In a recent interview Mel Gibson said he’s out of the business of financing his own films because, “I’m not a fool.”
Neither is Zach Braff.
Both must be worth big bucks—Gibson from the movies, Braff from starring on 175 episodes of “Scrubs”—and could likely use some of their own capital to make their own movies but Gibson says he’s out of the game completely while Braff used the popular crowd sourcing site Kickstarter to raise money for his latest.
“Wish I Was Here” is part of the small—but growing—trend of celebrity driven films paid for by contributions from the general public. The almost-mid-life crisis story raised $2 million in just forty eight hours (ultimately procuring $3.1 million of a reported $5.5 million budget), attracted an all-star cast—Kate Hudson, “Frozen’s” Josh Gad, Mandy Patinkin and “The Big Bang Theory’s” Jim Parson—and some backlash from critics who felt that crowdsourcing should be left for artists who aren’t also starring in giant Disney movies.
Fact is, “Wish I Was Here’s” backstory is a bit more interesting than the story on the screen.
Braff plays Aidan, an underemployed actor whose life is unraveling. His kids are about to be kicked out of Hebrew school because his father (Patinkin), who has been paying the bills, has been diagnosed with cancer and can no longer afford the monthly payment. His wife Sarah (Hudson) is supportive of his acting dream but nearing the end of her tether. Brother Noah (Gadd) prefers cos play over actual emotions and his two kids (Joey King and Pierce Gagnon) are maturing faster than he is.
“Wish I Was Here” plays like two movies. The first forty-five minutes is a cleverly written comedic look at Aidan as a manboy with far more responsibility than he can handle. It’s ripe with gentle character based laughs that emerge from the situations and don’t feel forced.
It’s only in the second half when Braff (who co-wrote the script with his brother Adam) allows sentiment to get in the way of the movie’s momentum. Despite Patinkin’s line, “Eventually when things get tragic enough they circle back to comedy,” the final forty-five minutes, which deal with the loss of Aidan’s father, takes a darker tone. That’s OK, life sometimes changes on a dime, but the cleverness of the set-up is replaced with mawkishness.
Sometimes it works. Hudson’s heartfelt “tell your sons you love them” speech to her-father-in-law is shot simply with lingering close-ups on the actor’s faces. The scene has an intimate in-the-moment feel and is very moving.
Less so is Gadd’s big moment, (VERY MILD SPOILER ALERT), a Comic Con sequence that is a bit too quirky to fit the tone of the film that surrounds it.
By the end credits the movie worked for me more often than not, but I wished that there were fewer clunky moments. For every scene that rings emotionally true—and there are quite a few of them—there is another that feels forced. The beauty of “Wish I Was Here” lies in the former, and certainly not in the passages that feel left over from another, lesser quirky indie comedy.
SYNOPSIS: Jason Segel and Cameron Diaz are Jay and Annie, a married couple who try to spice things up in the bedroom by videotaping themselves working through the Joy of Sex page by page. All goes well until Jay forgets to delete the video and mistakenly posts their three-hour amateur porntacular on the cloud. “Our sex tape has been synced to several devices,” he says, “all of which are in the possession of friends!” With BFFs Robby (Rob Corddry) and Tess (Ellie Kemper), the embarrassed couple try and retrieve each of the “infected” iPads, especially the one in the hands of Hank Rosenbaum (Rob Lowe), the family-first CEO of the company that publishes Annie’s G-rated mommy blog.
STAR RATINGS:
Richard: 2 Stars
Mark: 2 Stars
Richard: Mark, any movie with the word sex in the title and Cameron Diaz in her underwear and a newly slim Jason Segel in the all-together should be a lot sexier than Sex Tape is. The first twenty minutes plays more like an attempt to break the world record for using the word “sex” in a movie than an actual story. Diaz and Segel talk about sex, have sex, then talk about it some more, but rather than being racy or slap-your-thigh funny it becomes tiresome. The only word used more often is “iPad,” which is even less provocative.
Mark: Richard, this movie is one of the best Apple commercials I’ve seen in years. But it does have some laughs. I couldn’t decide, though, if it was original yet flimsy or flimsy yet original. I was glad the running time clocked in at a neat 90 min as it was wearing out its welcome fast. That’s mostly because Cameron Diaz’ smokin’ hot bod is naked only in the first half of the picture. She has a pretty good chemistry with Jason Segal, but Rob Lowe steals the show. Considering his own past, it’s a neat bit of stunt casting.
RC: The Robs are the best part of the movie. The iPad retrieval from Rosenbaum’s mansion gives Rob Lowe (who knows a thing or two about sex tapes) a chance for some off-the-wall fun as the straight-laced executive with a wild side. Rob Corddry’s wide-eyed interest in his best friend’s sex tape was amusing and felt like the most genuine thing in the movie. I thought Diaz and Segel were OK, but I didn’t buy into the movie’s main joke for a second.
MB: Yes, well, talk about a manufactured crisis! There’s lots to pick apart here, especially the subplot involving Corddry’s blackmailing teenage son. But there’s some nifty dialogue, especially at the beginning of the movie, and a scene I liked at the porn server’s with a cameo by a Famous Comic Actor. By the way, all those porn website titles they spiel off are real ones, or, umm, so I was told by the guy sitting next to me.
RC: Hey! I was sitting next to you. I take the fifth. Unlike you, I hated the first section of the movie. I thought the least interesting part of the movie was the sex and the sex talk.
MB: No one will mistake this movie for the classic comedies of Preston Sturges. The movie aims low and thereby exceeds expectations. Not very demanding, but it is summer.
Author appearance, Round table, Special Event: IFOA
Exhibition Place – Direct Energy Centre
210 Princes’ Blvd
Toronto M6K 3C3
IFOA returns to the CNE for an exciting panel with authors Crissy Calhoun, Richard Crouse, Adam Nayman and Richard Rosenbaum, who will take the stage to discuss their pop culture commentary.
For information about admission to the CNE, please click HERE.
Participants
Crissy Calhoun is the author of the Love You to Death series of Vampire Diaries companion guides and, under the pen name Liv Spencer, she’s co-authored books on topics like Pretty Little Liars and Taylor Swift. She lives in Toronto. Calhoun presents the fourth installment of her Vampire Diaries guides, Love You to Death: Season 4, which delves headlong into the twists and turns of each episode, exploring the layers of rich history, supernatural mythology, historical and pop culture references.
Richard Crouse is a regular film critic for CTV’s Canada AM. He is also the author of six books on pop culture history and writes two weekly columns forMetro newspaper. Crouse presents Raising Hell: Ken Russell and the Unmaking of The Devils, which examines Russell’s 1971 film about an oversexed priest and a group of sexually repressed nuns in 17th-century France. From the film’s inception through its headline-making production and controversial reception, Crouse explores what it is about Russell’s cult classic that makes it a cinematic treasure.
Adam Nayman is a film critic for TheGlobe and Mail, and a contributing editor to Cinema Scope. He is a lecturer at Ryerson and the University of Toronto, and programs for the Toronto Jewish Film Society. He lives in Toronto. Nayman presents It Doesn’t Suck: Showgirls, which examines and encourages a shift in cultural perspective on the box-office bomb Showgirls.
Richard Rosenbaum is a fiction editor at Broken Pencil and a regular contributor to OverthinkingIt.com. He has a Master’s degree in Communication and Culture, and lives in Toronto. Rosenbaum presents Raise Some Shell: Teenage Mutant Ninja Turtles, which examines the origins, evolution and impact of the Ninja Turtles phenomenon.
For many people, especially those who troll around in the more unsavoury corners of the Internet, the first exposure to celebs like Paris Hilton and Kim Kardashian came from that most modern form of celebrity introduction: the sex tape.
Paris and Kim’s videoed sexcapades weren’t the first tapes to become public — in 1988 Rob Lowe was embarrassed when VHS images of him and two women popped up on the news — and they weren’t the last.
This week in Sex Tape, Jason Segel and Cameron Diaz are Jay and Annie, a married couple who try to spice things up in the bedroom by videotaping themselves. All goes well until Jay forgets to erase the tape and mistakenly stores it on the Internet. “Our sex tape has been synced to several devices,” he says, “all of which are in the possession of friends!”
Given how many actors have appeared in sex tapes it’s not surprising that several movies have used the raunchy videos as a plot point.
In Brüno, the titular Austrian fashion reporter (Sacha Baron Cohen) tries to make a name for himself in America by making a sex tape with another famous American, U.S. Congressman Ron Paul. Trouble was, Paul wasn’t in on the joke. “I was expecting an interview on Austrian economics,” said Paul. “But, by the time he started pulling his pants down, I was like ‘What is going on here?’ I ran out of the room. This interview has ended.”
The 2006 comedy Drop Box has production values not unlike that of an actual sex tape but despite its low budget it offers up the funny and often brutal story about Mindy (Rachel Sehl), a big-time bubblegum pop star (think Britney or Miley), who accidentally returns her homemade sex tape to her local video store instead of Glitter, the movie she rented. Realizing her mistake, she tries to re-rent the tape.
Clocking in at just 80 minutes, it’s a character study about a spoiled pop princess who butts heads with an unmovable force in the form of the uncooperative and inquisitive clerk (David Cormican).
Finally, Auto Focus exposes sex tapes’ dark side. Hogan’s Heroes star Bob Crane’s (Greg Kinnear) all-American public persona hid a secret obsession. “I’m a normal, red-blooded American man,” he says. “I like to look at naked women.” According to the film, he liked making sex tapes with women, usually without their knowledge. The movie speculates his 1978 murder may have been related to this unlawful pastime.
Check out Richard’s cineplex.com article on Monty Python as the Beatles of Comedy.
“’I’ve got two legs from my hips to the ground, and when I move them, they walk around,’ isn’t a line with the elegance of, ‘Yesterday, all my troubles seemed so far away,’ but it is a lot funnier.
“Comparing the work of Monty Python and The Beatles might seem like equating apples to oranges, or guitars to crunchy frogs, but it really isn’t that much of a stretch. Eric (Idle), Graham (Chapman), Michael (Palin), John (Cleese) and a couple of Terrys (Gilliam and Jones) have a lot in common with John, Paul, George and Ringo.
“Monty Python has been called the most influential comedy troupe of all time. Their absurdist brand…” Read the whole thing HERE!
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“Dawn of the Planet of the Apes” is a different kind of blockbuster. It has all the elements of the usual summer fare— it’s a sequel, things blow up and, if that wasn’t enough, also features an ape on horseback —but it takes more risks than Optimus Prime could shake Michael Bay at. About half of it is done in ape sign language (with subtitles) and it’s not chock-a-block with action. Instead it takes time building characters and motivations so when the wild ape-on-human action begins it feels earned and it feels epic.
Set ten years after Rise of the Planet of the Apes saw Caesar (Andy Serkis) break free from a San Fransisco primate sanctuary and start an ape uprising, the middle-aged chimpanzee is the leader of a large population of genetically evolved apes. Most of humankind was wiped out by a pandemic of ALZ-113—a “simian flu” virus that speeds up the rebuilding of brain cells in apes but is deadly to humans—but when a small band of humans scout a water source near the ape camp a monkey wrench is thrown into the fragile peace between homo sapiens and simians is threatened. “Apes do not want war,” says Caesar, but a battle—gorilla warfare?—for control is inevitable.
To riff off of the old Superman tagline, “You will believe an ape can speak.” The special effects are amazing, but beyond the pixel manipulation that brings Caesar and company to vivid life, there are remarkable performances that, for lack of a better phrase, humanize the apes. These aren’t the erudite apes of the Roddy McDowell era, with vocabularies that would impress even Conrad Black, but simian characters that behave somewhere midway between pure instinct and higher intelligence.
Gary Oldman, as a human protectionist, Jason Clarke as the human who reaches out to Caesar in the spirit of friendship and cooperation and Keri Russell as his resourceful wife are all terrific, but I went bananas for these apes.
Beyond the flashy special effects and Serkis’s understated but powerful performance—this is the kind of performance that could convince the Academy to consider “motion capture” acting for inclusion in the Oscar acting categories—is a smart movie about race, gun usage and xenophobia. Its masked in allegory and, well, a story about talking apes, but it doesn’t shy away from big ideas and that is the thing that transforms it from a run-of-the-mill air conditioner flick to a thought provoking night and exciting at the movies.
