Jason KingI Love You, Man ($15.50)
June 4th 2009 06:22
:
U hate this new box thing - what does it mean?
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I Love You, Man review by Dave
I Love You, Man is a comedy for both sexes to enjoy on separate plains. ItÂs a film regarding both plutonic and sexual relationships between men and women, women and women, and perhaps most significantly men and men. As a male however, it was not too difficult to appreciate the female aspects of the picture.
The introduction prior to the screening of the film exclaimed that men will laugh at certain things and females will laugh at other things entirely. However true this may be, it is nowhere near such an extent to cause a divide between the sexes. I Love You, Man is broad enough to allow audiences of all backgrounds to come together in a dark room and laugh in unison; and what could then be a better indication of the films success as a broad comedy?
Putting the seemingly desperate pitch to the female audience for a very adult rated male orientated film aside; it is important to remember two things: this is a Hollywood broad comedy and ultimately an extremely hilarious and heartwarming one at that; and itÂs all owed to the incredible talents of it's main stars: Judd Apatow regulars Paul Rudd and Jason Segel, but before we discuss the Apatow effect let's digress for a moment shall we.
Paul Rudd plays the lead role of Peter Klaven; a low level real estate agent who is faced with a glaring problem: he has just got engaged to the ebullient and gorgeous Zo played brilliantly by Rashida Jones.
The catch is that his whole entire life he has never had a strong male friendship; and with the wedding on the horizon he must find a suitor to be his best man and more importantly his best friend; it's that or face endless ridicule and embarrassment from his fiance and her group of maidens-to-be.
It would be very unfair to detail the rest of the plot and its intricacies and characters as it spoils the fun; but through the course of the story he meets Sidney Fife, played by Jason Segel; an extreme eccentric and overly honest wacky individual; he is PeterÂs opposite and just may very well be the elusive best man. And so begins a story of maturity.
Segel steals the show from the moment he appears until the climax; his comic timing is astonishing. Paul Rudd fares extremely well too but this time showcasing a leading man quality he has not been allowed before.
The chemistry the two share together is outstanding and the addition of a stellar supporting cast including, but not limited to the likes of Jon Favreau, Andy Samberg, Jamie Pressley and J.K. Simmons; results in a film of such hilarity.
ItÂs partly modeled on the Apatow film style, but still is smart enough to distinguish itself.
For those not initiated with Judd Apatow allow me to digress a moment. Apatow is the comedy producer today. He is responsible for the majority of the highest grossing comedy films of the 2000s as well as the discovery of the best comedy talent around, Jason Segel and Seth Rogen, Steve Carrel to name a couple, whether it be the ESSENTIAL TV shows Freaks and Geeks or Undeclared to the huge hits of The 40 Year Old Virgin, Knocked Up, Superbad, Talladega nights, Anchorman, Pineapple Express, Step Brothers, Forgetting Sarah Marshall and so on and on. Do a google search, or better yet a video store search.
The point is that in Hollywood if a formula works, then you milk it, and the Apatow formula (effect if you will), is to take strong male characters that are immature or undeveloped and have them grow up and mature over the course of a very adult rated comedy. Hire great comedy actors and improvise like crazy, but make sure the script has heart at the start before the endless takes on set even begin.
It works, and it works so well that even when a film sets out to do the opposite it fails because it is not Apatow; and this has reached a very dangerous level at the present, in which Apatow is such a jogger-naught that when his actors branch out it instantly becomes a case of another film maker stealing his talent in order to leech of his success. Thus having a hugely cyclical and detrimental effect on non-Apatow produced comedy. For example in 2008 the only comedic film that broke $100 million in the United States box office that wasn't Apatow was Tropic Thunder, but even then that film had many Apatow regulars (Danny McBride, Jay Burachel and Bill Hader) and a similar style (heavy Improvisation), and itÂs director Ben Stiller had worked with Apatow on numerous occasions.
However the film turns out, it's still negatively affected, even if in a hypocritical and nepotistic way. The point is it is inescapable and simultaneously detrimental and beneficial for the plight of the simple comedy film.
Take the film-maker Kevin Smith; of Clerks and Jay and Silent Bob Strike Back fame; a film-maker imbued with a very idiosyncratic sense of character and dialogue that it couldnÃÂt be further from blockbuster Apatow, he utilized Apatow alumni Seth Rogen, Elizabeth Banks and Craig Robinson, and instantly audiences wonder if it is Apatow, or critics flat out bash it for it being an Apatow imitator.
I Love You, Man on the eve of its United States opening weekend, (Australian release tentatively slated for June 30th) is facing the same kind of pressure and unfair comparison.
Whilst it does share similarities (besides it being flat out hilarious- in fact to say the movie is funny is an understatement, the jokes fly so fast that the moment it ends you want to go right back in to catch all the jokes and character bits you missed from laughing so ridiculously hard) such as the actors it shares with Apatow and the laconic pace, it distinguishes itself with its female slant, which grounds the film and gives it such a soaring heart that is lacking in many Apatow productions (not all of course- especially as this reviewer adores all things Apatow), but for sake of discussion this Apatow effect is something to be wary about for the negative repercussions it has on the comedy arena, no matter how great his films actually are.
So kudos to John Hamburg, the writer and director of I Love You, Man, for creating such a distinct, if a somewhat formulaic comedy.
The film deals with a multitude of relationship issues; trust; concepts of love and marriage, and most significantly the importance of human connection. It is however quite formulaic, you can effectively predict the resolution before even purchasing a ticket, but what sets I Love You, Man from the pack is not only its complete honesty and hilarity, but the way in which it hurtles towards its inevitable outcome. The script by Hamburg does offer many, many surprises; twists and turns; harsh realities; the prerequisite gross out moments yet it maintains a big heart with healthy doses of sentimentality; itÂs never trite or treacle though.
The film is fresh due to the improvisational quality, the actors are clearly having a great time, which is so infectious that one may say that this quality as well as the chemistry of Rudd and Segel elevate the material to even further heights.
Hamburg, unfortunately, does not display any visual style or flourishes; he prefers to let the camera just sit still and take all the performances in; and I suppose that is how it should be. It allows the actors to shine, particularly the beautiful and talented Rashida Jones as PeterÂs wife Zo, she is so natural and born to be in front of a camera, she is the glue of the film, without her and to a degree; her maidens, the film would lose the great female skew that holds it away from your typical male sex comedy/ fantasy.
The music selection is varied and suited, especially ÂRush'. To use a great scene from the film it will make you want to be ÂSlapping the bass over and over again.
I Love You, Man is the surprise film of the year, in which everything just works; from the brilliant acting to the energy and pacing, to the surprises of the plot. As this is a comedy itÂs really the jokes that matter, everything else is just a great bonus.
Ultimately Segel and Rudd and Jones elevate this film; and if you need a single reason to see I Love You, Man let them be it.
WORTH $15.50
I Love You, Man is a comedy for both sexes to enjoy on separate plains. ItÂs a film regarding both plutonic and sexual relationships between men and women, women and women, and perhaps most significantly men and men. As a male however, it was not too difficult to appreciate the female aspects of the picture.
The introduction prior to the screening of the film exclaimed that men will laugh at certain things and females will laugh at other things entirely. However true this may be, it is nowhere near such an extent to cause a divide between the sexes. I Love You, Man is broad enough to allow audiences of all backgrounds to come together in a dark room and laugh in unison; and what could then be a better indication of the films success as a broad comedy?
Putting the seemingly desperate pitch to the female audience for a very adult rated male orientated film aside; it is important to remember two things: this is a Hollywood broad comedy and ultimately an extremely hilarious and heartwarming one at that; and itÂs all owed to the incredible talents of it's main stars: Judd Apatow regulars Paul Rudd and Jason Segel, but before we discuss the Apatow effect let's digress for a moment shall we.
Paul Rudd plays the lead role of Peter Klaven; a low level real estate agent who is faced with a glaring problem: he has just got engaged to the ebullient and gorgeous Zo played brilliantly by Rashida Jones.
The catch is that his whole entire life he has never had a strong male friendship; and with the wedding on the horizon he must find a suitor to be his best man and more importantly his best friend; it's that or face endless ridicule and embarrassment from his fiance and her group of maidens-to-be.
It would be very unfair to detail the rest of the plot and its intricacies and characters as it spoils the fun; but through the course of the story he meets Sidney Fife, played by Jason Segel; an extreme eccentric and overly honest wacky individual; he is PeterÂs opposite and just may very well be the elusive best man. And so begins a story of maturity.
Segel steals the show from the moment he appears until the climax; his comic timing is astonishing. Paul Rudd fares extremely well too but this time showcasing a leading man quality he has not been allowed before.
The chemistry the two share together is outstanding and the addition of a stellar supporting cast including, but not limited to the likes of Jon Favreau, Andy Samberg, Jamie Pressley and J.K. Simmons; results in a film of such hilarity.
ItÂs partly modeled on the Apatow film style, but still is smart enough to distinguish itself.
For those not initiated with Judd Apatow allow me to digress a moment. Apatow is the comedy producer today. He is responsible for the majority of the highest grossing comedy films of the 2000s as well as the discovery of the best comedy talent around, Jason Segel and Seth Rogen, Steve Carrel to name a couple, whether it be the ESSENTIAL TV shows Freaks and Geeks or Undeclared to the huge hits of The 40 Year Old Virgin, Knocked Up, Superbad, Talladega nights, Anchorman, Pineapple Express, Step Brothers, Forgetting Sarah Marshall and so on and on. Do a google search, or better yet a video store search.
The point is that in Hollywood if a formula works, then you milk it, and the Apatow formula (effect if you will), is to take strong male characters that are immature or undeveloped and have them grow up and mature over the course of a very adult rated comedy. Hire great comedy actors and improvise like crazy, but make sure the script has heart at the start before the endless takes on set even begin.
It works, and it works so well that even when a film sets out to do the opposite it fails because it is not Apatow; and this has reached a very dangerous level at the present, in which Apatow is such a jogger-naught that when his actors branch out it instantly becomes a case of another film maker stealing his talent in order to leech of his success. Thus having a hugely cyclical and detrimental effect on non-Apatow produced comedy. For example in 2008 the only comedic film that broke $100 million in the United States box office that wasn't Apatow was Tropic Thunder, but even then that film had many Apatow regulars (Danny McBride, Jay Burachel and Bill Hader) and a similar style (heavy Improvisation), and itÂs director Ben Stiller had worked with Apatow on numerous occasions.
However the film turns out, it's still negatively affected, even if in a hypocritical and nepotistic way. The point is it is inescapable and simultaneously detrimental and beneficial for the plight of the simple comedy film.
Take the film-maker Kevin Smith; of Clerks and Jay and Silent Bob Strike Back fame; a film-maker imbued with a very idiosyncratic sense of character and dialogue that it couldnÃÂt be further from blockbuster Apatow, he utilized Apatow alumni Seth Rogen, Elizabeth Banks and Craig Robinson, and instantly audiences wonder if it is Apatow, or critics flat out bash it for it being an Apatow imitator.
I Love You, Man on the eve of its United States opening weekend, (Australian release tentatively slated for June 30th) is facing the same kind of pressure and unfair comparison.
Whilst it does share similarities (besides it being flat out hilarious- in fact to say the movie is funny is an understatement, the jokes fly so fast that the moment it ends you want to go right back in to catch all the jokes and character bits you missed from laughing so ridiculously hard) such as the actors it shares with Apatow and the laconic pace, it distinguishes itself with its female slant, which grounds the film and gives it such a soaring heart that is lacking in many Apatow productions (not all of course- especially as this reviewer adores all things Apatow), but for sake of discussion this Apatow effect is something to be wary about for the negative repercussions it has on the comedy arena, no matter how great his films actually are.
So kudos to John Hamburg, the writer and director of I Love You, Man, for creating such a distinct, if a somewhat formulaic comedy.
The film deals with a multitude of relationship issues; trust; concepts of love and marriage, and most significantly the importance of human connection. It is however quite formulaic, you can effectively predict the resolution before even purchasing a ticket, but what sets I Love You, Man from the pack is not only its complete honesty and hilarity, but the way in which it hurtles towards its inevitable outcome. The script by Hamburg does offer many, many surprises; twists and turns; harsh realities; the prerequisite gross out moments yet it maintains a big heart with healthy doses of sentimentality; itÂs never trite or treacle though.
The film is fresh due to the improvisational quality, the actors are clearly having a great time, which is so infectious that one may say that this quality as well as the chemistry of Rudd and Segel elevate the material to even further heights.
Hamburg, unfortunately, does not display any visual style or flourishes; he prefers to let the camera just sit still and take all the performances in; and I suppose that is how it should be. It allows the actors to shine, particularly the beautiful and talented Rashida Jones as PeterÂs wife Zo, she is so natural and born to be in front of a camera, she is the glue of the film, without her and to a degree; her maidens, the film would lose the great female skew that holds it away from your typical male sex comedy/ fantasy.
The music selection is varied and suited, especially ÂRush'. To use a great scene from the film it will make you want to be ÂSlapping the bass over and over again.
I Love You, Man is the surprise film of the year, in which everything just works; from the brilliant acting to the energy and pacing, to the surprises of the plot. As this is a comedy itÂs really the jokes that matter, everything else is just a great bonus.
Ultimately Segel and Rudd and Jones elevate this film; and if you need a single reason to see I Love You, Man let them be it.
WORTH $15.50
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Comment by Cibbuano
Hunt Famous
Orble Post of the Day
Fat Cult
Techbreak
and I never liked Rush, but I appreciate the bass slapping..
Comment by ShaunK
Screen Adventure
Comment by Tracy
Movies and Life
I really enjoyed this film especially Paul Rudd's awkward phone greetings and endings. Those parts had me snorting away.
Tracy
Comment by Morgan Bell
Science News
Deep Pencil
Business News
Movie Train
Artist Quirk
maybe he just has a metrosexual vibe . . .
i LOVE Jamie Pressley but ive thought most of the Judd Apatow films were pretty lame . . . i think theyre aimed at pre-pubescent boys
Comment by Wilson Pon
Health 2 Know
Adventure Toes
Techno Stuffs
boxing sound
Business Rope
Comment by Jason King
Sydney Table
Salty Popcorn
Total Randomness
Shaun - Not on video yet - hasn't been released in cinemas just yet.
Tracy - can't wait to see it. This review was written by Dave (other Salty writer). I will add my 2 cents when I get to see it. I had to move furniture on the night of the screening and Dave went instead. Boo me
Morgan - I wouldn't say no.
Wilson - NOT me - Dave wrote the review although I am looking forward to seeing it. Dave scores films a lot higher than I do - it would have to be hugely amazing for me to give it $15.50 but looking forward to seeing it.
Comment by Wilson Pon
Health 2 Know
Adventure Toes
Techno Stuffs
boxing sound
Business Rope
I'm really a careless guy
Comment by Max Horn
Comment by Jason King
Sydney Table
Salty Popcorn
Total Randomness
Comment by AmyHuang
Project Job Search
Travel Debate
Travel String
Love Adventures
It doesn't really look that great, I might, as usual, wait until DVD comes out
Comment by Jason King
Sydney Table
Salty Popcorn
Total Randomness