Paul (2011)

If your idea of a hilarious comedy is one riddled with humor based on empty expletives and mockery of Christian fundamental beliefs, then Paul might just be the movie for you.

Shaun of the Dead and Hot Fuzz British team Pegg Simon and Nick Frost gives us Paul, a story about a close encounter of the third kind. Graeme Willy (Pegg Simon) and Clive Gollings (Nick Frost) are two English Comic-Con sci-fi geeks who embark on a road trip to the US of A for a tour into the UFO heartland on board an RV. Their sci-fi fantasies are rewarded way beyond their expectations when not only do they get a snapshot of each other in Area 51, but they also accidentally meet an alien fugitive named Paul (the generic "little green man," with stringy limbs, a bulbous head, and a captivating pair of huge almond-shaped eyes), who joins the geek fanboys so they could help him escape from the men in black.

Joining the trio of their mad race to Paul's mother ship is dorky Ruth (Kristen Wiig), a one-eyed Baptist (her one eye symbolical of her singular perspective on life). After a brief debate on Creationism versus Evolution, her lifelong beliefs are ultimately shattered by Paul, yet her broken faith was instantly replaced by a sense of ultimate freedom to commit sins, particularly spitting out cuss words and fornicating, implying that Chistian faith in general is based alone on fear of God's punishment. She then goes on forming weird unnatural combinations of dirty words to make up for lost time, aiming to charm the audience, but is downright corny. Chasing after them are the MIB, led by Agent Zoil (Jason Bateman) and his two goofy underling agents (SNL’s Bill Hader and Joe Lo Truglio) who act like retards to give us slapstick comedy, Ruth's fanatic Bible-thunping gun-waving father, and a couple of rednecks.

Written by Frost and Pegg, and directed by Greg Mottola (Superbad and Adventureland), the film's premise of two geeks, outcasts all their life, and now in the middle of a wild adventure with an alien (voiced by Seth Rogen) who unexpectedly has a very American, very human behavior (reminds you of Roger of American Dad), has a lot of comedic potential. But the movie is painfully cliche-ish, with expletives-based humor as well as anal probe jokes repeated a hundred times that it's become tiring and embarrassing. It's filled with stereotypes: all Comic-Con fans look like losers, all Christians or Creationists are fundamentalist nut jobs-- and even Sigourney Weaver's cameo is a stereotype itself. The only unorthodox part of the the film is Paul the alien; the pair's expectations of what's an alien like is shattered because aliens are, in truth, English-speaking, rude-humored, weed-smoking, madras-wearing Hollywood consultants.

There are plenty of movie references for the pleasure of movie buffs, the CGI alien looks flawless and adorable, and the wide open skies of Nevada brings back warm memories of X-files and memorable quality stories of extraterrestrial biological entities, and there are a few good laughs. But in its entirety, the movie is a horrifying mix of bad comedy. The characters are underdeveloped, offers obscenity and slapstick over wit and substance, the jokes are old and cliche-ish, and it is subtly preachy of Darwinism. Paul is definitely not a result of "intelligent design."

Something Borrowed (2011)

Rachel (Ginnifer Goodwin) is an average-looking, rule-following, hardworking Manhattan attorney who's "way past her prime child-bearing years" and is still loveless. With her sensible clothes and plain features, could there be any hope for a romantic love for her?

Darcy (Kate Hudson) is Rachel's best friend since childhood. Fun, spontaneous, glamorous, and sexy, Darcy is the complete opposite of Rachel. She lives the good life and seems to be a magnet for good luck. And while Rachel looks like a spinster-in-the-making, Darcy is soon to be married to the seriously handsome Dex (Colin Egglesfield). And Rachel, of course, is her maid of honor.

But on her 30th birthday, after the surprise party thrown for her by Darcy, Rachel unexpectedly ends the night sleeping with Dex—whom she's been secretly in love with. For years. And to her amazement, Dex feels the same way. 

Based on Emily Giffin's unforgettable best-selling romantic dramedy novel, Something Borrowed is a beautiful, heart-rending story of friendship, self-realization, morals, and the complexity of love and relationships. I have read and loved the book, and the movie adaptation did pretty well (brought tears to my eyes in some parts), except for Goodwin (House, MD) who, in my opinion, was a bad choice for Rachel. With her annoying high-pitched perky voice and emotionless eyes, she was incredibly disappointing. She lacked that transformative power that defines a real actor; instead, she looked fake; twisting her facial muscles or wetting her eyes to project the appropriate emotion, yet her eyes say nothing at all. Fortunately, the rest of the main cast were fantastic—including funny guy John Krasinski (The Office)—that Goodwin, miraculously, can be endured. 

Directed by Luke Greenfield (TV Series Aliens in America), Something Borrowed is a mixture of trite and original, silly and profound, corny and witty. Also, Rachel's character in the movie lacked that consistently repressed tortured feeling of being in love with your best friend's fiance, which was pretty weird. But because the base storyline is good, and the film's positive elements outshine the flaws, it comes out a very good romantic dramedy. The real beauty of the film, however, lies in the subtleties: the body language, the small gestures, those split-second facial expressions that are dead giveaways of someone in love. Those small magic moments are breathtaking. And that should be entirely credited to the perfect romantic hero, Colin Egglesfield; his character Dex exhibited emotions with believable depth, supporting the emotionless Goodwin, enough to make you fall in love.

For the fans of the best-selling novel, you must see the movie. For the hopeless romantics who've never heard of the book, still see the movie.


3 out of 5 stars

Water for Elephants (2011)

It’s America during the Great Depression, and Jacob (Robert Pattinson), a young and handsome Cornell veterinary student, suddenly finds himself an orphan, out of school, and homeless. And one fairy tale-like evening, he hops on a train and joins the spectacular Benzini Brothers traveling circus, where his life is about to change.

Based on Sarah Gruen’s bestselling novel, Water for Elephants is a dramatic love story reminiscent of Titanic—it’s the present day and an old Jacob recalls the “famous circus disaster of all time,” and he was there, “right in the middle of it.” And then we are sent back in time, in 1931, in the enchanting world of the “most spectacular show on earth,” to find a young educated Jacob as a circus runaway locked in a love triangle between the circus’s beautiful blonde star attraction, Marlena (Academy-award winner Reese Witherspoon), and her husband, August (Academy-Award winner Christoph Waltz), the sadistic circus impresario.

The elegant cinematography indeed catches the eye. The film is visually pleasing, beautifully rendered in harmonious hues, the play of light and shadow and colors aesthetically correct; the brilliant skies, billowing circus tents, the dank circus train of roustabouts, the breathtaking costumes, and the animals almost mystical in appearance. Also, the slow, languid movements of the circus characters—as opposed to the common noisy, energetic and chaotic portrayal of circuses—serve as a refreshing change and project an almost dream-like feeling.

While both Titanic and Water for Elephants tell a cliché love story—and both a period drama—Water for Elephants, unlike Titanic, failed to deliver that lingering emotional impact and ignite even the smallest romantic spark—with Pattinson and Witherspoon lacking chemistry (the blossoming romance and the building tension missing). Pattinson, who only showed credible acting in 2010’s Remember Me, fizzled again in this movie, confirming that his acting skills solely rely on the director. But he was acceptable enough in this movie since the characters—and even the story—lacked serious depth anyway.

Water for Elephants, directed by Francis Lawrence (I Am Legend), is a one-dimensional story that is forgettable—lacking that punch; the romance, humor, magic, and adventure only seemed to stay onscreen and failed to make its way to the heart. Except for Christoph Waltz. Aside from the secondary star of the movie—the exceptionally talented circus elephant Rosie, who evoked “ooohs” and “ahhs” from the moviegoers whenever she performed her adorable tricks—Christoph Waltz was the attention grabber, the star attraction in the show, frighteningly effective as the cruel antagonist, his multi-layered character almost as frightening as his Jew Hunter role in Inglorious Basterds. This is an actor who can independently bring life even to the most mediocre screenplay.

Alas, the love story of Jacob and Marlena, the most essential part of the movie, failed to rise to the surface and was not passionate enough. And even their infidelity did not earn my sympathy despite August’s murderous nature. Water for Elephants is rather run-of-the-mill, and you will leave the cinemas feeling nothing. Unless, of course, you are a Twilight fan.