3…2…1…Sundance!

Written by Amanda Salazar

Three days left until the kick off of Sundance Film Festival 2009. Three days to soak in this beautiful Southern California weather. Three days to pack every warm piece of clothing I have, three days to catch up on sleep, and three days left to prepare my schedule of films.

This will be my first trip to the festival. If it is as crazy as everyone keeps telling me, I am slightly frightened, but definitely excited. I keep getting advice from anyone that has attended on what to expect, but even with all of this preparation, I am anxious to finally get to Park City.

Since I can remember, it has been a dream of mine to go to Sundance. It is hard to explain why, but as a film-school graduate and genuine lover of movies, it has become this engrained desire to make it to the small city to watch the films and mingle with filmgoers like myself.

With everything that I have been told, apparently this year it will be a different Sundance — reflecting our economic state. But then again, I have nothing to compare it to. Perhaps there will not be as many vendors, or free gifts, or fancy parties. But the films are there; in fact with over 3600 features submitted to the festival, the program will go on.

Last night’s Golden Globe ceremony proved that this might be another year for the independent filmmaker. Slumdog Millionaire won big, taking home four awards, including Best Dramatic Picture and Best Director for Danny Boyle. Another underdog picture and actor, Mickey Rourke won the award for Best Actor in a Drama for The Wrestler. With indies taking top awards, this could be foreshadowing for what is to come and what is to be picked up by the distributors, making Sundance even that more exciting.

Luckily, being that I will already be in Park City, I will also be attending films and events at Slamdance. This film festival will be in its 15th year and it is a festival that works with first-time independent filmmakers. Again this will be another first and I can’t wait to tell you more about my experiences at both.

Basically, I am so excited that I might pee myself. For the next few weeks, I will be writing about what it is really like from someone that has just entered the film industry, as a first-timer that simply wants to share with others that truly love this industry. Paired with reviews of films that I have seen, I hope to document everything that is Sundance and Slamdance- from films to parties to music and everything in between.

In my final days before I leave I would like to congratulate the filmmakers that are showing their films. For those that are attending, I will see you there. In just three days, my dream will come true. Man, that feels great.

BREAKFAST AT TIFFANY'S (Centennial Collection)

Written by Hombre Divertido

On January 13th Paramount will release Breakfast at Tiffany’s as part of its Centennial Collection, and it is certainly easy to see why this film is held in such high regard. One can only regret that they just don’t make ‘em like that anymore. A simple character and dialog-driven endeavor full of wonderful performances that make you want to rush out to the nearest coffee house in hopes of meeting someone new with a unique personality. Unfortunately, most of us don’t fall into relationships as easy as they did back then, or at least as easy as was depicted in the films of the era.

One could only hope to meet someone as full of life and yet innocently insecure hiding in the elegant beauty that was escort Holly Golightly portrayed with subtle elegance by Audrey Hepburn. The occasionally stiff George Peppard as the underachieving writer and kept man Paul, who falls quickly into a friendship and eventually in love with his new neighbor Holly, but it is his attempts to fit into her awkwardly paced world, summed up beautifully by director Blake Edwards’ legendary cocktail party, that makes the bulk of this film so enjoyable.

Holly and Paul walk through life with what appears to be an ease that we all long for, but the depth of the performances denotes the true guardedness of both characters, and how they grow together.

Recent character studies such as Jack Nicholson in About Schmidt or Nicholas Cage in The Weatherman give us well-crafted insight into the life of the main characters, but it’s not a life that most would be interested in experiencing. Breakfast at Tiffany’s gives us something we are looking to experience, or at the least, reminds us of people we used to know and or admired.

The new release is full of bonus material including commentary by producer Richard Shepherd, and numerous individual productions such as “Henry Mancini: More than Music,” an exceptional look at the life of this extremely talented man; “A Golightly Gathering,” which reunites the participants of the classic cocktail party and features fun and fact-filled interviews; “Behind the Gates: A Tour” is a far-too-short visit to Paramount Studios, “Brilliance in a Blue Box” is a brief history of the iconic jewelry store, “Audrey’s Letter to Tiffany’s,” “The Making of a Classic,” “It’s So Audrey: A Style Icon,” the original theatrical trailer, and photo galleries.

One of the most interesting pieces of bonus material is “Mr. Yunioshi: An Asian Perspective” which yields the reaction to Mickey Rooney’s portrayal of the over-the-top stereotype of Asians of that era. The participants in the feature certainly convey the feelings that existed then and now, and should be respected. From a purely comedic perspective, the performance and antics were far better suited to Edwards later Pink Panther projects. Breakfast at Tiffany’s has a charm and brilliance that was only dulled by the slapstick inclusion of such a caricature.

All the bonus material is enjoyable especially the look at the life of Mancini as poignantly conveyed by his family. Some material is a bit repetitive when packaged together, but watching it immediately after the film does manage to lengthen one’s enjoyment and appreciation of the original project. More material focused on the rest of the talented cast (Patricia Neal, Buddy Ebsen, and Martin Balsam) would have enhanced the attractiveness of this new release, and certainly an interview with Mickey Rooney on the subject of his portrayal in the film would have made for a more well-rounded offering.

Recommendation: Definitely one of the rare movies that doesn’t disappoint after decades of hearing “What? You’ve never seen Breakfast at Tiffany’s?” So, if you haven’t, here is the perfect opportunity.

As the original marketing material states: “It’s everything you’ve always wanted to do, and Audrey Hepburn’s the one you’ve always wanted to do it with.” Funny how true that will ring, even after almost fifty years, and most likely even for those who have never experienced the talent that was Audrey Hepburn.

Matlock - The Second Season

Written by Senora Bicho

Matlock was a legal drama that aired from 1986 to 1992 on NBC and then on ABC from 1992 to 1995. Andy Griffith was the star of the show as widowed defense attorney Benjamin Matlock based in Atlanta, Georgia. The character was based on real-life attorney Bobby Lee Cook from Summerville, Georgia. The premise of the show was very similar to Perry Mason with a part of the show being the investigation into proving the innocence of the client and the rest of the show set in the courtroom. The real killer was always the last person called to the stand with Matlock unveiling the truth. The primary difference between Matlock and Perry Mason is the attributes of the main characters. Mason was more of a highbrow serious intellectual with Matlock being a lovable good old southern boy well known for his love of playing the guitar and eating hot dogs.

In Season Two, Matlock joins forces with Michelle Thomas (Nancy Stafford) as a new junior associate. He meets Michelle while on a case in London in the season premiere and after the case is over he offers her a job that she quickly accepts. In Season One, Matlock’s daughter was a fellow partner, but Linda Purl was unhappy with the direction of the character so she was written off at the end of the season with the story being she was going off to start her own firm. Matlock is also aided by his private investigator Tyler Hudson (Kene Holliday) and his assistant Cassie Phillips (Kari Liz). Another regular recurring character is District Attorney Julie March (Julie Sommers) who is also Ben’s friend and love interest.

While the majority of the cases take place in his hometown, Matlock is also willing to travel to defend the innocent. In this season he travels to London, Washington D.C., Hollywood, and Las Vegas. There are many guest stars to be found such as David Carradine, Greg Evigan, Michele Green, and Bruce Greene. It is fun to see all of these stars looking so young. Interestingly enough the episode that is set in Vegas features Marg Helgenberger who is best known for her long run on CSI, which is set in the same city.

The DVD set includes all 23 episodes from the Second Season along with one special feature, alternate endings for the episode “The Hucksters.” When the original show aired, viewers were given the opportunity to call in and pick one of three potential murders. You can watch the show as it aired to see who America picked or you can select the murderer of your choice.

I recently watched several episodes of Perry Mason and was really surprised at how smart it was and really enjoyed it. Matlock is much more simplistic, but if you like courtroom drama, there is no reason why you wouldn’t enjoy it. Andy Griffith is also entertaining and makes the show fun. In addition, Matlock’s clients are not always innocent, which makes the show more interesting and realistic. I must note, however, that the picture looks pretty bad; it is unfortunate that they didn’t do anything to enhance it.

THE DUCHESS (2008)

Written by Pollo Misterioso

The Duchess is a movie about women. In fact, it is a movie about 18th century English women. But in no way is this movie specifically for women, although one might think differently. Based on a true story, The Duchess is an intriguing insight into what women of the time had to do to attain high stature, yet which afforded them no power.

Based on the true story of the Duchess of Devonshire, Georgiana Spencer, and her time with the Duke of Devonshire, the screenplay comes from the book Georgiana, Duchess of Devonshire written by Amanda Foreman. Most of the information that makes up the book comes from the letters that Georgiana wrote to her best friend Bess, who later became the Duchess of Devonshire herself, and to her mother.

Keira Knightley plays the lovely Georgiana, who at sixteen marries the Duke, played by Ralph Fiennes. We are given a glimpse of the playful and charismatic side of her in the beginning of the film, but with her marriage engagement comes the responsibility and duty of a duchess—to provide a male heir.

Historically Georgiana was known for her political influence with the Whig Party and her colorful fashion sense, influencing the way women dressed and becoming a well-known celebrity. The beautiful costumes in the film make this film worth watching. With wig and dress changes in almost every scene, the Duchess’ wardrobe is overwhelmingly impressive. Again, by mere dress, it becomes easy to see her influence and stature in her society.

Not everything is as easy as it seems for Georgiana. In a struggle to give her husband a male heir, she gives birth to two daughters and takes in another daughter that is the Duke’s from another mistress. She learns quickly the ways of infidelity and when she brings Bess to live with them, Bess begins an affair with the Duke in order to get custody of her children. Fiennes is callous and cold as the Duke, but presents a man that personally lives a life of structure and rules; all of which Georgiana fail to accomplish.

In her personal battle between herself and her position, she falls in love with Charles Grey, played by Dominic Cooper, and begins seeing him secretly. When the Duke finds out, he orders her to stop, threatening to take away her children, but she is pregnant with Grey’s child. Even after supplying the Duke with a male heir and participating in acts that the Duke has also done, she struggles to gain power within her household, never able to impress the Duke.

But more than just a historical drama, this is a film about the struggle for power in a place where there was nothing for women to gain. Paralleled by the multiple layers that women wear, she is trapped in a position that seems commanding and influential, but personally she is shattered. Knightley commands the screen, not often with dialogue, but with facial expressions that expose the deep pain and struggle that she feels daily.

Georgiana was clearly a strong woman, one that dominated political and social circles, but lived a sad life. The different masks she wears for her public and private lives create a duality that is inspiring to watch, showing a true struggle that regains its own sense of power.

The DVD extras are interesting and very informative if you are interested in learning more on the subject. “Georgiana In Her Own Words” is a short featurette that shows her letters and examines her growth through her penmanship and content. “Costume Diary” is an interesting look at the costumes in the film. “How Far She Went…Making The Duchess” was my favorite extra, showing the real sets used, interviews with the cast and crew, and explains some of the hardships they went through in the making of the film.

The Waltons: The Complete Eighth Season

Written by Hombre Divertido

In 1971 CBS did some major house cleaning which included canceling its rural-oriented programming. In December of that same year, CBS would air Earl Hamner Jr.’s The Homecoming, which would lead them back to rural programming in the form of The Waltons in September of the following year.

On January 6th 2009 Warner Home Video will release all twenty-four episodes of season eight of The Waltons on a three-disc set. Unfortunately, by season eight, the series has jumped several sharks, and is far from the depression-era family drama that we came to know and love.

By the time we get to season eight, Richard Thomas who originated the role of John Boy is gone, and would be replaced by a one-dimensional Robert Wightman; the contract of Michael Learned, who portrayed mother Olivia Walton, had expired and she would not appear in all the season’s episodes; new family members are introduced which is never a good sign; and the thespians who had adequately portrayed the Walton children, had grown into mediocre actors tasked with carrying the series.

The writing too had grown tired by 1979, and though this season still contains some poignant moments, the attempts at lightheartedness are forced, and well beyond the talents of the current cast. For all intents and purposes the writing was on the walls of the iconic Walton home and the show would last only one more season.

The shining moments at this point in the series come from the relationship between John (Ralph Waite) and Olivia Walton. Though limited in this season due to her absence, the chemistry between these two talented actors remained strong throughout the series, and added a level of quality to this season, that only left the rest of the cast to appear to be severely lacking.

World War II served as the theme for many of this season’s episodes, but the writing generally manages to keep the family, and subsequently the audience, from being pulled into the drama associated with such an important time in our history. One exception is the storyline in the two-part season opener in which John, who is assigned to the local draft board, deals with the death of a neighbor’s son. It is the superior performance by Waite that makes this segment work.

Earl Hamner Jr. remained involved in the series from inception to conclusion, and his narrations remain throughout bringing a level of nostalgia to the series that is sure to illicit a smile from anyone who enjoyed the series in its heyday. Unfortunately Hamner also hosts the only piece of bonus material in this new release, the two-hour special: A Decade of the Waltons. Hamner’s slow delivery made for a wonderful folksy introduction to this classic show, but as a host, he was far too awkward, and lacked the personality necessary to lead us down memory lane. Hamner’s wardrobe, tinted glasses, and absence of a smile (There may have been dental issues as in the one scene in which he is laughing, he remains off camera) did not help the situation. The poor quality of this retrospective does not fall solely on Hamner as the standard clips lack continuity, and the interviews with the actors and their real-life counterparts seem overly staged and stiff. Since this special aired at the end of season eight, it is a bit generous to list it as a bonus feature.

Not a lot of notable guest appearances during the season, but it’s fun to see a young Jonathan Frakes in “The Lost Sheep,” and if you look quick you can spot Eric Stoltz sitting in the classroom in “The Valediction.”

The shows look and sound great. The packaging leaves a lot to be desired, and if both sides of the disc were going to be utilized, it would be helpful if the discs were better marked.

Recommendation: This is a classic series, but the quality began to wane after the first five seasons. Season eight is only for the true fan that wants to keep their collection up to date.

BEDTIME STORIES (2008)

Bedtime stories are great for kids, and good ones can be fun for adults, but Adam Sandler’s new film Bedtime Stories offers little for either.

Sandler had nowhere to go but up after the summer disaster that was You Don't Mess with the Zohan, and this is certainly a far more enjoyable film, but that isn’t saying much as Zohan is sure to appear on many “Worst of 2008” lists. Bedtime Stories isn’t a bad film, and there is enough (barely) to keep young children entertained, but the writing is far too forced and predictable for adults, and when the stories come to life, they lack the energy and visual impressiveness that we know Disney is capable of.

While babysitting his niece Bobbi (Laura Ann Kesling) and nephew Patrick (Jonathan Morgan Heit), hotel handyman Skeeter (Sandler) realizes that any addition by the kids to the bedtime stories he is crafting for them, actually come true the next day. Skeeter attempts to use this new power to finally get the job he has always wanted. Unfortunately the writing Bedtime Stories breaks down as attempts to justify the additions to the next day’s developments are forced upon the audience with little success.

Sandler manages to give us enough of his standard character to make Skeeter endearing without alienating the young Disney audience, and he is surrounded by a talented but underutilized cast, but there is little range for them to show with the script provided. Keri Russell plays the convenient and obvious love interest. Russell Brand is the comedic sidekick whose reason for being in the film is only less clear than that of the kids’ pet guinea pig Bugsy (Rodent), who possesses digitally enhanced Marty Feldman eyes, and seems to add nothing to the film other than to give kids something to laugh at, like someone making faces at a baby. Courtney Cox, who looks unhealthily thin, plays a Monica-esque sister to Skeeter and Guy Pearce is the stiff antagonist.

So the concept and cast are good, but the execution seems to have been too much for screenwriter Matt Lopez and director Adam Shankman. Perhaps putting more effort into making the visualization of the stories cinematically attractive, and providing the cast with characters that posses some dimension, and less time trying to figure out how to justify the ridiculous plot points thrown in by the children, would have made for an all-around more enjoyable film for the entire family.

Recommendation: This has DVD rental written all over it. There is nothing here for adults, and the visual effects are not worthy of a “see it on the big screen” endorsement.

GHOST (Blu-ray)

Written by Senora Bicho

Ghost has always been one of my fondest movie memories. My girlfriends and I saw it multiple times when it was in the theaters in hopes that one day we would find a love like Patrick Swayze and Demi Moore. Ghost came out in 1990 and was a big box office success and even earned Whoopi Goldberg an Academy Award for best supporting actress.

Ghost is the story of Sam (Swayze) and Molly (Moore) whose relationship is cut short when Sam is killed during a robbery. At the time of Sam’s death he has the chance to go into the light but he goes back to Molly instead and is then stuck living as a ghost. Soon after his death, Sam discovers that it was not just the result of a botched robbery but was part of a larger scheme and is determined to solve his own murder. There is one big problem, however, he can’t communicate with the living and is worried that Molly might be in danger. As luck would have it, Sam comes into contact with a spiritual advisor who can actually hear him. Oda Mae Brown (Goldberg) has been a fraud up until her encounter with Sam and has a hard time believing he is really a ghost and that she actually has psychic abilities. Sam eventually convinces her to go and talk to Molly. Unfortunately, Molly doesn’t believe her and so it seems that he has hit a dead-end. As Sam is trying to figure out what to do next, he comes across another ghost who is able to make things move with his mind and he teaches Sam how to do it too. Armed with this new ability, he goes back to Oda Mae with a plan to bring his killer to justice and to save Molly.

Ghost is far from being a complicated murder mystery but it adds an interesting dimension to the love story. The chemistry between Swayze and Moore is the foundation of the movie and Goldberg steals every scene she is in. Goldberg portrays the con artist with a heart perfectly and still makes me laugh out loud in several scenes. The other aspect of the movie that made it such a huge hit and that is still well known for today is the love scene involving pottery and “Unchained Melody” by the Righteous Brothers. The scene also helped to revive the song originally recorded in 1965 and garnered it billboard and radio success.

Ghost is still an enjoyable and touching love story. There is one scene towards with end that utilizes one of Oda Mae’s abilities that bothered me when it first came out that is supposed to be help bring closure to the relationship between Sam and Molly but I still think it is ridiculous. Aside from that, it still managed to make me cry in the end.

The special features on the DVD have all been offered in previous editions. There is a commentary track by director Jerry Zucker and writer Bruce Joel Rubin. “Cinema’s Great Romances” offers clips from the American Film Institute’s list “100 Years, 100 Passions” on which Ghost was ranked number 19. “Ghost Stories: The Making of a Classic” is a retrospective featurette which includes interviews of the cast and crew. “Inside the Paranormal” offers interviews with real life psychics and mediums. “Alchemy of a Love Scene” highlights the big love scene and the reasons why it is so iconic. The theatrical trailer and a photo gallery are also included.

The video looks good for a movie that is almost twenty years old. The colors are slightly muted. The detail and texture are clearer, but that’s actually a detriment because the special effects, like when the ghosts pass through solid effects, are more obvious and look terrible.

The English 5.1 Dolby True HD is wasted on this presentation. The movie is mainly dialogue. The surround is barely used, just for ambiance and music. The subwoofer also hardly gets used, mainly when the subways pass. For some reason the audio with the DVD menu is louder than the movie.

The Blu-ray disc I reviewed has English subtitles set as a default, which is rather annoying to have to turn off when starting the movie. Maybe a ghost in the machine.

GRAN TORINO

Written by Hombre Divertido

This Gran Torino Goes Nowhere

Clint Eastwood is certainly capable of carrying a film, and has proven his ability to direct and act in the same endeavor, but this film displays a severe lack of capability by anyone in front or behind the camera. Let us hope that this is not the last time we see Eastwood on the big screen, because this is a terrible film.

It was obvious that the audience was in trouble in the very first scene of the movie when the two sons of widower and Korean War Veteran Walt Kowalski (Eastwood) are having a conversation during their mother’s funeral. It becomes very clear early in the scene that the conversation is horribly contrived, and that neither person involved can act.

Though one might optimistically hope that some of the newcomers to the big screen might actually have some acting ability, unfortunately it is only Eastwood that displays any thespian chops in this one hour and fifty-six minute outing, and he is saddled with a one-dimensional character.

The story surrounding Kowalski is full of holes, and plays out like a Karate Kid imitation where Eastwood is the mentor who teaches his young introverted neighbor how to be a man. Add in the fact that Kowalski is a loudmouth, curmudgeon bigot living in a Detroit neighborhood he no longer fits into, and counting his outrageous racial slurs becomes the only entertaining way to get through the film.

Obviously you cannot fault the other actors in the film for taking their respective roles, but the performances are so bad that they detract and distract from the film and make it virtually impossible to sit through.

You can fault screenwriter Nick Schenk for a predictable story that only contains a few turns, many of which make little sense, dialog that is horribly contrived, and the slight character development allotted to Eastwood’s Kowalski is without motivation.

Ultimately the blame lies with Eastwood for choosing such a poor script to direct and star in, and for allowing himself to be surrounded on screen by incompetent performances.

Eastwood manages some nice moments simply because there is nostalgia in seeing this icon bark like he did in Heartbreak Ridge or get tough like he did so many times as Dirty Harry. The nostalgia doesn’t get you too far as the story that is Gran Torino runs out of gas long before your child-size seven-dollar bag runs out of popcorn.

Recommendation: Wait for it to come out on DVD and then don’t rent it. TBS and TNT will have it soon enough. Spend the holidays praying for Eastwood to give it another go in front of the camera. It can’t end like this.

It / The Shuttered Room

Written by Fantasma el Rey

It / The Shuttered Room now available from Warner Home Video on one DVD is a decent combination of movies, although one is a better than the other. One film is about a museum and a Golem while the other is a gothic tale of terror that involves a creepy family’s past. It is not to be confused with the Stephen King story, at all, and The Shuttered Room is the film to watch. Consider It as a bonus film and you’ll feel a bit better in the morning…if you can survive this “terror twofer.“

The DVD starts off with The Shuttered Room so let’s begin there. The film stars Gig Young as an older man who takes his younger wife, the stunning Carol Lynley, back to her shadowy roots on a New England island uncovering insanity, murder, and family secrets locked away in The Shuttered Room. Right from the start island folk warn of the curse of her family and that Gig should take his lovely wife off as soon as possible. The couple shrugs off all warnings and press on to the old millhouse where the lass was born. Along the way they get tormented, chased, and beaten by island “youth” who get their kicks by fondling the island hussy, converse with a doll of an old aunt, and unleash the terror of The Shuttered Room, which turns out to be a bit of a let-down in the horror department but that’s okay because we get to see a couple of hot chicks nearly naked and Gig gets to kick some ass, proving that old guys rock. The film is more a suspense/mystery than monster or murder horror and is fueled by the crazy Miles Davis-like jazz soundtrack that adds to the creepy atmosphere. There are also some good camera shots and angles, first-person dizziness and window reflections.

A couple of interesting side notes about Gig Young include the fact that after he played a part in the Bruce Lee film Game Of Death, he committed suicide after killing his young wife, the whole story is shrouded in mystery as well. James Dean fans will remember him as the guy who interviewed Dean for the last time, the interview in which Dean talks of safe driving because “the life you save may be mine” and was just a short time later killed in an auto wreck.

It on the other hand is a monster movie, starring Roddy McDowall and Jill Haworth as the young women of his dreams. It falls apart fairly quickly as the story is unbelievable and filled with holes. McDowall plays a museum curator’s assistant who comes into control of a golem and goes insane with his newfound power, but we know he’s a nut ball already after it’s revealed early in the picture that he talks to his rotting mother’s corpse a la Norman Bates. He commands the golem to kill people and destroy bridges, the cops get involved an American trying to purchase the golem for his museum becomes the hero, Haworth is half nude (hubba hubba) in a strange dream of McDowall’s, and then the army gets involved to destroy the golem. Destroying the golem is truly the hard part as not fire, nor water, nor force will do the trick and to the army’s dismay neither will heavy artillery nor a small nuclear bomb. Hokey as hell last minute rescue of Haworth on a motorcycle make this one even more laughable but fun as it seems to become an Ed Wood film (the miniatures and overall story concept) with slightly better production. The golem itself is pretty much a statue that moves like Frankenstein’s monster, not too big a deal.

It / The Shuttered Room is an all-right double feature for suspense on one end and unintentional laughs on the other, an interesting package for sure. It seems as though It was tacked on for the hot bare chick aspect. The other similarity is that both were made by English studios and the director of It wanted his movie to resemble the films being turned out by the folks over at Hammer Studios. So fright fans, I’d pick this up for the creepy aspect and atmosphere of The Shuttered Room and the laughs and questions that It provides. Like I say, if you’re entertained for a few hours, then the film has done its job.

YES MAN

Written by Hombre Divertido

Yes, the formula is obvious and reminiscent of Liar Liar, but this film is not as predictable, and succeeds by simply being more genuine.

Jim Carrey plays Carl Allen, a man who retreated into self-imposed seclusion after suffering through a divorce, routinely says no to any offer that might lead him from his dreary existence.

Carl is curious enough about the life of old friend Nick (John Michael Higgins channeling a young David Leisure) to attend a seminar run by a miscast Terrence Stamp, who motivates Carl into agreeing to say yes to everything, and thus our one-dimensional plot is born.

Generally the situations created by the premise work simply because Carrey keeps his normally outrageous antics in check and plays this character with a sincerity that works for the most part. The occasional return to Carrey’s outrageousness of old, such as the often-seen trailers with him hyped-up on Red Bull or with a face wrapped in scotch tape, actually seem forced and out of place in a film that is generally more low key than what one might expect.

Unfortunately the story takes some turns that just don’t work for anyone that brought their brain into the theater with them. Obviously all the “yesing” can’t reap only success and Carl and his newfound love, Allison (Zoey Deschanel in an understated but endearing performance), can’t just end-up together without overcoming some type of roadblock, but said obstacle is poorly constructed, and it is at this point in the film where the writers clearly ran out of ideas. The turn of events leads to an abrupt and disappointing ending.

It is the performances of the cast and the relatable characters created that makes this 104-minute outing worth your money. The script by Nick Stoller, based on Danny Wallace’s autobiographical book, runs out of steam before it gets to where it should have gone and leaves the audience stranded, if not lost. Considering the simplicity of the premise and the success of the book on which it was based, the writing should have come easier and been better. The unnecessary antics and geriatric sexual encounters are sophomoric and insulting to the audience, and do nothing but cheapen a film that actually has some class.

Recommendation: Jim Carrey may be a bit weathered to play such parts, or the antics may just be tired, but he is still a capable character actor who can be successful when given the right vehicle. This may not quite be it, but there are enough pleasant moments and solid performances to make this worth seeing.