The Heat: Women Can Be Buddies Too!

The buddy cop movie is a well-known genre. Two men with wildly differing world views are forced to work on a case together. After their initial horror at the assignment and plenty of bickering, they team up as unlikely allies to take down the bad guys who are engaged in some random wrongdoing. The plot isn't the point, the burgeoning friendship between the two cops is all the audience cares about. But why do the two cops have to be men? Because Hollywood says so. Luckily, writer Katie Dippold has decided to claim this genre for the fairer sex, and with Bridesmaids director Paul Feig at the helm, we now have The Heat.

Sandra Bullock plays FBI agent Sarah Ashburn who is sent to Boston on a special assignment to take down a druglord. Ashburn is an uptight, straight-laced cop, who can't even bring herself to swear (quite a rarity in law enforcement). She also has a fiercely competitive streak and likes to show off her intelligence, which obviously does not endear her to her male colleagues. This Boston case is her chance to prove herself and earn a promotion, but that seems like a hopeless prospect when she is forced to team up with Boston Detective Shannon Mullins (Melissa McCarthy). Mullins is foul-mouthed, violent, and terrorizes her colleagues, including her much put-upon Captain. Together, these two women have to track down a network of criminals, but given the trouble they have even getting through a door together, one wonders how they're going to engage in any effective police work.

The Heat is a brilliant take on a familiar genre, and quite frankly, gender has very little to do with the story. You could replace Bullock and McCarthy with two men and very little of the script would have to be altered, apart from the occasional reference to Spanx. And yet it is astonishing how much more hilarious and refreshing this movie is simply because it has two leading ladies. These are two funny women who are at the top of their game and they attack every scene with glee. They go through an arsenal of comedic and literal weapons, deploying physical comedy and grenades, wordplay and pistols, sarcasm and explosions, with equal relish. This isn't some genteel comedy about two lady cops - these women are engaged in some bloody and violent showdowns and carry themselves with aplomb through increasingly hilarious and harrowing escapades. I spent a good portion of this movie just laughing out loud at their bizarre antics and although the plot is nothing new, the chemistry and give-and-take between these two actresses is simply magnificent.

There is no reason why the term "buddy cop movie" should immediately conjure up images of men fighting crime. The Heat proves that Hollywood's antiquated notion that only leading men can make a movie successful is an imaginary construct. Even after the success of female-led movies like Bridesmaids, studios are still asking, "But will audiences want to see a movie that only stars women?" I don't know what it will take to convince them that the answer is a resounding "Yes!" But as a start, we can go out to theaters and watch movies like The Heat. I can only hope that its inevitable success will help bring more funny women on to our movie screens. 

And the Mountains Echoed: Global Afghanistan

Khaled Hosseini is widely celebrated for his evocative prose that lends beauty and humanity to the land of Afghanistan. His first two novels, The Kite Runner and A Thousand Splendid Suns, captured an unfamiliar culture and distilled it down to its essence by focusing on family relationships and the people caught up in the country's troubled history. His latest novel, And the Mountains Echoed, is an epic spanning several generations and continents, which explores the progress of interconnected Afghani families from the early 20th century into the 21st.

The book begins with a bedtime story. Related in a traditionally simple but vivid style, the story instantly draws you into rural Afghanistan, a world that contains many literary riches despite its abject poverty. The narrative centers on Abdullah and Pari, a brother and sister who share a remarkable bond and love each other dearly. Unfortunately, their happiness can't last, and the separation of these seemingly inseparable siblings sets off a story that radiates from Afghanistan into France, Greece, and the United States. Each chapter tells the story of one character, but each story draws in characters from all over the world, all of whom have some connection (either direct or indirect) to the story of Abdullah and Pari. As characters live and die and the brother and sister move further apart across the globe, you read on with urgency, wondering if they will ever be reunited.

At times this novel feels more like a collection of short stories. If you don't read some chapters closely, you could easily miss a reference to an important character - just because someone is only a minor figure in one character's life, it doesn't mean they aren't a major figure in the overall narrative. Eventually you start to see how all of these stories are weaving themselves together into one coherent story, and you discover that every person has his or her part to play in this epic tale.

The sprawling style of And the Mountains Echoed makes it a compelling read but also dilutes the emotional impact of the story. Unlike Hosseini's earlier, more intimate works, it is harder to identify memorable characters, particularly because you don't spend much time reading about any one individual. Just when you're getting fond of one man, you begin reading the story of a woman half a world away, and you can't sustain your affection for any character for long. From a literary standpoint, it is a beautiful story beautifully told, but it doesn't leave a lasting impression on your heart. 

Much Ado About Nothing: Don't Let the Title Fool You

Almost two years ago I wrote about how excited I was to hear that Joss Whedon had made a movie of the Shakespearean classic, Much Ado About Nothing. Then the trailer came out and promised to deliver a wondrous film (I've embedded the trailer below and you could watch it a dozen times for the music alone). Well now I've watched the actual movie and every impossibly high expectation has been met and exceeded.

Filmed in Whedon's own house (a gorgeous place designed by his architect wife and producer, Kai Cole) and shot in sumptuous black and white, the movie is an aesthetic marvel from start to finish. But if looks aren't your main concern, never fear. The cast features all the Whedon regulars and they have set out to make a hilarious and joyous movie that would thrill Shakespeare himself. At the heart of the film are the warring lovers, Beatrice and Benedick (Amy Acker and Alexis Denisof), who like to trade insults and pretend they loathe each other. Their friends and relatives see through this facade however and scheme to bring the two of them together.

In the meantime, two other lovers, Hero and Claudio (Jillian Morgese and Fran Kranz), have openly revealed their feelings and are to be married within a week. However, Don John, the evil villain of the piece has an idea to doom their romance and make everyone miserable. Because that's what villains do. Interestingly, Whedon has turned one of Don John's henchmen into a henchwoman, an always welcome twist in male-dominated Hollywood. There are a few other twists to the classic tale as well, and oftentimes Whedon will use silent montages to illustrate events that are being related by the characters. All of which serves to make the story fresh, modern, and compelling. Even though the language is from the 16th century, the characters and their motivations are timeless.

Much Ado About Nothing is a fantastic play but it also a very weird one, with distinctly odd facets and revelations that only Shakespeare could dream up. The key element of the movie, therefore, is that everyone is on a steady diet of whiskey shots and red wine. When every character is stumbling around with a wineglass in hand, it makes the more bizarre parts of the story seem plausible. The Prince's proposal to woo Hero on Claudio's behalf seems like a weird idea, at least in the 21st century, but when you're a little bit smashed, it sounds like a plan. 

Much Ado About Nothing is another masterpiece in the Whedon canon. The performances are incredible, with every actor using the beats in between the dialogue to do something hilarious or embark upon a bit of physical comedy. The soundtrack, composed by Whedon himself and featuring songs from the play, is lively and atmospheric. Because so many Whedon regulars are featured, one side effect of watching this movie is that you may want to revisit his other work. I was particularly amused by Fran Kranz as Claudio and I think a repeat viewing of The Cabin in the Woods is in the offing. But even if you are a Whedon novice, you will find something to love in this film. So get thee to a theater!

Inferno: Dan Brown Tackles Dante

Inferno is Dan Brown's fourth novel featuring Harvard symbologist Robert Langdon. His last novel, The Lost Symbol, was set in Washington D.C. and I don't remember anything about it except that it was pretty ridiculous and seemed more akin to the script for a National Treasure movie. Thankfully, in Inferno, Langdon has returned to Italy, where he must follow a series of clues that rely on his extensive knowledge of literature, art, and architecture, all while suffering from retrograde amnesia.

Dan Brown's narrative style is so distinct that it has spawned numerous mocking parodies. His work isn't highbrow literature, as much as he might like to pretend it is, but his novels are guaranteed to head to the #1 spot on the New York Times bestseller list. Inferno is no exception - all the familiar Brown tropes are present. Langdon is joined by a mysterious woman who will accompany him in a desperate race against time to locate something that is hidden at the end of a convoluted series of riddles and clues that have something to do with Dante's Inferno. There are shadowy figures in pursuit, whose motivations remain unclear and no one knows who's an enemy or a friend. And there's plenty of clunky dialogue as Langdon talks about Harris tweed jackets or the comfort of Italian loafers and gives mini lectures on Art History to educate his unenlightened compatriots.

Inferno does have some twists that make it a much more enjoyable book than The Lost Symbol and suggests a return to form for Dan Brown. The fact that the books kicks off with Langdon waking up in Florence with amnesia is pretty ingenious. What is he doing there, why are people shooting at him, who are all these random characters, and what do his disturbing hallucinations mean? Unraveling the pre-amnesia events while Langdon also pursues the scavenger hunt scenario makes this a complex and fun read. And there are so many disparate corporations and organizations that have something at stake that you will be genuinely shocked when the inevitable traitor's identity is revealed.

Inferno hearkens back to the very first Langdon novel, Angels & Demons, because it features a tantalizing mixture of Medieval art and cutting-edge science that threatens the whole of humanity. The plot is rollicking, the characters remain enigmatic until the very end, and you'll be ready to head for Italy on your next vacation. The finale is pretty open-ended like most of Langdon's adventures, but it isn't frustrating. There's plenty to mock, but there's more to like, so go ahead and add this novel to your summer reading list.

The Hangover Part III: Not With A Bang...

The Hangover was the most successful R-rated comedy of all time when it was released in 2009. A raucous extravaganza of hilarity, drunken mayhem, and surprisingly intriguing sleuthing, it was a fantastic movie that became a pop cultural touchstone. But in sequel-happy Hollywood, one successful movie is never enough, so we now have a trilogy.

Part II was almost identical to the first movie. The guys got drugged and hungover at a bachelor party, lost a member of their group and had to find him in time for the wedding, while dealing with the drug-related complications brought about by their association with Mr. Chow, the Chinese gangster. The only difference was that Part II was set in Bangkok instead of Las Vegas and was a LOT raunchier, which didn't even seem possible.

Now in Part III, the film makers have dealt with the Part II backlash in two ways. The template is no longer the same - no one gets blackout drunk (which is a bit misleading in a movie titled The Hangover), and the hapless Doug is kidnapped instead of just misplaced. The "Wolfpack" has to find Mr. Chow in order to rescue Doug from a drug lord, played by John Goodman. They go to Mexico but eventually wind up in Las Vegas where everything began and we get to meet some familiar characters and locales. And everything is a lot more toned down. Nothing really extreme happens in this movie (unless you count the surprise scene in the end credits, or the decapitated giraffe at the beginning). The actors are just as frenetic and committed as ever, but there is less material to work with. 

Ideally The Hangover should have been a stand-alone movie, because the sequels haven't matched up to the first. But I thoroughly enjoyed the multiple chances to revisit these characters and discover where they all ended up. That was an indulgence I never hoped to have after the first film, and despite the decided drop in quality, I'm too fond of the franchise to care. The Hangover Part III will appeal to fans of the franchise because of its numerous inside jokes and references to the events that these friends have endured over the course of the movies. Despite not strictly adhering to the Hangover template, the film still has warped elements of the original movie that feel both familiar and novel at the same time. The ending serves as an apt way to wrap up the entire franchise, and I'm glad that this is the end, because it is clear that they've lost steam. This is how The Hangover ends, not with a bang but a whimper. 

Yeh Jawaani Hai Deewani: Coming-of-Age, Bollywood Style

Every once in a while, Bollywood gets something right and I post about it on this blog. Last night I went to see Yeh Jawaani Hai Deewani and was thoroughly entertained for two and a half hours. Here's a movie that knows how to hit all the right notes and keep you satisfied.

The movie is written and directed by Ayan Mukerji but it is patently obvious that it is produced by Karan Johar. The setup is very Joharian (if I may coin such a term), with the pre-intermission events consisting of a flashback to a glorious hiking trip that the characters took one summer in college, and the post-intermission story focusing on what kind of adults these people have become and their assorted triumphs and failures. And of course, their love stories. Because where would we be in Indian cinema without unrequited love?

Ranbir Kapoor plays Bunny (real name Kabir), your typical free spirit who wants to flirt and flit across the globe. Deepika Padukone is the bespectacled Naina, the swotty medical student who has never had any fun. When she runs into her old schoolmate Aditi (played by one of the best actresses around these days, Kalki Koechlin) she decides on a whim to drop her books and join Aditi, Bunny, and their friend Avi (Aditya Roy Kapur) on a hiking trip. Over the course of the trip we discover that Aditi is carrying a torch for Avi, Naina is falling in love with Bunny, and of course the boys are clueless and messing around with their fellow hikers, including a nitwit named Lara (played by Evelyn Sharma, who can barely speak Hindi and was only there to prance around in some shorts and waste the audience's time). 

Anyway, everyone's feelings stay marvelously repressed over the course of the entire trip and at intermission, Bunny has flown off to Chicago on a journalism scholarship and seemingly achieved his dreams. After intermission though, we flash forward eight years when he returns to India for Aditi's wedding. And that's when we fill in the blanks about what everyone has been up to and where they might end up.

Bollywood is always churning out coming-of-age stories but this one truly brims with insight and good humor. While Ranbir and Deepika are supposed to be the main couple, Kalki Koechlin steals the show and brings a lot of joy to every scene she's in. It's not Deepika's fault that she's overshadowed - she's playing the introverted character, so it makes sense that she is mostly forgotten amidst the hi-jinx exhibited by Kalki and Ranbir. All of the main actors do a fantastic job, and Ayan Mukerji has written a wonderful story that never gets bogged down in sentiment. Every heavy moment is quickly lightened with a joke and no one is allowed to wallow for long. 

Yeh Jawaani Hai Deewani is an excellent template for future Bollywood romcoms, given its emphasis on well-developed characters that don't take themselves too seriously. It has the usual problems of some pointless characters that detract from the story and one too many musical numbers (though the soundtrack is foot-tappingly good), but these are minor faults in the execution of a splendid movie. Watching with a raucous Indian crowd in a packed theater is probably the best way to see this film, so find your local Indian cinema and spend some quality time with the best that Bollywood has to offer.

The Comedy of Errors: Laughter in the Park

Shakespeare in the Park is one of New York City's most beloved cultural institutions. Every summer, the Public Theater puts on two Shakespearean plays in Central Park's gorgeous outdoor Delacorte Theater, often featuring film stars or well-known TV actors who are on summer hiatus. And the best part is that the tickets are absolutely free to the public. Sure there's a lot of luck and/or labor involved in getting a ticket, but it is worth it.

Last night I was lucky enough to win a pair of tickets via the virtual drawing to see The Comedy of Errors. The show stars Hamish Linklater (who starred in The New Adventures of Old Christine and was in the Broadway production of Seminar), and Modern Family's Jesse Tyler Ferguson. The two of them are Shakespeare in the Park regulars - I previously saw them in A Winter's Tale in 2010 and they were hilarious in the few scenes they had together. Now they have the chance to lead this hysterical play and delight the audience with their well-honed comedic timing.

The play itself is a comic masterpiece about two sets of twins who were separated at birth. Both sets of twins also share identical names, which leads to mass confusion when they find themselves in the same city and keep running into strangers who claim to know them. Usually each twin is played by a separate actor, but in this production, Linklater and Ferguson play both twins, which adds to the energy of each scene. Their performances are nuanced and hilarious, ensuring that you always remember which twin is which (a most impressive feat), and they always look like they are having the time of their lives. 

A series of complications and misunderstandings ensue in typical Shakespearean fashion and the stakes get higher and higher as these hapless twins are suspected of everything from theft to infidelity, to insanity and demonic possession because they are behaving so unpredictably. Ferguson's two twins are alternately jolly and cynical, jokey and grim, and his expressions and gestures take the material to another level. Towards the end, Linklater has to deliver a long monologue that summarizes every single inexplicable event that he has endured that day and he delivers it at an explosive pace that would make even Shakespeare proud. 

The Comedy of Errors is a must-see production. At 90 minutes, it is also a particularly sleek and zippy introduction to Shakespeare for anyone who can't abide long runtimes. So line up at dawn at Central Park or enter the virtual ticket drawing. You won't be sorry.

The Fall: Gender Politics of Serial Killing

Amidst the hubbub of Arrested Development's return, people may have missed The Fall, which was released with far less fanfare on Netflix the day after Arrested Development. A BBC show that's only available to American viewers via Netflix, The Fall is a visceral and psychological thriller that will keep you on the edge of your seat for five hours straight.

The show follows two characters simultaneously. One is Detective Superintendent Stella Gibson (played by the brilliant Gillian Anderson), a Metropolitan Police officer who has been called up to Belfast to help the PSNI (Police Service of Northern Ireland) review an unsolved murder case. Stella is an intelligent, incredibly capable woman who intimidates many of the men around her but takes no nonsense from anyone. Over the course of her review, she links up this murder with another case and identifies a pattern. The pattern of a serial killer. Which brings us to the second main character.

Paul Spector is a loving husband and father of two adorable kids. He is also a serial killer who has a penchant for stalking and killing brunette professional women in their homes. He strangles them slowly and then proceeds to pose them artistically, satisfying the tableaux he draws in his notebooks. Paul is played by Jamie Dornan (who you may know as Sheriff Graham on Once Upon A Time). He is an attractive man, which therefore makes him an even more terrifying prospect as a killer. We like our psychopaths to be visually identifiable as crazed lunatics, but no one would give a second thought to this good-looking man wandering the streets and bars of Belfast. He works as a grief counselor and seems to be an upstanding member of society, but of course, horrors lurk behind that facade.

Belfast plays a critical role in the show as well. As a hotbed of sectarian violence, it offers up characters who make life difficult for both the police and the killer. The PSNI are under extraordinary pressure from the public but also private individuals who have a high stake in covering up the details of certain cases. The show also brilliantly showcases gender politics. On the one hand, there's the overt hatred towards women and perverse sadism exhibited by Paul during his kills, but on the other hand are the millions of little ways that Stella is judged by her male colleagues in the especially conservative Northern Irish police force. Her sex life, her wardrobe, and her personality all come under harsh scrutiny simply because she is a woman. But her gender is also what gives her the fierce determination to pursue this serial killer of women.

The Fall will draw comparisons to Dexter, another show about a serial killer, but in this case, there's nothing likable about Paul Spector. He gets a kick out of killing young women and his interactions with the other women in his life are equally disturbing. Instead, the show's true hero is Stella Gibson and we need more women like her on TV. Lamentably, like all British shows, The Fall had a short initial run of just five episodes, but it will be back next year with a new season. And thus the hunt for a killer (and for a good TV show) continues.