Tag Archives: 3 stars

The Hangover Part III * * *

Genre: Comedy

Director: Todd Philips

Writers: Todd Philips and Craig Mazin

Cast: Bradley Cooper, Zach Galiafinakis, Ed Helms, Justin Bartha, Ken Jeong, John Goodnman

Running Length: 100 minutes

Synopsis: In the supposed finale of The Hangover trilogy, there are no weddings and no bachelor parties – but when the Wolf Pack hits the road, all bets are off.

Review: There is little that needs to be said of The Hangover Part III if you have watched the previous two instalments – it’s once again about the Wolf Pack (Bradley Cooper, Zach Galiafinakis, Ed Helms and Justin Bartha) on the road, this time at the bidding of a thug (John Goodman), and its ensuing hijinks. Ken Jeong’s Mr Chow also takes on a leading role this time, with the addition of a memorable cameo from a (increasingly) well-known comedienne. Though much of the shtick is tired and old-hat, The Hangover Part III feels more like a proper sequel to the first movie, as the second movie was merely a facsimile of The Hangover set in a more exotic locale. It’s also a somewhat befitting swan song to the series, if this is truly the end as advertised widely in the film’s marketing campaign.

The Hangover Part III drops the dramatic setup of a drugs- and/or alcohol-fuelled amnesia, and instead presents itself more as a caper movie in the likes of the Ocean’s Eleven franchise. The film is quite dark as a result, which is surprising because the film is marketed as a straight up comedy, and there are more deaths (both human and animal) in this film than in some actual caper movies. While this is largely fine, it does make for an uneasy marriage with the Hangover franchise, and it’s clear in some sequences that Todd Philips was also struggling with the mix. Essentially, it’s almost impossible to kill someone off in a movie and still expect audiences to laugh at the act.

Both Ken Jeong’s Mr Chow and Zach Galiafinakis’ Alan are characters that are entertaining in short bursts; increasing their onscreen presence in The Hangover Part III is thus a double-edged sword: while some of these sequences are funny, these two characters are generally unlikeable and start to grate after a while. Although a female cameo is introduced as Alan’s potential love interest to soften the impact, the film still suffers from this shift in spotlights. Yet, it cannot be denied that there are bright sparks in the film, and for audiences who just want to switch their brains off at the door and enjoy a silly comedy will find themselves capably entertained. I don’t quite believe that this is the end of the series, especially with the mid-credits sequence, but at the same time I cannot really imagine sitting through another Hangover movie. It’s high time to bid farewell to the Wolf Pack, and hopefully the producers will look past the greenbacks and recognize this fact.

Rating: * * * (out of four stars)

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Iron Man 3 * * *

Genre: Action

Director: Shane Black

Writers: Shane Black, Drew Pearce

Cast: Robert Downey Jr., Gwyneth Paltrow, Don Cheadle, Guy Pearce, Ben Kingsley, Rebecca Hall

Running Length: 131 minutes

Synopsis: Marvel Studios’ Iron Man 3 pits brash-but-brilliant industrialist Tony Stark/Iron Man (Robert Downey Jr.) against an enemy whose reach knows no bounds. When Stark finds his personal world destroyed at his enemy’s hands, he embarks on a harrowing quest to find those responsible. This journey, at every turn, will test his mettle.

With his back against the wall, Stark is left to survive by his own devices, relying on his ingenuity and instincts to protect those closest to him. As he fights his way back, Stark discovers the answer to the question that has secretly haunted him: does the man make the suit or does the suit make the man?

Review: Now that Iron Man is a firmly established franchise together with the Avengers, it’s hard to feel any surprise about this third installment of Iron Man. Whilst no one can be accused of dialing in their performances (which are in fact quite good given the genre), there’s this overall sense of not really trying too hard with this film. The requisite action sequences are in place, as well as Robert Downey Jr’s by-now trademark wisecracking take on Tony Stark/Iron Man, but the change of directors to Shane Black brings nothing new to the table. Not that change is a necessity, but since this should be the swansong for the Iron Man franchise, I had truly expected the trilogy to end on a higher note.

This is essentially the darkest Iron Man film to date, focusing on the more intimate aspects of the Iron Man universe – Stark’s inability to cope with the events that unfolded in The Avengers, his relationship with Pepper Potts (Gwyneth Paltrow), and his personal vendetta against the terrorist figure known only as The Mandarin (Ben Kingsley). Robert Downey Jr. actually spends a fair amount of time outside the suit, and apart from a lengthy, overly cheesy and somewhat unnecessary “buddy movie” sequence with a young boy, his performance as a superhero is impressive and only a distant second from Christian Bale’s incomparable turn as the Dark Knight. Ben Kingsley is the most seasoned actor amongst the cast, and despite a limited number of scenes, easily steals the limelight from everyone else, Downey Jr. included.

Action set pieces are on the whole quite well done, especially the scene involving Air Force One, but my personal opinion is that the climactic showdown in the final reel is a letdown. Having a whole bunch of Iron Man suits fighting the villain’s henchmen makes it look like a scaled down version of Transformers, and honestly the entire denouement fails to make much sense on most levels. The finale also attempts to inject some emotionality to the proceedings but it’s not a very successful attempt (as compared to, for example, the final sequence in The Dark Knight Rises).

This is the first Iron Man film to be in 3D, but like many conversions to 3D, it is not necessary to watch the film in the third dimension. There’s very little depth to the picture, and 3D actually makes the image muddy and causes a lot of strain to the eyes. Having caught the film once each in 3D and 2D, I can safely say the viewing experience is far better in 2D.

Iron Man 3 is a perfectly fine start to the summer blockbuster season for 2013, and only the fussiest moviegoers will walk out of the cinema not feeling entertained. It is unlikely we will see Iron Man as a standalone feature moving forward, but Tony Stark’s appearance in related franchises (next up in Avengers 2) should leave fans satiated.

P.S There is a post credits sequence which is quite amusing but inconsequential – whether it’s worth sitting through the ten minute credits crawl is of course, a personal choice.

Rating: * * * (out of four stars)

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J. Edgar * * *

Genre: Drama

Director: Clint Eastwood

Writer: Dustin Lance Black

Cast: Leonardo DiCaprio, Armie Hammer, Naomi Watts, Judi Dench

Running Length: 137 minutes

Synopsis: J. Edgar explores the public and private life of one of the most powerful, controversial and enigmatic figures of the 20th century. As the face of law enforcement in America for almost fifty years, J. Edgar Hoover (Leonardo DiCaprio) was feared and admired, reviled and revered. But behind closed doors, he held secrets that would have destroyed his image, his career and his life.

Review: J. Edgar is not one of Clint Eastwood’s strongest works, despite an excellent lead performance and a number of compelling scenes. Perhaps this is due partially to Dustin Lance Black’s script, which seems reluctant to delve deeper into J. Edgar’s psyche, choosing instead to present a rather superficial view of the man. There are lengthy scenes in the film which are very low key, and this is likely to lead to an emotional disconnect with the audience members.

The narrative structure of J. Edgar is, surprisingly, rather clunky, although it depends on the usual flashback and flashback-within-flashback shorthand. Although brownie points should be given for tackling a story that spans 7 decades, the segue between “present” and “past” is sometimes rather clumsily done. What is also extremely jarring is the subpar makeup, and the worst offender is that of Armie Hammer, who looks like he’s two hundred years old under a layer of overdone speckled makeup that truly detracts from audience immersion.    

The only actor to rise above the makeup is Leonardo DiCaprio, who puts forth a career-best performance as J. Edgar, perfectly portraying every aspect of the man. He disappears into the role, which is an essential part of any successful biographical depiction. It’s certainly an Oscar-worthy performance, but DiCaprio is unfortunately snubbed in this year’s nominations. Unsurprisingly, the only other actor that impresses is Judi Dench (mercifully not drowned under makeup) in her small handful of scenes – the scene where she utters the chilling “I would rather have a dead son than a daffodil for a son” is certainly one of the most emotionally impactful.  

What the script doesn’t shy away from is J. Edgar’s sexuality, and this is possibly one of the most overt depictions of J Edgar’s asexuality/homosexuality. Although it takes a while to get to J Edgar’s proclivities, when it does get there, the film is enlivened to such a great extent that his sexuality becomes the film’s focus. Not that there’s anything wrong in that, and this does make parts of the film somewhat akin to a tender love story (particularly the denouement), but given that plenty of J. Edgar’s life and career have been left out of the movie despite its length, one can’t help but feel slightly underwhelmed by the time the end credits roll.     

Rating: *** (out of four stars)

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Chronicle * * *

Genre: Science Fiction

Director: Josh Trank

Writers: Max Landis & Josh Trank

Cast: Ashley Hinshaw, Alex Russell, Michael B. Jordan, Dane Dehaan, Michael Kelly

Running Length: 84 minutes

Synopsis: Three high school friends gain superpowers after making an incredible discovery. Soon, though, they find their lives spinning out of control and their bond tested as they embrace their darker sides.

Review: It’s not easy to be a fan of found footage movies – with the sickness-inducing camera shake and always flimsy excuses for the protagonists having a camera with them at all times, there are plenty of audience members who will not miss found footage movies if they all disappear overnight. However, Chronicle is a breath of relatively fresh air in this limited sub-genre, applying the found footage concept to the superhero movie, and the result is a very compelling piece of slightly flawed filmmaking.

Chronicle is basically an 84-minute answer to the question “what if you had superpowers?”, and it starts off lighthearted enough, with the three teenagers playing harmless pranks and messing with each other. The teens’ powers ramp up exponentially, the film quickly takes on a far darker edge, with Trank and Landis crafting a story with a number of surprising twists and turns despite what seems to be at first a very predictable film.   

One of the reasons why Chronicle works so well is in its casting – all three teenagers are charismatic in their own way, and the audience will definitely feel a connection to the trio. It may or may not be a compliment to their thespian skills to say that their portrayals of teenagers seem to come very close to real life. Of the three, Dane Dehaan is the most impressive, a Leonardo DiCaprio lookalike that plays Andrew, the most troubled teen of the trio. Trank also smartly chose to “document” some of the domestic issues that plague Andrew, which allows an insight into his backstory and fleshes out the character more than most similar films are able to.   

That’s not to say Chronicle is a perfect film – it requires a near-total suspension of disbelief, and eventually the film writes itself into a corner that it doesn’t really successfully extricate itself out of. Most glaringly, a short scene after the climactic showdown totally messes up the found footage conceit, and feels so out of place with the rest of the film Josh Trank should have simply edited it out of the movie entirely.

It’s not the only time that the film “cheats” a little, however, another example being replacing shakycam footage with steadier scenes by telling the audience that Andrew “holds” the camera with a telekinetic virtual tripod (to be honest, I am actually thankful for this). There are other sequences which do not fit into the film’s internal logic, but the movie is absorbing enough for audience members to overlook such lapses.

Made on the cheap with a budget of “only” US$15 million, the CG effects are a little hit and miss. Generally though, the effects are impressive enough, and despite the slightly chaotic end sequence, is a pretty thrilling film that doesn’t outstay its welcome. It’s definitely not a film for everyone, but given the right mindset (and a good resistance to motion sickness), Chronicle ranks as one of the first great surprises of 2012.  

Rating: *** (out of four stars)

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Journey 2: The Mysterious Island * * *

Genre: Action

Director: Brad Peyton

Writers: Brian Gunn and Mark Gunn, based on the novel The Mysterious Island by Jules Verne

Cast: Dwayne Johnson, Josh Hutcherson, Vanessa Hudgens, Luis Guzman, Michael Caine, Kristin Davis

Running Length: 94 minutes

Synopsis: The new journey begins when Sean receives a coded distress signal from a mysterious island where no island should exist—a place of strange life forms, mountains of gold, deadly volcanoes, and more than one astonishing secret. Unable to stop him from going, Sean’s new stepfather joins the quest. Together with a helicopter pilot and his beautiful, strong-willed daughter, they set out to find the island, rescue its lone inhabitant and escape before seismic shockwaves force the island under the sea and bury its treasures forever.

Review: We all know that a movie like Journey 2 isn’t going to win any major awards for direction, acting and scripting, but this doesn’t mean the film can’t be a rather enjoyable romp given the right set of expectations. It is what it is – Journey 2 is a family film targeted at entertaining the younger audience, and this it does remarkably well. When viewed in immersive IMAX 3D, the entire film actually resembles an extended theme park ride, complete with requisite chase sequences, big monsters, and the eventual escape from the island in an unconventional vehicle. Of course, everything is coated in a thick, thick coat of cheese. Kids are definitely going to enjoy the film, and the older viewers will find enough to entertain despite some uneven patches. 

It’s almost a given in any film nowadays to feature CGI work, and Journey 2 has some pretty top-notch special effects going for it. Although the audience will be aware that the majority of the film is green screen work, at least the CGI is well-integrated and does not distract. Action sequences are well done too, and there’s even good attention to detail, as evidenced by the meticulous design of the Nautilus that features in the latter part of the film.

One of the most memorable sequences is the “pec pop of love”, executed to brilliant, hilarious effect by Dwayne Johnson, and is certain to become a cult classic. Dwayne Johnson is truly the star of the show, energetically working his eyebrows to great effect, and unabashedly ladling on the cheesiness. The rest of the cast doesn’t fare so well, with Josh Hutcherson particularly being the weakest link despite being the other central character. Luis Guzman and Michael Caine both seem to be dialing it in, and it’s clear that none of their thespian skills were needed in a movie like this one.

So yes, Journey 2 is entirely over the top, and the film demands a total suspension of disbelief and a willingness to accept the film at face level. But as far as fluffy cinematic entertainment goes, it does its job pretty well. If you’re looking for a film to bring the entire family along over the festive season, Journey 2 would definitely be a safe bet.     

Rating: *** (out of four stars)

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The Muppets * * *

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)

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Puss In Boots * * *

Genre: Animation

Director: Chris Miller

Writers: Tom Wheeler, based on a story by Brian Lynch, Will Davies and Tom Wheeler

Voice Cast: Antonio Banderas, Salma Hayek, Zach Galifianakis, Billy Bob Thornton, Amy Sedaris

Running Length: 90 minutes

Synopsis: Long before he even met Shrek, the notorious fighter, lover and outlaw Puss in Boots (Antonio Banderas) becomes a hero when he sets off on an adventure with the tough and street smart Kitty Softpaws (Salma Hayek) and the mastermind Humpty Dumpty (Zach Galifianakis) to save his town. This is the true story of The Cat, The Myth, The Legend…The Boots.

Review: After playing second fiddle to Shrek for three movies, the orange tabby finally gets his own movie, which seemed like a long time coming. The good news is that this Shrek spinoff manages to retain the trademark (slightly subversive) humour of the Shrek franchise, with more puns and visual gags than one can shake a sprig of catnip at, and also looks as good as any decent animated movie does nowadays. However, the story itself lacks imagination, and exists merely as a vehicle for the visuals and jokes to ride on. It remains a fairly entertaining movie but if only there was more once one scratches beneath the glossy veneer.

Cats are a cultural phenomenon on the internet, and rightly so – they can be really cute creatures to go gaga over, and yet have a regal nonchalance that is oddly alluring. Puss in Boots captures both aspects pretty well, especially since Antonio Banderas adds a sultry Spanish flair to the voice acting. However, despite the title of the movie, the true star of the film is Zach Galiafinakis and his Humpty Dumpty, a surprisingly nuanced character with complex, adult issues that almost seems out of place in what is essentially a movie catered for the younger audience. The film does not have the universality like many Pixar films, and these adult elements will not be readily identified by the kiddy set, but it’s always a pleasant surprise to find an animated film that does not talk down to its audience. However, that having been said, little is done with the deeper material, which results in a lack of resonance with the moral of the story.

The visuals as a whole are bright, colourful and detailed, and there are some truly memorable personifications of fairy tale and nursery rhyme characters (my favourite would have to be Jack and Jill, because they are the ones that confound expectations the most). Although it’s now a prerequisite for animated films to look good, Dreamworks probably does some of the best computer animated work after Pixar. Unlike many 3D films released nowadays, the third dimension in Puss in Boots isn’t used in a gimmicky manner, but does help to augment the film in terms of immersion. However, 3D does not lend itself well to higher-speed sequences, and there are some dance and action scenes which were a little overwhelming to watch.

The one biggest redeeming factor for Puss in Boots is simply that the film never takes itself too seriously. Once that mindset is in place, it’s easy to enjoy the movie for what it is – short, cinematic fluff that won’t fail to entertain even the most jaded cinemagoers. It even throws in a Lady Gaga song for good measure – and as the leading purveyor of pop culture these days, who can really argue with that?  

Rating: *** (out of four stars)

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You Are the Apple of My Eye * * *

Genre: Drama

Director: Giddens Ko

Writer: Giddens Ko

Cast: Ko Chen-Tung, Michelle Chen

Running Length: 110 minutes

Synopsis: A coming of age tale revolving around Ko-Teng (Ko Chen-Tung) and several close friends, who are all nursing crushes on honour student Shen Chia-Yi (Michelle Chen). Naughty in nature, Ko-Teng is ordered by their homeroom teacher to sit in front of Chia-Yi for her to keep close tabs on him. The two don't see eye to eye at first but Ko-Teng gradually falls for her, who is always pressuring him to study hard. On the other hand, Shen becomes impressed by the contrasting values he represents. A tentative courtship begins between the two, but both parties seem hesitant to commit to each other. 

Review: Nostalgia is a very powerful tool, and anyone who has loved and/or lost a sweetheart in the growing up years (and who hasn’t?) will certainly find You Are the Apple of My Eye to be a gently evocative, bittersweet experience. Based on Gidden Ko’s semi-autobiographical novel (the literal translation of the title for both the novel and movie is The Girl We Pursued Together In Those Years), this is a reasonably well-directed and well-acted film, and is largely (sadly, not entirely) devoid of the soppy melodrama that is rather prevalent in Taiwanese film and TV productions.

The film is split into three distinct portions, high school, university and the post-school years, with the high school part taking up the most screen time. It’s also the best segment of the film, with Giddens balancing drama and (admittedly puerile) humour with a deft hand, and is bolstered by excellent performances all round. The fresh-faced, young actors are perfectly cast, and newcomer Ko Chen-Tung is particularly impressive, exuding a charisma that is undeniable and hence a great fit for Giddens’ alter ego.

However, the latter two portions of the film take a little of the shine away, as the plot starts to wear the audience down, especially because much of the proceedings run along a pretty predictable line. The upside is that audiences who hate unresolved plot threads will have nothing to worry about, as everything is fully resolved by the time the credits roll. A more minor niggle is that there’s almost no attention paid to the aging of the characters, and they look almost the same throughout, even though the progression is approximately 16 years.

Though not a perfect film by any measure, there’s so much heart in You Are the Apple of My Eye that it’s easy to forgive its flaws. On a personal level, it turns out that Giddens (and hence all the characters in the film) is the same age as I am, and perhaps this is the reason why the film resonates with me on so many levels. If you are planning on watching only one Asian mainstream release this year, make it this one.

Rating: *** (out of four stars)

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Real Steel * * *

Genre: Action/Drama

Director: Shawn Levy

Writer: John Gatins, suggested by the short story “Steel” by Richard Matheson

Cast: Hugh Jackman, Dakota Goyo, Evangeline Lilly, Anthony Mackie, Kevin Durand, Hope Davis, James Rebhorn

Running Length: 127 minutes

Synopsis: A gritty, white-knuckle, action ride set in the near-future where the sport of boxing has gone high-tech, Real Steel stars Hugh Jackman as Charlie Kenton, a washed-up fighter who lost his chance at a title when 2000-pound, 8-foot-tall steel robots took over the ring. Now nothing but a small-time promoter, Charlie earns just enough money piecing together low-end bots from scrap metal to get from one underground boxing venue to the next. When Charlie hits rock bottom, he reluctantly teams up with his estranged son Max (Dakota Goyo) to build and train a championship contender. As the stakes in the brutal, no-holds-barred arena are raised, Charlie and Max, against all odds, get one last shot at a comeback.

Review: It’s not often said for a two-plus hour movie, but there’s so much going on in Real Steel that the running time actually feels too short to accommodate everything. This isn’t exactly a compliment, since it points to the film being slightly overstuffed, but the good news is that Real Steel is a pretty decent attempt at merging the father-and-son movie together with the David-vs-Goliath sports movie despite its flaws.

Much like how a romantic comedy works, the sports movie needs to have the audience rallying behind the protagonists, and this Real Steel manages to do well. The robot bouts are high energy and quite exciting to watch, especially because the robots are given very distinct visual identities and are extremely convincing works of CGI, which coupled with the good action choreography, presents quite a spectacle.

Although the conclusion is pretty foregone from the beginning, it does help that most audiences will be quite vested in Atom’s fate. The human actors are all pretty decent, with the best developed interactions being between father and son (of course), and only Evangeline Lilly being shafted by being an almost one-dimensional love interest to Hugh Jackman.

However, one of the biggest issues of Real Steel is how heavily the film ladles on the sentiment. The omnipresent score by Danny Elfman rises and ebbs, providing an extremely blatant indicator to how audiences should be feeling at any one point. The finale is replete with schmaltzy scenes of tears rolling slowly down cheeks and almost every other cliché in the playbook, and the very heavy-handed manipulation may turn off the more jaded cinemagoers in the theatre.

Having said that, most of Real Steel is very watchable, and the final bout between Atom and Zeus is about as exciting as any other well-directed boxing flick, even with it being constructed wholly with CGI. And despite the 127-minute running time, very little of the film feels draggy or superfluous. If you can get past the cheesiness of it all, Real Steel will present a solid two hours of entertainment.

Rating: * * * (out of four stars)

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Friends with Benefits * * *

Genre: Romantic Comedy

Director: Will Gluck

Writers: Keith Merryman & David A. Newman and Will Gluck

Cast: Mila Kunis, Justin Timberlake, Patricia Clarkson, Richard Jenkins, Woody Harrelson, Jenna Elfman  

Running Length: 109 minutes

Synopsis: Dylan (Justin Timberlake) and Jamie (Mila Kunis) think it's going to be easy to add the simple act of sex to their friendship, despite what Hollywood romantic comedies would have them believe. They soon discover however that getting physical really does always lead to complications.

Review: I hate to sound like a broken record, but this is a necessary precursor to reviews of any romantic comedy – it’s never the plot and always the chemistry. Yes, we’ve all seen movies like Friends with Benefits a thousand times before, and the ground it treads is so well worn that there are really zero surprises to be had (in fact, just earlier this year we had the similarly-themed No Strings Attached). However, Friends with Benefits has one thing in its favour: there’s excellent chemistry between Mila Kunis and Justin Timberlake, which makes this a relatively enjoyable romantic comedy to sit through.

Since the storyline makes zero deviations from the norm, apart from the slightly cheekier aspect of the couple being sexual partners before true feelings develop, there’s really no point speaking about the plot. Friends with Benefits’ strength lies in its actors – sparks fly between Mila and Justin, but the supporting cast is what really pushes the film one level higher. Patricia Clarkson is perfectly cast as the bohemian, devil-may-care mother of Jamie, and Richard Jenkins is outstanding as Dylan’s father, suffering from Alzheimer’s. Even Woody Harrelson is highly memorable as the flamboyant gay sports editor of GQ magazine, whose transportation to work is more than a little unusual. And then there's the excellent snippets of a "romantic comedy" that plays out as a film within a film, with great cameos of Jason Segel and Rashida Jones.

Having directed Easy A before this, director Will Gluck seems to be developing a modus operandi – taking a familiar genre and coaxing great performances out from the cast members to differentiate the film from the run-of-the-mill – and so far it’s been quite successful. Many small scenes in Friends with Benefits take jabs at the conventions in romantic comedies, and it does seem a little “meta” that the film itself ticks off so many checkboxes in that same list, but as long as the film works as a whole, this isn’t really an issue at all. Friends with Benefits is a pleasant romp through familiar scenery that doesn’t outstay its welcome, and a good enough hour-plus diversion to warrant a trip to the cinemas.

P.S. If you’re so inclined, there’s a very short (but largely inconsequential) coda at the end of the credits that you could stay for.

Rating: *** (out of four stars)

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