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Book Review: ‘Then We Came to the End’ by Joshua Ferris

April 10, 2012 in Book Reviews, Reviews

Not my cover but I thought this looked nicer

Then We Came to the End is another book I bought years ago but only got around to recently. At the time, I was deeply depressed about my job, which attracted me to the award-winning debut novel by Joshua Ferris, which was described on the cover as a very realistic and hilarious depiction of an office environment. The other reason I bought this book may have been because it was on special.

In a nutshell, Then We Came to the End was somewhat uneven but still pretty good. It is told from the perspective of a nameless narrator who is part of the action but mostly observes as a bystander who picks up a lot of gossip. The story is set in aChicago advertising agency in the 90s, right around the end of the internet boom.

For a while, however, I had no idea about the industry it was taking place in, and it didn’t really bother me. Anyone who has worked in an office environment will probably be able to identify all, if not most of the characters, or at least most of the character traits, displayed in this book.

There’s the office gossipmonger, the depressed wretch struck by tragedy, the office clown (or psycho), the potentially closet homosexual and of course, the lonely boss woman who gave up her life for a career — amongst many others. I was impressed with Ferris’s ability to keep track of all of them, giving each distinct personalities and quirks. Everyone is a little crazy, neurotic and paranoid about even the most banal, pointless things (such as who took who’s office chair), and they know it, too.

The tone of the novel is generally satirical, and while I wouldn’t say it was consistently laugh-out-loud funny, I did have a few chuckles here and there, predominantly attributable to the nutty contributions from Tom Mota, the sensitive/insensitive office time bomb. Most of the jokes were based around the absurdity of office culture and it was certainly something I could relate to despite being from a completely different field.

The weirdest part about the 387-page book is that it takes a bizarre turn around the middle that made no sense to me whatsoever. After plodding along nicely with a series of amusing office anecdotes told from the first person perspective of the anonymous narrator, the novel suddenly switched to third person to tell the sad, lonely story of Lynn Mason, the boss woman who was diagnosed with breast cancer. Not that it was poorly written, but the story and the tone of it felt totally out of place for the book, so much so that when it eventually returned to its original style (for the finale) I still had trouble getting back into it. I understand that the story had to be told from third person because the narrator couldn’t have known aboutLynn’s private life, but still, I found it utterly bewildering.

To Ferris’s credit, the book picks up momentum again as it heads towards its explosive finale, which, all things considered, was well executed. My main complaint about it was its sentimental postscript, which made me feel like I had been watching The Breakfast Club rather than reading a satire about how working in an office drives us insane.

Ultimately, I enjoyed the novel for its message and wit. Personally, I think it might have been more effective as a thinner, slightly more relentless book, but on the whole it was still a worthwhile read.

3.5 out of 5

Movie Review: Jack and Jill (2011)

March 4, 2012 in Movie Reviews, Reviews

Can someone please explain to me what the f@&! happened to Adam Sandler?

I guess I am just a glutton for punishment.  After hearing that Sandler’s latest comedy about twins, Jack and Jill, in which he plays both titular characters, raked in the Razzies nominations, I decided to check it out because it made me curious.

Could it really be that bad?  After all, I had seen some real shockers last year, and the Razzies usually tend to be based on hype more than anything else.  Most of the time the winners were nowhere near the worst films of the year, or so I believed.

And thus I held out a little bit of hope for Jack and Jill.  Sadly, while I doubt it is the worst film of 2011, it was a colossal disappointment, even by Sandler’s recently abysmal standards. And hey, I loved his earlier films like Happy Gilmore, Billy Madison, The Waterboy and so forth.

Jack and Jill is just so wrong on so many levels.  Sandler plays Jack, an advertising executive married to the most thankless character I’ve seen in years, played by Katie Holmes (I’ll get to her later, don’t you worry).  He is what you would probably call a “normal guy”.  His twin sister Jill, also played by Sandler, is an overweight, embarrassing, ignorant and probably slightly mentally challenged woman who comes to stay with him for a little while.  During her stay, Jill somehow inexplicably catches the attention and affection of Al Pacino (played by the real deal), whom Jack is trying to get for one of his commercials.  And I can’t believe I just tried to explain the plot of this film.

The biggest problem with Jack and Jill is that it’s just not very funny, especially when Jack and Jill are on screen, which is almost all the time.  I don’t know why, but lately Sandler keeps playing these rich, “normal guys”, probably versions of himself, who are complete dickheads.  Jack is no different.  He’s just his mean, highly unlikable guy who’s pretty much a big bully.  I know he also plays Jill, but this feels different because she’s a woman and we know she’s nothing like Sandler in real life.  And the whole film is essentially Jill, who is actually quite likable despite her flaws, being bullied.

You can probably already guess what happens. Jack can’t stand Jill at the start of the movie and tries to use her to get to Pacino, but in the end he realises…need I say more?

In fact, I’ve come to realise that most of Sandler’s films follow this same trajectory nowadays, and it stinks. Jack and Jill painfully reminded me of one of the worst films I saw in 2010, the appalling Grown Ups, in which Sandler and his comedian buddies were about as unfunny as I had ever seen them.

Here, watching Sandler on screen was as funny as watching some successful millionaire make fun of a handicapped person begging on the side of the street.  When I saw him revert to incredibly obvious and lame toilet humour I knew he had hit a new low.

The only thing that saved the film from complete disaster was the great Al Pacino, playing the great Al Pacino…or at least a caricature of the great Al Pacino. I have no idea how they convinced him to star in this movie, but Pacino was the film’s saving grace and provided essentially all the laughs — though to be fair even he was a little hit and miss at times.

Oh, and before I forget, Katie Holmes.  Is this what Tom Cruise allows her to do these days?  Really?  She did basically nothing.  A pot plant could have played her role, and probably could have done it better.  It made me wonder whatever happened to her after carving out a successful TV career in Dawson’s Creek.  Sure, she was popular for a while, especially after she bared her gifts in The Gift, but has she had a role in which her character really mattered since?  Batman Begins, maybe, but remember how much better The Dark Knight was without her in it?  It’s a tragedy because I think she has a lot more potential.

I hate to finish on a sour note after this rant, but the truth is Sandler needs to get back to his roots, where “character development” takes a back seat to just plain old silly fun.  That’s what he was good at and that’s what he’s always been good at.  His earlier movies were funny because he made fun of himself.  Now he is, explicitly or implicitly, making fun of others who don’t deserve the ridicule, and that’s just not fun to watch.

1.5 stars out of 5

Movie Review: Midnight in Paris (2011)

January 5, 2012 in Best Of, Movie Reviews, Reviews

It’s 2012 already but I’m still trying to finish off my 2011 movie reviews so I can do my annual top 10 list.

I still have a quite a few to go, but I’m pretty sure Woody Allen’s Midnight in Paris is going to be on that list. Starring Owen Wilson, Rachel McAdams, Marion Cotillard, Michael Sheen, Kathy Bates and co, Midnight in Paris is one of those rare, magical delights that I just couldn’t help but fall in love with.

Even though I had seen a couple of trailers, I mistakenly thought Midnight in Paris was one of those lazy, forgettable romantic “dramedies” with a bit of predictable quirkiness and lots of pretty scenes of Paris.  While it is indeed a quasi-love letter to the beautiful city, I couldn’t have been more wrong about everything else.  Without giving too much away, I would classify it as a “fantastical” romantic comedy.

It tells the story of Gil (Wilson), an engaged Hollywood scriptwriter working on his first novel, who travels to Paris on a vacation with his fiance Inez (McAdams) and her wealthy parents.  By chance, they bump into Inez’s pompous, insufferable friend Paul (Sheen), who loves to grab the spotlight and take the wind out of Gil’s sails.  Feeling rejected and dejected, Gil decides take a solo stroll through the streets of Paris one evening, thus beginning an unexpected and mystical adventure  involving a whole cast of fascinating characters.  I didn’t know about this aspect of the film so it came to me as a wonderful surprise, and being a writer made it even more glorious.

Despite the scandals in his personal life, it’s hard to not admire Woody Allen as genius filmmaker.  He has made some pretty decent but flawed films in recent years (Whatever Works, Vicky Cristina Barcelona, Scoop and Match Point, to name a few), but Midnight in Paris has to be one of his best in quite some time.  The characters are rich and the dialogue is sublime.  The one-liners are hilarious.  And the idea itself is brilliant.  At just 94 minutes, the film is short and sweet, allowing a swift pace.  It might not be a particularly deep film, but the sweet, light-hearted and wondrous vibe that Allen threads throughout the whole film makes it a joy to watch.

The role of Gil was made for Owen Wilson, and he shines here as the affable, slightly dorky Gil.  McAdams is also very good as the spoiled, irritating finance, and Michael Sheen is, as expected, marvellous as the pseudo-intellectual douchebag Paul.  Marion Cotillard is sexy and alluring, but for me, the one who steals the show in a minor role is French actress Lea Seydoux (who was recently an assassin in MI4).  But with the likes of Kathy Bates, Adrien Brody and French First Lady Carla Bruni, it’s hard to pick any holes in the cast or performances.

Midnight in Paris is by no means a perfect film, but I connected with it in a way I never thought I would.  As far as short, witty, memorable films are concerned, this one is right up there in my personal pantheon.

5 out of 5 stars!

Movie Review: 30 Minutes or Less (2011)

January 2, 2012 in Movie Reviews, Reviews

The good thing about being stuck a home with a baby is that I can finally start to catch up on my backlog of posts without having an opportunity to increase that backlog.

So today I am going to start with a movie review, the surprisingly decent 30 Minutes or Less.

Danny McBride is a somewhat polarising figure.  We know he can be funny (Pineapple Express) but we also know he can be annoyingly unfunny (Your Highness).  Now we know he can play nasty, stupid villain quite well too.

In the Ruben Fleischer-directed 30 Minutes or Less, he plays a scheming slacker who is after his father’s “fortune”, and together with his bumbling but  knowledgeable sidekick (Nick Swardson) come up with an unnecessary convoluted plan to get his hands on the money.  Without giving away too much more, that plan somehow involves putting under duress Jesse Eisenberg’s character Nick, an abused pizza delivery boy who works for a pizza joint that offers the titular “30 minutes or less” delivery policy (or you get your pizza free and the money comes out of the delivery boy’s wages).

Like many other McBride films, 30 Minutes or Less is highly sporadic, relies on sex jokes (though not as extreme or frequently as some of his other films) and is frankly a little hit and miss — that said, I did find it quite funny.  There was more plot than I had expected (which, for a McBride movie, doesn’t necessarily mean much), but what I think helped the film was the wonderfully talented comedic cast.

Jesse Eisenberg, coming off his performance as Mark Zuckerberg in The Social Network, isn’t overtly funny but does a great job as the straight man in this farce.  It’s similar to what he did in Zombieland, also a film directed by Ruben Fleischer.

Eisenberg allows the comedic talents of the other actors to shine through, in particular his best friend, Indian-American comedian  Aziz Ansari, who has some ripper lines and, for lack of a better expression, a funny face.  Another, who almost steals the show, is Michael Pena, who is utterly hilarious as an assassin.  Fred Ward, who plays McBride’s domineering father, is pretty good as well.

I guess it depends on your tolerance level for jokes based on stupidity and crudeness.  For me, 30 Minutes or Less pressed my buttons but didn’t cross my threshold, which is why I thought it was one of the better comedies of the year.

3.5 stars out of 5!

Movie Review: Crazy, Stupid, Love (2011)

October 17, 2011 in Movie Reviews, Reviews

Never been a huge fan of ‘romantic dramedies’ (thanks, Mr Judd Apatow) but Crazy, Stupid, Love is somewhat of an exception.  While it’s far too long and suffers from some of the tonal unevenness often seen in such films, I found myself thoroughly enjoying this clever meshing of different stories about the beauty, excitement, angst and heartbreak of love and life.

Crazy, Stupid, Love is driven by several damaged but very likeable characters.  There’s Cal (Steve Carrell), a middle-aged man who discovers his wife (Julianne Moore) has been cheating on him with a colleague (Kevin Bacon).  There’s Jacob (Ryan Gosling), a wealthy playboy and expert in the art of seduction who takes Cal under his wing until he meets Hannah (Emma Stone), a young lawyer stuck with a loser boyfriend.  And there’s Cal’s 13-year-old son Robbie (Jonah Bobo), who is obsessively in love with his babysitter Jessica, (Analeigh Tipton — who apparently was a high ranking contestant on America’s Next Top Model?!), who has a secret crush of her own.

It’s a ridiculously amazing ensemble cast that also features the always-brilliant Marisa Tomei (who almost steals the show) and everybody’s favourite husband from Fargo, John Carroll Lynch.  The performances really elevate the overall quality of the film, and I was personally surprised by Carrell’s drama acting chops as well as Gosling’s comedic acting chops.  For me, the standouts were Tomei, Gosling, Bobo and Tipton, but there were no weak links.

What impressed me most about Crazy, Stupid, Love was that the comedy side of it was genuinely funny (perhaps not gut bustingly so but amusing enough) and the drama side of it was actually romantic and emotionally effective too.  There aren’t many romantic dramedies I can think of in recent times that tick both boxes.  It also did a fabulous job of linking all the characters and stories together in a way many ensemble cast stories do but in a cleverer way.  This was not one of those sugar-coated, lovey-dovey movies with a predictable ending, even though it’s at times (bitter)sweet and full of heart.

I still don’t like romantic dramedies but if they can all be like Crazy, Stupid, Love (except a little shorter than its 118-minute-but-felt- longer running time) then I might be more willing to give them a try.

4 stars out of 5

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