Two things prompted my review of this (well, three, if you count the Valentine's Day tie-in). A while ago, I was reading through the comments section of an old (meaning several year old) news article in film news, and one commentor lamented that Edgar Wright was passed over for the "director of Bring It On" (Peyton Reed) for Ant-Man (because the article was another celebrity (Simon Pegg, incidentally) whining about the decline of cinema or whatever). That comment stuck with me primarily for the way it was framed. The commentor refers to Bring It On, a film with a very specific cultural prominence as a film about cheerleading, and contrasts it with Edgar Wright, with the implication that the comparison is self-evident. According to the Googles, Bring It On has a 63% on Rotten Tomatoes, meaning a decent number of people seemed to enjoy it. The implication from the comment was that Reed was wrong for the role of director of Ant-Man because he directed more feminine movies. Now, I love Edgar Wright very much (indeed, he's a favorite of mine), but it's hard to deny that he generally focuses on topics that generally appeal to the more male dominated film nerd culture. Anyway, that comment stuck with me, and prompted me to look into Peyton Reed's filmography, and found this one, which seemed to be very beloved in many circles. The second is shorter, but also involves Reed and Marvel. Reed apparently pitched Fox a 60's era Fantastic Four script, and I do like to speculate on what might've been, and the actual 60's era film that he directed seemed like a good start.
In Camelot-era New York, the new sensation in the literary world is Barbara Novak (Rene Zellweger), who has the radical idea of having sexual relations without necessarily a romantic one. (remember, early 60's). Her shot to fame, helped by editor Vikki Heller (Sarah Paulson), prompts womanizing reporter Catcher Block (Ewan McGregor) and his editor Peter McMannus (David Hyde Pierce) to do an investigation hoping to expose Novak and her liberating ways. But... complications arise, and from the title, I suppose you know where this is going.
I'm not terribly familiar with the Rock Hudson/Doris Day comedies this was meant to pay homage to, but even I could see how intricately they recreated just a sixties film. From the long animated opening to the large elaborate sets to the very bright color scheme to the transitions and split shots, it resembles an early 60's film aesthetically to an admirably meticulous degree. Simultaneously, it still has modern innovations that work seamlessly, with the more jarring datedness of 60's films ironed out, allowing the viewer to focus more on the film itself and not any of the agedness. Aside from the aesthetic, there are a number of very good gags and jokes in here. I was laughing pretty consistently throughout the film at all the clever visual gags, subtle nods, and wordplay, which were all quite charming in their own way, and helped ease the viewer more into this world that the film created, which is helped by the actors, who fit into their 60's archetypes well. Especially David Hyde Pierce as a hapless Tony Randall sort.
My biggest problem with the film is that the plot kind of sputters out towards the middle, and it never really recaptures its momentum afterwards. I can pinpoint this problem to when it begins to shift gears about its message, which I won't spoil, but needless to say, the attempt to balance old-fashioned and modern sensibilities ends more towards the former, and it is a bit odd that they decided to go this particular direction. Another, more minor one is that they do a gag about people doing innocuous things but sounding sexual whilst doing it. It's funny once or twice, but they do the gag several times, which was a bit tiresome, and a tad awkward (also, this is a very common joke).
I enjoyed this feature. Granted, I couldn't fully get into it, but I had a good time watching, regardless, and if you enjoy these sorts of romantic comedies or period pieces, I recommend it. Think of it as a light-hearted predecessor to Mad Men.
In Camelot-era New York, the new sensation in the literary world is Barbara Novak (Rene Zellweger), who has the radical idea of having sexual relations without necessarily a romantic one. (remember, early 60's). Her shot to fame, helped by editor Vikki Heller (Sarah Paulson), prompts womanizing reporter Catcher Block (Ewan McGregor) and his editor Peter McMannus (David Hyde Pierce) to do an investigation hoping to expose Novak and her liberating ways. But... complications arise, and from the title, I suppose you know where this is going.
I'm not terribly familiar with the Rock Hudson/Doris Day comedies this was meant to pay homage to, but even I could see how intricately they recreated just a sixties film. From the long animated opening to the large elaborate sets to the very bright color scheme to the transitions and split shots, it resembles an early 60's film aesthetically to an admirably meticulous degree. Simultaneously, it still has modern innovations that work seamlessly, with the more jarring datedness of 60's films ironed out, allowing the viewer to focus more on the film itself and not any of the agedness. Aside from the aesthetic, there are a number of very good gags and jokes in here. I was laughing pretty consistently throughout the film at all the clever visual gags, subtle nods, and wordplay, which were all quite charming in their own way, and helped ease the viewer more into this world that the film created, which is helped by the actors, who fit into their 60's archetypes well. Especially David Hyde Pierce as a hapless Tony Randall sort.
My biggest problem with the film is that the plot kind of sputters out towards the middle, and it never really recaptures its momentum afterwards. I can pinpoint this problem to when it begins to shift gears about its message, which I won't spoil, but needless to say, the attempt to balance old-fashioned and modern sensibilities ends more towards the former, and it is a bit odd that they decided to go this particular direction. Another, more minor one is that they do a gag about people doing innocuous things but sounding sexual whilst doing it. It's funny once or twice, but they do the gag several times, which was a bit tiresome, and a tad awkward (also, this is a very common joke).
I enjoyed this feature. Granted, I couldn't fully get into it, but I had a good time watching, regardless, and if you enjoy these sorts of romantic comedies or period pieces, I recommend it. Think of it as a light-hearted predecessor to Mad Men.
