Neighbors 2: Sorority Rising

Zac Efron and Seth Rogen return to wage war agains a neighboring sorority in the sequel to ‘Neighbors’

Neighbors-2-soroity-risingYou could be forgiven for calling “Neighbors 2: Sorority Rising” the most feminist movie of the year. Such is the state of Hollywood movies when there are so few truly female-fronted blockbusters and comedies that a movie in which teenage girls chuck their bloody tampons into Seth Rogen’s mouth could be considered progressive. But whether or not Rogen and company have made a feminist raunch-fest, they’ve made an often hilarious sequel that at least begs the question.

“I don’t even know what’s sexist,” Rogen’s character says in desperation at one point in “Neighbors 2.” Director Nicholas Stoller could be breaking boundaries or crossing serious lines, but at the end of the day he’s trying to make a funny movie. The divide between sharp political satire and what could be considered offensive and insensitive is often blurry.

Here’s the ugly truth that “Neighbors 2” brings to light: sororities on American campuses are not allowed to throw parties, but frats can. Stoller perfectly captures modern Greek life in a quick early scene, with Selena Gomez leading a flock of girls all dressed in white while wearing halos made of flowers. Their delicate golf claps say it all. Shelby, Beth and Nora (Chloe Graec Moretz, Kiersey Clemons, Beanie Feldstein) together reject this culture and decide that instead of rushing a sorority where they can’t smoke weed and where frat houses literally have “giant arrows pointing upstairs to fuck us,” they’ll start their own sorority, right next door to Mac and Kelly Radner (Rogen and Rose Byrne).

Time and again the movie reminds us that if a man were doing the crazy, vulgar, potty and drug humor that happens here, no one would bat an eye. To be fair, “Neighbors 2” may be pushing its luck; “Bridesmaids” never had to tell the audience how forward thinking it was to have women acting filthy. But Stoller is smart enough to wink at the audience in that, like in the original “Neighbors,” both the Radners and the college kids next door are man-sized children not nearly as mature as they pretend to be.

“Neighbors” was a riot because it flipped the script of what a crazy frat bro could look like in creative ways, and the sequel has more of the same. Zac Efron returns to continue spending the bulk of his time shirtless, even briefly turning into Magic Mike, but at the same time he and his brothers will pull out a ukulele and sing Jason Mraz during a gay wedding proposal. This movie could arguably be as queer as it is feminist.

What’s new has all to do with the girls. They dress like Minions as a form of hazing. They watch “The Fault in Our Stars” all together in their pajamas. They dress up like feminist icons Oprah and First Lady Hillary Clinton, Senator Hillary Clinton, and future President Hillary Clinton. Five dudes may have written the screenplay, but it feels like comedy for women, not just gross-out comedy performed by women.

“Neighbors 2” doesn’t gel quite as well as the original, but it has equal doses of Rogen and Byrne’s dopey chemistry, not to mention some impressively funny cinematic style. Stoller can stage a pretty solid pratfall, and there’s one hilarious sequence where Rogen and Efron, each shirtless and jiggling, are running through a hazy orange fog as “Sabotage” plays in the background. It would be funny even if they weren’t being chased by teenage girls trying to steal back their trash bag full of weed.

So whether “Neighbors 2” is feminist is beside the point. Stoller’s having a lot of fun, and the girls will too.

3 ½ stars

Dark Shadows

I didn’t know “Dark Shadows” was based on a soap opera until my friend amusingly explained this: “It was this kind of boring soap opera that no one watched until one season they introduced a vampire to the show and everyone’s minds just exploded.”

The problem then with Tim Burton’s “Dark Shadows” is its inability to just make my mind explode.
Burton has always been a unique director. It’s possible that none of his films can be strictly classified into one genre, and “Dark Shadows” is no different. This one begins on a note of period piece horror fantasy with scents of the original “Dracula” in the film’s gorgeous CGI iconography.

This opening takes place in 1772 with the Collins family establishing a thriving colony on the American coastline. The son Barnabas Collins (Johnny Depp) is cursed by the witch Angelique (Eva Green) when he gives up her for his true love, Josette (Bella Heathcote). Angelique turns Barnabas into a vampire and imprisons him for 200 years, only to wake up in the swinging 1970s. Now Barnabas returns to his surviving ancestors and fights to rebuild the family business, taking down Angelique, also now two centuries old and running strong, in the process.

The fish-out-of-water game is old-hat no matter what setting or mythical creature you put into the formula, and although Depp revels in manipulating everything with an elegantly antiquated misunderstanding of modern technology, slang and etiquette, Burton never knows how to own any of these jokes.

The film and its dialogue constantly teeter on understated comedy and a haunted house ghost movie without ever dipping into campy, absurd or soapy territory. Burton will instead play an Alice Cooper song or some other ‘70s rock staple to suggest the change of tone, and the film never has go for broke laughs or campy charm. Continue reading “Dark Shadows”

Hugo

Who other than Martin Scorsese could make a kids movie about the first pioneer of cinema and make it the most visionary, lovely and wondrous film of the year?

Scorsese’s “Hugo” is certainly a departure for the legendary director, and Brian Selznick’s equally imaginative children’s book would likewise be a hot commodity to many other directors, but few people other than Scorsese could wholly embody his love of cinema and general nerddom for silent films and trick artists like Georges Melies and get away with it.

That’s the selling point for me and other adults speculative about how Scorsese would handle a children’s film. “Hugo” could actually double as the biopic of Georges Melies (Ben Kingsley), the story of how as an adult the magician turned filmmaker who made the masterpiece “A Trip to the Moon” (1902) became a quiet recluse who never spoke of his films after nearly all of them had been forgotten and destroyed.

Scorsese worships the man, arguably the first auteur of film, and he honors Melies by literally recreating his films in stunning color and 3-D cinematography.

For all the movies being re-released and up converted into 3-D today, the last one I thought would get the treatment would be “A Trip to the Moon.” Yet I’m giddy at watching this fantastical mystery story for children simply dripping with film history, and there is something wonderfully fulfilling about seeing a moon with a rocket poking out of its eye floating mystically above the screen. Continue reading “Hugo”

Kick-Ass

I’m going to try reviewing “Kick-Ass” as a movie and not one that inspires and calls out to fanboys. I have no need to insult the audience that finds it amusing, nor do I have to criticize Director Matthew Vaughn or it’s original author Mark Millar for imagining it. I initially carried a lot of unnecessary baggage regarding the morality of the film, but morals are the least of the film’s problems.

Admittedly, I did find it uncomfortable to see a preteen girl utter lines of loving affection to her father with the same inflection of glowing innocence as a collection of four-letter words before she proceeded to chop off legs, nail baddies in the head and get pummeled to a bloody pulp by a middle-aged man.

But, I didn’t enjoy these moments that others find so cathartic and hilarious not because I’m a prude, but because a majority of the scenes are strictly serious, played for drama and rooted in a mindset of reality. This is not comic violence; it’s just violence. Continue reading “Kick-Ass”