The Change-Up introduces another comedy wherein a male friendship is composed of one person who is responsible (Jason Bateman as Dave Lockwood) and another who lives a carefree day-to-day lackadaisical freestyle (Ryan Reynolds as Mitch Planko). While Lockwood's mannerisms are prim and proper, Planko's are slapdash and inappropriate. While Lockwood tries to be a strong respectable family person, Planko smokes weed all day and is still interested in raw doggin' randoms.
And so on.
But their friendship endures nonetheless, the historical nature of their bond trumping and bringing together their disparate personalities.
In more ways than one.
As fate would have it, one evening they decide to urinate in a fountain at the same time while simultaneously stating that they wished they had the other's life, after which they wake up the next day having switched bodies, forced to live that other life that they had spontaneously stated they wished they had (while urinating).
The rest of the film's mildly amusing while Planko tries to bluff his way through a merger that Lockwood worked on tirelessly for months and Lockwood tries to star in a soft porn flick, etc. Maybe amusing's not the right word. There's a lot of shock comedy straight from the sewer that is relatively unexpected and difficult to watch. I found it more surprising than amusing although I was amused by the surprises.
Content switches form and is provided with a significant degree of freedom due to the historical nature of that form's condition, and, with a little coaching, manages to improve on its initial foundations after coming dangerously close to destroying them completely.
But like the old change-up pitch, you expect it to come in fast and furious and instead it slows down and fades.
Old idea scatologically revitalized oscillates from one extreme to the other before falling flat.
The Change-Up.
Showing posts with label Mergers. Show all posts
Showing posts with label Mergers. Show all posts
Sunday, September 18, 2011
Wednesday, March 23, 2011
Limitless
A struggling writer (Bradley Cooper as Eddie Mora) discovers he can access nearly 100% of his forgotten memories/observations after accidentally receiving a miracle drug from his ex-brother-in-law, and proceeds to excel. He finishes his novel in 4 days and afterwards sets out to make his fortune. The drug's side-effects are none to pleasant, however, and he soon experiences blackouts and debilitating nausea. But because he's functioning at such a high level, there are basically no professional consequences and he manages to maintain employment while suffering a dangerous breakdown. Thugs to whom he unfortunately gave the drug come calling for more and it soon becomes necessary to hire protection.
Much can be said about Neil Burger's Limitless. I thought it was an entertaining film whose execution lacked appeal yet still established several provocative dimensions which encourage further reflection. The ways in which Eddie handles his drug addiction for instance. It's like tobacco companies using their resources to find a cure for lung cancer or governments investing heavily in land reclamation technologies to make mining more environmentally friendly. Or drug addiction itself. Burger de/reconstructs the pharmaceutical industry throughout, evocatively investigating its extremes. The cult of the individual is presented existentially and communally as Eddie and Carl Van Loon (Robert De Niro) square off, and the ways in which critical synthetic intelligences (and pharmaceuticals) are valued by a knowledge based capitalist economy receives dramatic attention as well. Eddie's rise leaves behind a lot of plot-related baggage which can be justified by the fact that he's continually moving forward, the film moving to fast for its own internal construction, like a drug addict, but it still doesn't spend enough time examining the publication of his novel or the fact that he could have used his abilities to write something comparable to Proust. The film's writing also has a certain flair that disappears after Eddie abandons his writing career, including the introduction of the ex-brother-in-law. The lows Eddie hits and their consequent despair and paranoia are cultivated directly and poetically as he struggles to maintain, and I thought Burger did a good job of filmically distilling a bad hangover. Sort of funny how when he's a broke relatively sober writer everyone treats him like a drug addict but when he starts taking pharmaceuticals and gaining prestige he's revered. One of the morals suggests that beneficial drugs whose side-effects are curtailed can help you become a United States Senator if you hire shrewd lawyers to cover your ass while curtailing said side-effects and can outwit your enemies when they come to kill you. Libya of all countries is mentioned twice. I guess Gadhafi should have invested more in research . . .
Much can be said about Neil Burger's Limitless. I thought it was an entertaining film whose execution lacked appeal yet still established several provocative dimensions which encourage further reflection. The ways in which Eddie handles his drug addiction for instance. It's like tobacco companies using their resources to find a cure for lung cancer or governments investing heavily in land reclamation technologies to make mining more environmentally friendly. Or drug addiction itself. Burger de/reconstructs the pharmaceutical industry throughout, evocatively investigating its extremes. The cult of the individual is presented existentially and communally as Eddie and Carl Van Loon (Robert De Niro) square off, and the ways in which critical synthetic intelligences (and pharmaceuticals) are valued by a knowledge based capitalist economy receives dramatic attention as well. Eddie's rise leaves behind a lot of plot-related baggage which can be justified by the fact that he's continually moving forward, the film moving to fast for its own internal construction, like a drug addict, but it still doesn't spend enough time examining the publication of his novel or the fact that he could have used his abilities to write something comparable to Proust. The film's writing also has a certain flair that disappears after Eddie abandons his writing career, including the introduction of the ex-brother-in-law. The lows Eddie hits and their consequent despair and paranoia are cultivated directly and poetically as he struggles to maintain, and I thought Burger did a good job of filmically distilling a bad hangover. Sort of funny how when he's a broke relatively sober writer everyone treats him like a drug addict but when he starts taking pharmaceuticals and gaining prestige he's revered. One of the morals suggests that beneficial drugs whose side-effects are curtailed can help you become a United States Senator if you hire shrewd lawyers to cover your ass while curtailing said side-effects and can outwit your enemies when they come to kill you. Libya of all countries is mentioned twice. I guess Gadhafi should have invested more in research . . .
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