KatDennings Tagged Articles at Cinematical

I'm spoiled. As a kid, I woke up with Beanie and Cecil and Rocky and Bullwinkle, gobbled down Looney Tunes, Merry Melodies, Speed Racer and Gigantor after school, and passed the early evening hours with The Flintstones and The Jetsons. Even as an uneducated child, I knew the ones with replay value and the ones that quickly grew tiresome. As an adult, I know the ones that still hold up and the ones that make me embarrassed to admit I ever watched them.

That brings me in a roundabout way to Robert Rodriguez' new, live-action film Shorts. Funny, inventive, and very, very clever in micro-bursts of six to eight seconds, Shorts becomes tiresome over the length of its 89-minute running time. I couldn't shake the feeling that it would have been better-suited as a weekly television show, chopped up into brief segments with plenty of commercial breaks in between. Shorts could just as easily have been called "Six Short Sketches in Search of a Synopsis," but then the title would be longer than its attention span.

Aimed squarely at kids, Shorts may, perhaps, please the modern sensibility of today's sub-teens, but I suspect the well has run dry for Rodriguez and family films. The Spy Kids franchise devolved in entertainment value from the first installment to the third, and The Adventures of Sharkboy and Lavagirl was an unfortunate mess. Rodriguez has built a cottage industry based on a scattershot approach to filmmaking. He's always been a "shoot [film] first, ask [narrative] questions later" kind of director / writer / photographer / editor / composer / visual effects artist. That doesn't serve him well with Shorts.

The good news: Richard Linklater has found more work. The bad news: It's not Linklater-penned potential awesomeness like That's What I'm Talking About.

Variety reports that the Link is about to sign on the dotted line to direct Liars (A-E). But it's not his usual fare -- the film will be a romantic comedy that focuses on a woman who, for some reason, tries to re-acquire lost items from her exes while traveling to President Obama's inauguration. (Your guess is as good as mine.) Kat Dennings is already on board to play the lead's friend, but no other casting announcements have been made.

A romcom is not exactly the fare Linklater fans would probably hope for, but I have to hope that there's something special about this that lured the director to it. Then again, this could be a move based purely on cash -- both to fill his time since funding doesn't seem to be working out for him these days, and as a means to continue his own indie work. As for the script, that was written by Emma Forrest. You might know her from books like Thin Skin. Or, if you follow the gossip world, she used to date Colin Farrell. Rumor has it that she dumped him when he didn't thank her during his Golden Globes acceptance speech.

Forrest has also been called a "literary lolita" by Vanity Fair (according to her book cover), so let's hope that bodes well for this whole affair.

In interviews, Michael Cera has been ambivalent about his newfound fame. He's even expressed gentle skepticism regarding the Arrested Development movie everyone's buzzing about. I'm sure he has legitimate personal reasons to be concerned about his celebrity – it can't be easy for someone who doesn't have a huge personality, and who isn't a natural attention hog. But we fans and viewers also have reasons to worry. Foremost among them is the concern that Cera's popularity could drive him to roles where his talents are wasted. Indeed, as this fall's Nick & Norah's Inifinite Playlist demonstrated, it's already begun to happen. For the first time in the comic's career, his presence hurt the project instead of helping it.

In my first go-round with Nick & Norah, after reading the book and before seeing the film, I was optimistic that the role of Nick was just the opportunity for Cera to expand his range – play a character who is a little more confident, a little less tentative and hesitant. Sadly, that's not what happened. Instead, some subtle differences aside, Cera transplanted his (very funny) stock character from Arrested Development, Superbad and Juno into a story where that character wasn't needed, or welcome. In the process, he turned what could have been a sweet, moving romance into a tepid, if still amusing, teen comedy.

(Note: We're re-posting this review from the Toronto International Film Festival to coincide with the film's theatrical release this weekend)

By: James Rocchi

Starring Michael Cera and Kat Dennings, Nick and Norah's Infinite Playlist is a light, slight, fleet-footed teen comedy of romance and indie rock; there are logic holes in it, and lulls, and moments that seem devoid of sense, to be sure, but there are also moments in where Cera or Dennings will smile and your momentary doubts and disagreements are washed away and your head is filled with a sense of gladness, not despair, that you're watching our young, happy hipster heroes on screen. Nick and Norah's Infinite Playlist combines the shaggy-dog sprawl of an early John Hughes film with the blunt talk and softly-rounded feelings of the Apatow comedies, and if it did not have leads as charismatic and tonally correct as Cera and Dennings, it would be very close to dead in the water; however, since it does, it isn't.

Taking place in some movie version of Manhattan where parking is always immediately available and everyone over 25 has, apparently, been executed Logan's Run-style, Nick and Norah's Infinite Playlist begins as Nick (Cera) is trying, and failing, to get over his breakup with the tedious-yet-tempting, hot-yet-hateful Tris (Alexis Dzienia), leaving lengthy messages on her phone and exquisitely sequenced mix discs at her door. Tris laughingly discards Nick's most recent effort into the trash at school; sarcastic-but-sweet Norah (Kat Dennings) retrieves it, as she's done for several of Nick's discarded offerings: "He makes the best mixes ever." The fact that Nick's latest effort is labeled "The Road to Closure, Vol. 12" tells you that Nick has strong feelings, and, in this case, weak vocabulary skills.

Starring Michael Cera and Kat Dennings, Nick and Norah's Infinite Playlist is a light, slight, fleet-footed teen comedy of romance and indie rock; there are logic holes in it, and lulls, and moments that seem devoid of sense, to be sure, but there are also moments in where Cera or Dennings will smile and your momentary doubts and disagreements are washed away and your head is filled with a sense of gladness, not despair, that you're watching our young, happy hipster heroes on screen. Nick and Norah's Infinite Playlist combines the shaggy-dog sprawl of an early John Hughes film with the blunt talk and softly-rounded feelings of the Apatow comedies, and if it did not have leads as charismatic and tonally correct as Cera and Dennings, it would be very close to dead in the water; however, since it does, it isn't.

Taking place in some movie version of Manhattan where parking is always immediately available and everyone over 25 has, apparently, been executed Logan's Run-style, Nick and Norah's Infinite Playlist begins as Nick (Cera) is trying, and failing, to get over his breakup with the tedious-yet-tempting, hot-yet-hateful Tris (Alexis Dzienia), leaving lengthy messages on her phone and exquisitely sequenced mix discs at her door. Tris laughingly discards Nick's most recent effort into the trash at school; sarcastic-but-sweet Norah (Kat Dennings) retrieves it, as she's done for several of Nick's discarded offerings: "He makes the best mixes ever." The fact that Nick's latest effort is labeled "The Road to Closure, Vol. 12" tells you that Nick has strong feelings, and, in this case, weak vocabulary skills.

A brief, sum-it-all-up-in-one-line description of The House Bunny would probably go something like this: Imagine if a sequel to Legally Blonde and a sequel to Clueless had a child and it was adopted by a sequel to Revenge of the Nerds. That's The House Bunny. Thankfully, a strong and very funny performance from Anna Faris -- as well as decent-enough turns from Emma Stone and Kat Dennings -- save this late summer slacker from flunking out of theaters completely. It's familiar, it doesn't make you work for a laugh and, heck, for some it might be a nice way to cap off a long, dark, foul-mouthed summer full of superheroes, stoners and sequels.

To Shelley Darlingson (Faris), living in the Playboy Mansion is a fairytale come true. Sure, she's not a centerfold ... yet ... and was only featured in a few pictorials (Girls with GEDs, Girls with Charlie Sheen), but that doesn't stop her from bringing half-naked cheer and joy to anyone within shouting distance. Things take a turn for the worse, however, when Shelley's told that Hef doesn't want her in the mansion anymore -- that 27 is, like, 59 in Bunny years. With nowhere to go, a suitcase full of skimpy outfits and the rusty, beaten-up station wagon she arrived in, Shelley wanders the streets until eventually she stumbles upon a whole bunch of mansions that look just like home ... only they're fraternity and sorority houses ... but good ol' Shelley don't know the difference.

Courtesy of MySpace, we bring you the trailer for Nick and Norah's Infinite Playlist. While it looks to be a little more of one of those one-crazy-night comedies than I presumed it would be, there seems to be a sizeable chunk of hipster-teens-meet-cute hanging in there to keep things getting too wacky for its own good. After all, going off Eugene's From Page to Screen assessment, I still doubt this is as much in the same ball park as Superbad, or After Hours, or even Sex Drive -- and with any luck, that's for the best.

Playlist will premiere at Toronto this September before playing everywhere on October 3rd.

I think that everyone who loves Michael Cera's comedy – and that should be practically everyone – is a little worried about Michael Cera. Because even as Arrested Development becomes legend, Superbad wins over every twentysomething in sight, and Juno charms the pants off the entire nation, the hushed, often unspoken question is: how long can he milk this? Cera's shtick is killer, but it's also ultra-specific – he's the shy, unprepossessing, painfully awkward adolescent, a nice guy who's self-aware enough to get embarrassed but not confident enough to avoid it.

Cera is so good at playing this part in a way that's both touching and hysterical that it's propelled him to stardom. For me to say that I haven't enjoyed any of the incarnations of George Michael Bluth that he's given us over the past couple years would be a bald-faced lie. Indeed, I think the character he's crafted is one of the most impressive comic achievements of my adult lifetime. But even as I relish it, I start to fidget, because I can sense exasperation and annoyance threatening from just around the bend. Oh, maybe not mine – I could watch Cera do this forever, I tell myself – but certainly other people will soon lose patience and turn on the guy. One-trick pony, they'll yell. Do something else.

After rumors bubbled up about a possible end to Robert Rodriguez and Rose McGowan, her rep told People: "the production of all three films is moving forward with Rose to star." I'd question that since all the double R seems to be doing lately is acquiring projects that don't seem to go anywhere. Yes, there's a chance that they might be on hold while he films Shorts, but that production is where the new hub-ub is coming from (via Defamer).

I highly doubt there's any truth to the matter, but it's worth a glance into the rumor that Rodriguez is now canoodling his new young star, Kat Dennings. She's the girl who got her start on Sex and the City as the "f**king fabulous" rich girl having a bat mitzvah, and has since got a stepdad in a 40-year-old Virgin, and impressed audiences with her time with Charlie Bartlett.