17 Again (Burr Steers, 2009) - This might be the most entertaining film I've seen so far this year, an irresistible reverse-Big (or reverse, gender-swap 13 Going on 30; they chickened out of doing 17 Going on 70), in which unhappy father-of-two Matthew Perry – about to be divorced by Leslie Mann – gets the chance to be 17 again, the age that he got his girlfriend pregs, and so gave up his dreams of college. He also turns into Zac Efron, the lucky bastard. It's utterly charming, disarmingly affecting and unexpectedly funny, powered by a turbo-charged performance from Efron. For what it is, it could scarcely be better. Efron's hair was cooler at the start, though. (4)
***
The Interrupters: How to Stop a Riot (Steve James, 2011) – A film that’s at once horrifying and humane, upsetting and uplifting, as Hoop Dreams director Steve James traces a year in the lives of “The Interrupters” – a group of former gang members whose sole mission is to stop violence on the streets of Chicago. James focuses on three of the mediators: the daughter of a notorious gang lord, who renounced her former life after turning to Islam, a convicted drug trafficker transformed by the love of his step-sons, and a murderer forever haunted by his past. Even their boss has a criminal background: he was once a good-looking, low-level hustler who got by on the kindness of women. James’s film argues that absent fathers, a rancid, ingrained culture of masculinity – in which violence is always the first recourse – and a lack of understanding from wider society is to blame for Chicago’s woes, and smartly incorporates inflammatory news reports to contrast the complex reality with the popular media’s treatment of the same issues: a simplistic, right-wing demonisation of society’s victims. But while the deaths of young people, and the way many law-makers want to shoot the problem under the carpet, makes for chilling, heart-rending viewing, the Interrupters themselves are inspirational: brave, selfless souls who put a lie to the idea that human nature is unchangeable and bad things are only done by bad people, using their second chance to ensure that others – if only a few – don’t need a second chance at all. It’s an extraordinary, eye-opening, wrenchingly powerful film, brilliantly assembled by one of the best filmmakers working today. (4)
***
Kissing Jessica Stein (Charles Herman-Wurmfeld, 2002) - An uptight, 28-year-old Jewish woman (Jennifer Westfeldt), whose impossible standards have made her unlucky in love, begins a relationship with a clever, funny and erudite soulmate, who just happens to be a woman (Heather Juergensen). This intelligent, witty and affecting romcom, written by the stars and based on their play Lipschtick, is a breath of fresh air, with well-drawn characters, an incisive look at adult relationships and sexual attraction, and a strong NYC flavour, with Woody Allen-ish use of apposite old standards. My only two complaints: using the verb "to marinate" outside its food-y context isn't that impressive (it sounds like business speak) and the ending is rather contrived and unsatisfying. Kissing Jessica Stein is still a cut above. (3.5)
***
The Karate Kid (John G. Avildsen, 1984) – A wily old maintenance expert trains an unskilled teenager to become an accomplished car-waxer, floor-sander and house-painter, whilst supposedly preparing him for a karate competition. The archetypal ‘80s crowd-pleaser still holds up superbly today, with a terrific performance from “Pat” Morita – as the mystical Mr Miyagi – a lengthy running time that allows for plenty of character development, and a more realistic set-up than you might expect: Daniel-san (Ralph Macchio) brings some of the pain on himself by provoking a local hothead, to impress a girl (Elisabeth Shue), the second time in incomparably idiotic fashion. There’s also a clever, very well-directed scene in a diner where we can see what’s coming – but Daniel-san can’t. It’s very ‘80s (one of the fist-in-the-air moments involves someone getting a nice car) and a bit daft in places, but completely winning – a far superior underdog story to Avildsen’s most celebrated film, Rocky, which I think you’ll find is actually a bit rubbish. (3.5)
***
Desk Set (Walter Lang, 1957) - A broadcasting company brings in efficiency expert Spencer Tracy to see whether his new-fangled computer can do the same job as the reference department, headed by the lovelorn, fiercely intelligent Katharine Hepburn. The eighth of nine Tracy-Hepburn vehicles begins at a leaden pace, rambles rather and has too many concessions to silliness, but picks up for a spirited, sweet-natured second half that features three extended set pieces: the first funny, the second touching, and the third rather broad and overdone. The leads are excellent throughout, displaying an effortless, very real chemistry that extends to their overlapping dialogue and affectionate chiding. There's also a welcome appearance from Joan Blondell, who gave perhaps her best performance in Will Success Spoil Rock Hunter? the same year. No classic, but worth watching, and sticking with, particularly for fans of the stars. (2.5)
***
Baby Mama (Michael McCullers, 2008) - A mawkish, one-joke comedy - and the joke's not very good. Tina Fey is a career woman who recruits thick, white trash Amy Poehler as a surrogate. I find Fey incredibly overrated, the film's universe is tiresome and unappealing, and Sigourney Weaver is so bad at comedy it's painful. The film is also saddled with a horrible, overbearing score pointlessly hammering home the mood of almost every scene. Poehler and Dax Shepard provide a few laughs in support. (1.5)
***
Elektra (Rob Bowman, 2005) - There's quite a fun scene where Cleavage (Jennifer Garner) stops Goran Ivanisovic and his daughter from being murdered. The rest of it is either incredibly boring, completely incomprehensible or hilariously stupid (there's a henchman with tattoes that turn into animals and attack people, Boobs has flashbacks to quite a difficult swimming lesson, and Terence Stamp is in it looking like a sunburnt lion) and it has some of the worst dialogue I've ever heard. The baddie genuinely stops in the climactic fight to say: "There is nothing you can do - and so the balance tips to me." Ooh, zinger. (1)
***
The Office (US): Season 6 (2009-10) - Another extraordinarily good season. This is where everyone says it started going off the boil, but I don't see it. There are weaknesses: the once transcendent Jim-Pam relationship now contains too much bickering (as highlighted in the first clip show, always an underwhelming endeavour), Kathy Bates is a pain in the arse and there are three weak episodes (Mafia, in particular), but the show has one of the best ensembles out there, offers consistently top-grade entertainment and continues to evolve and develop - even while sacrificing realism in the name of laughs. I still love it. (3.5)
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