Cloudy with a Chance of Meatballs 2 Review

Directors: Cody Cameron, Kris Pearn

Writers: John Francis Daley, Jonathan M. Goldstein, Erica Rivinoja

Starring: Bill Hader, Anna Faris, Will Forte, James Caan, Andy Samberg, Benjamin Bratt, Neil Patrick Harris, Terry Crews

Synopsis: Flint Lockwood (Hader) successfully got everyone off Swallow Falls after the disaster in the previous film. Now a celebrity, he’s finally getting the recognition he deserves, including a job at the prestigious Live Corp Company. Live Corp’s clear-up of Swallow Falls goes awry, eventually forcing Flint and his friends and family to head to the island on their own...now full of “foodimals”!

When Cloudy with a Chance of Meatballs came out 4 years ago it was one of the most refreshingly original animations to arrive on our screens in years. The dialogue, the characters, and the overall aesthetic were so pleasingly different that it has become a beloved contemporary classic. It was therefore expected that a sequel was on its way. Complain to your heart’s content about the “sequelisation” of most films, but Cloudy seemed like the perfect film for that. Cloudy with a Chance of Meatballs 2 does satisfy many of the fans’ needs, though nowhere near as picture perfect as the first.

As The Avengers will continue with Joss Whedon’s script and directorial efforts, the notion that if you’ve created something special it works well to carry on with it. Cloudy’s first film, written and directed by Phil Lord and Chris Miller, was a creation seamlessly envisioned. The sequel’s Cody Cameron and Kris Pearn, following that act, have a lot on their plate (forgive the pun). They have expectations to meet and a style to stick by. In some regards they have been worthy successors to Lord and Miller, in keeping with the first two’s paradigms. Still, some of the dynamics have been pushed in the way of the “bigger, bolder, better” sequel scheme and often it feels too over the top. There’s more emphasis on the team – and unfortunately more from Andy Samberg’s annoying “Baby” Brent McHale – tiresome at points when you want to see more of the surrounding cast. There’s additionally a more formidable villain figure (Will Forte’s Chester V) who’s most interesting characteristic is the way he moves. They’ve tried to better the likes of Bruce Campbell’s Mayor Shelborne baddie, falling to the feet of Campbell’s scene-stealing abilities.

The most celebrated part of Cloudy 2 has been lauded over in every trailer and TV spot – the host of foodimals, all complete with glorious pun names. It might not be worth watching any promotional spots for film as too many jokes are lost the second time round after watching the trailer. Placing the majority of the laughs on these food-animal hybrids never seems to lose its zing, mind you. The quick-fire humour of the Cloudy series works well for the “oh look, it’s a [insert foodimal here]” barrage of skits. If the monkey Steve remains your favourite after the exploits of Berry – a giant strawberry – then the film really will be lost on you. Out of the many many new characters, Berry is deliciously delightful.

Slapstick aspects may not be something you can hold against Cloudy, but the sequel certainly feels more childish. Many of the jokes that could be enjoyed by older audiences in the first have been seemingly shelved in favour of action, colour and cuteness for number 2. Always able to crack a smile, Cloudy with a Chance of Meatballs 2 won’t, however, have you in fits of laughter like the first; it has, sadly, started to cater (forgive another pun), only for the kids.

***

Also posted on LiveForFilms

Cannes 2013: Nebraska Review

Director: Alexander Payne

Writer: Bob Nelson

Starring: Will Forte, Bruce Dern, June Squibb, Bob Odenkirk

Synopsis: An alcoholic septuagenarian (Dern) becomes obsessed with collecting a $1 million prize from Mega Sweepstakes Marketing. His son, David (Forte) tries to explain it's a scam but as his father becomes more beset he decides to drive him to the Sweepstakes Nebraska office so he can find out for himself.

Featuring the motifs and themes of two of his most critically acclaimed films (aging and road trips from About Schmidt and Sideways, respectively), Alexander Payne’s Nebraska is a great return to form. The Descendants may have included some energetic moments aside a colourful palette, but it lacked vitality. Nebraska may be a solemn, black and white drama/comedy but it contains more expression and vigour than the Clooney-led “dramedy”.

Nebraska happens to be one of the few films Payne has not written whilst directing. The writing/directing juggling act has by no means sullied the final outcome with his previous films, though there’s no doubt that Bob Nelson has allowed Payne to effortlessly focus on directing here. Nelson’s voice (surprisingly matured through only two gigs of television writing) is perfectly honed to the varying ages in the film, as well as fitting in with the tone of Payne’s oeuvre.

The lesser-experienced Nelson penning the script is not the only stand-out aspect of the film as Will Forte, mostly known for comic turns in television and film, has to share the lead with the veteran actor Bruce Dern in a genre he rarely works in. On a casting and writing level, the film is formed on unsteady ground – inexpert scribes and actors thrown into a Hollywood production with the aim to gain critical acclaim (and, to a lesser extent, commercial gross) and awards. Nevertheless, nothing feels amateur or lacking. The film is full-bodied with laughs and tears in abundance, a major contender for next year’s Academy Awards.

Dern as the confused yet headstrong father is a revelation for an actor seldom seen on our screens today. Dern has gone from the hardened bastard that once shot John Wayne in The Cowboys, to Nebraska cranky, sweet dad. He’s a mystery to both the audience and his film family, a man steeped in the tradition of keeping yourself to yourself. This protagonist is a nice change in amongst the larger-than-life, social-media obsessed society of today. He’s quiet and honest, never hiding behind a certain image, but doing and saying exactly what he wants. This is the same for June Squibb’s Kate character, married to Dern’s Woody Grant. Nearly every line is a no holds barred, extremely opinionated, quip about someone she knows. These are the characters seen at family gatherings but not so much on screen; to see them at play, as it were, is a lot of fun.

Forte similarly adds a warmth to the proceedings (joined by Bob Odenkirk who is underused and slightly miscast as a dullard). His fresh-faced appearance works as a great foil to Dern’s weathered frown. It then adds to the development of both the father and son changing through their time spent together. As Payne always asserts magnificently, it’s the evolution of persons in a short space of time that warrants a nuanced script and narrative.

It may not better his older efforts but Nebraska certainly highlights the importance of Payne in the Hollywood system. He can explore close relationships as well as Mike Leigh or Sam Mendes, always injecting a laugh-out-loud humour to boot. Some may feel the comedy is aimed at the expense of the small-town Nebraskans but from the man who grew up there, it’s merely a way to find comedy in the hoary appearance and behaviour. Looking crisp with some gorgeous photography and a fantastic score, this is an unapologetic heart-warmer from a director who hasn’t a jaded bone in his body.

****

Nebraska was competing in the Official Competition selection at Cannes 2013 and was winner of Best Actor for Bruce Dern. Also posted on LiveForFilms