Shrek Forever After

• Released Internationally on 20/05/10
• Released in Malta by KRS on 02/07/10 (also in 3D)

Preview (first published 30/06/10 in VIDA magazine)

In a nutshell

Everyone’s favourite green ogre (Shrek, or Fiona, depending on your tastes), is back for the fourth and final adventure. They have a new nemesis, and he’s short with red hair.

Why we’re hyped?

The third instalment may not have set the world alight, but it had a tough job topping the first and second parts of this alternative fairytale, which remains one of the freshest and funniest franchises around. In less than a decade, Shrek has firmly established himself in popular culture, bringing with him a barrage of quotes and jokes, and giving rise to numerous imitations. Along with Pixar’s stellar output, Shrek is largely to thank for the constant output of smart, hilarious and spectacular computer animation we get to enjoy today. So it’s fitting that he is sent off with a bang, in what the filmmakers have promised will be the final chapter. Something tells me this won’t be a simple sentimental ‘happily ever after’ type closure.

Who’s in it?

The four main stars return. Mike Myers’s faux Scottish accent has become synonymous with the titular ogre, despite no rational reason for it being there. Cameron Diaz continues to sound better than she looks as his blushing, verdant bride. Eddie Murphy, the highlight of the original chapter, is still stomping around as the ever-faithful sidekick, Donkey, and Antonio Banderas once again lends his silky voice to the star of the second film, Puss in Boots, who now has a motivation and weight problem. Voice actor Walter Dohrn is the new major addition as the fiendish Rumpelstiltskin, whose infamous tantrum has now developed into a larger, more anti-social problem. Craig Robinson (Hot Tub Time Machine) also joins the cast as Cookie the ogre, and the wonderful John Cleese and Julie Andrews reprise their roles as Fiona’s entertaining parents. It’s curtain call time for possibly the best original character of the past decade.

Review (01/07/10)

Green and unamused

You'd think Shrek of all creatures would know that the grass is always greener on the other side. But he doesn't, and as his new life with Fiona and the triplets starts to settle down into a routine of burps, nappies, lack of sleep and not a moment of quiet, he starts to miss the time when he was a feared, secluded ogre with nothing to keep him from taking relaxing mud baths all day. So, in a moment of frustration, he says some regrettable things to Fiona, and storms off for some time to think. Enter Rumpelstilskin, a fiendish little redhead with an old grudge and a disturbing pet. He pounces on Shrek's moment of weakness and offers him an apparently simple deal - twenty-four hours of his single, villager-chasing days in exchange for some other day from his life - such as some day from his baby years which he doesn't even remember. Shrek doesn't sleep on it, and signs, which is never a good idea.

Fiona, warrior princess

What follows in a wonderfully inventive and entertaining Shrek adventure in what could be described as an alternate universe - what the kingdom of Far, Far, Away would look like if Shrek had never appeared on the scene and Rumpelstiltskin ruled the roost with his cackling army of ashen-faced witches. This idea works, because it allows us to rediscover the beloved characters and locations all over again, without the storyline having to toss in new elements to keep the novelty factor going, as happened in Shrek the Third. So we meet Puss in Boots, who has outgrown his boots and most other garments in sight thanks to a life of lazy pampering. And a ruffled Donkey who lives a hard life carting slaves and has to sing for his supper. Fiona, on the other hand has grown into a Xena-type revolutionary princess, who leads the resistance against Rumpelstiltskin. And none of them have any idea who this Shrek guy is, despite his insistence that he's their best friend.

Cool mule

As Shrek's friends rediscover him, and Shrek learns to appreciate how great his life was before that ill-fated contract signing, so do we. Which makes this fourth and final chapter a joy to watch. Donkey is given his due prominence, and Eddie Murphy does his usual stellar job as he sings, dances, and even tries to introduce 'flip-flop Fridays'. The music often takes centre stage, with Rumpelstiltskin employing the skills of the Pied Piper to smother the resistance, with hilarious musical results. There's even a brief but wonderfully timed Lionel Richie moment that is one of the musical highlights of the show. And when against all the odds everything falls nicely back into place for our thick-skinned hero, we're treated to the expected swamp-party to end all swamp-parties, which appropriately serves as a curtain call for the entire story, including good old Farquaad.

In the end

After a disappointing third outing (but only by Shrek's high standards), the franchise finishes with a flourish. A fitting end to a fantastic fairytale.

Trailers:

http://trailers.apple.com/trailers/dreamworks/shrekforeverafter/

Hot Tub Time Machine

 

• Released Internationally on 26/03/10
• Released in Malta by KRS on 02/06/10

 

Preview (first published 29/05/10 in VIDA Magazine)

In a nutshell

Time travel is fun, I’ve been told. And the 80s were fun, if I remember well. So as part of the ongoing fascination with that most unstylish of decades, we finally get to travel back to 1986.

Why we’re hyped?

Probably the best time-travel film to date was based in the 80s, with Marty McFly leaving 1985 to travel back and forth in Back to the Future. This time, four male buddies with women troubles find themselves trapped in 1986 after a very drunken night involving a hot tub. They wake up when hair was bigger, highlighter jumpsuits weren’t only worn by inmates, and Michael Jackson (rest his soul), was still black. With such a goldmine of kitsch references and retro jokes, this promises to be one of the funniest movies this summer. It’s like The Hangover, but on the set of a Bonnie Tyler video.

Who’s in it?

Leading the pack back in time is the ever likeable John Cusack, who continues to alternate between quirky but excellent smaller films like Being John Malkovich and big-budget epics like Con Air or 2012. He is also one of the producers of the film, and should know something about the 80s since that when he had his first starring roles. Rising comedy regular Craig Robinson (Pineapple Express, Zack and Miri Make A Porno and the upcoming Shrek Forever After) is one of his bosom buddies, who isn’t too keen on bumping into his 1986 self, complete with high-rise hairdo. Clark Duke (Kick-Ass) and Rob Corddry (The Heartbreak Kid) round of the futuristic foursome. The film is directed by Steve Pink, who once adapted the screenplay for another Cusack gem – High Fidelity. So get out your leg warmers and zip up your shell suits, and get in the tub.

 

Review (02/06/10)

Present imperfect

Adam (Cusack) returns home from work to find that his long-term girlfriend has finally left, taking most of his possessions with her. In his basement, his pudgy nephew Jacob (Duke) lives indoors and his only social interactions are online, via his avatar on 'Second Life' (which makes one worry about how many such situations really exist). Across town, failed musician Nick (Robinson), does various non-appetising jobs at a dog-care centre, and definitely doesn't wear the trousers in his marriage. When their previously close friend Lou (Corddry) is hospitalised after a suspected suicide attempt, their lives comes swiftly into focus and they decide to try a weekend of bonding in a ski resort they used to love when they were younger. Nostalgia plays tricks, however, and they arrive to find a run-down resort that is a mere shadow of their glorious memories. When in doubt, drink.

Details, details

Time travel films require a certain amount of suspension of belief, for what I hope are obvious reasons. But the concept is so entertaining, and such a goldmine for cinematic moments that we're usually more than willing to nod along with talk of 'flux capacitors' and the 'space time continuum'. So usually the scantiest of details are enough to get the plot going. In this case, the unlikely mode of transport is an outdoor jacuzzi, which during the wild night of partying in which lots of sticky alcohol is spilt over the control panel, sends the four naked occupants swirling back to the mid-80s. The scene is a fast-paced, slightly trippy and very dizzying montage, which moves the plot swiftly forward to where we want to be. Getting back proves slightly more complex, however, and the numerous scenes where the four travellers and a mysterious, angelic handyman (Chevy Chase) try to fix the tub and get home end up being rather tedious and overdone.

Sex, drugs and glam-rock 'n’ roll

It may not be the swinging 60s or hedonistic 70s, but these unsuccessful males travel back to what they consider to be the zenith of their social lives - a wild winter week they spent in the resort, which was eventful and memorable on various levels. Brought up watching numerous time travel films themselves, they decide they should relive the week exactly as they remember it, so as to hopefully avoid a ‘butterfly effect’ and end up changing history forever. So, with a sense of duty, they set out into the frosty night to get punched by bullies, stabbed in the eyebrow by angry ex-girlfriends and booed off stage at a concert. Until, that is, they start realising that there’s fun to be had. Jacob, the unlikely time traveller who wasn’t even born at the time, is the most eager to get back home, especially after meeting the rather slutty 80s version of his dear mother.

Johnny B. Goode

The references to Back to the Future are frequent and not too subtle, from the hot tub’s digital display to the scene where the crowd is awed by a rendition of a ‘song from the future’. Certain scenes have the same overall feel of that time-travel classic too, as the characters try to tip-toe through the night’s events without disturbing the course of history, and failing miserably. The film also contains numerous elements that struck a chord in last year’s The Hangover, from the buddy aspect of the main characters to the shameless lack of decency or correctness as the events unfold. Most of the sleaze and crudeness is embodied in the character of Lou, with his three companions trying to hold him back, which sets up an interesting finale to the timeline troubles.

In the end

It’s crude, it’s rather silly, and it’s often much less coherent than similar films it tries to emulate. But there are frequent moments of hilarity, and a few inspired scenes that the main characters handle with boyish charm. You’ll probably need to be in the mood for this one, but if you are, you’re in for a fun ride.

 

 

Trailers:

http://trailers.apple.com/trailers/mgm/hottubtimemachine/