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This Is 40 (2012)
Apatowian genius
Judd Apatow is undoubtedly directly at the centre of the USA's comedy universe. Discovering and nurturing stars such as Seth Rogen, Jason Segel and Jonah Hill, and with movies like Superbad, Bridesmaids and Anchorman to his name, Apatow has earned the power to make movies about anything he wants, starring whoever he wants. And so we have This is 40, the fourth film that he has written, directed and produced (after The 40 Year Old Virgin, Knocked Up and the far weaker Funny People). Starring his wife, Leslie Mann and two kids, Maude and Iris, and filmed on the Apatow's street, this is bordering on autobiographical- even Judd's 90 year old grandmother makes an appearance.
The movie follows the story of Pete (Paul Rudd, essentially playing Apatow) and Debbie (Mann), and their two kids, Charlotte and Sadie (Maude and Iris Apatow) who we met as supporting characters in Knocked Up, and whose marriage is flagging after 14 years. The story doesn't get any more complicated than that, really. Watching as this well-to-do family of four battles through a plethora of first world problems- they might have to move from their big house to a slightly smaller big house, children spending too much time on the ipad, etc- for two and a half hours sounds like it would be agonising and boring, and yet it isn't. The fact is that this film is so observant of the upper-middle class to which it's characters belong, so honest about the little, everyday struggles that they encounter, that it feels like it's real, and real is funny. Even with hilarious supporting characters played by Megan Fox, Melissa McCarthy, Jason Segel, Chris O'Dowd, Lena Dunham and Albert Brooks, the real stars here are the family of Apatows, who nail the nuances of inter-family relationships, with Maude Apatow putting in a particularly brilliant performance as over-dramatic older sister Sadie.
This Is 40 has been unfairly criticised for over-dramatising the problems of a rich LA family, saying that the parents come across as mean and the kids as spoilt- but that analysis is shallow. This film goes deeper than that, the characters aren't upset because they're losing money, they're upset because their relationship is falling apart, that they have secrets in their marriage, that they can't be honest with each other. People seem repulsed by the fact that a comedy about the rich is trying to earn the audience's sympathy- but why not? Can a comedy only be emotional if it's about the poor? I was sure that films like Four Weddings and a Funeral and Lost In Translation had already proved that this wasn't the case. But just in case there was any doubt, This is 40 is here to do it again.
The Perks of Being a Wallflower (2012)
Very good, but frustrating
Attracting attention for seeing Emma Watson take on her first major role since Hermione, Stephen Chbosky's adaptation of his own bestselling book isn't, although it may seem like it, your average coming of age film. The story revolves around Charlie (Logan Lerman), who we learn has suffered from some kind of mental disorder since his aunt passed away. Charlie is a 'loner/nerd' stereotype- no one to eat with at lunch, no friends who 'let him in'. He is, however, apparently a literary genius, writing extra curricular essays (as if) for his friendly English teacher, played by Paul Rudd. Starting high school, he befriends two half sibling 'social outcasts', Sam (Emma Watson) and Patrick (Ezra Miller), who introduce him to their artsy crowd- the sort of kids who would like to think of themselves as poetic, and who listen to The Smiths. Charlie's love for Sam is made painfully obvious from their first encounter, but the focus of the film isn't on their relationships as lovers, it's on Charlie's discovery of friendship (yes, it's all very sweet).
Although it tackles some very dark corners of teenage life- abuse, mental illness, drugs, suicide- it still manages to have moments of comedy, often brought about by Ezra Miller's perfect interpretation of the flamboyantly gay Patrick (a big step away from his disturbing performance in We Need To Talk About Kevin), also managing to express his frustration at dating a closeted football captain. Lerman plays the damaged 16 year old well, with believability and humour, and portrays his mental illness with sensitivity. Less can be said for Emma Watson, however, who is way off nailing the Pittsburgh accent, and doesn't quite keep up on an emotional level, but she serves her 'pretty first crush' purpose well.
At times, the film escalates into brilliance, with thoughtful dialogue and affecting scenes. But at other points it goes to the polar opposite, becoming so pretentious it's enough to make you want to throw something at the screen in a fit of rage- I found myself gawping at the fact that the writer managed to come up with a line so infuriatingly ridiculous for a 16 year old boy to say as 'I feel infinite'. It feels like the Chbosky decided that there should be at least three places where the characters just wallow around in their own self pity, throwing lines at each other that are practically begging to be mocked- 'I don't write poetry, poetry writes me', 'Welcome to the island of misfit toys', 'We accept the love we think we deserve' etc. Apart from anything else it's just unrealistic- I think you'd be hard pressed to find a schoolboy who would list 'infinite' as one of their common feelings.
Regardless, it carries emotional weight, and there will be many relatable aspects, even if you don't hang around with 'misfit toys', or own a typewriter, or make indie mixed tapes for your hipster friends. 'Perks' delivers a very watchable alternative to a normal teen movie, albeit a quite unrealistic one, but is worth watching, at least, just for the truly brilliant, and very moving ending.
Stars: 4/5 (written for school newspaper hence the strange format)