I watched two films on the way to New Zealand.
I was shocked how much I like Paul. I was looking forward to it when it was being released, but things didn’t quite work out and then, the response was muted at best.
I really enjoyed the tone of the piece, more so than in the previous Pegg/Frost films, which I have liked, but not loved them the way some do. These two middle-aged geeks reminded me of real middle-aged geeks… self-aware, but still engaged and hopeful.
I really liked the balance of these guys against Bill Hader and Joe Lo Truglio, who like our geek heroes, are really on the outs while they feel like they are insiders.
I liked Kristin Wiig’s Ruth Buggs, whose evolution via Paul was inevitable, but still worked pleasantly for me.
That’s really the thing… here are these guys… on this stupid trip… and they meet an alien… and they get over it in a second and just keep rolling along. It was like The Muppet Movie with an alien.
Speaking of which, it was one of my favorite Seth Rogen performances because he wasn’t encumbered by his look, which in the movies is a real thing. Using just his voice, his Paul could go from being stoner laid back to cocky to mean to arrogant to sweet as sugar and just keep going. I liked the integration of the CG character into the film and found it reasonably seamless… as though Greg Mottola was directing a guy in a suit on the set and didn’t really change much to accommodate him.
No doubt, it may have seemed more flawed on a screen 50x bigger than other one I viewed it on. But I mostly grinned through the whole thing, utterly entertained.
Flip side, maybe a theater would have helped Source Code for me.
I didn’t hate the movie. How can one hate the movie. And I racked my brain to remember why anyone would be remotely upset – or interested in – Jeffrey Wright’s mad mocha scientist or any of his movie cliche ticks.
My problem with the movie was that I never cared for a second about this guy. I figured out “the secret” within the first 2 or 3 serious looks into camera when he asked unanswered questions.
I don’t care about the logic. I don’t care about whether the cheesed up ending makes sense. Don’t care. I will give a movie its premise. I will overlook those leaps.
But I have to care about these characters. And I really didn’t. After a short while, it felt like every leap was just there to teach him 2 or 3 tricks… no real threat of anything good or bad happening as a result of his actions. I would have liked the version where he murders everyone on the train because, who cares… he’ll just be back in a little while.
If nothing can change, as the story claims, aside from an event none of these characters have anything to do with, why do we care?
This is where Unstoppable can teach filmmakers a lesson. Keep It Simple… And Stupid. If the train is heading off the raised tracks into a neighborhood, at least put one guy’s estranged wife and kid and the other guy’s two Hooter-iffic daughters within the kill range. It’s good old fashioned movie BS… but it brings you into the drama, like it or not.
The fatalistic “you can’t change anything, but do the right thing” schtick is arthouse crap. Duncan Jones is a skilled young director and should have a long, healthy career ahead of him. But if you’re making boom-boom movies, don’t confuse yourself by being too smart… unless you are so smart that you can achieve a masterpiece… and I will watch all of your films, but you aren’t there yet, Dunc.
As I say, maybe the ride would have been more fun with a room full of people instead of a sleeping Brit snoring away in the seat next to me. (I had earbuds that kept the noise – competing with the plane engines – out of my head during the film.) More likely, there was just so much crap in theaters from Jan-March that people were thrilled not to want to be running for the exits to ask for their money back. (I didn’t pay… I had nowhere to go… but I could have switched channels and chose not to… so there!)
Of course, the highlight of my trip was 5 hours of The Walking Dead. With that and Game of Thrones this year, it may be the best year ever for “fantasy” on television.