Blind Review: The Best Man Holiday

Disclaimer: Blind Reviews are fictional accounts of what I imagine happens in the movie based on the trailer and gratuitous leaps of faith. I have not seen the movie and the review should not be taken seriously in any way.

What do you get when you combine old friends, messy relationships, Christmas, and Blurred Lines? A flawed film that perfectly captures the zeitgeist of life, love, and friendship in the early to mid-2010s. The Best Man Holiday (BMH), sequel to 1999’s The Best Man, won’t change your life, but it will become a Christmas staple airing every holiday season on TBS. That will be enough to make it trend on Twitter once or twice a year which is basically all that matters these days. BMH is leap years ahead of 2013’s other reunion based sequel, Grown Ups 2.

Filled with a talented and multi-cultural cast, BMH has some of the best character acting you’ll see all year. It’s amazing that writer-director Malcolm D. Lee (Undercover Brother, Scary MoVie) could coax such great performances out of actors who have struggled of late. Terrence Howard turns in his best performance since he was the original James War Machine Rhodes (Rhodey) in Robert Downey Jr.’s Iron Man. Howard, who plays Quentin, in the film has an amazing chemistry with all of the key players, but specifically his rival Harper who is played by Taye Diggs. The rivalries here are top notch.

Not to be outdone by the guys, the ladies provide the film with the depth that will make BMH worth revisiting.  Regina Hall steals the show as Candace, a smart successful woman who any man would be lucky to have. The Mia and Shelby characters have a cat fight for the ages about Shelby’s risqué behavior. The tension here is real, but the whole fight is a lot of fun.

The film isn’t all great though. There’s literally a stretch of the film, almost 10 minutes, where several characters compare and contrast the major phone operating systems. As interesting as the battle between iOS and Android is, and how culturally likely we as Americans are to discuss phones at a holiday get together in 2013, I just didn’t enjoy it. I’d have left this scene on the cutting room floor. There’s also a song and dance number where the guys cover a popular Boyz II Men track that is complete filler. It adds nothing to the feature and makes no sense.

Despite its flaws, BMH is the perfect film for the whole family this Thanksgiving. Sure, there are some scenes that won’t be age-appropriate for the young ones, but they’re going to be seeing this stuff sooner or later. Why not let them learn it from these beautiful people in the controlled environment that is your local cinemaplex? You certainly wouldn’t want to take the kids to see the Hunger Games sequel which will have people killing each other. Let’s face it, there’s nothing worse than murder. Here’s to hoping The Best Man series will continue with The Best Man Divorce or The Best Man Funeral 15 years from now.

B-

Review: 'Monsters University' (2013)

Disney/Pixar

It wasn’t long ago that Pixar was the elite studio in the animated film genre. For years, the nearly flawless, wildly original features that Pixar produced appealed to both adults and children. After an absolute brilliant three year run that included Ratatouille, Wall-E, and Up, the studio has gotten away from the originality that made it so great as three out of its last four features have been sequels. Pixar’s latest revisiting of past projects, Monsters University (a prequel to Monsters, Inc.) continues the discouraging trend of ordinary films that we have seen from the studio as of late.

Monsters University quickly makes it clear that the friendship between Mike Wazowski (voiced by Billy Crystal) and James P. “Sulley” Sullivan (voiced by John Goodman) did not exactly hit it off right away. Mike has always dreamed of being a scarer (a monster that goes into the human world to cause children to scream which powers the monster world). Even though he doesn’t exactly possess the same characteristics of the average scarer, Mike becomes a student at Monsters University and work’s hard to not just do well academically but also to become a successful scarer. His roommate just happens to be the naturally scary Sully who comes from a long line of scarers, giving him the mindset that there is no reason for him to actually try academically. These two different personalities and backgrounds clash making the young relationship far from smooth but when the two find their backs against the wall, they must attempt to put differences aside and work together.        

Don’t get me wrong, Monster University isn’t Brave bad. If we were to look at Monster’s University as a animated film from any other studio than there would not be a whole lot to complain about because it would be slightly above the norm. The problem is that Monsters University is a product of Pixar which means it is judged by high standards set from the gecko and maintained for 15 years. Fair? Maybe not but it also means that these films are being looked at as valuable works for all ages and not just animated movies for one demographic.

One aspect of Monsters University that although not revolutionary but positive considering it is directed towards a younger audience is its message. As the origins of Sullivan and Mike’s relationship are explored, the differences and effects of earning or working for something compared to inheriting or falling into a title or status is also delve into. You have Mike who must work hard to be a good scarer and on the other side of things is Sully who comes from a family of legendary scarers giving him not just a natural nack for it but a sense of entitlement. These personas and characteristics match the characters well and are initially used in a heartfelt manor that stresses how important hard work and determination is.

The problem is that soon after these characteristics and character motives are made clear, narrative decisions are made that goes against what was previously established. In a scene where both Mike and Sully are preparing for a class final that requires them to display a level of scariness, Mike, after studying all semester, scares Sullivan. With this tension filled scene, the audience is given an authentic chance to not only pull for Mike but to believe that his hard work has paid off. However this moment is quickly dismissed and the plot becomes set on the idea that Mike will never be an effective scarer regardless of the effort he puts into it.

Nothing can be considered ground breaking when it comes Monster University’s collegiate setting. There are the fraternity’s. There is the usual competition or rival between these fraternities. There is the underdog taking everyone head on. It’s the formula for every other dance movie so why shouldn’t a post-creative Pixar give it try? The result is as expected: nothing more than ordinary. With that said though, it is this competition that children will find the most laughs.

A lot of what I have said about Monsters University is similar to what I said in a review of Brave a year ago. Like Brave, Monster University fails to connect with all ages. It’s humor and motives harmlessly aims for a younger audiences approval but unlike a strong majority of it’s Pixar predecessors it falls short of being anything original or something that can be valued for years to come. So what should Pixar do now?

I remember watching an extended trailer for Wall-E that featured director Andrew Staunton speaking about how before Toy Story was even released, himself along with other members of the original Pixar creative team such as John Lasseter, Pete Doctor and Joe Ranft sat down and discussed several ideas that included all of Pixar’s first eight original films. Maybe this is in order again or at least something of this nature. It could be important to just take a step back and examine what made Pixar so great and why it isn’t on that same level now.

Grade: B-                    

Quick Take: 'Thor' (2011)

It’s no secret that there are plenty of outlandish comic book anthologies out there. The impossible not only becomes possible but is even seen as normal in the world that it all takes place in. Stan Lee, Larry Lieber and Jack Kirby’s Marvel comic, ‘Thor’, is no exception. Norse mythology meets the superhero filled comic book world. Because of this it is no surprise that Thor’s silver screen treatment is a little on the goofy side. This starts with Thor himself due to not just the classical, over-the-top dialogue he is given but also the delivery by Chris Hemsworth. Surprisingly, this is one of the more entertaining aspects of the film as nearly everything about the character is melodramatic but at the same time fun. In a satisfying performance, Hemsworth embraces how silly the circumstances are which only increases chances of enjoying the character.

Like the Norse characters, similar eloquent and artsy characteristics are incorporated into the scenes that feature their home of Asgard. The scenery is given plenty of time to take center stage which is accompanied by a Patrick Doyle score that attempts to give the shots even more of a noble feel.  The problem is that this artsy, sophisticated approach causes pacing issues. The most notable issues when it comes to pacing comes in the form of awkwardly slow choreographed action sequences. Also keeping Thor from getting into an effective rhythm is the constant setting switch between Asgard and earth with both featuring several emotionless moments. Aiding in this lack of emotion is the fact that nothing is left unsaid (maybe this is why I enjoyed Idris Elba in the role of Heimdall so much). This would not be so bad if the dialogue actually meant something most of the time but this is not the case especially when it comes to the human characters.   

Grade: C-