Author: Alton Williams

Shrek Forever After 3D **½
Shrek Forever After 2D **

Almost a decade after he first appeared on cinema screens, the lovable ogre Shrek is now (allegedly) making his final hoorah with the fourth installment in the mega blockbuster franchise, Shrek Forever After, and with the added dimension of currently popular 3D. Given the lacklustre reception of 2007’s third installment, Shrek the Third, a lot really is resting on this supposed final entry in the series to have Shrek go out on a high note rather than a whimper. The omens from both before and after the film’s May release in the United States have proven somewhat less than encouraging though – director Mike Mitchell’s track record is very hit and miss, including a bizarre mix of 1999’s adult comedy Deuce Bigalow: Male Gigolo, the much derided 2004 Ben Affleck flick Surviving Christmas and the actually very enjoyable 2005 superhero comedy Sky High but noticeably no animated efforts; speculation is that this film was made on a reduced budget, suggesting it was made purely for the money not for the purposes of making a good film; the film has become the least financially successful installment in the series; and both reviews and word of mouth have been mixed – although indications for some time have been that the film is at least an improvement on the third film. How does Shrek Forever After really fair though? Will you leave the cinema happily ever after or will this fairytale end on a sour note?

After challenging an evil dragon, rescuing a beautiful princess and saving his in-laws’ kingdom, what’s left for an ogre to do? Well, if you’re Shrek (voiced by Mike Myers), you suddenly wind up as a domesticated family man. Instead of scaring villagers away like he used to, a reluctant Shrek now agrees to autograph pitchforks. So what’s happened to this ogre’s roar? Longing for the days when he felt like a ‘real ogre’, Shrek is duped into signing a pact with the smooth-talking dealmaker Rumpelstiltskin (voiced by Walt Dohrn). But Shrek suddenly finds himself in a twisted alternate version of Far Far Away – where ogres are hunted, Rumpelstiltskin is king, Puss in Boots (voiced by Antonio Banderas) has retired and become overweight, Donkey (voiced by Eddie Murphy) has no idea who Shrek is – and Shrek and Fiona (voiced by Cameron Diaz) have never met! Now it’s up to Shrek to undo all he’s done in the hopes of saving his friends, restoring his world and reclaiming his one true love.

The filmmakers behind the Shre’ franchise seem to have become complacent with the knowledge that a Shrek movie will make money regardless of actual film quality and despite all the suggestions that Shrek Forever After is an improvement over Shrek the Third, this critic has to disagree with the assertion. Sure, the animation is up to the usual high standards of DreamWorks Animation but no attempt is made at breaking any boundaries. Sure, the addition of 3D adds to the experience but even though the 3D effects are very good, there are too few of them, not enough sequences really making the most of the extra dimension. The film’s real failings, however, lie in the script and the direction. The alternate universe style storyline allows for a return to a more basic set up for the plot but also robs the film of much substance and, aside from the clever manner in which Rumpelstiltskin actually takes over Far Far Away – which is only referenced, not shown – the plot is predictable and lacking any surprises, or at least ones that haven’t already been shown repeatedly in the trailers anyway. Additionally, an opportunity to put the grim back into the Brothers Grimm is completely wasted, the film being rather tame considering the potential the twisted alternate universe clearly bestows. The humour follows in the footsteps of the other films in the series by delivering gags for both children and grown-ups but most are only likely to induce mild giggling, the film sorely lacking any real laugh out loud moments. The problem is too much reliance on tired and lame in-joke style humour and wordplay and reduced roles for secondary characters such as Donkey, Puss in Boots, Pinocchio and the 3 Little Pigs, all of whom deliver some of the film’s funniest moments. Other characters are also wasted, such as the Pied Piper and the many ogres and witches that play a role in the plot. Many laughs are there for the taking but the script and direction fail to squeeze them out of the film. Of course, this is coming from an older cinemagoer and young kids will definitely think differently. One area in which the film does undoubtedly deliver though is the voice cast with everyone being of a high standard, the show once again being stolen by the likes of Eddie Murphy and Antonio Bandera and the real standout being Walt Dohrn. Sadly, though, good voices cannot save an animated feature from mediocrity. So, overall, Shrek Forever After demonstrates that the formula has grown tired and stale, this fourth installment in the franchise seeming like a needless addition that adds little. This has been referred to as The Final Chapter several times and this is exactly what it should be. Sadly, this is one fairytale without a happily ever after.

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Review by Robert Mann BA (Hons)

When in Rome ***

While the name won’t mean much to most people, the presence of director Mark Steven Johnson at the helm of a romantic comedy such as When in Rome is something of a shock development. After all, this is a guy who to date has made his name mostly with comic book adaptations, namely the brilliant (although this is much disputed) 2003 film Daredevil and the decent but unspectacular 2007 film Ghost Rider. As his first foray into the romantic comedy genre, however, When in Rome proves to be not half bad although perhaps he should stick to what he is really good at – superhero movies are more his forte.

New York singleton Beth (Kristen Bell) lives for her job as a museum curator, so much so that her love life suffers as a result. And when her ex boyfriend Brady Sacks (Lee Pace) crashes a work party she has organised to tell her that he is getting engaged to another woman she is understandably rattled. Heading to Rome for the wedding of her sister Joan (Alexis Dziena), Beth meets handsome columnist and former football player Nick (Josh Duhamel), who helps her out when her attempt to uphold tradition by breaking a ceremonial vase goes hideously wrong. Beth visits the famed ‘Fontana Di Amore’ where people throw in a coin to find love. Hoping that some of the magic will rub off on her, Beth takes five coins. It works all right – Beth is followed back to New York by sausage magnate Al (Danny DeVito), magician Lance (Jon Heder), ‘Italian painter’ Antonio (Will Arnett) and male model Gale (Dax Shepard). Nick has fallen for her too – but how can Beth tell if he’s for real or just under the fountain’s spell?

Following the delightful Letters to Juliet, When in Rome is another romance to showcase a beautiful Italian setting, this time that of Rome, the city’s beauty even being made note of in a dialogue that features early in the film. However, unlike that film, the title proves rather deceptive as the city of Rome only actually features in the film for a few scenes before the action moves to the much more familiar and somewhat less beautiful locales of New York City. With this more familiar setting also comes a more familiar feel to the film as director Mark Steven Johnson fails to deliver something that seems more than generic, even with the rather fantastical tinge that is brought in by the plot. There is no real sense of magic on display here and there is far too much effort put into the gags and not enough put into the romance. However, while some of the gags and dialogue are indeed lame and unfunny, the film also has plenty of moments that are sure to raise a few giggles, at least for those who enjoy silly humour. Much of the humour on display here is very much of the slapstick variety and struggles to avoid feeling obvious – a scene involving a loss in translation and the way the male lead spend much of the film being hit by things, hitting things or walking into things are good examples of this – but there is no attempt to hide this fact and the film very much embraces it, not pretending to be more than the sum of its parts, and actually proving quite endearing in its simplicity. Of course, the film won’t appeal to all comic tastes, but there really is some pretty funny stuff here, a scene involving a pitch black restaurant where night vision goggles are required to see being a highlight. As you would expect from a romcom such as this, the story is completely predictable with very few surprises but it does at least have a good, sweet message at its heart and enough charm to make it good feel good viewing. On the performances front, there isn’t much to shout about but everyone at least does a competent job. The leads are both reasonably charming and make for a likable couple but so-so material means that there is no real spark between them. Their chemistry is at least sufficient to maintain our attentions though. The really entertaining performances, however, come courtesy of Danny DeVito, Will Arnett (complete with obviously fake Italian accent), Jon Heder and Dax Shepard, all of whom prove very amusing if unremarkably so. Elsewhere in the cast, the excellent Pushing Daisies star Lee Pace is completely wasted in his minimal role, Alexis Dziena seems to be getting typecast as the ditsy type character and Kate Micucci, playing Beth’s best friend Stacy, and Anjelica Huston, playing Beth’s boss Celeste, are giving nothing of note to do for the most part. All in all, When in Rome proves to be nothing special but it is nonetheless an amusing diversion. So, you won’t fall in love with it but you might just like it.

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Review by Robert Mann BA (Hons)

Get Him to the Greek ***

Preceded by a very hit and miss track record (in terms of both box office and actual film quality) that has seen him direct the likes of The 40 Year Old Virgin, Knocked Up and Funny People and produce the likes of Talladega Nights: The Ballad of Ricky Bobby, Superbad, Walk Hard: The Dewey Cox Story, Drillbit Taylor, Step Brothers, Pineapple Express and Year One, comedy [genius or hack – take your pick] Judd Apatow is back on producing duties once again, this time delivering a spin-off from his mid range success, the 2008 film Forgetting Sarah Marshall starring Jason Segel and Kristen Bell (the latter putting in a brief cameo appearance for this spin-off). Get Him to the Greek (which sees director Sarah Marshall director Nicholas Stoller write and direct, with Jason Segel on as co-writer and co-producer) focuses on one of that film’s supporting characters, the flamboyant rock star Aldous Snow, with British comedy actor Russell Brand reprising the role. Interestingly, however, this spin-off also sees comedy actor Jonah Hill (who is highly overrated in this critic’s opinion) returning but in a different role than in Sarah Marshall just to confuse things. Of course, this won’t be of any consequence to this film’s target audience but, as is the case with most comedies that in any way involve Judd Apatow, the kind of humour on display here won’t be to everyone’s tastes, those who enjoy the vulgar sure to have a great time, those who are disgusted by it more likely to be appalled. That said, this is a film that delivers a bit more beneath the surface than you might expect.

Music mogul Sergio Roma (Sean Combs) needs brilliant ideas to restore his company’s flagging fortunes and youthful employee Aaron Green (Jonah Hill) suggests a comeback concert by British rocker Aldous Snow (Russell Brand). It’s been ten years since the hell-raising Brit’s legendary show at LA’s world famous Greek Theatre, and Aaron persuades his boss that the time is right for Aldous to do it again. Sergio likes the idea – and promptly despatches the inexperienced Aaron to London on a mission to bring Aldous back to LA. But Aaron has never met anyone quite like Aldous – a hedonistic dandy with boundless energy and a crazy streak, who has been driven to drug addiction following the failure of his last album and being dumped by the love of his life, fellow rock star Jackie Q (Rose Byrne.) As he gets swept along in the rocker’s life of endless partying, Aaron finds himself embarking on the eye-opening adventure of his life, discovering the man behind the rock star and learning new things about himself, perhaps just in time to save his troubled relationship with girlfriend Daphne (Elisabeth Moss). In the space of just 72 hours the lives of both Aaron and Aldous are going to change forever.

Get Him to the Greek gets off to a quite hilarious start, opening with the music video for Aldous Snow’s shockingly bad ‘African Child’ and leading into a series of sequences that highlight his fall from fame and separation from the love of his life Jackie Q (who also has a music video at the start, as well as one later), the very things that lead him to becoming the man we see for most of the duration of the film. This gets the film off to a great start but whether or not you continue to find the rest of the film hilarious will depend on your personal taste in humour. You see, the film delivers a mix of genuinely hilarious and even quite tastefully done scenes that provide genuine laughs, the kind of which aren’t too likely to offend or disgust, but for every tasteful gag or line of dialogue, there is something tasteless and gross just around the corner, and it is this stuff that some may find appalling as was the case with this critic. This tendency towards crude humour prevents the overall film from being as good as it could be but there are still plenty of gags and instances of dialogue that genuinely are laugh out loud funny and the film also surprises by delivering some emotionally tender scenes that show us the man behind the rock star, as well as a good, heartfelt message that emerges from the story. Much of this works because of some fantastic performances. Russell Brand is probably the only person who could play the part of Aldous Snow (and not just because he has already played the part before), being both an entertaining performer and putting some real emotion into his performance. He really channels himself into the part, convincing as both the hedonistic party boy and the broken man who just wants to be loved. This ensures that we actually can care about the character even while he is completely like a complete loon. A completely against type and almost unrecognisable Rose Byrne is also superb, delivering a spot on accent and being completely convincing as Jackie Q. There is a genuine sense of chemistry between Byrne and Brand that really makes us believe in them as a couple, thus heightening the sense of loss that Snow is experiencing. What’s more, both Brand and Byrne are actually pretty good singers, which is a pretty good thing considering that they both get to do a fair bit of singing and have a few not half bad songs to worth with too. Sean Combs is also excellent, stealing the show whenever he is on screen with a performance that is absolutely hilarious. Elsewhere among the cast, Colm Meaney as Snow’s dad is also very entertaining and Elisabeth Moss is positively adorable as Green’s girlfriend. The one weak link among the cast, however, who goes some way to holding the film down, is Jonah Hill. Hill seems pretty much the same as in every other film he has been in and (in this critic’s opinion at least) simply isn’t very funny at all. So, overall, Get Him to the Greek is a mixed bag of a film that has some moments of genuine hilarity but it let down by the unfunny Hill in one of the central roles and some gags that really cross the line of vulgarity. Of course, if you actually like Jonas Hill and like vulgar humour this may well be a five star movie for you but for anyone else it is an entertaining film that is let down by some really gross content.

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Review by Robert Mann BA (Hons)