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September 3rd, 2010 admin

“The fact that the movie has a different title than the story might give you some idea of how close a correspondence exists between the two,” Eugenides said. “My story is about an unattractive man who’s in love with a beautiful woman. It deals, comedically, with the Darwinist question: Is it better to be good-looking or clever? Now, Jason Bateman isn’t unattractive. The casting went in the other direction, as they say out in Hollywood, and the movie followed it.”

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To be sure, The Switch is not a film about cleverness, although it’s not totally unconcerned with beauty and Darwinism. Aniston plays Kassie, a New York TV producer who, having failed to find a husband by the age of 40, informs her sad-sack best friend, Wally (Bateman), that she’s on the hunt for a sperm donor. Though wholly devoted to Kassie, Wally doesn’t have the genes of the blond, studly Roland (Patrick Wilson), who Kassie hires to provide her baby-making “ingredient.” Blackout drunk at Kassie’s insemination party, Wally hijacks the sperm cup, replacing Roland’s high-quality DNA with his own. The darker details of the night slip Wally’s mind until Kassie returns to New York, seven years later, with her young son, Sebastian (Thomas Robinson, excellent). Wally can’t help but notice the similarities between himself and Sebastian—both are brown-haired bully magnets, both are such extreme neurotic fatalists that they repel virtually everyone but each other.

Eugenides’s story ends shortly after the birth of the kid, with Wally looking down into the crib and recognizing a “potato nose [and] buggy eyes” as his own. The back hour of The Switch has Kassie reacquainting herself with both Wally and Roland, becoming romantically involved with the latter under the impression that he is her son’s father, while Wally—still single, still smitten with Kassie, and increasingly attached to Sebastian—struggles to come clean about his feelings, and his secret crime of insemination.

Ironically, a more faithful adaptation of Eugenides’s short story would have made a better traditional vehicle for its A-list star. The first three pages of the story put us inside the heroine’s head, before suddenly switching to Wally’s perspective. The Switch unfolds entirely from Wally’s point of view, guided by his grating narration. Eugenides’s heroine is a tough, conspicuously sexy career girl, singlemindedly superficial but ultimately flawed and relatable—much like Aniston’s career-making Rachel Green from Friends. The Switch’s Kassie barely registers as a character. There are a lot of beauty-filtered close-ups of Aniston, looking every bit the flawless yoga goddess with lush hair the same golden tone as her tanned skin, Forever 30 despite the fact that her character would logically be in her late 40s by the film’s end. This may be evidence enough as to why Wally wants her, but the film is generally uninterested in who Kassie actually is.

Saddled with the responsibility of carrying the film, Bateman acquits himself admirably by playing it straight, developing a genuinely convincing and affecting chemistry with Robinson and taking his character’s repression seriously. The Switch is most notable for its confident tone, which is unexpectedly not ha-ha funny; the sperm switch scene is the closest it gets to slapstick, and despite its sympathy for the socially awkward, it avoids the halting comedy of discomfort that’s currently trendy (The Office, Cyrus). Essentially a lovable loser romantic fantasy in which insecurity is the great demon to be overcome, The Switch wouldn’t dare suggest that the physically perfect, interpersonally competent, and highly capable have it easier than the less genetically gifted. All Bateman has to do to get the girl is get up the courage to ask.

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New Movie Toy Story 3 online on Megavideo for free

September 3rd, 2010 admin

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Then last we left our plasticene pals of the Toy Story series, they had grown in number, having escaped the clutches of an abominable collector who saw them as nothing more than trophy objects to be sold to the highest bidder.  For a toy, with its inherent abandonment issues, this is a sad, sad Fate.  For them, play is life—and love—and without those, they feel a little broken.

Now, it is years later, and Andy, the owner of “all those wonderful toys,” is going off to college, leaving Woody and Buzz and Jessie (she’s so cute!) and T-Rex and Mr. and Mrs. Potato-Head to an indifferent Fate, abandoned and forgotten.  Who will get chosen to go?  Who’ll be left behind?  Will the hard-fought camaraderie established in Toy Story and Toy Story 2 be undone by the inexorable passing of time and the capricious passing of affection?  Should we be worried about such things in a cartoon about toys?

Absolutely!  The Pixar Studio—now gloved hand in gloved hand with Disney—from its first short film (and probably from the time it was a single-cell pixel), has made character its potter’s ink.  Their characters, be they bugs, or cars, or fish, are complex personalities in anthropomorphic form, not animated stand-up comedians reaching for a laugh.  We care about them in ways the other animation studios have yet to accomplish.  And Pixar’s pixelators are not afraid to challenge these characters to their cores, so that we can empathize with them.   To watch Jessie hyperventilate in panic attacks (reliving the horror she went through in Toy Story 2; she probably has Post-Traumatic Stress Disorder!) is to know her as a human being, and when the toys are at their most vulnerable, as they are in Toy Story 3, they become brave and accepting and heroic, everything you want to be, and want them to be.

That makes this movie sound like the “heaviest” entertainment on screen, which isn’t true.  The film manages to maintain a constant strain of humor, which comes naturally from the story and the fact (the fact?  It’s a cartoon!) that these are toys.  I’d like to rattle off a string of incidents and lines that charmed me and made me laugh out loud, but that would take away from your enjoyment of it—the surprise, the delight…and the fear.  You should experience the surprise first-hand, not from me, and as Toy Story 3 is the best movie of this young Summer season (of so many disposable ones), that experience—the genius of Pixar again—will communicate across all age-groups.

One other interesting aspect: the series is now fifteen years old, so a lot of young adults, who grew up enchanted with the Toy Story series, are going to watch this movie.  And, happily, they will not be disappointed, as so many preceding film-series that have evolved over time have failed to live up to the love-inspiring first installment(s) (I’m thinking the Star Wars series here).  Just as composer Randy Newman crooned in the first moments of the first film, you still have a friend in the Toy Story series.  Like the toys inhabiting the film, that doesn’t change.  And it never grows old.  Highly recommended.

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