Tag Archives: Jon Favreau

2009 Films, Andy Samberg, Comedy, J.K. Simmons, Jane Curtin, Jason Segel, John Hamburg, Jon Favreau, Nick Kroll, Paul Rudd, Rashida Jones, Rush

I Love You, Man-2009

Leave a comment

I Love You, Man-2009

Director John Hamburg

Starring Paul Rudd, Jason Segal, Rashida Jones

Scott’s Review #1,311

Reviewed October 24, 2022

Grade: B

I Love You, Man (2009) is another one of these ‘feel-good’ types of ‘bromance’ comedies to grace the silver screen in the 2000s. It takes a familiar storyline of two male friends bonding, usually involving a female in the mix to complicate matters, with hilariously awkward moments thrown in.

It’s nothing groundbreaking or overly severe but rather a mildly satisfying ‘guy film’ that a female audience can also enjoy too because there exists a romance and a happily ever after.

I’m simplifying the specific gender tastes quite a bit but what I mean is the film is light and there can be something for everyone to enjoy.

While there are some innocent homoerotic playful moments between the men, for laughs, of course, the genre avoids anything LGBTQ+ related other than a gay supporting character who cleverly teaches the straight male how to ‘meet’ men.

Director, John Hamburg, is involved in similarly themed projects like Meet the Parents (2000) and Along Came Polly (2004) so he knows the common premise required for a film like I Love You, Man as well as what the audience wants.

As his wedding day approaches, nerdy Peter Klaven (Paul Rudd) realizes he has no one to serve as his best man. Through a series of “man-dates,” he finds abrasive Sydney Fife (Jason Segel), and the pair become instant friends.

But as Peter’s “bromance” with Sydney grows stronger, it threatens his relationship with his intended, Zooey (Rashida Jones), forcing Peter to make a choice.

It’s not a bad effort and Rudd and Segal have good chemistry as polar opposite characters. The differences are a big part of the laughs but Jones is somewhat unnecessary to the plot other than the required female component to satisfy the formula.

She dutifully plays her role as the straight woman immersed between two goofballs but has very little to do other than get in the way and be a roadblock to the guy’s fun.

It’s not a great role for her and the chemistry is lacking between her and Rudd but maybe that’s just the point. I’m not too sure but I found the humorous moments entirely left to the boys to provide.

My favorite section of the film is one that many may dismiss or deem secondary. The legendary progressive rock band Rush makes an appearance as a way that Peter and Sydney ultimately bond.

Any fan of music, especially a thinking man’s band like Rush, can attest to the genuine bond that can be created between followers of a specific group.

Rush is legendary for just that and it makes I Love You, Man feel fresher than it otherwise would have. Besides, other than Led Zeppelin is there a better example of a ‘guy’s band’?

Otherwise, the film is particularly run-of-the-mill. There are familiar arguments, misunderstandings, breakups, and makeup to be endured.

Events start with a marriage proposal and unsurprisingly end with a wedding ceremony so anything in between is rather superfluous since we can see the outcome a mile away.

Naturally, as much as Zooey wants Peter to have more male friends she becomes suspicious and otherwise threatened by the new blood, feeling left out.

There is a hint that Sydney may be trying to manipulate and pull the wool over Peter’s eyes over a financial loan but things work themselves out just fine.

As predictable as I Love You, Man (2009) is there is a sentimental, even heartwarming sensation to be left with, and a few good chuckles along the way.

2019 Films, Adventure, Alfre Woodard, Amy Sedaris, Animated, Beyoncé, Chance the Rapper, Children, Chiwetel Ejiofor, Donald Glover, Drama, James Earl Jones, Jon Favreau, Keegan-Michael Key, Musical, Musical Drama, Seth Rogen, Shahadi Wright Joseph

The Lion King-2019

Leave a comment

The Lion King-2019

Director Jon Favreau

Voices: Donald Glover, Alfre Woodard, Seth Rogen

Scott’s Review #981

Reviewed January 17, 2020

Grade: B

An impossible feat would have been to eclipse the magic of the stage version or the loveliness of the animated version. Still, The Lion King (2019) offers a different approach as well.

Arguably, this version is both animated and not, infused with computer-generated animation (CGA) and marvelous visual effects, showcasing creativity.

Partial to the two-former offering, this telling is lovely and perfect for the entire family.

The realism of the animals and scenery is remarkable.

To recap, new viewers, the story centers on a den of lions living among the creatures in the “Pride Lands of Africa”. They hunt, prance, love, and guard their territory, mainly from the hungry hyenas, who are kept at bay during peaceful times.

King Mufasa (James Earl Jones) and Queen Sarabi (Alfre Woodard) are fair rulers and anticipate their son, Simba (Donald Glover), taking over the throne one day, much to the chagrin of Mufasa’s evil brother, Scar (Chiwetel Ejiofor), who was passed over for the crown.

Envious of Simba, Scar tricks him and his friend Nala (Beyoncé) into wandering into the land of the hyenas, hoping to cause their deaths. When a heroic Mufasa foils his plot, Scar ups the ante and hatches a scheme to kill his brother.

He not only succeeds but also makes Simba believe he caused his father’s death. Ashamed, the youngster runs away to begin a new life, unaware that he will one day return to save the day.

Props must be given to the filmmakers for their inclusion and cultural authenticity, as many of the characters, especially those at the forefront, are voiced by African-American talent.

This is a notable achievement, considering the film is set in Africa, and it’s unusual for the voices to be Caucasian.

Heavyweights like Jones and Woodard sound polished, especially Jones with his deep and dominant, yet fatherly voice, perfectly cast as the King. Woodard provides gentle warmth and confident complexity.

The musical numbers are terrific.

The film begins with an energetic and tribal rendition of “Circle of Life,” where a legion of wild animals dances together in a warm display of diversity.

The song appears later in the film. The powerful and romantic “Can You Feel the Love Tonight” is performed against a lovely moonlit sky with decadent stars.

The new song “Spirit” performed by Beyoncé is adequate but does not figure into the story as much as it should, seeming more like an afterthought.

The best parts of The Lion King, however, are the astounding visuals.

The contrasting sequences of bright, sprawling African terrain and a magical oasis of colorful flowers and running water, set against the dark and foreboding landscape of the dangerous hyenas, offer the viewer a multitude of delights to savor.

The orange and red colors during the climactic finale are unrivaled in the dazzling bombast of adventure.

As realistic as the elements are in the film, they are also negative. Watching the animals talk and prowl amid the lush landscape felt wonderful, until I realized that all of it is fake.

Real animals were never used; instead, it is a virtual reality tool that creates the illusion of reality.

This aspect slightly saddens me as the genuine quality left me feeling robbed. The possibility of another alternative would have meant a reboot of the animated classic, and I am not sure that would have been wise.

Favreau, once an actor and now a director, known for creating films such as Iron Man (2008) and Iron Man 2 (2010), certainly knows his way around an adventure film.

The story, while containing some menacing moments, also feels a bit safe and lacks the freshness or edginess that the 1994 version possessed. Something seems watered down, and the excitement and heart of the original feel missed.

I will always go back to the animated 1994 treasure for a cinematic feast, but while The Lion King (2019) could have been a disaster, it isn’t. With modernized songs and enough CGA to last a lifetime, I could easily see some people hating the film, but I embraced it for what it is.

Spectacular visual treats await any fan of cinema, as one will ponder how the project all came together.

Oscar Nominations: Best Visual Effects

2019 Films, Adventure, Ben Mendelsohn, Cobie Smulders, Dermot Mulroney, J.K. Simmons, Jake Gyllenhaal, Jon Favreau, Jon Watts, Marisa Tomei, Peter Billingsley, Samuel L. Jackson, Super Hero, Tom Holland, Zendaya

Spider-Man: Far From Home-2019

Leave a comment

Spider-Man: Far From Home-2019

Director Jon Watts

Starring Tom Holland, Jake Gyllenhaal, Samuel L. Jackson

Scott’s Review #916

Reviewed July 5, 2019

Grade: B

Having not seen the first two installments of the latest Spider-Man franchise, nor with any prior knowledge of the Avengers franchise or the cross-sectional connections of the characters to other films, I walked into Spider-Man: Far From Home (2019) with little expectation.

And an admittedly limited understanding of the Marvel universe altogether.

The film is no better or worse than a summer popcorn flick with enough adventure and lovely locales to keep a non-super-hero buff entertained for over two hours without fidgeting too much.

The film begins with a nod to a past film, where a mysterious “Blip” occurred, erasing people for five years, and then returning them to normalcy, with no aging.

Shots of various Avengers characters, including Tony Stark (Iron Man), who have died, appear on the screen amid a musical tribute to Whitney Houston’s “I Will Always Love You.”

Peter Parker (Spider-Man) (Tom Holland) still mourns his mentor as he embarks on a two-week European vacation with his classmates as part of a school trip. He plans to confess his love for MJ (Zendaya) atop the Eiffel Tower in Paris.

Peter’s Aunt May (now reduced in age and sexy with the casting of Marisa Tomei) quickly packs his Spider-Man suit as Nick Fury (Samuel L. Jackson), a former director of S.H.I.E.L.D. attempts to enlist Peter’s help on a mission and provide him with Stark’s special glasses, named E.D.I.T.H. which possess all the databases of Stark Industries.

Quentin Beck/Mysterio (Jake Gyllenhaal), a master of Illusions, is recruited to help Spider-Man and serve as a fabulous Uncle figure.

These events all happen as Peter travels abroad.

The film is undeniably light and fun, with a bright and safe ambiance. The perilous scenes are not particularly scary or dangerous, despite the characters being at risk of death.

The teen romance angle enhances this assessment as it is a central component of the film, even as much as the adventure and superhero antics are.

Even before the teenage classmates traverse Europe, a triangle develops between Peter, MJ, and Peter’s hunky high school football rival, as does love at thirty-five thousand feet between lovebirds Ned and Betty Brant.

Tom Holland is very well cast in the lead role and is charismatic and believable. Charming with youthful innocence, he is part nerd and part hero, yet always empathetic and benevolent without feeling forced.

As a viewer unfamiliar with the first two chapters, I was immediately catapulted into his world of teen angst, romance, and his responsibility of saving the world. The young actor could have a promising future ahead of him if he avoids typecasting and chooses well-chosen roles.

The guts of the film, meaning the action sequences and the standard genre elements, are palpable and worthy of admiration on their own merits.

The visual effects are tremendous and crowd-pleasing, especially whenever Mysterio is involved. With a twisting, tornado-like blue and green swirling motion, he flies in and out of sequences with enough pizzazz to put the Wicked Witch of the West to shame.

Similarly, the gusty, unnatural storm, Earth Elemental, and the dangerous Fire provide magical and atmospheric power that enhances the film’s look.

Comedy, rather than dark and foreboding scenes, appears to be the filmmakers’ goal with this project.

As class trip chaperones and the students’ teachers, the comic duo of Julius Dell and Roger Harrington trade barbs with themselves and the kids, part bumbling and part incompetent, always offering comic moments of relief.

When Harold “Happy” Hogan becomes smitten with Aunt May, his awkwardness is cute and fresh rather than sappy and clichéd. The supporting characters have the substance to do so, but I would have preferred a bit more darkness or gloominess.

The sequences that raise Spider-Man: Far from Home above mediocrity are the excellent and plentiful European scenes, a feast of riches for this fan of world travel and culture.

The canals of Venice and the magnificence of Prague are nearly rivaled by the sophistication of London and the history of Berlin. Sadly, the film does not culminate in Paris as I had hoped and was hinted at, causing a slight hiccup in my vicarious travel pleasures.

Spider-Man: Far From Home (2019) is a film perfectly crafted for summer, and it was fittingly viewed on a scorching hot July day.

The film is not a masterpiece, sticking to a tried-and-true formula and limiting the dangerous possibilities when one threatens to destroy the world in favor of humor.

The cast is likable, the villain is compelling, and the romance showcases more than just the main couple, being careful not to limit the cash cow of special effects and adventure that the film provides in abundance.

2003 Films, Amy Sedaris, Bob Newhart, Children, Christmas, Comedy, Ed Asner, James Caan, Jon Favreau, Mary Steenburgen, Peter Billingsley, Peter Dinklage, Will Ferrell, Zooey Deschanel

Elf-2003

Leave a comment

Elf-2003

Director Jon Favreau

Starring Will Ferrell, James Caan

Scott’s Review #846

Reviewed December 20, 2018

Grade: B-

Elf (2003) is one of the few lasting Christmas hits of recent memory or at least one that many fans make a regular viewing experience each holiday season.

The film is light and unarguably a safe, feel-good experience mixing a hopeful Christmas message with comic gags and romance. The key to its success is Will Ferrell who possesses wonderful comic timing.

More wholesome than my tastes and lacking plausibility the film does succeed as a family-friendly, ready-made, fun experience.

The story revolves around one of Santa’s elves (Ferrell) named Buddy who learns he is human and was orphaned as an infant. Revealed that his biological father Walter (James Caan) resides in New York City, Buddy embarks on a trip to find the man and spread Christmas cheer in a world filled with grizzled and cynical human beings.

In predictable comic form, Buddy has trouble adjusting to the human world and the fast-paced lifestyle with misunderstandings arising repeatedly. Buddy eventually wins over his father and family finding love with downtrodden Jovie (Zooey Deschanel).

Hot on the heels of his Saturday Night Live stint ending in 2002, Ferrell was primed to embark on a successful film career. Elf is a great role for him as it capitalizes on his comic timing and energy and the setup works.

At 6’3″ who better to play an elf for laughs than a hulking middle-aged man?

Due to his talents, Ferrell makes the role of Buddy fun, appealing, and the highlight of the film. With a lesser talent, the character would have been too annoying (as it is there are too many hug jokes) and the overall film would have suffered.

Other than Ferrell the supporting roles are nothing memorable other than Caan’s part. The once dashing star of films such as The Godfather (1972) Caan still has the charm and charisma to appeal, though the balding and dyed head of hair does nothing for him.

A small role by television star Bob Newhart as Papa Elf is fine, but Deschanel’s role and Mary Steenburgen’s role as Emily, Walter’s wife, could have been played by many actresses and nothing is distinguishable about either part.

Lesser roles like Walter’s secretary, Walter’s boss, and Gimble’s store manager are stock parts with no character development.

A major high-point is the New York City setting and the exterior scenes are aplenty. Filmed in 2002 and released in 2003, the location shots were completed not long after 9/11, and showcasing a city with such recent decimation adds to the film’s appeal.

Scenes in Rockefeller Center, Central Park, and the Empire State Building are prominently featured making the film festive and merry.

What greater city is there at Christmastime than New York?

Elf remains an entertaining experience with enough shiny ornaments and fun moments in the department store and Walter’s office to hold interest. The luster wears thin at the conclusion as all the traditional elements come together.

Jovie leads a chorus of strangers in “Santa Claus Is Coming to Town”, Walter quits his job without concern for paying bills, and everyone happily rides off into a sparkling winter wonderland.

This may satisfy some, but I wanted more conflict than a troupe of Central Park Rangers chasing Santa through the park.

A film that might be paired nicely with holiday favorites of similar ilk such as National Lampoon’s Christmas Vacation (1989) or Christmas with the Kranks (2004), Elf is an energetic affair with a charismatic lead actor.

Containing silly moments, but a spirited and worthwhile message nestled nicely within, the film is worth a watch if in the mood for slapstick.

More thought-provoking holiday films with deeper merriment and stronger flair exist, but for a chuckle or two Elf (2003) works well.

2013 Films, Christine Ebersole, Comedy, Crime Drama, Dark Comedy, Drama, Epic, Ethan Suplee, Fran Lebowitz, Jean Dujardin, Jon Bernthal, Jon Favreau, Jonah Hill, Kyle Chandler, Leonardo DiCaprio, Margot Robbie, Martin Scorsese, Matthew McConaughey, P. J. Byrne, Rob Reiner, Spike Jonze, Ward Horton

The Wolf of Wall Street-2013

Leave a comment

The Wolf of Wall Street-2013

Director Martin Scorsese

Starring Leonardo DiCaprio, Jonah Hill

Scott’s Review #33

70266676

Reviewed June 17, 2014 

Grade: A

Martin Scorsese’s latest offering, The Wolf of Wall Street (2013) is a tale of overindulgence, chaos, and debauchery in the world of stockbroking during the 1980s.

The film is superb.

It is a drug-filled, sex-filled, over-the-top, loud, testosterone-fueled, frenetic extravaganza that works on so many levels.

Humorous and mouth-dropping scenes occur throughout the film.

The casting is flawless- Leonardo Dicaprio and Jonah Hill deserve the praise and Oscar nominations heaped on them.

The supporting actors are perfect- Rob Reiner, Matthew McConaughey, Jean Dujardin, and Kyle Chandler.

With Scorsese, you will receive an intelligent film, though very R-rated.

Similar in style to another of his masterpieces, Goodfellas-1990, as it is narrated by the main character (Dicaprio).

Comparisons to the 1987 film Wall Street are silly. This film is much deeper, grittier, and frankly, much better.

Do not let the unfathomable running time of three hours discourage you- the time goes by very fast.

Oscar Nominations: Best Picture, Best Director-Martin Scorsese, Best Actor-Leonardo DiCaprio, Best Supporting Actor-Jonah Hill, Best Adapted Screenplay