Film Review: Date Night

  Director Shawn Levy’s attempt to break away from his signature kids films, (‘Night at the Museum’, ‘the Pink Panther’), with a slightly more adult approach to comedy, sees Steve Carell and Tina Fey starring as Phil and Claire Foster; a couple, that amidst a flurry of book clubs, school runs and early nights have lost that spark.
  Scared by the news of a close friends’ divorce, and determined to remain more than just ‘really great roommates’, they decide to inject some spice into their jaded marriage via the great American tradition of ‘date night’, however, ditching the usual routine of potato skins at the local steakhouse, in favour of a table at an up-and-coming restaurant in the city, isn’t as easy as it seems without a reservation. So, living vicariously, they decide to take another couple’s table. The ‘Fosters’ are now the ‘Tripplehorns’, (are you still with me?), but little did our couple know, the Tripplehorn’s delicious crab risotto comes with a side of, wait for it... danger. Sounds cheesy? It is. A classic case of ‘be careful what you wish for’; they wanted excitement, and in great cinematic tradition, boy do they get more than they bargained for.
  As it happens, The Tripplehorns, (the real Tripplehorns, not our nice suburban duo), are petty thieves, petty thieves that stole a flash-drive from crime boss Joe Miletto. And Joe Miletto? He’s pissed. Pissed enough to send a couple of goons to ‘take care of’ the Tripplehorns. And so the fun begins.
  Naturally, Claire’s first reaction is to seek help from an ex client; sexy, debonair, (and eternally topless), ‘security specialist’ Holbrooke Grant, (played by Mark Wahlberg). Holbrooke, whilst delivering an opportunity for Claire to flirt entirely too much, and too brazenly for someone in the company of their husband, manages to track down the real Tripplehorns, (who on earth uses their mobile to make a reservation when they’re hiding out?).
  A night of breaking and entering, shoot-outs, car chases, renegade cops and grand theft auto ensues as the Fosters attempt to reach the Tripplehorns and persuade them to return the flash-drive. They really, REALLY just want to get home.
  Suspended disbelief is a must when watching this film, as Fey and Carell manoeuvre themselves into increasingly ridiculous and entirely unbelievable situations, trying to right the wrong they made by stealing someone else’s reservation, (a fact which no one seems to be able to get over). Is this some kind of Karmic justice gone awry? An over-the-top warning from those in the restaurant business? No. It’s a romantic comedy, (of a kind), often clichéd, and full-to-bursting with stereotypes. This film falls between genres, too crude for children and not quite crude enough to masquerade as a funny ‘guy film’, (think Seth Rogen and Judd Aptow). However, the supporting cast is phenomenal and Carell's role as the loving husband is apparent; the relationship between himself and Fey, believable, and the outlandish and improbable storyline manages to provide an exciting setting for the two to confront and settle their marital issues.

Verdict : Amongst the obvious gags is some witty and genuinely funny, laugh-out-loud dialogue, (not to mention extremely disturbing, but hilarious attempts at erotic dancing - I’m pretty sure students everywhere will be doing the ‘sex robot’). Steve Carell and Tina Fey play ... well, Steve Carell and Tina Fey, but they work well together, their on-screen chemistry translating to a likeable couple who you really will root for, and even if you don’t, it’s worth watching just to see Steve Carell say ‘zip your vagina’ repeatedly.

6/10 Cookies.

Film Review: Repo Men

 ‘For a price, any organ in your body can be replaced. But it can also be repossessed’; enter the repo-men, 2025s answer to debt collectors, but they won’t be taking your TV, or your mum’s favourite glass swan. No, these thuggish legalised killers want to ‘reclaim their property’; and yes, it’s as ominous as it sounds.

 ‘But wait!’ I hear you cry, ‘aren’t you talking about little-known 2008 release ‘Repo! The Genetic Opera’?’ No. This one happens to be called ‘Repo Men’, but you could be forgiven for making that mistake, as they ARE startlingly similar. Maybe Universal Pictures figured that the cult ‘American Rock Opera’, (based on the original stage show), didn’t appeal to a mainstream audience? Or perhaps they just thought that no one would notice. Whatever the reason, we now have two futuristic bio-tech thrillers to enjoy. Of course there are some differences, (the lack of musical numbers and Paris Hilton are probably the biggest two), and THIS film is based on a book; ‘The Repossession Mambo’ by Eric Garcia to be specific.
  A creepy, surreal tale of consumerism gone mad, (bad and dangerous), the story focuses on The Union; a company touting the latest genetic enhancements: artificial organs. Naturally the interest rates of these little beauties are through the roof, and if you fall behind with payments, (which is more than likely) ...well, quite frankly, you’re screwed. And the people screwing you over? The Union’s top repo-men and ex-army badass mo-fos, Remy, (Jude Law), and his best friend Jake, (Forest Whitaker). These two are at the top of their game, until a technical malfunction with a defibrillator during a repo job leaves Remy with a shiny new heart and a shiny new debt to pay, (the stingy gits didn’t even give him an employee discount, how’s that for a health plan?). Suddenly work isn’t as easy as it used to be for Remy; turns out when your ticker is ticking down time till your own repossession, killing people isn’t quite as fun. So he decides to go on the run, meeting Beth, an attractive, drug addled, enhancement-addict on the way. Together they discover that the only way to clear their accounts and get off The Union’s radar for good is to destroy the central office. Oh, and to make matters that much more interesting, who have The Union sent after him? Why it’s his best buddy Jake. Naturally.
  An interesting twist on the usual ‘renegade employee tries to take down the evil corporation’; this film boasts some good leads. Levi Schreiber oozes sleaze as The Union’s slick, soulless, salesman and it’s nice to see Law out of his comfort zone, playing something other than a ‘cheeky-but-loveable womanizer’. Not that the director lets his sex appeal go to waste; surely only Jude Law can make home surgery erotic?
  However, a ridiculously high body count and some rather violent, albeit creative, deaths, leave the viewer wandering if this is just gore for the sake of gore; the bloodshed almost managing to completely override the underlying themes of corruption, obsession, and mislaid trust in what is, effectively, a consumerist society run amuck. In truth, the premise of the film is deeply unsettling, I’m not going to pretend that it wouldn’t be cool to have eyes that change colour with every blink, or ears that you can plug headphones into, but at what cost? In the end it’s really a story of how far Remy is willing to go to save someone he loves and escape the influence of corporate America, and, despite a surprising, if not slightly disappointing ending of what is essentially the futuristic equivalent of ‘and then he woke up’, the film manages to deliver.

Verdict : Clever, ironic commentary on the state of health care, the economy and consumerism in society?.. Or just an excuse to show someone’s head being bashed in with a typewriter, either way it’s worth a watch.

7/10 Cookies.