Year: 2010
Director: Jon Favreau
Screenplay: Justin Theroux
Starring: Robert Downley jr, Gwyneth Paltrow, Don Cheadle, Sam Rockwell, Micky Rouke, Samuel L Jackson, Scarlett Johansson
I was talking to a friend (whose forgotten more about movies than I'll ever know) over the weekend about the marketing of Iron Man 2. He was quite surprised that heading into May (Summer Blockbuster territory) and the opening of the biggest film of the year (at the present moment), that the advertising seems a little lackluster. I hadn't really noticed because, being at the cinema almost constantly I've seen the trailer more than enough times. But in terms of promotions and tie ins, it has felt a little light on that aspect. He concluded that it's very interesting for an "event" movie to be released mostly on the basis that you liked the first film these days and I agree. I mean even Transformers 2 had Micheal Bay bemoaning the marketing of the movie despite the fact that it made shitloads of cash.
Advertising or no, it's safe to say that I really enjoyed the second chapter of the Iron man story. While the first Iron Man film was a very well crafted origin story (which surprised many who didn't expect much), this next entry puts more at stake, builds upon the already nicely defined characters and brings about actions scenes that are not only bigger than the previous film, but also more exciting. The film has some unfortunate cute moments (did we need THAT kid in the third act), and the second act at can feel a little stagnant, with the Warhammer vs Iron Man scene is obviously put in place to break up all the talking. However, for me the films faults were pretty minimal, considering some of the other perils that Favreau had to avoid.
Yes Iron Man 2 had to deal with such hazards like too-many-characters-syndrome. A common problem which has help take out other movies such as say Batman and Robin. Characters take a back seat but that didn't faze me. The film concentrates on the character of Stark and his wavering mortality. It highlights and advances certain relationships, but doesn't focus too hard on them, and for me this works. We don't get a top heavy feature a la Spiderman 3 in which we have everyone fighting for screen time, but a film in which characters neatly fit into the plot when needed and never overstay their welcome. I was never bothered that we hadn't seen enough of someone if they were off screen. The film does a good juggling act with so many characters.
With this said, it is called Iron Man 2 and Robert Downley jr isn't going to allow this movie to run away from him. He revels in Justin Theroux's (Tropic Thunder) sharply written banter and his facial tics and energy make sure that there's never a dull moment on the screen. The flaws of Tony Stark are brought to the surface this time around and it's the strength of an actor like him that makes this ovie tic. Your with him when he jokes and your with him at his moments of weakness. The clash of Starks swagger and his impending mortality is something your just don't get with Bruce Wayne and Batman. Such a conflict is warmly welcome.
This is not to say that the supporting cast don't get a say. Gwyneth Paltrow is a great foil to the eccentric antics of Downley jr, while the new casting of Don Cheadle is a welcoming change. Scarlett Johansson is mostly here for eye candy, but still brings a stronger display than this role than in some her recent films. I not only enjoyed the casting of Sam Rockwell and Micky Rourke but I also loved the banter and the threat they posed. The idea of bringing two villains together to kill the legacy of the hero? Far more interesting than merely killing the man. And the small cameo from Garry Shandling? Nicely done.
The first Iron Man surprised people who didn't expect too much from the material and what many got was a more colourful alternative to Batman. The second film doesn't match the scope of The Dark Knight, but as an expansion of Marvel universe as well as the Iron Man saga, this was an exciting watch.
Thursday, 29 April 2010
Monday, 26 April 2010
Review: Extract
Year: 2009 (U.K. release date)
Director: Mike Judge
Screenplay: Mike Judge
Starring: Jason Bateman, Mila Kunis, Kristen Wiig, JJ Simmonds, David Koechner
Synopsis is here
Some of the reviews I've read, remark the characters of Extract as archetypes or even stereotypes, and to this I do agree. These caricatures are pretty one note, and like a proverbial
Wild E Coyote, they ain't the sharpest scalpels for the surgery. However, Judge's talent is his ability to give these cutouts that uneasy sense of familiarity despite their apparent flatness. In the same way that teenagers (and adults) "got" Beavis and Butthead despite their lack of dimension, Extract gives us dopey gigolos, lazy middle aged racists and druggy bartenders that not only had me nodding in recognition but laughing often.
Be it tv shows or movies Judge's timing and pacing has always been key to getting the most out his jokes. For me it's never been the dialogue that's attracted me to Judges work, but the extra half a beat he'll place on a characters reaction that got a reaction out of me as a viewer. There's also an element of reality Judge manages to extract from those moments and help bring out humor of the air headed views and decisions of the characters on screen. Watch how these people look when they're working things out in their head, the screws are turning as slow as their thinking. It's an amusing watch.
Many film writers are comparing this to Judges cult hit Office Space, however, they shouldn't. While similarities surface between the two, Extract is a film that deals with ignorance within communication. While Office Space is a satire of the daily grind, how it effects us and our escapism fantasies, Extract deals with ignorance within communication. From the early scenes involving Mila Kunis' drifting criminal being drooled over by two young "suitors" to Joel's (Bateman again back in great Micheal Bluth form) constantly frustrating conversations with his next door neighbor Nathan (an hilarious David Koechner).
If they're not listening then they're not talking; as Joel manager of an extract bottling plant can't even talk to his wife (another nicely noted display from Kristen Wiig) about their lack of sex life. Much like the extract he sells, Joel is packed up too tight to actually give himself relief and would rather listen to the drug hazed jabbering of his bartender friend (a delightfully dopey Ben Affleck) than sit and do the simple thing. The lack of communication slowly turns to farce and all because is waiting for their time to speak. In the factory this ignorance leads to smashed bottles, outside the factory, it leads to affairs with fake pool cleaners. I do enjoy the material.
Once again Mike Judge delivers a film that may find its fans on the DVD market and for me deserves more than just one watch. The easy going and light feel is a shell for another sharp look at how misguided we can be as people be it work or at home. Stupid people don't notice there's something wrong until there's a mess on the floor. Extract gives us plenty of mess, both literally and symbolically.
Director: Mike Judge
Screenplay: Mike Judge
Starring: Jason Bateman, Mila Kunis, Kristen Wiig, JJ Simmonds, David Koechner
Synopsis is here
Some of the reviews I've read, remark the characters of Extract as archetypes or even stereotypes, and to this I do agree. These caricatures are pretty one note, and like a proverbial
Wild E Coyote, they ain't the sharpest scalpels for the surgery. However, Judge's talent is his ability to give these cutouts that uneasy sense of familiarity despite their apparent flatness. In the same way that teenagers (and adults) "got" Beavis and Butthead despite their lack of dimension, Extract gives us dopey gigolos, lazy middle aged racists and druggy bartenders that not only had me nodding in recognition but laughing often.
Be it tv shows or movies Judge's timing and pacing has always been key to getting the most out his jokes. For me it's never been the dialogue that's attracted me to Judges work, but the extra half a beat he'll place on a characters reaction that got a reaction out of me as a viewer. There's also an element of reality Judge manages to extract from those moments and help bring out humor of the air headed views and decisions of the characters on screen. Watch how these people look when they're working things out in their head, the screws are turning as slow as their thinking. It's an amusing watch.
Many film writers are comparing this to Judges cult hit Office Space, however, they shouldn't. While similarities surface between the two, Extract is a film that deals with ignorance within communication. While Office Space is a satire of the daily grind, how it effects us and our escapism fantasies, Extract deals with ignorance within communication. From the early scenes involving Mila Kunis' drifting criminal being drooled over by two young "suitors" to Joel's (Bateman again back in great Micheal Bluth form) constantly frustrating conversations with his next door neighbor Nathan (an hilarious David Koechner).
If they're not listening then they're not talking; as Joel manager of an extract bottling plant can't even talk to his wife (another nicely noted display from Kristen Wiig) about their lack of sex life. Much like the extract he sells, Joel is packed up too tight to actually give himself relief and would rather listen to the drug hazed jabbering of his bartender friend (a delightfully dopey Ben Affleck) than sit and do the simple thing. The lack of communication slowly turns to farce and all because is waiting for their time to speak. In the factory this ignorance leads to smashed bottles, outside the factory, it leads to affairs with fake pool cleaners. I do enjoy the material.
Once again Mike Judge delivers a film that may find its fans on the DVD market and for me deserves more than just one watch. The easy going and light feel is a shell for another sharp look at how misguided we can be as people be it work or at home. Stupid people don't notice there's something wrong until there's a mess on the floor. Extract gives us plenty of mess, both literally and symbolically.
Sunday, 25 April 2010
Review: Centurion
Year: 2010
Director: Neil Marshall
Screenplay: Neil Marshall
Starring: Micheal Fassbender, Dominic West, Olga Kurylenko
Synopsis is here
If there's one thing i love about Neil Marshall, it's that he's not afraid to get his hands dirty, and Centurion once again has the man jumping back into the bloodbath with a claret covered tale about the 9th Legion, the roman military unit who disappeared during Romes invasion of Britain. Don't expect too much of a complex narrative to tell (this is Neil "Dog Soldiers" Marshall) this is Gladiators wilder and more feral cousin. It's a straight up, streamlined, men on a mission flick which doesn't shy away from brutality.
Marshall, a British, writer/director that I'm particularly fond of, has once again gone back into what he would like to see in a simple action thriller and brought it to the forefront. The pacing is tight, it's set pieces have some nice moments to them (usually involving a beheading) and what more interesting (to me any way) is that the characters in the film have the comradeship that was sorely missing from bigger budgeted movies such as...clash of the titans.
Yes this is a movie in which the general of the legion drinks (heavily) with his men before starting a bar brawl and when dying means dying together. This kinship within the characters is one the strong spurs which drive the movie forward and kept me interested...as well as the balls to the wall gore. Marshall has written this film with a modern audience in mind and shows us a group of soldiers that interact like a group of soldiers would. While certain films like to believe that films of a certain period were full of well spoken British actors who wouldn't dare speak a word out of place; Marshall's script has a rough, workman like feel to the proceedings with its loutish swearing and banter. At first it felt little off, and I thought to myself "why would it?" In fact Marshall's idea not only modernizes the film but it helps us connect with the characters with it's "just-like-us" mentality. While I don't swear like a sailor to everything, the idea that these soldiers come from a more blue collar circle, fits the surroundings more than one would think.
Casting wise, Marshall mostly hits home, as these character actors are not only on the right side of rugged, but also help put across the workman nature of the piece. Actors like Liam Cunningham and JJ Field who show up put in small but solid turns that help pad the film out. Noel Clarke unfortunately hits a bum note, not due to effort but more down to miscasting, as his voice is just a little too "kidulthood" to be truly believable. Olga Kurylenko unfortunately says nothing in this film and there's a slight inkling that either a man or woman could play the role. She does however do the action well and still has enough charm in her silence to push the idea that she is revenge incarnate.
Of course the leads however, are leads for a reason and the placement of Dominic West as the raw edged Titus and Micheal Fassbender's wonderfully reluctant Quintus are perfect. Fassbender in particular once again shows that he is one of the most interesting new actors on the scene with a display that is miles away from his turn in Inglorious Basterds and not at all like his intense role in Fish Tank. Here he shows that he doesn't just carry scenes, but whole films.
Fans of Marshall's earlier work will be happy again here as once again his set pieces are solid, tight sequences that revel in their bloodiness. They're are visceral, realistic and wouldn't look out of place in a good horror film. It is also Marshall's best looking film, utilizing all of the surroundings to emphasize the isolation and wildness of the land. Although at time you will wonder (like the soldiers) how do certain characters find each other...
However if your thinking that after the movies finished and your on the way home, then the directors work is done and you were far too focused on the guts, gore and viscera to care. Marshall once again shows that when it comes to Brit flicks, he is our B movie man and if anyone can bring us something different to our usual gravitas to Rom-coms and kitchen sink dramas, it's him...when Shane Meadows is busy*.
NOTE: This may be the only film about Roman's that has a reference to Under Siege.
*Not counting Kick-ass...lol.
Director: Neil Marshall
Screenplay: Neil Marshall
Starring: Micheal Fassbender, Dominic West, Olga Kurylenko
Synopsis is here
If there's one thing i love about Neil Marshall, it's that he's not afraid to get his hands dirty, and Centurion once again has the man jumping back into the bloodbath with a claret covered tale about the 9th Legion, the roman military unit who disappeared during Romes invasion of Britain. Don't expect too much of a complex narrative to tell (this is Neil "Dog Soldiers" Marshall) this is Gladiators wilder and more feral cousin. It's a straight up, streamlined, men on a mission flick which doesn't shy away from brutality.
Marshall, a British, writer/director that I'm particularly fond of, has once again gone back into what he would like to see in a simple action thriller and brought it to the forefront. The pacing is tight, it's set pieces have some nice moments to them (usually involving a beheading) and what more interesting (to me any way) is that the characters in the film have the comradeship that was sorely missing from bigger budgeted movies such as...clash of the titans.
Yes this is a movie in which the general of the legion drinks (heavily) with his men before starting a bar brawl and when dying means dying together. This kinship within the characters is one the strong spurs which drive the movie forward and kept me interested...as well as the balls to the wall gore. Marshall has written this film with a modern audience in mind and shows us a group of soldiers that interact like a group of soldiers would. While certain films like to believe that films of a certain period were full of well spoken British actors who wouldn't dare speak a word out of place; Marshall's script has a rough, workman like feel to the proceedings with its loutish swearing and banter. At first it felt little off, and I thought to myself "why would it?" In fact Marshall's idea not only modernizes the film but it helps us connect with the characters with it's "just-like-us" mentality. While I don't swear like a sailor to everything, the idea that these soldiers come from a more blue collar circle, fits the surroundings more than one would think.
Casting wise, Marshall mostly hits home, as these character actors are not only on the right side of rugged, but also help put across the workman nature of the piece. Actors like Liam Cunningham and JJ Field who show up put in small but solid turns that help pad the film out. Noel Clarke unfortunately hits a bum note, not due to effort but more down to miscasting, as his voice is just a little too "kidulthood" to be truly believable. Olga Kurylenko unfortunately says nothing in this film and there's a slight inkling that either a man or woman could play the role. She does however do the action well and still has enough charm in her silence to push the idea that she is revenge incarnate.
Of course the leads however, are leads for a reason and the placement of Dominic West as the raw edged Titus and Micheal Fassbender's wonderfully reluctant Quintus are perfect. Fassbender in particular once again shows that he is one of the most interesting new actors on the scene with a display that is miles away from his turn in Inglorious Basterds and not at all like his intense role in Fish Tank. Here he shows that he doesn't just carry scenes, but whole films.
Fans of Marshall's earlier work will be happy again here as once again his set pieces are solid, tight sequences that revel in their bloodiness. They're are visceral, realistic and wouldn't look out of place in a good horror film. It is also Marshall's best looking film, utilizing all of the surroundings to emphasize the isolation and wildness of the land. Although at time you will wonder (like the soldiers) how do certain characters find each other...
However if your thinking that after the movies finished and your on the way home, then the directors work is done and you were far too focused on the guts, gore and viscera to care. Marshall once again shows that when it comes to Brit flicks, he is our B movie man and if anyone can bring us something different to our usual gravitas to Rom-coms and kitchen sink dramas, it's him...when Shane Meadows is busy*.
NOTE: This may be the only film about Roman's that has a reference to Under Siege.
*Not counting Kick-ass...lol.
Review: The Joneses
Year: 2009 (2010 UK release)
Director: Derrick Borte
Screenplay: Derrick Borte
Starring: David Duchovny, Demi Moore, Amber Heard, Ben Hollingworth, Gary Cole
Synopsis is here
NOTE: This review may give away a touch of the films "twist", HOWEVER, the trailer alone gives away much of the film so it might not be that much of a surprise.
Bit of a surprise for me this one. The trailer was pretty unassuming, the leads haven't been seen in any recent movie of note, I had never heard of the director and I felt I knew too much about the movie before I went into it. Bad Times.
Not so however, as The Joneses was quite an interesting watch despite the movie slightly losing it's nerve near the end. It's not angry film, but it's shot with enough cynicism to feel quite squirmy at times. Borte (an advertising man, so I've read) has eye for the subject matter and he quickly sets up the cloak of smoke and mirrors with well placed shots of characters in front of mirrors. Nothing too subtle, but it sets the mind working and helps push the ideas through.
As an veiled attack on marketing, at times the Joneses does quite well. As we settle into the idea of the plastic family, one slowly begins to wonder how easy this could be to be placed into practice and how easily lead we would be to such a design. Borte's scenes at times are both quietly droll and unsettling at the same time. The focus on the teens worked best with me, with both teenagers being beyond good looking (one of them the ridiculously hot Amber Heard). The scenes quickly set these characters up as popular and then trendsetters, and have a touch of realism about it, mostly because the teens being targeted at just right to be plucked and a quick smile and chat could easily have them gasping for what these guys want. With this said there's a nice battle set up between the lead character Steve (Duchovny) and Larry (very watchable Gary Cole) leads to a climax that is (once again) not subtle but still very timely and hits the nail on the head.
There are issues however, with the film, such as the movies product placement, which is pushed to the forefront due to the films story. Problem is of course it also serves as nice set up for whatever the brand is that is lucky enough to be placed in the forefront. Awkward as that may sound considering the subject matter, it is not as not as bad as the films latter moments in which emotional response does battle with Hollywood cookie cutter film production. You get the feeling that the film could push this material all the way, however it recedes and plays the film safer than it should have, but then how far could the film push, considering the position it's put in.
With this said, the film's performances keep enough fuel in the tank, until the films last moments and the well picked choices of Demi Moore and David Duchovny are a refreshing change from the typical A list choices that could have been picked for this endeavor. Kudos also goes to Amber Heard, who clearly has a little teen wild child role. One low note would be Ben Hollingsworth, who becomes pretty anonymous when the film really comes to the crunch.
As a whole, The Joneses has it's moments and is more than playful enough with them. It had enough wit to keep me grinning and sharp enough to keep me involved and engaged. I'm sure my brain will push out this movie come next week when I get to see Iron Man 2, but until then The Joneses will remain an interesting watch with a nice concept.
Director: Derrick Borte
Screenplay: Derrick Borte
Starring: David Duchovny, Demi Moore, Amber Heard, Ben Hollingworth, Gary Cole
Synopsis is here
NOTE: This review may give away a touch of the films "twist", HOWEVER, the trailer alone gives away much of the film so it might not be that much of a surprise.
Bit of a surprise for me this one. The trailer was pretty unassuming, the leads haven't been seen in any recent movie of note, I had never heard of the director and I felt I knew too much about the movie before I went into it. Bad Times.
Not so however, as The Joneses was quite an interesting watch despite the movie slightly losing it's nerve near the end. It's not angry film, but it's shot with enough cynicism to feel quite squirmy at times. Borte (an advertising man, so I've read) has eye for the subject matter and he quickly sets up the cloak of smoke and mirrors with well placed shots of characters in front of mirrors. Nothing too subtle, but it sets the mind working and helps push the ideas through.
As an veiled attack on marketing, at times the Joneses does quite well. As we settle into the idea of the plastic family, one slowly begins to wonder how easy this could be to be placed into practice and how easily lead we would be to such a design. Borte's scenes at times are both quietly droll and unsettling at the same time. The focus on the teens worked best with me, with both teenagers being beyond good looking (one of them the ridiculously hot Amber Heard). The scenes quickly set these characters up as popular and then trendsetters, and have a touch of realism about it, mostly because the teens being targeted at just right to be plucked and a quick smile and chat could easily have them gasping for what these guys want. With this said there's a nice battle set up between the lead character Steve (Duchovny) and Larry (very watchable Gary Cole) leads to a climax that is (once again) not subtle but still very timely and hits the nail on the head.
There are issues however, with the film, such as the movies product placement, which is pushed to the forefront due to the films story. Problem is of course it also serves as nice set up for whatever the brand is that is lucky enough to be placed in the forefront. Awkward as that may sound considering the subject matter, it is not as not as bad as the films latter moments in which emotional response does battle with Hollywood cookie cutter film production. You get the feeling that the film could push this material all the way, however it recedes and plays the film safer than it should have, but then how far could the film push, considering the position it's put in.
With this said, the film's performances keep enough fuel in the tank, until the films last moments and the well picked choices of Demi Moore and David Duchovny are a refreshing change from the typical A list choices that could have been picked for this endeavor. Kudos also goes to Amber Heard, who clearly has a little teen wild child role. One low note would be Ben Hollingsworth, who becomes pretty anonymous when the film really comes to the crunch.
As a whole, The Joneses has it's moments and is more than playful enough with them. It had enough wit to keep me grinning and sharp enough to keep me involved and engaged. I'm sure my brain will push out this movie come next week when I get to see Iron Man 2, but until then The Joneses will remain an interesting watch with a nice concept.
Friday, 23 April 2010
Review: Date Night
Year: 2010
Director: Shaun Levy
Screenplay: Josh Klausner
Starring: Steve Carell, Tina Fey
Synopsis is here
I HATE safe movies! Blegh, the worst thing about safe movies like this is the middling reviews I write for them after I've seen them. I deal with extremes; good or bad, that's how it works with me. Date night has decided to stick it's tongue out and sit in the middle, lounging between interesting and irritating. Some critics have said it's good, others have said otherwise and for me, the film gyrates between the two. Date Night is one of those unassuming movies that merely exists for it's opening weekend before (presumably) evaporating into the either. A date movie you can take in on a Friday night with someone before you can address more pressing matters like their place or yours.
Starring two of the biggest comic actors on television at the current time; Date Night believes that overusing Fey's and Carell's usual shtick will guarantee laughs throughout the whole movie. Not so. As much as I enjoy the two performers on display and I did laugh sporadically throughout the duration, there just wasn't enough material to make this thing a truly memorable comedy. While I was happy that this movie wasn't clearly targeted at the frat boy/man child audiences that many Steve Carell films appear to be aiming for, there's only so much of that Carell shouting-the-obvious-with-a-straight-face-thing I can take. Fey is a different creature altogether, a talented writer (30 Rock, Mean Girls) and a actress with great comic timing, it's a shame that her best moments are the ad-libbed outtakes during the credits. Fey here is muted somewhat and while she is still an amusing watch, you are constantly wondering what SHE would do with the material and not Josh Klausner (Sherk 3, 4).
However, what the two do have is Chemistry and while the material isn't their best, the relationship that is shared is believable and at times sweet. It's watchable enough to get you through some of the weaker jokes that the film spews up.
Although director Shaun Levy doesn't go mad with the visuals or story telling in any way, he does manage to put together some nice scenes that work well with Fey and Carell. The short scene with James Franco and Mila Kunis is silly little diversion, while the centerpiece of the film -a car chase involving conjoined cars, is more enjoyable than it should be. Also, despite some of the films more "cheesier" moments, Date Night feels at times that the film could be aimed towards a more "adult" audience. I say that last line hesitantly but honestly, this isn't anchorman and despite being silly, the idea of a marital couple stuck in routine isn't really subject matter for Anchorman fans. Date Night takes note of that and if it wasn't for some of the jokes, this could have easily been aimed at the "older" market.
It's this unevenness that really upsets Date Night. At times it's feels like it should be targeted towards the tired couples it mimics, but is filled with jokes that may be a tad immature for them. The lead couple are fun, but don't stretch themselves at any point, and despite some OK moments (with one or two laugh out loud jokes), this is a film that even fans of Fey and Carell could easily miss with not too much worry. Those looking for after hours action should go back to it.
Director: Shaun Levy
Screenplay: Josh Klausner
Starring: Steve Carell, Tina Fey
Synopsis is here
I HATE safe movies! Blegh, the worst thing about safe movies like this is the middling reviews I write for them after I've seen them. I deal with extremes; good or bad, that's how it works with me. Date night has decided to stick it's tongue out and sit in the middle, lounging between interesting and irritating. Some critics have said it's good, others have said otherwise and for me, the film gyrates between the two. Date Night is one of those unassuming movies that merely exists for it's opening weekend before (presumably) evaporating into the either. A date movie you can take in on a Friday night with someone before you can address more pressing matters like their place or yours.
Starring two of the biggest comic actors on television at the current time; Date Night believes that overusing Fey's and Carell's usual shtick will guarantee laughs throughout the whole movie. Not so. As much as I enjoy the two performers on display and I did laugh sporadically throughout the duration, there just wasn't enough material to make this thing a truly memorable comedy. While I was happy that this movie wasn't clearly targeted at the frat boy/man child audiences that many Steve Carell films appear to be aiming for, there's only so much of that Carell shouting-the-obvious-with-a-straight-face-thing I can take. Fey is a different creature altogether, a talented writer (30 Rock, Mean Girls) and a actress with great comic timing, it's a shame that her best moments are the ad-libbed outtakes during the credits. Fey here is muted somewhat and while she is still an amusing watch, you are constantly wondering what SHE would do with the material and not Josh Klausner (Sherk 3, 4).
However, what the two do have is Chemistry and while the material isn't their best, the relationship that is shared is believable and at times sweet. It's watchable enough to get you through some of the weaker jokes that the film spews up.
Although director Shaun Levy doesn't go mad with the visuals or story telling in any way, he does manage to put together some nice scenes that work well with Fey and Carell. The short scene with James Franco and Mila Kunis is silly little diversion, while the centerpiece of the film -a car chase involving conjoined cars, is more enjoyable than it should be. Also, despite some of the films more "cheesier" moments, Date Night feels at times that the film could be aimed towards a more "adult" audience. I say that last line hesitantly but honestly, this isn't anchorman and despite being silly, the idea of a marital couple stuck in routine isn't really subject matter for Anchorman fans. Date Night takes note of that and if it wasn't for some of the jokes, this could have easily been aimed at the "older" market.
It's this unevenness that really upsets Date Night. At times it's feels like it should be targeted towards the tired couples it mimics, but is filled with jokes that may be a tad immature for them. The lead couple are fun, but don't stretch themselves at any point, and despite some OK moments (with one or two laugh out loud jokes), this is a film that even fans of Fey and Carell could easily miss with not too much worry. Those looking for after hours action should go back to it.
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