Film Review: Bridesmaids

Judd Apatow's prior films have all had one thing in common, that is their very male-centric perspective. It is something he has often been criticised for, perhaps motivating him to address it in his latest film by casting an all-female lead in the context of his traditional bro-comedy formula. Given Apatow's résumé of Super Bad, Anchorman and Forgetting Sarah Marshall, one might expect Bridesmaids to induce similar levels of hilarity. The result, unfortunately, is the opposite.

Annie (Wiig) is a thirty-something year old woman recovering from the recent insolvency of her baking business. When best friend Lillian (Rudolph) asks her to be maid of honour at her upcoming wedding she is initially delighted. However she soon finds herself competing against Helen (Byrne), a prissy queen bee who seeks to usurp her as Lillian's BFF. Annie's attempts to plan the wedding consequently spiral out of control as she engages Helen in a battle to be Lillian's bestest pal.

Here's the difference between your standard Apatow-esque bromance and Bridesmaids. The straight-up dude comedy is what it is; brusque, surly, without scarcely a redeeming quality, but ultimately throwaway. Bridesmaids attempts this while adding another dimension to proceedings, one often found in romantic comedies. That is to say amongst the gross-outs and boorish behaviour found in the bromances of Apatow, Bridesmaids adds the nuanced, introspective devices seen in romantic comedies. These are the hooks which allow the female audience to self-identify with characters in the film. This is all well and good, but herein lies the crux of the problem. When you decide to "cross the streams" of the cantankerous tripe in your churlish dude comedy with all this reflective, character identification stuff you get "total protonic reversal". You cannot have a whimsical characters and interpersonal exposition while a fat woman shits in a sink. And that's not an analogy.

The most disappointing thing about Bridesmaids though is that it does nothing to invalidate sexist idioms such as 'women aren't funny'. If anything it actually does more to reinforce that notion. Sure, the movie industry has been crying out for women to take the leading roles in this genre, and maybe it's because this is the first that it has received such critical acclaim. However, just because it is the first that does not excuse what is a genuinely unfunny film. By all means Bridesmaids should in one sense be commended for trying to break the mould, but that doesn't take away from the fact that it fails as a comedy. For one thing women just don't seem able to pull off vulgarity as effectively as men. Such coarseness doesn't seem to sit with them. To descend to the stupidity and childish antics of men is more disquieting and cringeworthy than it is liberating. While this may well have been the intended effect, you would expect the LOLs to follow. They don't. The impression that is left seems that the decision to make women act 'like men' was taken either to attract more males to the audience, or purely to preach to the choir of the 'anything men can do, we can do better' branch of feminism. There's a reason why women have often been referred to as 'the fairer sex', and I'll admit this now girls; it's because you're better than us men-folk.

Perhaps it's most disappointing that Kristen Wiig's first lead is in such a shit film. It doesn't help that she, like her co-stars, are also trying ever-so-hard to charm their audience. Equally disappointing is just how underused some characters are. Cynical Rita (McLendon-Covey) and jejune Becca (Kemper) display sparks early of comedic potential but this is never capitalised on. Instead the fat Zach Galifianakis copy, Megan (McCarthy), hogs the limelight. Supposedly there to inject absurdity and raucous humour into proceedings, the character is probably the most irritating thing about the whole film. She's certainly big, but definitely not clever. Bridesmaids even manages to screw up the most simplistic jocular devices. For example, one running joke is how at an engagement party everyone has a spouse except for Annie. Guests then ask her "Oh, so you're not married then?" in a sheepish, embarrassed-for-her manner. It's a common comedic tool used to horrible effect. So what if she's not married? Why is creating a false aura of shame and awkwardness around a nothing fact supposed to be funny?! It's a contrived attempt at a joke which ultimately misfires.

Supposedly The Hangover for girls, Bridesmaids is perhaps the most overhyped and overrated film this year. It is in this hyperbolic hysteria and this expectant tag surrounding the film where a lot of the problem lies. Bridesmaids essentially branded itself as the women's Hangover which consequently set itself up as the litmus test for women's viability as comedic actors in Hollywood. But Bridesmaids makes for more uncomfortable viewing than it does humorous, reinforcing stereotypes while simultaneously damaging women's appeal as comedians. And yet, regardless of any critical standard women will flock to this as if rallying around some sort of liberating banner. What's worse is that if box office takings are anything to go by we can expect more films in the future of the same mould as Bridesmaids. In short, it's difficult to understand its wide critical acclaim. Maybe I'm missing something here. Maybe I've lost my funny bone. Or maybe men really are from Mars and women from Venus.

Film Review: X-Men: First Class

Like much of its catalogue, Marvel's X-Men is a flagging franchise whereby its last outing, X-Men Origins: Wolverine, appeared to put the proverbial nail in the coffin. The latest rendition however in the form of X-Men: First Class provides a surprisingly refreshing reboot as Marvel looks to give the series the same defibrillation treatment as her other offspring.

First Class is an origins story beginning in the atomic age of the 1960s. Sebastian Shaw (Bacon), a former Nazi geneticist, has a twisted vision of a glorious future where mutants rule the Earth. In order for his dream to be realized however he must first eradicate its current occupants, humans. As Shaw seeks to manipulate the Cold War climate toward nuclear armageddon, it is down to a young genetics expert, Charles Xavier (McAvoy), and Shaw's former test subject, Erik Lehnsherr (Fassbender), to form a crack-group of mutants who can stop him.

Firstly, First Class is an absurd piece of alternative history. One could sit and anally pick at how the SR-71 'Blackbird' aircraft used in the film cannot hover and that its first maiden flight was in 1964, not 1962 as the film suggests. But it is more the glaring gaps pertaining to the plot which really require one to suspend belief. For example, how and why is there a blue mutant child in Charles Xavier's pantry, of all places? Likewise, the attempt to offer a rationale behind Magneto's silly hat only raises more questions than it answers. If muggle Russians made one for Shaw to prevent telepathic mind-reading, then why doesn't every non-X person have one? Further, does Beast really believe his special syrum will work to cure his deformity and allow him to keep his powers, even if said powers hinge on his deformity? Yes, there are massive logic loops, and yes, it is pretty dippy in places, but fortunately First Class is good enough to get away with it.

More pertinent than its historical accuracy and other curiosities is the tale at heart; how the X-Men came to be. Naturally then, the most interesting mechanic at play is the character development of Charles and Erik. Charles will probably raise the most eyebrows, with McAvoy playing a role somewhat removed from the humble qualities embodied in Patrick Stewart's Professor X. Yes, Xavier is still super-intelligent, but he is also a cocky little shit constantly chasing skirt. The true brilliance in McAvoy's performance however are the little flickers he gives of the person Charles later becomes. Erik's story is more straightforward, but equally fulfilling as we are introduced to his origins at the infamous Auschwitz concentration camp. Fassbender captures a certain pathos, manifested in his rage against Shaw as he takes to hunting Nazis in a very Ian Fleming's Bond sort of way. His journey follows a logical progression in that his experiences at the hands of the Nazis elucidate the incompatibility of his and Charles' world views, ultimately providing a satisfactory explanation to the pair's eventual split.

Unfortunately however First Class stutters and loses a bit of its narrative drive during the second act after Xavier assembles his mutant team. At one point Shaw offers Charles' 'X-Men' (and women) a chance to join him, but it isn't quite clear why some make the decisions they do. This is due to a lack of character development for the 'lesser' participants, compounded by both the film's reliance on plot and the casting of too many characters. Because First Class is so heavy on pushing the plot forward, most characters and themes become lost in one-dimensional cheese. Token moments such as the "let's all have codenames!" and Mystique and Beast's 'character' arcs of 'mutants who just want to be normal' almost ruin it.

One redeeming quality is First Class' many comic moments. Notably, one of the best is when a special cameo growls at Charles and Erik to go fuck themselves. But it is Xavier who gets the last laugh right at the end with a cheeky quip about hair loss. Likewise, whether intended or not, some of the location headers that pop-up are simply inspired; 'Super Top Secret CIA Base' or 'Russian Country Retreat' being personal favourites. Nerds might also smirk at the appearance of half the actors from the Command & Conquer games, Ray Wise again reprising his role as a smarmy politician and Michael Ironside as a grizzled military commander. Indeed, there's a lot to enjoy and First Class' humour doesn't detract from a film that otherwise takes itself pretty seriously.

While First Class isn't, well, first class, you'll still find enjoyment here. Yes, it has its problems; chaotic, poorly thought out in places and even a bit over-long. But it does just enough to make itself a perfectly watchable, if not bizarre take on the Cuban Missile Crisis. Above all it offers hope for the future of the franchise.

Jackie Q

'Supertight' - Jackie Q

'Ring 'Round' - Jackie Q

They actually wouldn't be out of place in the charts.

Film Review: Get Him to the Greek

I've never really 'got' Russell Brand. People laud him as being 'funny' and 'intelligent', two traits I scarcely detect in the man. Sure, unlike many comedians he uses big, clever words and appears to be well read, but this does not necessarily strike an accord with intelligence. Thus the only conclusion I can come to to explain the phenomenon that is Russell Brand is that his fan base, who are not as well-read, instantly equate his admittedly sometimes eloquent use of words to intellect. Elitistly put, they're idiots. That is not to say that a dislike or hate Russell Brand, rather that I am at a total loss as to why this semi-talented, flamboyant extrovert commands the popularity he does. Regardless of my incredulity, Brand has actually starred in a couple of films that have amused me, this being one of them. In what is essentially a spin-off of Forgetting Sarah Marshall, Brand reprises his role as British rock star Aldous Snow in Get Him to the Greek. You need not have seen Forgetting Sarah Marshall, but there are a couple of 'in-jokes' that pepper the film which you may not get otherwise. Anyhow, onward!

With Pinnacle Records caught in a global recession and falling music sales, junior executive Aaron Green (Hill) comes up with the idea to boost profits by resurrecting the career of his idol, washed-out has-been British rock star Aldous Snow (Brand), by staging a sell-out gig at the Greek Theatre in LA. However, if the tabloids are to be believed, gaining the compliance of boozed-up, drug addicted rock stars is an entirely different kettle of fish.

Forgetting Sarah Marshall is a somewhat ironic title, given that while a pleasant film, it is forgettable. Two things about the film however remained pervasive; the hedonistic Aldous Snow character and Jonah Hill's performance as obsessed fan. Naturally then it is not too surprising that the two are reunited here in this sequel of sorts, allowing Brand to gain a promotion from supporting actor to super star. Likewise Hill takes on a main role, albeit not as the same Sarah Marshall character, but somewhat confusingly happens to be just as much as an Aldous Snow super-fan. Hill acts as the down-to-earth, sensible, grounding character, enabling Brand to take on the hyperbolic rock star as a sort of cavalier cross between Michael McKean, Liam Gallagher and, well, himself. This essentially amounts to a fairly typical mismatched-buddy affair. Whilst an enjoyable romp with some genuinely hilarious moments, especially the mock music videos throughout, Get Him to the Greek unfortunately suffers from incoherency.

Brand is fine as the egotistical, self-absorbed twat we've all come to recognise in Bono and Bob Geldoff, but because Snow embodies the rock star clichés so well, it becomes a bit tedious to watch as the film goes on. Indeed, the film embarks on so many tangents to try and explain why Snow is such a prat in the first place that it begins to become difficult to squeeze funnies out of them. Indeed, it descends somewhat into dullness all too frequently for my liking. Fortunately however there are enough bright spots to make this film entertaining enough. Notably, and somewhat surprisingly, Sean Combs' (P.Diddy, Puff Daddy, Diddly Pop, Piddly D, whatever...) steals the show as big cheese of Pinnacle Records, Sergio. Also worth mentioning is the music of Snow's ex-wife, Jackie Q (Byrne), sporting some incredibly debauched, yet equally hilarious lyrics.

Get Him to the Greek is patchy. Hilarious in places, dull in others. It misses a few tricks but if you've got nothing better to do and don't know what to stick in your DVD player, it's one of those kind of films you would pop in for the occasion. "I'm mind fucking you right now".