Review: Bridesmaids (2011)

Synopsis: Annie‘s life is a mess. But when she finds out her lifetime best friend is engaged, she simply must serve as Lillian‘s maid of honor. Though lovelorn and broke, Annie bluffs her way through the expensive and bizarre rituals. With one chance to get it perfect, she‘ll show Lillian and her bridesmaids just how far you‘ll go for someone you love.

Though billed as the female counterpart to Todd Phillips’ massively successful The Hangover, Bridesmaids towers over the male orientated crass comedy in every sense of the word. Paul Feig, with the help of the writers and the entire cast, manages to create a film that not only subverts the predictable female comedy genre, but also brings a level of sincerity and nuance to a formula that has become so predictable and stale in its recent years. It’s fresh, exciting and almost completely original.

Kristen Wiig and Annie Mumolo’s well-crafted screenplay strives to keep away from the obvious clichés, instead presenting us with a female ensemble comedy that is incredibly mature, well paced, and strikingly played by all involved. It is, however, also one that knows when to have a laugh at itself: most notably in the wonderful dress-fitting and aeroplane scenes which, though a little contrived, are two of the funniest moments of cinema this year.

What’s most important, though, are the performances. Wiig, in her first lead role, thrives as Annie, proving her unquestionable comedy chops. She’s charming, sympathetic, wacky and completely believable as the naive yet quick-witted Annie. Rose Byrne plays Lillian’s new best friend Helen – Annie’s jealousy inducing opposite. She uses the role to prove her maneuverability as an actress by playing someone a little more unpredictable and improvised than she’s used to, and she absolutely nails it.

The rest of the cast, including Maya Rudolph as Lillian, Melissa McCarthy as Megan (who is, at times, utterly priceless), Wendi McLendon-Covey as Rita, Ellie Kemper as Becca, Jill Clayburgh as Annie’s mum, Chris O’Dowd as Nathan and Jon Hamm as Ted, are equally as entertaining in their respective roles. McCarthy and O’Dowd in particular, who are more used to TV roles, show their ability to mould into comically charged characters and hold their own against other more versatile and established actors. Bridesmaids is very much a team effort, and that’s what makes it work so well in comparison to other films of its nature.

If there are any criticisms to be made, it’s that at a hefty 125 minutes, Bridesmaids can feel, at times, a little too drawn out in places and could have benefited from a slight trim here and there. Similarly, with a cast as extensive as this, some actors are shamefully underplayed or, in the case of McLendon-Covey’s Rita and Kemper’s Becca, almost completely tossed aside halfway through. These, however, are minor issues and, in the bigger picture, seem relatively non-existant.

Bridesmaids is a truly hilarious ensemble comedy, with some of the best writing, performances and direction you’ll see all year. Find it, see it, love it.

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Review: X-Men: First Class (2011)

Synopsis: When the CIA discovers the existence of Mutants, telepath Charles Xavier (James McAvoy) is charged with recruiting a team to oppose the evil mutant Sebastian Shaw (Kevin Bacon) and the mysterious Hellfire Club. But not all of Xavier’s team share his vision of peace with humanity as the powerful Erik Lehnsherr (Michael Fassbender) becomes convinced of mankind’s intolerance of Mutants.

X-Men: First Class is 20th Century Fox’s chance to start over with the X-Men franchise, to iron out the creases and resolve the sour taste that the critically panned X-Men: The Last Stand left in viewers’ mouths. Thankfully, by bringing on board Kick-Ass director Matthew Vaughn and a crack team of screenwriters – including Vaughn’s Kick-Ass counterpart Jane Goldman – X-Men: First Class has truly reinvigorated the franchise. It has adapted, evolved and and, most importantly, re-imagined itself, rather than living in the shadows of Bryan Singer’s original X-Men franchise.

The script is tight and fast-paced, with very few dull moments throughout and, instead of focusing too heavily on big budget action set-pieces, Goldman and co. instead opt to create a more intimate character piece, knitting each one into the thoroughly realised 1960’s world. The ensemble characters’ passages are handled with such care, and intercut with such genuinely terrific yet retrained action sequences, that they don’t feel bogged down or too developed for their own good.

Instead, the film and its characters are set up in a timely and neat manner, before the focus quickly shifts to the tempestuous relationship between Charles and Erik, and urgent stoppage of Sebastian Shaw. Of course, this means that some of the supporting characters aren’t as explored as others – Emma Frost (January Jones) and Moria McTaggert (Rose Bryne) are two that instantly come to mind – but these are minor quandaries, and something that audiences have come to expect from comic book adaptations through the years.

Vaughn’s direction compliments the script wonderfully, and he impressively adapts to the kinetic adventure tone after the hardcore and R-rated blood-fest that is Kick-Ass. Through his enthusiastic eye, X-Men: First Class exudes charm, wit, excitement and moments of indubitable terror. What’s most impressive is the wonderful way in which he infuses all these different elements, enhancing the overall enjoyment of the film rather than simply letting it becoming too complicated for viewers to understand. Similarly, despite being set amidst the Cuban Missile Crisis, it manages to avoid tangling itself in a web of political inquisitions, remaining light, level-headed and to the point for its entire running time.

In terms of acting, McAvoy, Fassbender,  Bacon and Jennifer Lawrence, in particular, immerse themselves in their respective roles, while Bryne and Nicholas Hoult do their best with their limited screen time. McAvoy and Fassbender are the undeniable nucleus of X-Men: First Class, with both exquisitely conveying the push-pull relationship between Charles’s quest for world peace and Erik’s attraction to evil. It is, essentially, a friendship between two men who know they need each other, but who are pulled apart by the different aims they possess.

Lawrence, in her first mainstream Hollywood role, holds her own as Raven/Mystique, bringing a remarkable level of susceptibleness and sobriety to her shape-shifting alter-ego, while Bacon is able to truly shine as the films central villain. Bryne and Hoult, despite being used so sparingly, both inhabit their roles with equal flavor, and we can only hope they are used more centrally in future X-Men instalments so they can prove their worth.

Some of the supporting cast, however, including, but not limited to Jones, Jason Flemyng and Lucas Till simply don’t have the necessary instruments to hold their own against such a heavyweight principal cast and are essentially brushed to to the side – though, in some ways, this is to the film’s merit.

Unfortunately, some precarious special effects – perhaps due to the time restricted post-production schedule – and an uneven middle act prevents X-Men: First Class from hitting the giddy highs some were anticipating. Even so, it’s a remarkably cohesive and assured origin story that deserves to be treasured and adored for its valiance and entertaining dexterity. All that’s left to say is, bring on X-Men: Second Class.