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Adventureland (2009)
9/10
A Warm, Funny Exploration of Young Love and Maturation
10 April 2009
Greg Motolla's Adventureland is the most rewarding type of film-going experience: a genuinely funny, heartfelt slice of coming-of-age narrative that sneaks up and lulls you into a blissful state of nostalgic joy, leaving you not only smiling well after you've exited the theatre, but also fondly remembering the tumultuous passionate journeys of your own adolescence. The film remembers a time where every night out with your friends promised a magical universe of possibilities and rapturous dreams of finding that one defining romantic partner who would "get" you and see through the immature goofball exterior. Watching Motolla's sweet reverie of a comedy I found myself not so much transported into the film's 1987 amusement park setting as awash in the tantalizing memories of a time which, while not long ago, seems to have mysteriously drifted out of my aging grasp.

Set in the sleepy suburbs of Pittsburgh during the latter years of the Reagan era, Adventureland stars The Squid and the Whale's Jesse Eisenberg as James Brennan, a well-intentioned, funny young man who has just graduated with a degree in English literature - with a focus on the ever valuable Renaissance period - who finds his planned summer in Europe cancelled due to his families economic struggles. Desperate for money to pay his way into New York's Columbia University journalism Masters program, James, after discovering the uselessness of an English BA (I felt like weeping during these scenes), finds himself with a dead-end job as a games supervisor at the city's ramshackle, "Rock Me Amadeus"-rotating, amusement park Adventureland. Temporarily friendless, working for peanuts and still packing a V-Card, James glumly prepares himself for a summer of toil and tedium.

Fortunately however, Adventureland staffs an eccentric crew of wage-slaves so memorable that boredom isn't really an option. There are Bobby and Paulette, the owners of the joint, a deceptively insane married couple played by SNL pros Bill Hader and Kristen Wiig, as well as their ruggedly handsome ride mechanic Mike Connell (Ryan Reynolds), a moonlighting musician who once legendarily jammed with Lou Reed! Also present are the workplace sexpot Lisa P. (Margarita Levieva), the uber-smart, cynical nerd Joel (Martin Starr) and the... Oh, hold on, who's that cute, edgy girl behind that game counter over there? James sure wants to know too. Her name is Em (Twilight's Kristen Stewart) and she's a wounded beauty who guarantees to make James' life a whole lot more interesting. Over the course of these simmering, dreamy days of summer '87, Motolla unfolds the day-to-day dramas of these character's lives as we look on with an infectious mix of joy, hope, sadness and a heavy helping of youthful exuberance.

What makes Adventureland a revelatory experience, unlike similarly themed romantic-dramedies aimed at early twenty-somethings (Nick and Norah anyone? Yeah, me neither!), is its unswerving commitment to capturing the human truth within each and every character. Em may be cool, funny and adorable, and an ideal potential lover, but she's also carrying the weight of the world on her lithe shoulders and not immune to poor judgment. Similarly, Reynold's Mike is a smooth-talking ladies man, cheating on his wife, who talks big but, at the end of the day, innately realizes that his future prospects are slim to none. A lesser film would have made him the pathetic butt of a joke, but as played by the actor and written by Motolla, he's a fragile human being just trying to remind himself of a time when the future glowed with promise. Heck, even bubbly Lisa P., goofy Bobby, meek Paulette and cynical Joel are interesting individuals with real emotions and genuine struggles to overcome.

It's the love story between James and Em, though, which makes Adventureland sing. Not since David Gordon Green's Snow Angels have I witnessed a teen romance so honest, unconventional and rewarding as the one depicted affectionately here. Motolla remembers that young love is, at the best and worst of times, an exhilarating, frightening, confusing adventure which is as valuable for the passion shared as the accompanying personal revelations and growth. James and Em may not be destined to wind up in wedded bliss, but they're time together will forever change and strengthen them for the better. That both young actors communicate this chaotic ride so beautifully is a testament to the maturity and quiet intelligence of their performances.

Leaving the film, it was impossible for me not to think of the Em of my own past, and reflect on how that relationship ultimately laid the groundwork for the course I've travelled on since. While I truly hope for a brighter future for Adventureland's two young protagonists, I feel honoured to have been able to follow them and rejoice in their emotional explorations. This is a movie you want to hug and treasure, a tender reminder of time gone by and of those warm summer evenings when the mysteries of the cosmos could be found in a bright smile or an adoring gaze.
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1/10
Hair Pollution
28 May 2008
Warning: Spoilers
You know, sometimes I just don't understand what the heck is going through Adam Sandler's head. He's a funny guy with natural charisma and, I would guess, a reasonable level of intelligence. So why does he feel compelled to write and produce films of such appallingly low quality? It worked with his initial efforts, Billy Madison and Happy Gilmore. Those two films defied any sense of logical criticism. They were sloppy, yet contained a maniacal sense of anarchic glee. He seemed thrilled at what he was getting away with. Yet, since the release of those films over a decade ago, he has continued to crank out by-the-numbers mediocrity that lacks any feeling of comic discovery.

It is my unfortunate duty now to inform you that his latest, You Don't Mess With The Zohan, is by far his most wretchedly awful film to date. Sandler's character this time, a Mossad agent who dreams of being a hairdresser, would probably fill a lame Saturday Night Live skit, but stretched to over 100 minutes is akin to Chinese water torture.

Zohan isn't any normal secret agent; he's a walking caricature of crass Middle Eastern stereotypes and snickering vulgarity. With a Wham!-inspired haircut and a penchant for shtupping elderly women, he finds employment at a small salon run by the sweet, yet blank, Dalia (Emmanuelle Chriqui), a Palestinian woman with no patience for Zohan's sexism. As can be predicted, despite their antagonistic relationship, they soon are yearning to "make the bam-boom". Their insipid love story intermingles with a laugh-free subplot featuring Zohan's nemesis the Phantom (John Turturro) and a hapless Arab cab-driver (Rob Schneider, ladies and gentlemen...) ineptly planning murder attempts.

Now, racial stereotyping and crude humor can be used to great comic effect in the proper hands. The makers of Borat toed the line brilliantly, delivering great vulgar hilarity mixed with social commentary. You Don't Mess With The Zohan is not even in the same time zone, much less ballpark. The film is amazingly hostile and mean-spirited, mocking its targets with unfiltered scorn for the majority of the running time, yet tacking on a "we're all the same" message at the end. It's like the school-yard bully who beats the snot out of you all semester but wishes you a good summer at when vacation time rolls around. Why did no one involved in this debacle pull Sandler aside and gently suggest that this material was unfilmable? Also concerning is the amount of animal abuse presented for cheap laughs. There is a particularly soul-killing scene featuring Zohan and two friends playing hacky-sack with a cat. Now, a good writer would use this undeniably objectionable act as a springboard to a larger pay-off. That would redeem the bad taste and warrant the scene's inclusion. Not here however, where the only apparent joke is that a trio of grown men are kicking the stuffing out of a helpless animal.

What is almost fascinating about Zohan is how little interest the screen-writers have in their own story. New story lines are launched at random to replace the ones running out of gas. I couldn't believe that the introduction of an evil land-developer to the film occurred near the end of the second act. It would seem that writers' Sandler, Judd Apatow, and Robert Smigel knew that their material was limited and hoped that by padding it liberally, no one would notice. Hence, the heavy helping of crotch close-ups, homophobia, hummus jokes, and dry humping present. As well, the endless cameos come off as desperate and pointless, although it is amusing that Mariah Carey has finally found a fitting companion piece for Glitter.

To call You Don't Mess With The Zohan a misfire is a grand understatement. It's a dreary trudge through migraine-inducing territory that is all the more unforgivable considering the level of talent involved. There's an old adage that it takes true skill and artistry to create a truly horrific film, as hacks will only produce bland mediocrity. Well, Zohan is a colossal achievement, a film that will receive endless mentions on "Worst of 2008" lists, and the rants of legions of angry ticket-buyers. With that said though, Sandler may have inadvertently found a point of agreement for Israelis and Palestinians. I think that both sides would agree that You Don't Mess With The Zohan flat-out SUCKS!
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