Movie Review: Superbad (2007)

Genre: Raunchy High School Comedy  

Director: Greg Mottola  

Starring: Jonah Hill, Michael Cera, Christopher Mintz-Plasse, Seth Rogen, Emma Stone, Bill Hader  

Running Time: 113 minutes  

Synopsis: The excitable Seth (Jonah Hill) and the more circumspect Evan (Michael Cera) are best friends approaching high school graduation. Seth is obsessed with the idea of having sex, and thrilled when hot classmate Jules (Emma Stone) invites him to her house party believing he can use the fake ID of dorky unwanted friend Fogell (Christopher Mintz-Plasse) to bring alcohol. With Evan also sensing an opportunity to get intimate with classmate Becca (Martha MacIsaac), an evening of hunting for booze on the way to the party disintegrates into chaos.

What Works Well: Written by Seth Rogen and Evan Goldberg based on their high school experiences (with the two lead characters named after them), this is an unapologetically raunchy and often hilarious high school misadventure. With all events taking place on one day followed by a wild night, the  personalities of Seth and Evan are quickly established, and the script proceeds to capture a hormone-defined period in life when libidos, alcohol, the imperative to be popular, and end-of-high school disorientation collide. Hitherto unquestioned friendship codes are tested by diverging priorities, surprising behaviours emerge, and no matter how the night ends, not much will be the same afterwards. Christopher Mintz-Plasse achieves legendary status in adopting the fake ID "McLovin" (no first name) persona, while Seth Rogen and Bill Hader as less-than-upstanding cops add zesty sauce to the carnage.  

What Does Not Work As Well: With the profanity dial set on high throughout, this is very much a male-focused representation of teenaged awkwardness. Despite good work by Emma Stone and Martha MacIsaac, the girls are sketch representations.

Key Quote:

Evan: Stay calm, okay? Let's not lose our heads. It's... it's a fine ID; it'll... it's gonna work. It's passable, okay? This isn't terrible. I mean, it's up to you, Fogell. This guy is either gonna think 'Here's another kid with a fake ID' or 'Here's McLovin, a 25 year-old Hawaiian organ donor'. Okay? So what's it gonna be?

Fogell: I am McLovin!

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Movie Review: An American Pickle (2020)

Genre: Comedy  

Director: Brandon Trost  

Starring: Seth Rogen, Sarah Snook  

Running Time: 89 minutes  

Synopsis: In 1919, Herschel Greenbaum (Seth Rogen) and his wife Sarah (Sarah Snook) immigrate from Eastern Europe to New York. He has huge dreams for his family lineage, but a factory mishap results in Herschel being preserved in a pickle barrel. He wakes up in Brooklyn of 2019 and connects with his great grandson Ben (also Rogen), an app programmer. Herschel is unimpressed with Ben's lack of progress in life and becomes determined to out-succeed him, resulting in a feud between generations.

What Works Well: The opening scenes establish the stranger-in-a-strange-time premise with admirable efficiency, and Seth Rogen seamlessly plays against himself. The brisk pacing and short running time ensure no idling in any place, and the plot quickly moves beyond Herschel's sense of discovery to focus on the business of a bitter duel. Beneath all the satirical comedy is an enduring message about immigrant hopes and dreams for future generations.

What Does Not Work As Well: The Simon Rich script cannot avoid the sense of a lost opportunity. The squabble between Herschel and Ben is serious but also contrived, and quickly scales down the movie from ambitious themes to a petty inter-personal dispute. Of course not all the jokes land, and several are over-used. And when the time comes to find an ending, the built-up emotions are just as abruptly reversed.

Key Quote:

Herschel Greenbaum: This is what we're reaching for everybody. This is the dream. This is the goal. Perfect jar of pickles.



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Movie Review: Take This Waltz (2011)

Genre: Romantic Dramedy

Director: Sarah Polley

Starring: Michelle Williams, Seth Rogen, Luke Kirby, Sarah Silverman

Running Time: 116 minutes

Synopsis: Toronto-based freelance writer Margot (Michelle Williams) is married to cookbook author Lou (Seth Rogen), although they often clash due to mismatched affection levels. Margot suffers from insecurities, but blossoms when she meets free-spirited neighbour Daniel (Luke Kirby), an amateur artist and rickshaw operator. She is torn between the thrill of a potential new romance and Lou's steady love.

What Works Well: With Michelle Williams embracing Margot's fragility, writer and director Sarah Polley delves deep into the psyche of a woman at the crossroads. The classic dilemma of established but imperfect comfort challenged by the thrill of novelty is handled with organic tenderness and peppered with humour, best enjoyed during a delightfully edgy spoken seduction scene. Lou's chicken recipe obsession and his raucous family (including Sarah Silverman as a sister struggling to achieve sobriety) add an attractive mélange of smells and colour.

What Does Not Work As Well: As the bohemian would-be dreamy lover who always knows exactly what to say, Daniel is too clichéd for his own good. Compared to the thoughtful set-up, the final act unravels into a fast-forward rush. A running time closer to 100 minutes would have better suited the material.

Conclusion: A refreshingly raw romantic triangle, enlivened by honest human foibles.



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Movie Review: The Fabelmans (2022)

Genre: Coming Of Age Drama

Director: Steven Spielberg

Starring: Michelle Williams, Paul Dano, Seth Rogen, Gabriel LaBelle

Running Time: 151 minutes

Synopsis: In 1952, married couple Mitzi and Burt Fabelman (Michelle Williams and Paul Dano) are raising their family in New Jersey. Mitzi sacrificed a piano career for her family, while Burt is a computer design engineer. Both are close friends with Burt's work colleague Bennie (Seth Rogen). Their young son Sammy is dazzled by movie making, and Mitzi encourages his passion. Burt gets a new job and the family moves to Phoenix, where teenaged Sammy (Gabriel LaBelle) joins the boy scouts and develops his amateur moviemaking skills. Through the camera lens Sammy awakens to his parents as people, and another family move, this time to California, beckons.

What Works Well: Steven Spielberg's semi-autobiographical story, co-written with Tony Kushner, uses humour and pathos to chart a heartwarming journey into adulthood. A trio of personal discoveries nurture the softly glowing narrative: an awakening to the love of filmmaking, here portrayed with a wacky mix of talent and bravado; the realization that parents are fault-filled adults but no less capable of pure love; and the transformative yet understated power of astute storytelling, underlined in a third act that thrives almost as a film within a film. Spielberg sustains remarkable consistency by ensuring Sammy's experiences are tightly wound around the family unit. Michelle Williams shines as the mother hiding an ocean of unmet expectations, and newcomer Gabriel LaBelle delivers a winning performance as the budding young man. Judd Hirsch's short but wall-shaking appearance as the legendary Uncle Boris is unforgettable.

What Does Not Work As Well: As a minor quibble, Sammy's sisters could have been afforded more prominence.

Conclusion: An epic yet easily accessible achievement, projecting deeply personal episodes into universal experiences.



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Movie Review: Long Shot (2019)

A romantic comedy, Long Shot is a standard opposites attract plot cluttered with guileless profanity.

Fred Flarsky (Seth Rogen) is a frumpled liberal writer for a small online publication. He quits his job when a right-wing tycoon purchases the website. Meanwhile, sleek and popular US Secretary of State Charlotte Field (Charlize Theron) decides to run for President when the current doofus incumbent President Chambers (Bob Odenkirk) announces he will not be seeking re-election. 

When they were kids, Fred and Charlotte were neighbours and she used to babysit him. Now they bump into each other again at a charity event. Charlotte is launching an international environmental initiative as a platform for her campaign, and hires Fred to sharpen her speeches. He joins her entourage, they get reacquainted and fall in love, but her glamorous image may be harmed if their relationship becomes public. Meanwhile, Fred is exposed to the distasteful art of political compromise.

Directed by Jonathan Levine with a script by Dan Sterling and Liz Hannah, Long Shot is a straightforward boy meets girl romance with the added glitz of diplomatic circles but an incongruous amount of vulgarity. Obscenities are meant to be funny as a jarringly inconsistent addition to the staid world of Secretary of State, but here the foul language and sex-obsessed references are a cheap crutch for often witless dialogue and a paucity of clever ideas.

In relative terms the first half is better, establishing the separate worlds of Fred and Charlotte then reuniting them as they embark on a world tour of cocktail parties and speeches to international diplomats. A certain charm develops as their relationship deepens and they fall into a romance literally under fire.

But with the original elements already exhausted, another hour needs to be burned, and Long Shot stumbles through the necessary relationship complications, here mushing politics with drugs and masturbation to ensure Seth Rogen's man-child fans get their fix of guffaws. The reconciliation and moments of sudden self-awareness arrive on cue.

With Theron slumming it in Rogen's default world, the secondary characters and subplots never register as anything other than distractions. June Diane Raphael and Ravi Patel are the Secretary's two key staffers, O'Shea Jackson Jr. is Fred's best pal, and Alexander Skarsgård is the Prime Minister of Canada; they all leave a nil impression.

In better hands and with higher aim an elegant comedy was within reach, but this Long Shot falls well short.



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Movie Review: Pineapple Express (2008)

A stoner buddy comedy, Pineapple Express is an uneven effort, with lightweight comedy, vulgarity and over-the-top bloody action uncomfortably rubbing shoulders.

Stoner Dale Denton (Seth Rogen) has a job serving court-issued subpoenas, but spends his time smoking pot he buys from dealer Saul Silver (James Franco) and hovering around his much younger girlfriend Angie (Amber Heard), who is still in high school. Dale witnesses a murder at the home of Ted Jones (Gary Cole), the master supplier of drugs in the area. Complicating matters is corrupt police officer Carol Brazier (Rosie Perez), who is on Ted's payroll.

Hitmen Budlofsky (Kevin Corrigan) and Matheson (Craig Robinson) are soon attempting to eliminate Dale and Saul. They seek refuge with drug dealer Red (Danny McBride), but he gets his supply from Ted, and so has divided loyalties. Dale and Saul have to save their lives and their friendship while finding a way to stop Ted's evil plot.

Pineapple Express opens with a black and white prelude set in 1937 at a secret facility, featuring the US military trialing a marijuana joint on a test subject and concluding pot should absolutely be illegal.

The rest of the film is a humorous call to decriminalization, the screenplay by Rogen and Evan Goldberg portraying pot users and dealers as laidback and harmless bros. Meanwhile the criminal underworld profits, the supply controlled by evildoers like Ted Jones who is not only corrupting enforcement officers but also engaged in a violent turf battle with a heavily armed asian gang.

Beyond its basic message Pineapple Express is stuck in a field of mediocrity. The plot is a bedraggled affair mainly serving to stitch together outlandish low-brow humour. Many scenes drag on well beyond what is necessary, director David Gordon Green prolonging the flimsy film to 112 minutes. The final gunfight battle is particularly endless, and earlier Dale's first visit to Saul's apartment also overstays its welcome, with a lot of their dialogue carrying the whiff of improv.

The better sequences feature a three-way brawl at Red's apartment, a most awkward intrusion onto a family dinner at girlfriend Angie's house, and a not-bad manic car chase.

Pineapple Express serves up a few sweet laughs, but has trouble cutting through all the surface roughness.

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Movie Review: Neighbors (2014)

A raunchy comedy, Neighbors features a few nice touches about growing up, but is an otherwise juvenile exercise in party excess.

Married couple Mac and Kelly (Seth Rogen and Rose Byrne) are proud new parents of a young infant and have just purchased their first dream home in an idyllic quiet neighbourhood. They are stunned when within days, the house immediately adjacent is purchased by a rowdy fraternity, with college bros Terry (Zac Efron) and Pete (Dave Franco) in charge.

The loud parties start soon thereafter. Mac and Kelly initially try to play it cool and befriend the frat boys, but they are soon at their wits' end, and break a promise they made to Terry by calling the police. With Terry determined to create his own legend as a party monster, this triggers an all-out tit-for-tat war between the neighbours for the duration of the college semester.

Seth Rogen and Rose Byrne (playing up an Australian accent) share a smooth chemistry as the in-synch parents slowly adjusting to adulthood responsibilities but still determined to hold on to the hipness of youth. The scenes between them are easily the highlights of Neighbors, but unfortunately the film is less about the couple and more about the war of high jinx and wild antics with the rowdy frat boys.

And over at the frat house, director Nicholas Stoller does eventually include a few scenes with Terry and Pete questioning what the future holds once college ends, and challenging the ethos of all parties all the time. But these interludes are distractions, and the film is mostly about all the parties, all the time.

The script by Andrew J. Cohen and Brendan O'Brien is determined to cram in as much drug and alcohol fuelled craziness as possible within 97 minutes, and the film descends into a grey haze of sameness. In the meantime, all the other members of the fraternity remain stock sex-obsessed and barely defined characters.

The better moments involve the college dean played by Lisa Kudrow, who harbours a dry and pragmatic approach to her job of keeping fraternities in line, measured by media headlines. Mac and Kelly's attempts at maintaining a sex life in the presence of a curious baby, noisy neighbours and frequent episodes of extreme drunkenness also hit the funny mark.

Unexpected Neighbors disrupt the suburbs, always with a lot of noise but not quite enough wit.

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Movie Review: 50/50 (2011)

A dramedy about friendship, 50/50 deploys a deft touch to explore the disruptive impacts of a cancer diagnosis.

In Seattle, Adam (Joseph Gordon-Levitt) is a laid-back twentysomething working for public radio. He is in a tepid relationship with Rachael (Bryce Dallas Howard), and best friends with the jovial Kyle (Seth Rogen). Seeking relief from unexplained back pain, Adam is diagnosed with a massive cancerous tumour, and given a 50/50 chance of surviving. His mother Diane (Anjelica Huston) is naturally frazzled.

Adam starts chemotherapy and befriends fellow cancer patients Mitch (Matt Frewer) and Alan (Philip Baker Hall), as well as young and inexperienced therapist Katherine (Anna Kendrick). Rachael tries to be supportive but struggles to cope, while Kyle does his best to keep his best friend's spirits up. Adam maintains his steady emotional state, but his life nevertheless fundamentally changes.

Finding flashes of genuine humour in a film about the devastating effects of cancer is never easy, but 50/50 pulls off the neat trick almost effortlessly. Thanks to pitch perfect performances from Gordon-Levitt and Rogen, the film seeks the warm foundations of friendship, and as Adam's condition worsens, Kyle's presence and determination to be there for his friend emerges as a smiling rock on which an admirable film is built. The Vancouver and Seattle locations add a fresh, rain-cleansed aesthetic.

Director Jonathan Levine, working from Will Reiser's sparkling script, goes looking for the playfulness that helps maintain sanity on the margins of the disease. Adam shaves his hair using Kyle's never-washed body trimmer. Kyle never misses an opportunity to chase women, and encourages Adam to play his ailment as a pick up line when the relationship with Rachael flounders. Katherine knows all the therapy lingo but has no experience in how to use it, and the charming Anna Kendrick perfectly tries too hard and says the wrong thing at almost every opportunity.

And even the secondary characters in Adam's orbit contribute to both the drama and the humour. Mom Diane is already dealing with a husband in docile dementia, and now has to gather up the courage to confront her son's sickness. The effort from both mother and son to meaningfully connect resonates as a worthy sub-plot. Similarly, Adam's unexpected friendship with the elderly Mitch and Alan exposes him to father figures confronting cancer with dignity and no shortage of impishness.

Despite the wit and talent on display some scenes do land in mundane network television hospital drama land, and 50/50 works its way to a too-tidy ending. But this is a laudable and mostly grounded look at coping with a sudden crisis where there are no certain outcomes nor right or wrong answers, just imperfect people doing their best.

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Movie Review: The Disaster Artist (2017)

A comedy and drama about an exceptional character self-producing a horrible film, The Disaster Artist is a worthy homage to unique individuality.

In San Francisco, aspiring actor Greg Sestero (Dave Franco) meets enigmatic fellow performer Tommy Wiseau (James Franco). The men strike up a friendship, although Wiseau reveals little about himself. He has a strange accent, claims to be from New Orleans, and refuses to reveal his age or the source of his seemingly impressive wealth. The two men move to Los Angeles, where Wiseau just happens to have an apartment, to pursue their common acting dream.

Greg's good looks help him find an agent, but the roles don't follow for either man. Undeterred, Wiseau decides to write, finance, direct and star in his own production, titled The Room, an incomprehensible drama and romance about betrayal and lost love. He assembles a ramshackle crew including script supervisor Sandy (Seth Rogen) and cinematographer Raphael (Paul Scheer), and marginal acting talent including actresses Juliette (Ari Graynor) and Carolyn (Jacki Weaver). When Greg starts spending time with his new girlfriend Amber (Alison Brie), a chasm develops between the two men, further compounding Tommy's erratic behaviour.

The Room (2003) is considered one of the worst movies ever made, and as such has achieved admirable cult status. The Disaster Artist, directed by James Franco, is an adaptation of Sestero's book, chronicling his experiences with Wiseau. In many ways, this is the prototypical American story, the underdog outsider who plays by his own rules, faces adversity and obstacles at every turn, pushes ahead regardless, takes his creative lumps, but unexpectedly emerges victorious after paying the necessary price.

In a compact 103 minutes, Franco delivers a sterling film. The Disaster Artist is brisk, and draws phenomenal energy from Wiseau's character, at once impenetrable and irresistible. His passion is authentic, his friendship genuine, his accent just about incomprehensible. Franco brings Wiseau to life as a rounded person worth knowing, a marvellous example of singularity contributing to society's rich fabric.

The film is neatly divided into three parts, and each works well. The opening introduces the characters and their initial interactions in San Francisco, including discovering a shared appreciation for all things James Dean. The middle segment focuses on the struggles to make it in Los Angeles, the city of mostly unfulfilled dreams. The final and funniest act features the making of The Room, as Wiseau strides into a world of movie creation he knows nothing about, throws money at everything and haphazardly creates a masterpiece in his own mind.

On the screen, James Franco disappears into Wiseau and delivers a wonderful acting performance, free of irony or self-awareness and yet full of humour. Franco nails the deadpan self-belief of a man marching to the tune of his own drummer.

The Room was not the film Wiseau intended, but he nonetheless achieved his dream. Thankfully, he proved to be both a disaster creator and an artist. In the often stale filmmaking world, Wiseau's off-kilter brand of clueless determination is a welcome bolt of lunacy.

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Movie Review: Steve Jobs (2015)

An honest portrayal of a deeply flawed genius, Steve Jobs presents the portrait of the man through a unique structure, revealing his passion, obsession, and distinctive character traits.

The film is divided into three chapters, each depicting the anxious period just before a key product launch in the remarkable career of Jobs (Michael Fassbender). The same group of people interact with him prior to each presentation:

• Joanna Hoffman (Kate Winslet), his marketing executive and chief confidant. 
• Steve Wozniak (Seth Rogen), the Apple co-founder, seeking recognition for Apple's early success and navigating a strained relationship with Jobs.
• John Sculley (Jeff Daniels), the executive brought into Apple by Jobs, as well as Jobs' mentor and sometime nemesis.
• Andy Hertzfeld (Michael Stuhlbarg), a long-term member of the Apple technical design team.
• Chrisann Brennan (Katherine Waterston), Jobs' former girlfriend and the mother of his daughter Lisa.
• Lisa herself, from child to young adult.

The three product launches are the Apple Macintosh in 1984, which Jobs predicted would be a mass market success (wrong) and revolutionize the industry (eventually right); the first NeXT computer in 1988 after Jobs was ousted from Apple; and the Apple iMac in 1998, after he returned to the company and embarked on a remarkable run of success that transformed Apple into one of the largest and most successful business behemoths in history.

Directed by Danny Boyle, written by Aaron Sorkin and based on the Walter Isaacson book, Steve Jobs is an exhilarating talk fest. A series of rapid fire conversations in the build-up to high-stakes product launches, the film succeeds in highlighting the exhausting essence of a detail-obsessed man who both saw and defined the future of consumer electronics, and never yielded to what was convenient in pursuit of his vision.

The three-chapter structure traces Jobs' nuanced transformation as he ages and is buffeted by the realities of the business world. Although his core beliefs never change, he softens around the edges, listening just a bit more to the often exasperated Joanna, growing more accepting of Lisa's role in his life, and mending a few, if not all, damaged fences, notably with Sculley.

Sorkin's script is brilliant, the prose sharp but not overwhelming. The dialogue, while essentially made up, teases out all aspects of Jobs' insecurities and obstinacy, and the collision of his quirks with his objectives. Sorkin and Boyle never shy away from Jobs' stubborn obsessiveness with details that may not matter to anyone else, with Hertzfeld a regular victim, nor from Jobs' unwillingness to ever share the limelight or open a crack of recognition coveted by Wozniak.

The film also reveals Jobs' streak of ruthlessness in navigating the unforgiving waters of high stakes business, sometimes losing out in a big way (his ouster from Apple), and at other times charting a devious course back to glory (hyping an essentially empty NeXT cube to win an invite back to run Apple).

All the performances are perfect, with Fassbender getting into Jobs' skin and projecting a layer of arrogant confidence covering up a mass of complex unresolved issues. Winslet matches him word for word, comfortably finding Hoffman's courage in recognizing her role as the one person who can sometimes reach an often impossible man.

Steve Jobs is a worthy homage to a reluctant father, dismissive boss, traumatized orphan, friend to very few, unapologetic ideas poacher, and a legend possessing a laser focus on the concept of closed-system designs that would go on to dominate the world.

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Movie Review: The Night Before (2015)

A Christmas bromance comedy, The Night Before has plenty of good laughs but just as many flat moments.

Ever since both his parents died in a 2001 car crash, Ethan (Joseph Gordon-Levitt) has depended on his good friends Isaac (Seth Rogen) and Chris (Anthony Mackie) to see him through the Christmas season. Isaac is now married to Betsy (Jillian Bell) and expecting his first child, while Chris is suddenly enjoying his finest season as a pro football player. But Ethan is still emotionally stuck in neutral, working menial jobs after having allowed the love of his life Diana (Lizzy Caplan) to get away.

The friends agree that this will be their last Christmas together and the night looks promising when Ethan steals coveted tickets to the secret Nutcracker Ball party. Betsy supplies Isaac with a treasure trove of drugs as a gift for his last Christmas before parenthood, and he is quickly mixing substances and zonking out. Meanwhile Chris goes on a quest to secure weed to impress his teammates, which means that legendary dope dealer Mr. Green (Michael Shannon) gets involved. With the three friends pulled in different directions, their fun is threatened before it really starts.

Directed by Jonathan Levine, The Night Before is a decent attempt to create a modern Christmas fable for the adult bro-therhood crowd. The usual suspects of sex, drugs and men behaving badly are invited to this bash, and while several moments are cringe-worthy, many others are really quite funny. There is enough plot about friendship, growing up, and moving on to hang the immature shenanigans on, and Levine keeps the action hopping and wraps things up in just over 100 minutes.

The rapid-fire improvisation is obvious, and Levine does his best to stay out of the way of his stars as they do their thing on a whim. The actors are often caught staring intently at each other to catch the next line and lob it back, and the sense of anything-can-happen-next is hit and miss, as can be expected.

Ironically, The Night Before is at its worse with the obsessive quest for weed, but at its best when Isaac mixes enough illicit substances to lose his surroundings. Rogen draws good laughs as he hallucinates his way through New York City, culminating in a church service encounter with Besty and her parents that should have been longer.

Michael Shannon injects suitable gruffness as Mr. Green wanders in and out of the movie at regular intervals, and the script makes half-hearted attempts to invoke the ghosts of Christmases past, present and future. James Franco and Miley Cyrus joint the party (literally) late on as themselves, as Ethan finally learns that he will have to earn his way to a meaningful relationship with Diana and Isaac gets his first brush with the tests of parenthood.

The Night Before is unlikely to ever be considered a first-rate Christmas classic, but it deserves a middling place under the tree.

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The Movies Of Seth Rogen

All movies starring Seth Rogen and reviewed on the Ace Black Movie Blog are linked below:

Anchorman: The Legend Of Ron Burgundy (2004)

The 40 Year-Old Virgin (2005)

You, Me, And Dupree (2006)

Knocked Up (2007)

Superbad (2007)

Pineapple Express (2008)

Zack And Miri Make A Porno (2008)

Fanboys (2009)

Take This Waltz (2011)

50/50 (2011)

Neighbors (2014)

The Interview (2014)

Steve Jobs (2015)

The Night Before (2015)

The Disaster Artist (2017)

Long Shot (2019)

An American Pickle (2020)

The Fabelmans (2022)

Dumb Money (2023)

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The Movie Star Index is here.