Tag Archives: Emily Blunt

Looper: Fun for a while, but fails to come full circle

courtesy of whatculture.com
courtesy of whatculture.com

So, Looper arrived in SA with a time delay of about 4 months. Time travel, it seems, is not an exact science and it took distributors a while to send this picture through time to Africa. Luckily the film makes up for the wait and shows that while inexact, time travel can still be freakin cool if done right.

Looper opens in Kansas 2044 and a summary, no-apologies gunshot to the chest. This film doesn’t faff around and gets straight into it. And for the first act it’s wonderful to watch as director Rian Johnson mixes exposition in a  fascinating future world with arresting cruelty and style. It really has a marvelous rhythm and is huge fun.

We have looper by profession, Joe, holding our hand and guiding us through this universe with a noirish sensibility. So Johnson first did high-school noir, and now follows it up with future-noir. The man likes it dark. Joe is played by Joseph Gordon-Levitt, who teams up again with pal Johnson and does a very good job in one of the four big top movies he had out this year. He’s basically playing Bruce Willis here, as the two actors play the same character at different stages in time, and it’s great to see how JGL embodies the action veteran. His make-up for the part is awesome too and a true accomplishment by the make-up artists.

“I made a nose piece, an upper lip and lower lip, a vacuum foam plastic piece to pull back Joe’s (Gordon-Levitt’s) ears, a small hairpiece on the eyebrows to change Joe’s eyebrows and contact lenses to change Joe’s eye color,” artist Kazu Tsuji told MTV.com. That’s a lot of work, right, and unusual. Most people would’ve just said they are the same person and that’s all there is to it, okay? Gawd!

Anyway, I won’t explain all the minutiae of the central conceit here, it’s more fun learning as you go along. But what it comes down to is that young Joe has to kill his older self from the future, who’s conveniently sent back to him by his own employers (sort of, I think). But future-Joe, that’s Bruce (try to keep up), is wise to what’s coming and manages to escape.

It’s at this point that, unfortunately the movie slowly starts losing me. For a short while longer it’s fun and exhibits some sweet humour too. And then it falls apart. And it’s not Emily Blunt’s fault for once. I actually liked her tough girl on the range. It’s her kid that stretches suspension of disbelief to its limits. In an acknowledging nod to the great Terminator 2 (Blunt’s character is even called Sarah), we again have a child whose life is in danger from someone sent back from the future due to what he may do in his assailant’s time. It’s a little silly at this point, and the kid is also too intelligent and intolerably cutesy for my taste, clashing with the tone of the movie. It’s not just the little twerp, though, as the earlier balanced touch in action scenes is dispensed with in favour of a crude, heavy-handed shoot-em-up. Meh.

By the end I’ve kinda stopped caring all that much. And thank goodness, because the ending doesn’t really make that much sense to me. You can mind-fuck me all you want, but I’m not gonna fake an orgasm just because you think you’re being confusing and that’s enough. Plus, if they are saying what I think they’re saying, it ultimately turns into Back to the Future but crossing over into the dark side… hmmm. No thanks. (Actually, come to think of it, they’re not saying what I thought they were saying… but the implication is there, the implication dammit…)

The Five-Year Engagement… but I can’t forget Sarah Marshall

The Five-Year Engagement sees director Nicholas Stoller and Jason Segel teaming up for the second time after the excellent Forgetting Sarah Marshall. And subconsciously I found myself making comparisons all the way through. It’s almost impossible not to, as again Segel is in a similar doting romantic mode, with generous helpings of his naked ass thrown in too.

It has Sarah Marshall’s spirit, but this sophomore collaboration feels more grown-up. Where Sarah Marshall was about a relationship falling apart and moving on, Engagement looks at what it takes, the stupid things that are done, to keep two people together. After the movie starts with Tom proposing to Violet, played by Emily Blunt, we see him make a huge sacrifice by giving up his career as a chef and following Violet to the University of Michigan to let her go after her dreams. And you can just hear the patrons of the cinema talking among themselves… “she’s so selfish… i know!” But seriously, she’s pretty bitchy about the whole thing.

In Michigan there are no fancy restaurants and instead Tom loses his way professionally in a sandwich shop where he remains unchallenged and unfulfilled. Where Peter in Sarah Marshall was going nowhere, Segel revisits that man-child state that he’s so fascinated with, only this time Tom regresses due to being deeply unhappy.  And oh does he waste away spectacularly. He eventually resigns himself completely to the Michigan country way of life to great comedic effect. This transformation into a bearded, large poncho-sweater wearing outdoorsman is probably the highlight of the film.

Segel’s once again surrounded himself with great comedy actors everywhere you look. Forming part of his Michigan tribe are Brian Posehn as Tarquin and the scene-stealing Chris Parnell as stay-at-home dad who knits, Bill. Emily Blunt meanwhile has Mindy Kalling, Kevin Hart and Randall Park as university colleagues. Rhys Ifans never dissapoints either.

Then there’s great support from Chris Pratt, who proves to be very funny as best friend Alex and, minus her questionable British accent, forms a great partnership with Alison Brie’s Suzie as the pair who effortlessly and unintentionally achieve what the lead characters are having such a hard time with.

As for the leads, Segel is great – dry and subtle, but also able to go large when he needs to – but I have a real problem with Emily Blunt. She’s fine, but I just can’t get over the fact that she has progressed so much higher than her station which really ought to be solid supporting roles like the one of Emily in The Devil Wears Prada which she’s famous for. I don’t always believe in the relationship, at least not when it’s going well, no matter how hard they try to convince you with their meet scene at a New Year’s party. Segel has joked in the past that he has tricked everyone by making them believe he has any talent, but I think it’s in fact Ms Blunt who has done exactly that.

But despite my personal issues with Emily Blunt, she didn’t ruin the picture. And her character is just idiotic enough to make my feelings toward her work out for the best. Pacing is another issue, as it does feel rather long and threatens to almost take the five years in the title literally. But there can be no rush to let the situation develop, that’s understandable, and along the way there’s some great humour, set-pieces and finely observed stuff in there. And many grandparents passing away, just to temper it all and position it toward the serious and real. The deaths also serve to create nice urgency and also allude to the decay and deterioration of their relationship.

It’s a nice script that does well on screen with several great elements just missing out on coming together seamlessly and forming a whole of true quality like Forgetting Sarah Marshall. It’s every bit as enjoyable though with a pleasing, neat ending that’ll still have you believing in love, just love of a more rational hue.