Neighbors • Godzilla
May 15, 2014
Neighbors (** 1/2) R
I heard actor Seth Rogen being interviewed the other day in conjunction with the release of his new comedy Neighbors. In the interview he described in detail a scene that didn’t make the final release print in which the audience gets to see why a fraternity winds up moving in next door to his character in the film, the reason being that a couple of the frat boys decide to have a civil war reenactment by launching bottle rockets from their bare derrieres and burning the house down in the process.
That scene, as described, sounded pretty funny to me and I assumed that Neighbors would offer more lowbrow laughs along those lines, something I’m not exactly averse to seeing.
The irony is that deleted scene turns out to be funnier than anything actually in the final film, leaving one wondering what the film’s director, Nicholas Stoller, was thinking by excising the sequence.
Seth Rogen & Zac Efron in Neighbors
That’s kind of a surprise because Neighbors has a great premise going for it and some actors really suited to this kind of material, but the film just never really seems to get off the ground. There are a few laughs scattered about but they are most likely to illicit chuckles instead of the outright belly laughs easily found in other films on Rogen’s resume.
As I said the premise is indeed a solid one, courtesy of writers, Andrew J. Cohen and Brendan O’Brien. Mac and Kelly Radner (Rogen and Bridesmaids’ star, Rose Byrne) are thirtysomethings just learning the ropes of parenting and adjusting to all of the struggles and changes contained therein, when a fraternity led by empty headed, pretty boy, Teddy Sanders (Zac Efron), moves in next door.
Mac and Kelly initially come up with a scheme to prove how relatable they are to the their new neighbors, in spite of the fact that the couple are a generation removed from them. Eventually, the noise and raucous behavior get to be too much and Mac makes the fatal mistake of throwing in the towel and calling the cops, which leads to an all out war.
The rest of the film plays like a distant cousin to one of the old Warner Brothers Road Runner cartoons as Mac and Teddy attempt to one-up each other in a battle of wills with some of the gags hitting their targets—no pun intended—but far too many falling flat.
I really can’t blame the cast, as they all seem to be having a good time. The chemistry is good and Efron makes a very believable frat boy in the guise of the Teddy character. There are also some nice observations about the challenges of adapting to parenthood and marriage thrown in for good measure. Still, the problem is that Neighbors simply isn’t funny enough, often enough and, for a comedy, that’s a real problem.
By JESSICA HERNDON
AP Film Writer
Opens Friday, 5/16, everywhere
No one can blame Gareth Edwards for admittedly feeling nervous when asked to helm a remake of the biggest monster movie of all time. Sure, the only other film he had directed happened to be 2010’s Monsters. But this time, it was Godzilla.
Well, the latest iteration of the 60-year-old franchise is in capable hands. Edwards’ Godzilla is a pleasingly paced 3-D spectacle that pays chilling homage to the artful legacy of the original 1954 film—Ishiro Honda’s Gojira—while emerging as its own prodigious monster movie.
Created as a symbol of the nuclear threat following America’s atomic attacks on Japan in World War II, Godzilla’s reappearance suggests the nuclear tests conducted by the U.S. in the Pacific after the war were really meant to hold the radioactive dinosaur back.
This story begins in Japan in 1999 as nuclear physicist Joe Brody (Bryan Cranston, edgy in an unbearable wig) investigates questionable seismic activity at a nuclear power plant on the coast of India.
When a team at the plant, including his scientist wife, Sandra (an underused Juliette Binoche), dies in what everyone believes is a natural disaster, Joe dedicates his life to proving that what caused the devastation was anything but natural. His obsession creates a rift between himself and his son, Ford.
Bryan Cranston & Aaron Taylor-Johnson in Godzilla
Fifteen years later, we catch up with Ford (played by a placid but sexy Aaron Taylor-Johnson) in San Francisco, where he lives with his wife (Elizabeth Olsen) and their son.
Serving in the U.S. Navy, Ford disarms bombs, a skill that later helps him save the planet from MUTOs—Massive Unidentified Terrestrial Organism—that emerge from a long dormancy and begin traveling the globe, feeding on radiation.
Screenwriter Max Borenstein, working from a story by Dave Callaham, doesn’t bombard us with multiple narratives or a multitude of characters (Ken Watanabe and Sally Hawkins play scientists, and David Strathairn plays an admiral).
Instead, the film focuses on Ford’s family story, which Borenstein takes his time developing. When we finally see Godzilla, just shy of an hour into the film, the anticipation has built to such a degree that we expect to be awe-struck. And we are.
The tallest of any Godzillas before him, this one stands 355 feet high—about 30 stories—with glistening, scaly skin and dorsal fin spikes down his back. His terrifying yet textured roar shakes the theater.
Aiming for a realistic take on how we might react to an invasion by giant creatures, Edwards makes sure our view of them rarely shifts from the human perspective.
Honoring the eerie music of the original, this film’s score by Alexandre Desplat (Argo) is equally menacing, rich with horns that complement the consistently serious tone of the movie.
In the original film, made using stop-motion photography, an actor stomped around a miniature Tokyo in a latex suit. But in the hands of visual effects guru Jim Rygiel (The Lord of the Rings franchise), the contemporary take looks incredibly fluid and Godzilla’s movements appear far more natural.
But we’re not bombarded with excessive CGI here. Godzilla isn’t oversold, although for some, his lack of screentime won’t be satisfying enough. However, the balance between the family-focused story line and intense action sequences is bound to please others.
A threat to the planet in the `50s version, Godzilla isn’t out to take the world down this time. He’s here to be its hero and his massive showdown—fiery radioactive breath and all—against the MUTOs is the highlight. He’s more than a catastrophic beast and we’re on his side when he swims off into the sunset.
While the predictable sequel has not yet been confirmed, one thing is clear: Edwards’ version of Godzilla remains the ultimate monster movie. The legacy has been upheld.
Godzilla, a Warner Bros. release, is rated PG-13 by the Motion Picture Association of America for ``intense sequences of destruction, mayhem and creature violence. Running time: 123 minutes. Three stars out of four.
Neighbors is playing everywhere and Godzilla opens Friday, May 16, everywhere.
Questions or comments? Write Adam at firstname.lastname@example.org.