Like Crazy: Your Annual Deteriorating Relationship.

Last year, Ryan Gosling demonstrated that love and ukulele skills aren't always enough to sustain a relationship.  In 2009, Colin Firth showed us the absolute heartbreak of losing a lover.  We tend to get about one accurate relationship drama a year, and 2011's offering appears to be Like Crazy.  

Like Crazy's accuracy on the highs and lows of young love, as well as the difficulty of long-distance relationships is hard to deny, and while the film's emotional instances serve up quite a few high points, they tend to get muddled in the simplicity of the film's composition, which serves as a detriment to the overall quality of the film.

Drive: Ryan Gosling's Guide to Being a Man Part 2.

If it isn't already obvious to you that Ryan Gosling/Baby Goose is the greatest living human being, take a moment to observe him in his natural habitat.  He's always willing to break up a street fight, before performing in his band, and he just wants to quit acting to make some babies.  And he'll probably take you to Disneyland first, because Disneyland strengthens fertility.  And if you don't click any of those links, just go watch Blue Valentine and attempt to logically explain what Michelle Williams could possibly dislike about him.

Gosling's most recent works only expand on his likability.  Crazy, Stupid, Love was Gosling's first foray into providing manhood instructions for the masses, and I urge you to interpret Drive as an instructional video on how to take care of your gurrl.  You can steal, shoot, and stomp dudes to death, but you better take care of yo' baby.

I wouldn't blame you for thinking that Drive, particularly due to the presence of Brian Cranston, Ron Perlman, and fast cars, might be a fast-paced action film in the vein of The Transporter or Fast and the Furious.  In fact, if that's exactly what you want, you might not even want to see Drive, but if you can move beyond your muscled, bald man fetish, I think you'll be pleasantly surprised.

Art House Roundup: The UK Invasion and Will Ferrell.

I've been catching up on some harder to find films that came out this year, and if I don't post all of them in one entry, I probably won't post about them at all.  Everything Must Go, Submarine, Attack the Block, and The Trip have all been pretty difficult to see in Michigan, but I'm a magician, so I manage.  Reviews of the previously mentioned follow the break.

Our Idiot Brother, or A Bro and His Dog.

I don't know about you, but when I see that Paul Rudd has a new movie coming out, I immediately make associations to films like 40 Year Old Virgin, Knocked Up, Role Models, and I Love You, Man.  This certainly isn't a resume to be ashamed of, but these films--some of Rudd's most popular--will incite many viewers to expect Our Idiot Brother to fall into a genre it most certainly does not exist in.  


Our Idiot Brother is not an ad-libbed buddy comedy.  If you're hoping for Seth Rogen to show up and tell Paul Rudd three different reasons why he's gay, you'll be sadly disappointed.  No, what we have here is more of a (500) Days of Summer, or a Little Miss Sunshine.  It's a family-centered (but not family-friendly) comedy attempting to swoon white people who use the term "dramedy."

And it works.  Our Idiot Brother is, by no means, anything special, but amidst a particularly dry summer offering, it dulls the hurt.

Crazy, Stupid, Love: Ryan Gosling's Guide to Being A Man.

Recycling photos may become a habit.

It's better if we all accept right now that Ryan Gosling is the pinnacle of all manhood.  Not douchy manhood, more like that one dude you met once who's ripped but actually cool.  Sure, he was in The Notebook, but also grew a sweet beard and built a house to spite a woman.  He picks solid, often unique roles, is in a pretty decent band, and he performs under the alias "Baby Goose," which is only badass because he's Ryan Gosling.

Crazy, Stupid, Love. could have gone in a lot of directions.  The trailer was cut quite well (although this could be attributed to the fact that Muse makes every movie seem enticing), surely appealing to those looking for Hitch 2, all the while hinting at something a bit more dramatic.  The result is something in the middle.  While Crazy, Stupid, Love. avoids a descent into the third act triteness of romantic comedies like Friends With Benefits (which was often hilarious but eventually lame), it hardly achieves dramatic relevance.  However, the result is a satisfying, funny comedy similar in feel to something like The Kids Are Alright.

Captain America and the Never Ending Montage.

Captain America's breast milk is a rare and delicious commodity.

I cannot believe how awful Captain America is.  Normally, I say a bunch of hateful things about a film and then nonchalantly mention that it was decent.  Let me be clear: Captain America is awful.  I would use all caps to emphasize this, but I'm classy, dogg.

That's not to say it isn't watchable.  The first act is pretty solid, and while the rest of the film isn't horrible, it's so bland and lazy that it makes me want to watch Batman and Robin; which was a truly terrible film, but at least you didn't know exactly what horrible thing was going to happen next.  The truth is, after our asthmatic, anorexic underdog becomes Captain America, the film descends into montage after montage, some of which is actual montage, the rest of which is just bland action and meaningless dialogue that blurs together due to lazy writing and poor pacing.

Harry Potter and the Death of Your Childhood.

A review of Harry Potter and the Deathly Hallows: Part 2 is hardly necessary at this point.  If you've seen the other films in the franchise it is doubtful that you'd miss the conclusion, and it would be wholly idiotic to see the thing without first having made it through most of the others.  Although, if you were considering it, you should know that (thankfully) the filmmakers made no attempt to appeal to any newcomers.  Deathly Hallows: Part 2 picks up moments after part one left off, and has little time to spare for any off hand reminders of what has gone on before.

Whether or not this final installment is effective is debatable.  Its first act, in which Harry, Ron and Hermione invade the vaults of Gringott's, is by far the strongest; continuing the steady buildup of events--executed so well in Deathly Hallows: Part 1--necessary before facing the evil Voldemort.  But upon their return to Hogwarts, the film starts to feel like the earlier chapters:  too much plot crammed into too little time.