ILoveYouMan Tagged Articles at Cinematical

I Love You, Man
Bro-mance, schmo-mance, this is a funny movie, centered by a very good performance by Paul Rudd as a befuddled "ladies' man" in search of a best man for his upcoming wedding to Rashida Jones. He starts awkwardly 'man dating' until he stumbles across the happy-go-lucky bachelor Jason Segal, and an unlikely triangle is formed. "A sweet, amusing, and perfectly acceptable comedy all around," wrote Eugene Novikov. Also on Blu-ray. Buy it.

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17 Again
Personally, I have zero interest in seeing this movie, but if you're a devoted fan or even curious about the star, help yourself. 17 Again is "a run-of-the-mill family comedy that would be tiresome," Jette Kernion opined, "if not for [Zac] Efron and a few of the other cast members." Also on Blu-ray. Skip it.

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The Class (Entre les Murs)
Laurent Cantet directed this adaptation of a semi-autobiographical novel by François Bégaudeau, an inner-city Paris school teacher. James Rocchi observed: "Begaudeau's interactions with his students are so nuanced and smart that it doesn't feel like the heavy hand of drama when various incidents and events escalate as the film progresses; they feel natural, lived in, human." Also on Blu-ray. Buy it.

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Also out: Chaos (from 2006, with Jason Statham, Ryan Phillippe, and Wesley Snipes); Road Trip: Beer Pong (the sequel, directed by Steve Rash); I Do, I Did ("One man, two women, too much!").

More Indies on DVD, more Blu-ray picks, and Collector's Corner, all after the jump!

Overture's latest smart rom-com move was to purchase Celeste and Jesse Forever, a script written by Will McCormack and Rashida Jones, who will also star as Celeste. Celeste and Jesse Forever is the tale of a divorcing couple that is struggling to keep their friendship together while also seeing other people. Suzanne and Jennifer Todd will produce under their Team Todd shingle. This is the first screenplay credit for both actors; Rashida Jones was, of course, the adorable (and three-dimensional!) fiancé Zooey in this spring's I Love You, Man, and she is currently on the TV show Parks and Recreation. McCormack has been on TV shows like In Plain Sight and Brothers & Sisters, as well as in films like Syriana and Team Todd-produced Prime and Must Love Dogs. As previously reported on Cinematical, the spec script was initially picked up by Fox Atomic.

Overture is also behind another upcoming cool romantic comedy written by and starring a talented and very funny woman, Charlyne Yi's Paper Heart. And while their other non-traditional rom-com, Last Chance Harvey, didn't do all that well, it seemed to be fairly popular with its target audience and garnered Dustin Hoffman a Golden Globes nom. And it was also behind Sunshine Cleaning, which, while it obviously wasn't a romantic comedy (or even that funny, despite what the trailers led you to believe), was an interesting and entertaining movie with women behind and in front of the camera. Amy Adams and Emily Blunt were strong leading ladies, and director Christine Jeffs and first-time screenwriter Megan Holley were behind the scenes.

Is it possible that there is a studio out there willing to take a chance on unique stories and fresh talent, and fresh female talent, at that? I'm rooting for them -- and for Rashida!

You gotta respect Hannah Montana. Where her comrades in arms, the Jonas Brothers, were just recently defeated, she has emerged bloodied but victorious. Her $34 million weekend is roughly on par with her own concert film, which opened to $31 million last February on about a quarter of the screens -- I think that range pretty well represents the Hannah Montana brand's draw at this point in time. Concert Tour dropped pretty swiftly after that, topping out at $65 million; the narrative film may have slightly better legs, though last fall's High School Musical 3 faded out pretty quickly too.

The weekend's neatest trick is the $11 million for Observe and Report: not a standout opening for Seth Rogen (though slightly stronger than Zack and Miri Make a Porno), but impressive considering that Observe & Report is basically a twisted art film that doesn't belong in wide release by any traditional measure. Don't get me wrong, I'm thrilled that Warners managed to pull this off; I just wanted to highlight the achievement. Given that the movie has even freaked out much of the usually hardy critical community, I'm dying to see how and if it holds up at the box office. The other R-rated comedy that premiered at SXSW, I Love You, Man, has thrived, dropping 17% in its 4th week on its way to a cheerful $75 million. But that movie is, oh, 50 times more accessible.

As for Fox's Dragonball Evolution: not so much. I think they might have been a couple years too late in capitalizing on the brand, as the kids who were really into the franchise when it was hot grew up a bit and lost interest. $4.6 million stings.

More, and the top 10, after the jump.

The first weekend take for Fast & Furious, a staggering $72 million, beats the entire domestic gross of its series predecessor, The Fast and the Furious: Tokyo Drift by $10 million dollars? It is also far and away the year's best opening, though that will likely change come May.

How did this happen? Bringing back Vin Diesel and Paul Walker as part of the "series reboot" helped. The hip new advertising campaign that focused heavily on the car chase action probably succeeded in making the franchise seem less "cheesy" this time around. (The Tokyo Drift subtitle, which turned out to have great traction (ZING!) as a running joke, didn't help the beleaguered third film.) Having seen the movie, that seems a little silly, since it's probably even more hilarious than its predecessors (and never has the description of Vin Diesel as an "angry potato" been more apt). But here we are, and a fifth entry in the series is all but assured.

A sad casualty of the weekend, apart from our collective intelligence, is the lovely Adventureland, which debuted to a disappointing $6 million. I think Miramax was jamming a square peg into a round hole by attempting to market Greg Mottola's film as another Superbad, which it decidedly is not, but I don't really know. It had a great concept but no stars among its lovely cast, so I guess it wasn't the easiest sell.

Monsters vs. Aliens is headed for a not-great $150-160 million finish. I Love You, Man, on the other hand, looks like it'll beat both Jason Segel's Forgetting Sarah Marshall and Paul Rudd's Role Models. Sunshine Cleaning expanded this weekend and snuck into the top 10, with Overture trying hard to platform its way to a sleeper hit. It may have a minor one.

The full top 10 after the jump.

When Forgetting Sarah Marshall was released, I was shocked that a silly premise didn't lead to sloppy storytelling. These days, most Hollywood films employ the ego and stupidity factor to such lengths that emotional wackiness is the norm on the big screen. For one, friends and loved ones will make a lead feel bad to promote reflection in a story. (The Devil Wears Prada is a good example of this -- when Andy overworks, her friends berate her choice and offer no understanding, only condemnation.) But if there is nothing to chastise, scripts grab overreaction and turmoil and bathe in it -- a misunderstanding becomes a mountain of drama, a cliche or stereotype gets thrown in to amp up tension.

Dramatic twists are so tenuous that, as a moviegoing public, we have to rely on certain assumptions: Someone will do something really stupid. Someone will overreact. Egos will get in the way. Some realization will miraculously make things change. And of course, relationships are only solid so long as the script warrants it -- when drama is needed, that family tie, friendship, or romance will fall like a house of cards.

I took all of those assumptions into I Love You, Man, and missed on every one.

The die-hards and the locals kept trudging into screenings on Friday, the penultimate day of the SXSW film festival, no doubt dodging sidewalk-jamming musicians. Reports filtered in that there was a massive crowd at the Austin Convention Center to see the late afternoon screening of the critically-debated doc Sweethearts of the Prison Rodeo, and I imagine plenty of people showed up in the evening for the hilarious and unexpectedly poignant Best Worst Movie.

Cinematical Coverage. Yours truly wrote about Gerald Peary's documentary For the Love of Movies: The Story of American Film Criticism. I enjoyed the chronological overview, but the academic approach made me feel like I was watching a term paper. The inaugural broadcast of The Cinematical Roundtable featured writers Drew McWeeny, Scott Weinberg, and William Goss talking about four SXSW presentations that will be hitting theaters in the coming months: The Haunting in Connecticut, Observe and Report, Drag Me to Hell, and The Hurt Locker.

Two films that played at SXSW opened in theaters today; Eugene Novikov thought I Love You, Man was a "sweet, amusing, and perfectly acceptable comedy," but was especially noteworthy because Paul Rudd "begins to stake out his territory as a comedian and a leading man." Erik Davis extolled the virtues of Cary Joji Fukunaga's drama Sin Nombre, both in his republished Sundance review and in his reminder notice -- with trailer!

You can check out all of our SXSW 2009 coverage by clicking here.

Blog Talk. Now that the festival is almost over, new SXSW Producer Janet Pierson is being hailed for the outstanding job she did. Anne Thompson has a great roundup / photo gallery at Variety, Kim Voynar profiles Pierson at Movie City News, and Eric Kohn talks to Pierson about the film selection process at The Wrap.

Up until now, Paul Rudd has been content to sit in the back seat. Apart from a funny but nondescript star turn in Role Models, Rudd has mostly bided his time on the fringes of the various Team Apatow productions, churning out one memorable supporting performance after another, plus the occasional bit part in the likes of Night at the Museum. That he's developed a small but enthusiastic fanbase anyway speaks to his star potential.

I Love You, Man is a sweet, amusing, and perfectly acceptable comedy all around, but it's exciting because it marks the point where Rudd finally begins to stake out his territory as a comedian and a leading man. As Peter Klaven, the happy and level-headed real estate agent who discovers, upon proposing to his girlfriend of eight months, that his total lack of guy friends will result in an all-female wedding party if he doesn't act fast, Rudd combines a nice-guy earnestness with a simmering nervous energy – he's like a less sarcastic Albert Brooks or a more self-conscious Steve Martin.

Cold winds and torrential rainfall did not dampen the spirits of attendees on the first day of SXSW in Austin, Texas. Cinematical writers traveled from near and far to cover the annual celebration and eat some barbecue. It's only my second SXSW experience, but seeing so many writers, film critics, and bloggers whose work I read and respect has inspired me to quit the business. No, no, I meant to say: it's cool seeing so many Twitterers in person.

Good Buzz: The film festival proper got underway with some serious man love, as the opening night presentation of John Hamburg's bro-mantic comedy I Love You, Man was unveiled at the historic Paramount Theater, with stars Paul Rudd and Jason Segel among hundreds in attendance. Simultaneously, a slew of films began screening at other venues; William Goss said Nash Edgerton's Australian thriller The Square was unexpectedly good, I heard very good things about Eric Kutner and Adam Goldstein's snarling comedy The Snake -- presented by Patton Oswalt, who was in the house -- and I enjoyed a wild and wacky program of music videos.

Midnight Gets Crazy: To cap the evening, most of the Cinematical crew gathered for the first evening of SXSW Presents Fantastic Fest at Midnight, the international festival premiere of Ong Bak 2. The directorial debut of martial artist supreme Tony Jaa features numerous insanely awesome fight scenes and, er, elephants. Before the film rolled, new SXSW Producer Janet Pierson introduced Alamo Drafthouse impressario Tim League, dressed for some reason in a Roman toga, who kicked things off with a contest that I'm not sure I should describe in detail. (Hint: it involved beer. And men. And drinking.) A good time was had by all.

Just days after it played BNAT and was announced as the opening night film for SXSW 2009, I Love You, Man has a new trailer over at Yahoo! Movies, and as much of an admitted man-crush as I have on Paul Rudd, I'm not entirely sold on his fledgling bromance with potential best man Jason Segel. Talented riffers though they may be, the script is formally credited to director John Hamburg, whose Along Came Polly came to mind with this trailer's flatulence observation.

Eh, we both know I'd give a cast that included those two, SNL's Andy Samberg, and The Office's Rashida Jones the benefit of the doubt and about ninety or so of my minutes. For what it's worth, a pal in Austin caught a recent test screening and somewhat shared Scott's sentiments on the film, among them: "This affable farce has next to nothing in the plot department, and much of the material (both good and not-so-good) feels improvised rather than written, but (like Rudd's previous flick, Role Models) there's certainly enough to enjoy."

I Love You, Man opens SXSW on March 13th before going wide a week later.

I don't need much of an excuse to visit Austin, Texas. Find me an event that A) strings more than four movies together, and B) takes place at one of the Alamo Drafthouse movie theaters, and there's a good chance I'm checking my bank account, desperately scrambling for flight money. But despite the fact that I've done five SXSW visits, three Fantastic Fest trips, and a few more Austin journeys just for the heck of it ... I'd never attended a BNAT shindig. But I made it to the tenth annual Butt-Numb-a-Thon, and of course I had a damn good time once it got rolling.

Let's just do a quick run-through, chronologically speaking, and I'm listing just the FULL movies here. At the end I'll go over the various clips we were treated to...