it was so sad and they cried their eyes out but they just "can't reveal what happens." Gee, I wonder. Didn't they just do exactly that? Well, I'll be upfront with you, extend the courtesy of a BIG SPOILER and flat-out out tell you that the dog passes away. And he doesn't just pass away, he passes away slowly and agonizingly for nearly an hour straight. But as painful as that is to watch I don't think the film would have been as effective without it. It's the last leg of this dog's journey and even though the sentiment and schmaltz is poured on as thick as maple syrup by director David Frankel, it's well earned and mostly kept in check.

Marley may be the "world's worst dog" but they come to accept him as that and eventually learn to appreciate him, faults and all. It sounds corny when I say it but the surprisingly sharp script from veteran screen scribes Scott Frank and Don Roos mostly avoid cliches to make the story as much about the trials of marriage and parenthood as the dog. Despite my problems with Aniston's non-performance I will say John and Jenny's relationship feels genuine and not like it's out of a bad sitcom. The film isn't laugh out loud funny but it's filled with many real life moments dog owners and parents will probably giggle at. There's a lot to relate to here, whether you've had kids, a pet, or even neither. If you love dogs you'll love Marley & Me. If you don't love dogs, you will when it's over. And no I wasn't crying. Something just got in my eye.

You, Me and Dupree

Directors: Anthony and Joe Russo
Starring: Owen Wilson, Kate Hudson, Matt Dillion, Michael Douglas, Seth Rogen
Running Time: 108 min.
Rating: PG-13

*** (out of ****)

Over the past month I've had the pleasure (or in one case the displeasure) of sitting through the comedies Nacho Libre, Accepted and now You, Me and Dupree. If you had told me a month ago that You, Me and Dupree would easily be the funniest and best of the three I'd say you were insane. But it is. It takes a realistic, relatable premise and mines comic gold from it proving that good comedies work if we like the characters and don't mind spending two hours with them, no matter how stupid they may be. It's also the first time Owen Wilson pretty much has a movie all to himself and boy does he ever take advantage of it. More importantly, it marks the first time in six years Kate Hudson is in a movie that's any good and gives us a peek again of the qualities that made her so memorable in Almost Famous. It's great seeing four very talented big name actors having such a good time.

Things couldn't be better for Carl Peterson (Matt Dillion) and Molly Thompson (Hudson). They just got married in a beautiful ceremony in Hawaii, Carl was given a huge promotion at his land development job by Molly's dad (a hilariously deadpan Michael Douglas) and they're all set to start their new lives together. There's only one problem: Randy Dupree (Wilson). Carl's infantile best friend was just fired from his job and living in a cot at the local bar when Carl suggests he move in with him and Molly. With moose head in hand Dupree crashes at their place promising to get out as soon as he lands a new job. Initially this is a good idea, until they discover Dupree is the most annoying, insane individual anyone could ever possibly have in their home. He's essentially the houseguest from hell.

Throughout the course of this film we witness Dupree do the following: Stop up the toilet, sleep bare-ass in their living room, change their answering machine message, masturbate to Asian porn, do unspeakable things involving butter and the school librarian on the couch, build a skate ramp in the front yard, and burn down half their house. All of this makes Dupree sound like he's a sick, depraved human being, but the beauty of the movie is that he's not. The way Wilson plays him you can't help but like the guy and you understand why they'd give him chance after chance. He's like a grown-up kid who's just trying to help and has no idea what he's doing wrong. When Carl suspects Dupree is moving in on his wife the movie takes an interesting and smart turn. Pretty soon Carl and Molly are forced to face the facts that Dupree isn't the problem with their marriage at all. Let's face it: Any guy married to Kate Hudson who feels the need to house a giant collection of Asian porn deserves to be called out on it. Dupree's the best friend he's got. It would have been easy for a lesser comedy to portray Dupree as jealous loser trying to wreck Carl's marriage.

One of the funniest sub-plots involves Michael Douglas, as Molly's dad, wanting Carl to have a vasectomy and insanely urging him to take Molly's last name when they're married. This leads to one of the best jokes of the movie when Carl walks to his office and the door reads: "Carl Peterson-Thompson." Admit it, that's pretty funny. I loved the way Douglas played the character completely straight as he made these ridiculous requests and the put upon look Matt Dillion had on his face the entire film. It reminded me that Douglas, while a great dramatic actor, also has a dry sense of humor that works well in comedies. He should do more of them.

It was so great to fnally see Hudson playing an energetic, exciting, interesting character again. These are exactly the kinds of roles she should be taking instead of depressing dreck like The Skeleton Key. The movie does commit the crime of underusing the hilarious Seth Rogen (The 40-Year-Old Virgin) and having an ending that's contrived and sappy, but honestly, the movie does kind of earn it. I should mention there's a dream sequence in this movie featuring a cameo from Lance Armstrong that literally had me on the floor in pain I was laughing so hard. Nearly everything in this works and that's in no small part due to the efforts of the actors who are all at the top of their games here. With all the crappy comedies out there these days it's a nice change to see one that's, you know, actually funny.