by George Wolf
ELYSIUM
Already this summer, a futuristic Earth in decline has had to deal with Tom Cruise and the team of Will Smith and son. Now it’s Matt Damon’s turn, but after a strong setup, Elysium finishes with mixed results.
Writer/director Neil Blomkamp , the visionary behind 2009’s excellent District 9 , again crafts a futureworld that seems perfectly logical. It is 2154, and wealth inequality has finally led to complete segregation. The rich have fled Earth for Elysium, a man-made environment offering a pristine lifestyle free of overpopulation, disease, and the inconvenience of dealing with “non citizens.” The poor masses stay behind, kept in check by Homeland security and its team of droids.
One of those left behind is Max (Damon, solid as always), an ex- con working in the droid factory. A tragic turn of events leaves him the perfect candidate to undertake a dangerous mission cooked up by the leaders of Earth’s rebellion, and in short order he becomes half-Damon, half Ironman, battling assassins under orders from Defense Secretary Delacourt (Jodie Foster, laying it on a bit thick).
The parallels to current events are frequent and unmistakeable. From Occupy Wall Street to Obamacare, from Blackwater to immigration reform, Elysium will no doubt provide easy targets for “Hollywood Elite” finger pointing. Truth is, these are some of the same basic tenants Blomkamp explored in District 9, but this time he can’t find a subtle way out.
The visuals are impressive and the premise is well set, as Blomkamp again displays solid storytelling skills and a good grasp on pacing. Things break down when contrivance sets in (to guard against spoilers, that’s all I’ll say) and the film forgoes larger questions for easy, feel good answers.
It’s disappointing, because Blomkamp was on to something. Still, there are tense, exciting moments (with a bit of grisly violence), and, though it remains conflicted, enough smarts in Elysium to keep faith in Blomkamp as a leader in the future of science fiction.
WE”RE THE MILLERS
Maybe the thing I appreciate most about We’re the Millers is the acoustic guitar.
The music provides an unmistakeable cue that it’s time to quit joking about family ties and get real about real feelings that are real. Just know these moments won’t last too long, and then it’s back to some pretty damn funny business.
Jason Sudeikis (SNL/Horrible Bosses/engaged to Olvia Wilde/life is good) plays David, a small time pot dealer in debt to a big time pot dealer (Ed Helms, possibly confusing those who still think he and Sudeikis are the same person). To stay alive, David just has to cross the border and bring back ” a smidge, maybe smidge and a half” of weed from Mexico.
He figures a vacationing family would attract less attention down Mexico way, so he recruits a local stripper (Jennifer Aniston) to pose as his wife. After rounding out the faux family with a nerdy neighbor (Will Poulter) as their son, and a young runaway (Emma Roberts) as their daughter, its time to pack up the RV and hit the road!
The four-man writing team at work here sports a decent résumé, featuring screenplays for Hot Tub Time Machine, She’s Outta My League and Wedding Crashers. If those don’t exactly go straight to your funny bone, or more pointedly, if you frown upon the raunchy, stay far away from We’re the Millers.
Otherwise, the film gets better as it moves along. The contrivance needed for some of the gags is usually wiggled out of pretty deftly, as director Rawson Marshall Thurber (Dodgeball) shows a nice feel for the pacing needed to sell this premise.
Aniston, as she did in Horrible Bosses, proves extremely likable digging into a character’s dark comedic edges. True, playing a stripper offers yet another chance to serve up the cheesecake, but as well as she’s aging, it’s hard to blame her.
She and Sudeikis display a nice chemistry, especially when they’re bein’ bad, and they get solid support from Kathyrn Hahn (“AN-y-th-in” from Anchorman) and Nick Offerman (TVs Parks and Recreation) as fellow RV travelers with surprises for everyone.
There are also a couple “breaking the fourth wall” moments, and some great outtakes as the credits roll. Pandering? Sure, but funny.
The main problem is simple inconsistency. The successful skewering of family cliches is interrupted by awkward reminders that families really are good! Nice is nice and all, but when you hang with We’re the Millers, naughty is where the fun is.