REVIEW: GOOD OMENS

Michael Sheen and David Tennant in Good Omens (2019)

Starring

David Tennant (Mary Queen of Scots)
Michael Sheen (Passengers)
Anna Maxwell Martin (Motherland)
Jon Hamm (Baby Driver)
Josie Lawrence (Humans)
Lourdes Faberes (Knightfall)
Adria Arjona (Life of The Party)
Michael McKean (This Is Spinal Tap)
Jack Whitehall (Bad Education)
Miranda Richardson (Sleepy Hollow)
Mireille Enos (Hanna TV)
Yusuf Gatewood (The Originals)
Brian Cox (Rise of TPOA)
Reece Shearsmith (Stag)
Nina Sosanya (Marcella)
Ned Dennehy (Peaky Blinders)
Ariyon Bakare (Rogue One)
Frances McDormand (Fargo)
Derek Jacobi (Gladiator)
Benedict Cumberbatch (The Grinch)
Steve Pemberton (Psychoville)
Mark Gatiss (Game of Thrones)
Nick Offerman (The Lego Movie 2)
Daniel Mays (The Bank Job)
Sian Brooke (Sherlock)
Simon Merrells (Legends of Tomorrow)
Susan Brown (Game of Thrones)
Paul Kaye (Anna and the Apocalypse)
David Morrissey (The Walking Dead)

Michael Sheen and David Tennant in Good Omens (2019)Once upon a time, Good Omens was considered unadaptable. Neil Gaiman and Terry Pratchett’s sprawling, 400-page fantasy novel was notorious within the film and TV industries. Screenwriters turned their noses up at the project, and various attempts over the years to bring page to screen ended in disappointment. However, an adaptation of the unadaptable proved to be Pratchett’s last request to his co-author before he died in 2015, and Gaiman set about writing the screenplay for what would become an epic six-part BBC/Amazon co-production.Michael Sheen and David Tennant in Good Omens (2019)So first things first: was the unadaptable, well, adaptable, after all? The short answer is, yes. Gaiman — also showrunner on the series — has pulled off a colourful, quirky, funny, poignant (although not entirely flawless) feat. One might even suspect there’s been a spot of divine (or devilish) intervention… The true triumph is the casting. Michael Sheen shines (quite literally, in some scenes) as the angel Aziraphale, a celestial field agent who teams up with his opposite number, the stylish demon Crowley — played with a Bill Nighy-esque swagger by David Tennant — in order to prevent Armageddon.Michael Sheen and David Tennant in Good Omens (2019)It’s this pairing that proves to be the beating heart of the series. Crowley and Aziraphale have been on Earth since the very beginning, and in their own ways they’ve both “gone native”. Aziraphale owns a Soho bookshop, and likes gravlax salmon with dill sauce. Crowley drives a pristine 1926 Bentley and listens to Queen. They’ve formed a professional agreement not to meddle in each other’s affairs, and in their spare time they’ve enjoyed a series of rather nice clandestine lunches. Every time either actor appears onscreen, you can almost hear the costume department’s (and fandom’s) squeals of joy. David Tennant in snakeskin boots! Michael Sheen with artfully tousled bleached hair! A tartan bow tie! Tennant also sports appropriately flame-red hair (not in the books, but worth it for Doctor Who fans’ realisation that the Tenth Doctor finally got his wish) that frequently changes style. In one particularly memorable moment during episode one, Crowley disguises himself as a bobbed-haired nanny, a Satanic crossover between Nanny McPhee and Mrs Doubtfire.good-omensHe and Aziraphale have a teasing, love/hate relationship that fans of the book have shipped for almost two decades. Gaiman has since promised that “the TV series gets deeper into Crowley and Aziraphale’s relationship,” and some viewers will be hoping that that will translate into a burgeoning romance. Certainly in episode one, Aziraphale seems rather overexcited at the prospect of he and Crowley becoming joint “godfathers” to the infant Antichrist, whose arrival on Earth threatens to catalyse the apocalypse. Gabriel has bright purple irises in the series, a nod to Elizabeth Taylor’s legendary lilac eyes according to the show’s companion book, The Nice and Accurate Good Omens TV Companion. However, as anyone who’s worn thick coloured lenses for Halloween and lived to tell the tale will know, the effect is rather distracting and painful to look at, as are Crowley’s reptilian yellow eyes (thankfully hidden away under trendy shades for much of the show). Gabriel barely appears in the book, and he’s a welcome and much-needed addition to the series: someone to put the proverbial heat on Aziraphale.Michael Sheen and David Tennant in Good Omens (2019)Various sets are also new for the TV show: Heaven is now a vast corporate headquarters, while Hell resembles an overcrowded basement office. A rather gloomier version of The IT Crowd, if you will. Some of the show’s special effects can feel a bit hammy (think Russell T Davies-era Doctor Who with a couple of rubber frogs thrown in), but the scene depicting the entrances to both Heaven and Hell features a pretty cool bit of cinematography, including a mirror effect and an upside-down Tennant. However, despite the addition of characters like Gabriel, much of the show remains doggedly faithful to the books. Reams of dialogue are almost word-for-word during episode one, to the extent that there are certain moments and scenes where one feels that the show’s pace has been sacrificed in favour of preserving the ‘voice’ of the book. Of course, it’s understandable given the circumstances — Gaiman has spoken about the pressure to protect Pratchett’s narrative creations in his absence. For example, he made sure that one of Pratchett’s characters, the 17th century witch Agnes Nutter, remained in the show despite calls to replace her (and an expensive, explosive period shoot) with a series of woodcuts.good-omens-key-art-600x314In Agnes’s case, it makes sense to preserve her: her spookily accurate prophecies drive much of the plot and predict the present-day apocalypse. But there are chunks of God’s narration (voiced by Oscar-winner Frances McDormand) that feel a bit laboured. Some sections, like the bit about demons’ talents for “lurking” around graveyards, must have read well on the page in that distinctive Terry/Neil voice, but in reality they fall rather flat — much like a certain angel’s misguided attempts to pull a rabbit out of a top hat at a children’s birthday party. At the end of the day, however (and according to Agnes Nutter, there aren’t many more days left), the series is a love letter to the book, combining Gaiman and Pratchett’s brilliant characterisation and quippy jokes with vivid, gorgeous sets and memorable costumes.

 

 

REVIEW: THE A-TEAM (2010)

CAST

Liam Neeson (Batman begins)
Bradley Cooper (Joy)
Jessica Biel (The Texas Chainsaw Massacre)
Quinton Jackson (Vigilante Diaries)
Sharlto Copley (Powers)
Patrick Wilson (The Conjuring)
Gereald McRaney (Mike & Molly)
Henry Czerny (Revenge)
Maury Sterling (Coherence)
Terry Chen (Bates Motel)
Tom Butler (Blade: The Series)
Dirk Benedict (Battlestar Galactica)
Dwight Schultz (Star Trek: TNG)
Corey Burton (Critters)
Jon Hamm (Mad Men)
Brian Bloom (Teenage Mutant Ninja Turtles)
Brendan Penny (I Love You, Beth Cooper)
Jason Schombing (Timecop)

John “Hannibal” Smith (Liam Neeson) is held captive in Mexico by two Federal Police officers working for renegade General Javier Tuco (Yul Vazquez). Hannibal escapes and sets out to rescue Templeton “Faceman” Peck (Bradley Cooper), who is held captive at Tuco’s ranch. Hannibal saves Face after enlisting fellow Ranger B.A. Baracus (Quinton Jackson), driving to the rescue in BA’s modified GMC Vandura van.[9] Pursued by Tuco, they stop at a nearby Army Hospital to recruit the services of eccentric pilot Howling Mad Murdock (Sharlto Copley). They flee in a medical helicopter, chased by Tuco, in a dogfight that leaves BA with a fear of flying. The battle ends when they lure Tuco’s helicopter into American airspace, where it is shot down by a USAF F-22 Raptor for trespassing.Eight years later in Iraq, Hannibal is contacted by CIA Special Activities Division operative Lynch (Patrick Wilson), who assigns them a black ops mission to recover U.S. Treasury plates and over $1 billion in cash from Iraqi insurgents slated to move it out of Baghdad in an armored convoy. Hannibal’s commanding officer, General Morrison (Gerald McRaney), consents to the operation but Face’s former girlfriend, Defense Criminal Investigative Service Capt. Charissa Sosa (Jessica Biel), tries to discourage the team against getting the plates. The mission is successful; when the team returns to base, however, the money and Morrison’s vehicle are destroyed by Brock Pike (Brian Bloom) and his men from the private security firm Black Forest. Without Morrison (the only proof that they were authorized to act), Hannibal, Face, Murdock, and BA are court martialed and they are sentenced to ten years in separate prisons and dishonorably discharged. Sosa also ended up court-martialed and is demoted to lieutenant.Six months later, Lynch visits Hannibal in prison and tells him that Pike may be trying to sell the plates with the help of an Arab backer. Hannibal, who has been tracking Pike on his own, makes a deal with Lynch: full reinstatement and clean records for his team in return for the plates. Lynch agrees and Hannibal escapes, breaking out Face, BA, and Murdock in the process. Sosa is hot on the team’s trail. The team hijacks a USMC Lockheed C-130 Hercules aircraft, which is later shot down by Reaper UCAVs, but not before the team parachute away in a tank stashed aboard and make it to the ground safely. The team moves to reclaim the plates and kidnap Pike’s backer. It is revealed that the backer is actually General Morrison, who plotted with Lynch and Pike to steal the plates but teamed up with Pike to double-cross Lynch and fake his death. Lynch orders an airstrike to kill the team and Morrison, but the team manages to escape.Hannibal arranges to meet Sosa on board a container ship at the Los Angeles docks, saying he will hand over Morrison and the plates. Face then calls Sosa on a drop phone he planted on her at the train station, and conspires a different plan with her. It all unfolds according to plan until Pike, who is now working with Lynch, blows up the container ship and chases Face to near death. BA finally gives up his pacifist ways and kills Pike, saving Face. Hannibal leads Lynch into a container with Murdock, who, wearing a covered bullet-proof helmet, is portraying Morrison. Lynch shoots at Murdock’s head, believing that he is killing Morrison, and is later tricked into admitting that he stole the plates, and is subsequently arrested by Sosa.The CIA agents led by a man named “Lynch” (Jon Hamm) comes and claims custody of the other Lynch. Despite their success and proving themselves innocent, the military still arrests the team for escaping from prison, also a crime; they and Sosa are angered by this. Sosa is reinstated to captain, but she promises to do all she can to set the team free and kisses Face as everybody is led into a prison van. In the van everyone starts saying that the system has burned us again, but Hannibal tells them that there is always a way out of any situation, and turns towards Face, who smiles and says “I dont want to steal your line boss but, I like it when the plan comes altogether” and opens his mouth and reveals a handcuff key, given to him by Sosa through the kiss.The final scene includes a narration (spoken by Corey Burton) similar to the show’s opening narration.In a post-credits scene, Murdock and Face of A-Team’s original cast are seen.A Strong cast. I think that it is a good stand alone romp with lots of twists and turns, good plot and nice nods to the original series. I know that it has been criticised, and that Dirk Benedict subsequently regretted his involvement; but for me at least it was a brilliant film. It had a good pace, great stunts.

REVIEW: SUCKER PUNCH

 

CAST

Emily Browning (Sleeping Beauty)
Abbie Cornish (Limitless)
Jena Malone (Donnie Darko)
Vanessa Hudgens (Spring Breakers)
Jamie Chung (Once Upon A Time)
Carla Gugino (Watchmen)
Oscar Isaac (Star Wars: The Force Awakens)
Jon Hamm (Mad men)
Scott Glenn (The Silence of The Lambs)
Monique Ganderton (Smallville)
Peter Bryant (Dark Angel)
Patrick Sabongui (The Flash)
Chrstine Willes (Dead Like Me)
Ian Tracey (Bates Motel)
Gerard Plunkett (Travelers)
A.C. Peterson (Shooter)
Michael Adamthwaite (Stargate SG.1)

 

Like many men, when I saw the trailers appear for the film a number of things caught my eye immediately. First and foremost was the cast of hot scantily clad young women with cool sounding names like Baby Doll, Sweet Pea, Rocket, Amber, and Blondie. The next thing noticed was that it seemed to blend fantasy with a lot of ridiculously over the top action that involved zombie Nazis, fire-breathing dragons, robot samurai, and other entirely bizarre and irrational things that would surely only come out of the imagination of a weirdo who has a strong affection for anime, video games, and everything else considered genuinely bizarre: this was not the kind of thing I expected to see for a big-budget spectacle showpiece. The end result was that Sucker Punch ultimately looked to me like something that would only appeal to young men looking for thrills or pop-culture junkies. It seemed like it would have plenty of pretty images and little substance whatsoever. What could possibly be worthwhile about the film beyond some mere thrills.MV5BODk0MDI3NDI5N15BMl5BanBnXkFtZTcwNzc2MjA3NA@@._V1_SX1777_CR0,0,1777,825_AL_Sucker Punch begins with what essentially adds up to being a music video stylized opening that aims to bring audiences into the start of the story. Prepare to see a lot of this throughout the entire experience. I actually embraced it because it’s in part the kind of thing I always felt Snyder should be doing: making music videos or commercials. By placing an emphasis on the music and striking imagery I felt allowed to have a visceral experience that actually grabbed on to me and wouldn’t let me go. We discover early on that the girl we would soon know as Baby Doll (Emily Browning) was being sent to a mental institution by her stepfather. It’s no fault of her own mental health – she witnesses the murder of her younger sister who I presumed was also raped beforehand. The stepfather doesn’t stop there as he tries to rape and murder them both, and when Baby Doll fights back he somehow arranges it so that they believe the murder of her sister was why she was being committed into the mental institution in the first place.MV5BMTg1MjM1ODk3N15BMl5BanBnXkFtZTcwOTc2MjA3NA@@._V1_SX1777_CR0,0,1777,828_AL_Upon entering the mental institution Baby Doll enters a fantasy-world she creates where the storyline of Sucker Punch allows her to enter a dream within another dream state of mind (and this really made me wonder if this had anything to do with why Christopher Nolan picked Snyder for the Superman reboot). She visualizes the mental intuition as actually being a dance hall – but the truth of the fantasy is that the director of the asylum, Blue (Oscar Isaac), is really trying to prostitute the girls out to clients in his role as the owner of the dance hall. The doctor of the mental institution, Dr. Vera Gorski (Carla Gugino), is now seen as the dance instructor and every time one of the characters ‘dances’ they are actually entering a deeper fantasy world where all of the crazy video-game/anime like qualities truly step in to play (such as the dragons and robots – oh my!). The dancing in the film is never visualized in the way most men probably want or expect – there isn’t a lot of ‘sexy moves’ on display in these moments and to my disappointment I have heard some complaints about this as a detractor. The dances in this movie are not ordinary dances at all but are in fact moments when Baby Doll enters her deeper fantasy state.MV5BMjA1MzYxNDUwOV5BMl5BanBnXkFtZTcwNDY2MjA3NA@@._V1_SX1777_CR0,0,1777,829_AL_Baby Doll has met the other girls Rocket (Jena Malone), Amber (Jamie Chung), Sweet Pea (Abbie Cornish), and Blondie (Vanessa Hudgens). Eventually, the girls team up in each of these sequences. During the first ‘deep dream’ sequence Baby Doll encounters a seemingly wise old man (Scott Glenn) while alone. He informs her that in order to become free she must collect five items: a map, knife, fire, key, and another item that she must discover on her own. He also gives her a handgun and sword that can be used while inside her dream world. Over the course of the story, Baby Doll convinces the other girls that following this plan of action is the only way for them to escape. Some of the girls are on board with the idea while others (mainly Sweet Pea) seem against it.MV5BMTM0NjM2MjgxN15BMl5BanBnXkFtZTcwMDc3ODIxNA@@._V1_SX1500_CR0,0,1500,999_AL_I realized at some point that there began to be a correlation between the first layer of the fantasy world and the second one. Actions taking place within the dream-world fantasy affected the other. Characters died unexpectedly and the result was their death and removal from both of the fantasy plot-lines taking place. Towards the end of the film the items gathered are used for the last surviving girls to escape and they are used in the film . In concluding the story, Baby Doll realizes that the fifth thing needed for her to escape was simply her, and then she helps one of the other girls to find freedom while she stays behind. Upon entering into the reality of the situation – in the mental hospital – we find that Baby Doll is about to have a lobotomy. Dr. Gorski enters the room and talks to the man performing the lobotomy (Jon Hamm). She questions why such a thing is happening, and soon realizes that a forgery was done of her signature for someone to make the lobotomy occur. Yet it was already far too late as the operation had just been completed.Baby Doll is led away by some guards to a room where Blue awaits her. He tells her that he can now do anything with her that he wants to do. The guards seem reluctant; saying something about being sick of letting him do what he wants to these girls. Dr. Gorski breaks into the room and stops whatever was about to happen. In a scene that appears as an epilogue thereafter, we see the lone girl who escaped get onto a bus with the same old man from Baby Dolls dream world as the driver.The audience just got sucker punched. The conversation held between Dr. Gorski and the man performing the lobotomy revealed that Baby Doll had actually done some of the things the audience witnessed in the fantasy world she created. In other words, the film blends reality and fantasy in a way that makes it hard to state what moments were real and what moments weren’t. Some will call this a cop out. I actually disagree for once. It had my own imagination going rather wild.

REVIEW: THE DAY THE EARTH STOOD STILL (2008)

CAST

Keanu Reeves (Speed)
Jennifer Connelly (Hulk)
Kathy Bates (Misery)
Jaden Smith (The Karate Kid)
John Cleese (Rat Race)
Jon Hamm (Mad Men)
Robert Knepper (Heroes)
James Hong (Blade Runner)
Sunita Prasad (Hardwired)
J.C. MacKenzie (Dark Angel)
Lorena Gale (Smallville)
Patrick Sabongui (The Flash)
Roger Cross (First Wave)
Hiro Kanagawa (Heroes Reborn)
David Richmond-Peck (V)
Ty Olsson (Izombie)
Kyle Chandler (Argo)
Rukiya Bernard (Van Helsing)
Alisen Down (Smallville)
David Lewis (Man of Steel)
Bill Mondy (Blade: The Series)
Brandon T. Jackson (Tropic Thunder)
Michael Hogan (Battlestar Galactica)
Ben Cotton (Stargate: Atlantis)

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The movie’s first act shows the most potential. Dr. Helen Benson (Jennifer Connelly) is swept away from her with a police escort, by flustered agents who inform her that even they don’t know why she’s being picked up. She’s rushed into a room crowded with other scientists and engineers and told that not only is something from outer space going to impact Earth in the middle of Manhattan, but it’s going to happen in less than 80 minutes. I always question the way government officials act in movies, but there’s a palpable sense of tension and paranoia, and even a few good character touches (. A better movie would have played out closer to real time; the concept that Earth might be destroyed with such little forewarning is a really great idea (although there’s a shade too much 9/11 imagery here). Sadly, it barely makes up the first twenty minutes. At the end of it, a giant swirling orb touches down in the middle of Central Park, and an alien creature steps out, only to be shot by an overzealous soldier.The creature is taken to a hospital, where its’ strange, placenta-like shell melts away to reveal what appears to be a human being. Instead it turns out to be Keanu Reeves, playing an alien creature named Klaatu who somberly informs the President’s first-hand aide (Kathy Bates) that he’d like to address the United Nations. Bates’ character is problematic. She plays it as reasonably as she can, but as written, she’s yet another trigger-happy, kill-all-the-aliens caricature straight out of endless alien invasion movies that prevents logical characters from doing logical things. She refuses his request, and they tell Helen to drug him so they can interrogate him. She fakes it instead, injecting him with saline instead of sedative, and Klaatu makes his escape.During the escape sequence, Scott Derrickson’s direction goes into hyperdrive, using flashy editing and CGI to amp up the excitement, but it feels forced and unnatural. It happens several times, all in isolated bursts (Robert Knepper’s thankless and stereotypical military commander is the worst offender, popping up occasionally to yell in a Texas accent). Only part of the spectacle, like the swarms of tiny bugs that eat up everything in their path (as seen in the misleading trailer), feel integrated with the story. The effects themselves are hit-and-miss. The giant orbs, shown on the movie poster, are stunning to look at, and those swarms of bugs are eye-poppingly cool, but most of the effects that integrate real actors look weak.I’ve always thought of Keanu Reeves as a more physical actor than an emotional one , and it’s almost endearing the way he doesn’t seem to “get” the joke in regards to his flat acting style, which the producers of Day 2008 have ably exploited in having him play an emotionless alien. I liked him in the movie, but those who already dislike him as an actor aren’t going to have their minds changed. Jennifer Connelly does a fairly good job during the first half of the film, but as the bits of characterization from the first act peter out, it’s like she’s acting into a vaccuum; she puts plenty of emotion out but none of it registers. Will Smith’s son Jaden plays her step-son, and his primary mode is “whiny”.The Day the Earth Stood Still (2008)Klaatu’s goal in Day 2009 is to save the Earth, which is bad news for its inhabitants. “If the Earth dies, you die. If you die, the Earth survives,” he tells Helen. Yet the film doesn’t want to be a “message” movie, so no obvious examples are shown lest the audience get upset. I felt The Day the Earth Stood Still was better than expected but the commercial aspect of its existence overpowers its low-key successes. Derrickson’s version misses ample opportunities to explore the nature of meeting a creature from another planet, and the times it does breach the topic it doesn’t have anything to say.Keanu Reeves in The Day the Earth Stood Still (2008)The 1951 original is a social landmark, and even won a Golden Globe for promoting International Understanding. The new version is entertaining, but the fact that it can’t emotionally connect to its audience, much less connect other people, is going to leave many fans rightfully disappointed.

REVIEW: BRIDESMAIDS

CAST

Kristen Wiig (Zoolander 2)
Maya Rudolph (Gattaca)
Rose Byrne (Spy)
Melissa McCarthy (Tammy)
Wendi McLendon-Covey (Bewitched)
Ellie Kemper (The Office)
Chris O’Dowd (St. Vincent)
Jill Cayburgh (The Rockford Files)
Terry Crews (White Chicks)
Matt Lucas (Alice Through The Looking Glass)
Ben Falcone (The Nines)
Jessica St. Clair (The Dictator)
Jon Hamm (The A-Team)
Paul Feig (Sabrina: TTW)
Rebel Wilson (Grimsby)
Jillian Bell (Rough Night)

Rose Byrne and Kristen Wiig in Bridesmaids (2011)

Though Wiig has popped up recently in Whip It and Adventureland, to fine successes, Bridesmaids marks her first leading performance, and she’s found the right one to start with in Annie. A broke, cynical chef who’s recently closed her Milwaukee bakery, losing her boyfriend in the process, she now works in a jewelry store, sleeps with a handsome but asinine man-child (Jon Hamm) looking for a no-strings sex-buddy, and avoids her odd British brother-sister roommates. Annie’s sad-sap state makes for a near-perfect character in which Wiig can flaunt her ill-at-ease style, uncomfortable in her unerring self-created awkwardness. She’s a sad character, almost aggressively so, which might rub some the wrong way because of how resolutely she keeps herself at arm’s length from contentment. Yet there’s something relatable about her self-deprecation, especially once her childhood friend Lillian (Maya Rudolph) asks her to be the maid-of-honor at her wedding — and to do the planning and organizing that comes with the territory.

Naturally, Annie meets an eclectic group of Lillian’s friends and soon-to-be family who will fill out the rest of the wedding court: a sex-minded mom (Wendi McLendon-Covey, Reno 911) with a ton of kids and a biting attitude; a virginal mouse of a newlywed (Ellie Kempler, The Office); bullish sparkplug Meghan (Melissa McCarthy, Mike and Molly), the government-employed sister to the groom; and Helen (Rose Byrne, Get Him to the Greek), a well-to-do housewife trying to strong-arm her way into Annie’s spot as maid-of-honor. Feig realizes that these are all types, and he lets them run loose with their quirky mannerisms, but he doesn’t go too outlandish to make them feel like far-removed caricatures.


Annie’s rattled by the duties and the feeling that her friend’s slipping away, not to mention her own monetary and relationship woes, which zigzags along the significant events in Bridesmaids that hallmark most pre-wedding lead-ups. Sure, if you want to boil it down to the least-common denominator, Feig’s picture can essentially be labeled a female iteration of The Hangover, where the ritual of strippers, alcohol, and wild partying in the groom’s rite of passage are replaced with luncheons, dress-fittings, and bridal showers. But this isn’t a frilly affair, nor is it simply a fantastical lampoon on idealized planning. Compliments of Wiig and Mumolo’s sharply-written script, Lillian’s path down the aisle turns into a stylized elevated-reality daze of misfortune, often due to her best-friend trying to cling onto what she finds familiar by her own means. But it’s got something else behind its gags: when it hits over-the-top notes that play to the dreamed-up fantasies of weddings and the gleeful pre-events, it also double-backs to Annie’s shambled life, lending genuineness to the missteps she makes.

Rose Byrne, Melissa McCarthy, Maya Rudolph, Wendi McLendon-Covey, Kristen Wiig, and Ellie Kemper in Bridesmaids (2011)
Maybe it’s because the humor’s supported by a heartfelt backbone that it’s both effective and affective, extending beyond its gags into this clever, modest portrait of a woman in a growing stage that just so happens to be hysterically funny. Annie’s shown at her most desperate — sleeping with a slimeball, losing her penniless and destitute battle with the rich-and-beautiful Helen, and slowly but unsuccessfully building a relationship with an affable cop, Rhodes (Chris O’Dowd), who’s got a thing for carrots — and her state informs the hoopla that Wiig and Mumolo have written, always with some underlying purpose that ties back to the lowly baker trying to maintain a stranglehold on her old life. Bridesmaids might be out to prove that the girls are capable of playing just as dirty as the guys.