Love The Coopers

I love Christmas movies. I've grown up with every single one you can imagine, from conventional ones like Home Alone and The Santa Clause to more adult ones like Scrooged and Bad Santa. Even cheesy ones like Christmas With The Kranks (when you think about it, Tim Allen has been in a lot of them). So when I came to watch Love The Coopers, I thought it was going to be a cheesy one, especially since it stars Diane Keaton. I wasn't expecting a movie about divorce, unemployment, political differences, child abuse, sexuality and, least of all, a magic dog voiced by Steve Martin.

Charlotte Cooper is hoping to bring her large family together for a big happy Christmas. She wants this desperately because it will be the last Christmas she has before her and her husband Sam (John Goodman) get a divorce after forty years of marriage. Everyone of their relatives are living their own troubles. Charlotte's sister Emma (Marisa Tomei) gets arrested for shoplifting, her divorced son Hank (Ed Helms) is having financial troubles, her daughter Eleanor (Olivia Wilde) can't face her mother's disappointment and her father Bucky (Alan Arkin) is struggling to express his love for the much younger Ruby (Amanda Seyfried).

The drama outweighs the comedy heavily in this movie about a supposedly happy time of year. Some of the themes alluded to are quite obvious, such as Sam and Charlotte's divorce and Hank's redundancy, but others, like Ruby's abusive childhood, are a little harder to identify. The most heartbreaking part of the movie comes when Officer Percy (played by a hard faced Anthony Mackie), the officer who arrests Emma, reveals that he could never live up to the expectations of his mother, despite the fact that she is welcoming of his homosexuality.

This film has a lot of weird film techniques that I would not expect in one like this. Whip pans and crash zooms that you'd expect in some Paul Greengrass political thriller are used liberally and with almost every character's situation. I found the use of an extreme close-up on Olivia Wilde but not on the person she was talking to very unnerving, but I suppose that might be a personal taste issue.

As you'd expect from an ensemble film like this, everyone brings their best. The standout performances for me come from Amanda Seyfried, Timothée Chalamet, Anthony Mackie and June Squibb. All of these actors have a small parts, but they all make them their own roles. Especially June Squibb, who doesn't love her? Anthony Mackie is almost unrecognisable without his signature facial hair and Amanda Seyfried brings her character an underlying pain that I didn't even know she could pull off.

Despite all these deep and dark themes, the film does come together nicely at the end. It's definitely one worth watching if you like Christmas movies, but not really too much of a stretch for comedy fans.

Pan

Apart from the 1953 Disney animation, I have never seen a movie about the actual story of Peter Pan. I've seen a biopic about the writing of the play (Finding Neverland), a sequel where Peter is a grown up Robin Williams (Hook) and now a prequel of how Peter got to Neverland in Pan.

Peter (Levi Miller) lives in an orphanage in WW2 London. He dreams of one day being reunited with his mother, whom left him on the doorstop of the orphanage twelve years earlier. After investigating the head nun, Peter discovers that the young orphans are being sold to pirates who come and take them away on flying ships. Peter gets himself captured and whisked away to Neverland, which is led by the evil pirate Blackbeard (Hugh Jackman), who uses the captured boys to mine for fairy dust. It is in this mine that Peter learns that he is the chosen one of a prophecy to kill Blackbeard and free the fairies that have sealed themselves in their world. After escaping with James Hook (Garrett Hedlund), he meets with native princess Tiger Lily (Rooney Mara) to fulfill his part in the prophecy.

I must admit that I do get a certain level of enjoyment from origin stories like this one, but only when they have enough of a connection to the original source material so that there is a reminder why we went to see it in the first place. And Pan has enough of those to get by. Quiet references to Lost Boys, Tinkerbell, the crocodile and James Hook's weapon of choice being a, well, hook do a good job to make older audiences who have grown up with these characters feel a little warm inside. I also get the feeling as though the film was heavily influenced by 1991's Hook, especially with Hugh Jackman's over the top portrayal of Blackbeard rather closely mirroring that of Dustin Hoffman's Captain Hook, even down to the first time both characters appear on screen.

However, references to past works don't make a fully succinct or satisfying film. This is an incredibly action packed film and there were times when I felt like the movie needed to slow down and take a breather just so that there wasn't a flurry of activity at all times. There were two moments as well which come across as just confusing and anachronistic. They involve all of the miners chanting both "Smells Like Teen Spirit" by Nirvana and "Blitzkrieg Bop" by The Ramones. When you figure out what these songs are, it throws you off completely. This film is also obviously intended to be the first step in a franchise as none of the major character arcs are completed to where they should be. I think if this was made as a stand alone movie it would be a lot better than it is.

Young Aussie Levi Miller leads the cast quite well, especially for a movie of this size. There were parts where I found his accent to be a tiny bit annoying. Garrett Hedlund gives a truly kooky, but enjoyable performance as Hook and this is complemented well by Adeel Akhtar's hilarious performance as his future sidekick Smee. Rooney Mara handles the action sequences well but ultimately I felt as though her character was rather flat. Jackman's insanely upbeat performance is probably the best part of the film although there are moments when he can get rather dark. Supporting roles by Amanda Seyfried and Cara Delvingne round out the cast.

Pan is an enjoyable enough movie with a storyline that is engaging enough that isn't too simple to get bored. Because it is a kids movie I am of course saying that it will be enjoyable for them. If you are over the age of 15, you will most likely be seeing it for the attractive stars of the film (Hedlund and Mara) or just because of Jackman's really bizarre and against type performance.

Mark Reviews: Ted 2

Hey guys, I'm really pissed off. You know why? Because they said my friend Ted wasn't a human and that he isn't allowed to have kids. Why is that you guys? Have you seen how many beers he can drink? There are guys back in Dorchester who would be passed out and he would still be going. And those guys have Irish parents too.

Well, the whole reason we found out that was he wasn't allowed to have kids was because we snuck into All American hero Tom Brady's house to steal his sperm for Ted to have a kid (that's a whole other story and I don't want Ma to read about me breaking into houses because I don't do that anymore to be a good example for Donnie). But, hey, Ted you don't need some football player when your best friend is right here and he's better than any football player. Hell, I'll even play football if you want.

Okay, so maybe that's a photo of me throwing a football at the back of Donnie's head, but it still counts as being an athletic guy. Anyway, I got your back Ted. Your babies will be strong. But hey, what about my troubles? My character's wife left me, so I gotta get back in the game. Luckily, Amanda Seyfried plays a hot young lawyer, so there's always that option.

If you're gonna see any of my movies this year, just make sure it's this one. I had so much fun making it. And if you don't like me, it's an opportunity to see me get covered in semen.

While We're Young

Noah Baumbach's latest feature While We're Young continues in a similar vein to his two previous films Greenberg and Frances Ha of being unable to find direction and comfort in your own life; only this time he adds in the idea of getting old. Baumbach also confusingly shoehorns in a subplot about authenticity in documentary, which threw me about what the film was actually about.

Josh (Ben Stiller) and Cornelia (Naomi Watts) are a couple who are experiencing a rough patch in their life due to indecision over having children. Josh is a documentarian who was been working on the same film for close to a decade and is struggling to complete the project. One day after giving a lecture, he meets a young couple, Jamie (Adam Driver) and Darby (Amanda Seyfried) and decides to spend time with them after learning Jamie is a fellow documentarian. Both Josh and Cornelia start to regain their youth by spending time with Jamie and Darby.

This movie wants to make you think that it is all about getting old and dealing with it, but Baumbach replaces this story rather quickly with the idea of authenticity (or the lack of it) in documentary filmmaking. Josh finds out that Jamie's style of documentary making is far from genuine and seeks to expose his ways. This storyline dominates the majority of the film and everything else is dropped in lieu of it. That's where this movie falls apart, it could have been a fun movie about to grown ups realising the life that young people lead isn't for everyone, but Baumbach gets to this in a rather roundabout way.

None of the lead actors bring their best to this film. Both Watts and Seyfried are relegated to the background of the movie and therefore we don't care about them. Driver gives an entirely lazy performance here. He is so much better in other movies, but here he really calls it in. Stiller is the worst offender of the film. We are supposed find the main character relatable, or at least likeable, but his character is a total asshole. Only Charles Grodin and Adam Horovitz (Ad-Rock of The Beastie Boys) give the most passable performances.

All in all, this is a missed opportunity of a movie. What could have been a smart, funny movie about the idea of growing old gracefully ends up being an unfunny mess about the ethics behind documentaries. Baumbach needs to change his approach.