e-ramblings

Genre: Comedy / Musical

Director: James Bobin

Writers: Jason Segel & Nicholas Steger, based on characters created by Jim Henson

Cast: Jason Segel, Amy Adams, Chris Cooper, Rashida Jones

Running Length: 103 minutes

Synopsis: On vacation in Los Angeles, Walter, the world's biggest Muppet fan, his brother Gary (Jason Segel) and Gary’s girlfriend Mary (Amy Adams) from Smalltown, USA, discover the nefarious plan of oilman Tex Richman (Chris Cooper) to raze the Muppet Theater and drill for the oil recently discovered beneath the Muppets' former stomping grounds. To stage a telethon and raise the $10 million needed to save the theater, Walter, Mary and Gary help Kermit reunite the Muppets, who have all gone their separate ways: Fozzie now performs with a Reno casino tribute band called the Moopets, Miss Piggy is a plus-size fashion editor at Vogue Paris, Animal is in a Santa Barbara clinic for anger management, and Gonzo is a high-powered plumbing magnate. Will the Muppets be able to band together and save the theater in time?

Review: It’s sad but true – while most children will still recognize the Muppets, they are no longer as culturally relevant as back in the 70s and 80s. Anyone who is above the age of 30, however, will likely have fond memories of watching The Muppets Show or Sesame Street during the formative years of their lives (myself included, of course). As such, although The Muppets is positioned as a movie for the young ones, the adult viewers are likely to be the ones who will find themselves enjoying the movie (and riding the incessant waves of nostalgia). It’s still a fun watch for the kids, for sure, but there’s no doubt the older audiences are the ones who will be able to tap into the emotional centre of the film.

It’s not exactly a sophisticated plot, and the human actors aren’t given much to do. However, in the same vein as the older Muppets movies, The Muppets is chock-full of cameo appearances, and it’s quite fun to spot all the stars that appear in the film. Also, the fourth wall is repeatedly broken in the movie in amusing ways, which again is a nod to the history of the Muppets, on both the small and big screen.

Although positioned as a musical, there really aren’t that many songs and performances to truly classify The Muppets as a true musical. In fact, after the first reel, which does feature a number of decent song and dance performances, director James Bobin seems to divert his attention elsewhere, resulting in sporadic songs that feel increasingly at odds with the rest of the movie. However, of the 9 songs featured, 3 are classic Muppets songs, which will definitely be familiar to anyone who has grown up with the Muppets.

Despite its imperfections, The Muppets is great fun both for newcomers to the franchise and “old-timers”, and is certainly an excellent choice for families during this holiday. Who knows – with this reinvigoration, it may represent a new era for The Muppets, moving them back into the limelight, which would not be a bad thing at all.

Rating: *** (out of four stars)

Genre: Musical

Director: Steve Antin

Writer: Steve Antin

Cast: Cher, Christina Aguilera, Stanley Tucci, Kristen Bell, Cam Gigandet, Eric Dane

Running Length: 119 minutes

Synopsis: Escaping from her small town and dreaming to make it big in LA, Ali (Christina Aguilera) stumbles upon The Burlesque Lounge, a musical revue that has seen better days. She manages to secure a job as cocktail waitress from Tess (Cher), the club’s proprietor, but aspires to perform on the club’s stage one day. Along the way, Ali garners the affection of Jack (Cam Gigandet), bartender at the club and a struggling musician, makes an enemy of Nikki (Kristen Bell), a star performer. She also has the help of Sean (Stanley Tucci), the keen-eyed and sharp-witted stage manager. Ali’s eventual success on the Burlesque stage restores the club back to its former glory, but financial woes still plagues the club and threatens to shut it down for good. 

Review: Burlesque is not a masterpiece by any measure, but that doesn’t mean it is not an entertaining movie – Christina Aguilera’s acting debut is unimpressive, but at least has a killer voice and a hot-enough body that is she uses to their full extent in the movie. She also wisely surrounds herself with capable actors and delectable eye candy, and it also helps the song and dance sequences are great fun to watch. And then, of course, there’s Cher, who finally returns to the big screen after a seven year hiatus. The 64-year-old veteran seems to be pumped full of botox,  but looks incredible for her age, plus she shows that both her acting chops and pipes are still in fine form. This may be Christina’s star vehicle but Cher roundly beats her in every department.

Steve Antin has aimed for a film that seems like a mix between Cabaret and Chicago, and although it isn’t quite there, Burlesque does score a number of triumphs. One of the more impressive moments of the show is Cher’s showstopping performance of a power ballad, unsurprisingly written by Diane Warren. And despite much focus on the Christina-Gigandet romance, the duo with the most chemistry is actually Cher and Stanley Tucci, who plays her gay BFF and their interaction serves up the best emotional scenes of the show. For audiences who prefer to focus on the aesthetics, Burlesque is also chock-full of beautiful people of both sexes, ranging from the gorgeous Kristen Bell to the sizzling hot Cam Gigandet.

That said, Burlesque’s plot is paper-thin with minimal characterization, and the decision to let the running time stretch to almost 2 hours actually hurts the film – there simply isn’t enough to sustain such length. In fact, there are probably some music videos out there that boast more plot than what Burlesque has on offer. Also, while the song and dance sequences are impressively staged, they are subject to way too many quick cuts and edits, which distracts from the action.

Despite the flaws, Burlesque remains far more watchable than other celebrity star vehicles like Glitter (Mariah) and Crossroads (Britney). The film doesn’t push any boundaries and is about as superficial a movie as can be, but like real life, sometimes it’s just fun to play in the shallow end of the pool. This is a bona fide guilty pleasure.  

Rating: * * * (out of four stars)

Genre: Musical

Director:  Rob Marshall

Writers: Michael Tolkin and Anthony Mingella

Cast: Daniel Day-Lewis, Marion Cotillard, Penelope Cruz, Nicole Kidman, Judi Dench, Kate Hudson, Sophia Loren, Fergie

Running Length: 115 minutes

Synopsis: Set in Italy in the 60s, Nine details a week (give or take) in the life of famous Italian film director Guido Contini (Daniel Day-Lewis) who is about to embark on his ninth film project, titled Italia. There is a slight problem – Guido is actually suffering from writer’s block, and despite the production being in place and almost ready to go, not a single line has been written for the screenplay. As he awaits the arrival of his muse, Claudia (Nicole Kidman), who has agreed to appear in Italia, Guido tries to escape the paparazzi and checks into a spa-hotel. Unfortunately, a bevy of women and problems follow – his mistress Carla (Penelope Cruz) shows up, as does his wife Luisa (Marion Cotillard). His marriage with Luisa is on the rocks due to Guido’s philandering, but Guido is desperate to try and keep the relationship alive. Also present is his friend and costume designer Lilli (Judi Dench), who tries to offer her advice to little avail, and American journalist Stephanie (Kate Hudson) who expresses her interest in Guido. Guido also has flashbacks to his childhood, where he meets his mother (Sophia Loren) and observes the erotic dance of Saraghina (Fergie), a prostitute. As the days wear on it soon becomes apparent that Guido is headed towards a breakdown and that the production of Italia may grind to a halt.

Review: It may be Rob Marshall’s second musical-to-movie adaptation (the first being the Academy Award-winning Chicago), but Nine is testament to the phrase “lightning doesn’t strike twice”. Perhaps it’s because Nine the musical is itself adapted from Federico Fellini’s 8½, and like the game of “Telephone”, too much was lost the third time round.

And whilst all the ten songs featured in Nine are big production numbers, the singing is barely passable for most and some of the numbers lean a little too much towards burlesque, actually coming across as being quite sleazy. The songs are not memorable either, and apart from Fergie’s strong performance on “Be Italian” and the totally anachronistic but quite enjoyable performance from Kate Hudson in “Cinema Italiano”, the rest of the songs simply meld into one large burlesque blur.

It doesn’t help that Daniel Day-Lewis is slightly miscast for this role, and despite his totally decent acting, Guido is a very unlikeable protagonist that not many audiences will be able to root for. Coupled with the fact that the women save one – Marion Cotillard has the only meaty female role and does a good job in portraying Guido’s long suffering wife – are one-dimensional walk on roles, seemingly only there to up the glam and sexiness factors, the whole film is thus comprised of famous faces with barely passable singing voices playing unengaging characters. That is as far from a winning formula as it could possibly be, and the result is clear. Watching Nine is akin to watching paint dry – a terribly soporific experience, and even the song and dance numbers only help to alleviate the tedium momentarily.

Rating:  * ½ (out of four stars)