Jennifer Garner

Matthew McConaughey’s ‘Ghosts of Girlfriends Past’ Overdone, But Relatable

Ebeth — Fri, 01 May 2009 00:01:00 -0600

Rating: 3.0/5.0

CHICAGO – “Ghosts of Girlfriends Past” is the cinematic blending of two familiar formulas: the “love, lose and then love again” framework of most romantic comedies with the idea of transforming ghosts from the classic “A Christmas Carol”. The result: an overdone yet relatable story of a man coming to terms with his true desires.

Celebrity photographer Connor Mead (Matthew McConaughey) makes a high-profile living shooting the scantily clad. Connor’s true fame, however, seems to come from the serial seduction of his subjects: double-booked dates and time-saving breakups via conference call are a way of life for this master manipulator.

Connor Mead (Matthew McConaughey) tries to save the wedding cake in “Ghosts of Girlfriends Past”.
Photo credit: New Line Cinema

His reputation preceding him, Connor is only a half-expected guest at his kid brother’s wedding. Upon arrival, he makes no effort to hide his disdain for long-term commitment while attempting to convince his brother, Paul (Breckin Meyer), to cancel the nuptials. The presence of Connor’s childhood sweetheart and scorned love, Jenny Perotti (Jennifer Garner), does little to mute his provocative behavior.

Connor’s antics predictably begin to unravel the wedding and those around him. And so begins Connor’s spiritual awakening – literally – as he’s confronted by the ghost of his mentor: the late Uncle Wayne (Michael Douglas). Connor’s cad uncle reflects regretfully (yet comically) on his own life and the way in which he raised his nephew.

Matthew McConaughey as Connor Mead and Jennifer garner as Jenny Perotti in “Ghosts of Girlfriends Past”.
Photo credit: Ron Batzdorff

Uncle Wayne announces the pending arrival of the three ghosts and we’re soon whisked away on a journey through time.

This critic feels about the sequence exploring past girlfriends the way she feels about McConaughey’s experiment with his long hair: “eh”. The supposedly 16-year-old ghost, Allison Vandermeersh (Emma Stone), is distractingly over the top.

Scenes with Connor’s teen self (Logan Miller) are carried only by the clever and comical antics from Douglas. Despite the attempted depiction of turmoil, the only moving scene is that of Jenny’s realizing Connor has left her. The rest remains detached.

One of the biggest issues with the film is in its depiction of women. Only two among dozens of female characters demonstrate self-respect and intelligence. Jenny, who is Connor’s love interest, and Melanie (Noureen DeWulf), Connor’s assistant, are gems in their smart and sassy ways.

However, the three bridesmaids (Camille Guaty, Rachel Boston and Amanda Walsh) seemed to all play the same sex-crazed and dim-witted character, all of Connor’s involvements are quick to be bedded and naive and even the love of his brother’s life, Sandra (Lacey Chambert), is an often shrieking and nonsensical bridezilla.

For a film about a man’s learning the value of women and relationships, this repeated persona seems an unfortunate dynamic. The movie, however, still manages to be enjoyable.

Matthew McConaughey stars as Connor Mead in “Ghosts of Girlfriends Past”.
Photo credit: New Line Cinema

Through his casual approach, McConaughey makes the obnoxious Connor Mead likable; Douglas is a bright and believable ladies man; and Garner is a pleasure to watch as she embraces the zingy banter stirred by her character. Though a brief appearance, Robert Forester (as the bride’s retired Marine sergeant father who turns into an ordained minister) provides some true comedy.

The cleverly written script by Jon Lucas and Scott Moore is peppered with just enough insights and witty humor to keep the film engaging and relevant.

Though not without its flaws, “Ghosts of Girlfriends Past” is a worthwhile trip to the movies. There are aspects of each of these characters we have all known or experienced ourselves and everyone’s able to take away a little something from this light-hearted comedy.

“Ghosts of Girlfriends Past,” which stars Matthew McConaughey, Jennifer Garner, Michael Douglas, Breckin Meyer, Lacey Chabert, Robert Forster, Anne Archer, Emma Stone, Daniel Sunjata and Noureen DeWulf, opened everywhere on May 1, 2009. The film is rated PG-13.

By ELIZABETH OPPRIECHT
HollywoodChicago.com
elizabeth@hollywoodchicago.com

‘Juno’ the First LiveJournal, Blogger Film; Writer Diablo Cody a Standout Star

HollywoodChicago.com — Tue, 16 Oct 2007 21:30:03 -0600

AUSTIN, Texas – No one says anything plainly in “Juno”. Hyper clever, hyper literate and hyper pop savvy, it tells a light story of teenage pregnancy in a package of verbose middle classiness.

Ellen Page (left) and Olivia Thirlby in “Juno”.
Photo courtesy of IMDb
Furthering the influence of the Internet on filmmaking in the 21st century, “Juno” has hyper-thought cleverness and the distinct personality of voice that comes from the personal blogging set. It’s the first LiveJournal or Blogger film.

That’s not entirely odd, though, since 2007’s unjustly maligned “Hot Rod” could’ve been the first feature-length YouTube movie. The dialogue in “Juno” doesn’t just call out to be read. It’s like hypertext that calls to be clicked on.

Under the razor-thin direction of Jason Reitman, “Juno” – unlike “Hot Rod” or “Aqua Teen Hunger Force Colon Movie Film for Theaters” – is a pure movie. It dispenses any obtuseness and has the instincts of an audience pleaser.

Where an average movie about pregnancy turns its water-breaking scene into a dramatic, third-act starter (which even “Knocked Up” did), this film’s screenplay (scribed by hilarious blogger and memoirist Diablo Cody) has its eponymous character signal a pop-culture reference double threat: “Thundercats are go!” (This is a combination of Thundercats and Thunderbirds.)

Ellen Page and Michael Cera in “Juno”.
Photo courtesy of IMDb
The movie has two standout stars – Ellen Page as Juno and Cody as the screenwriter – while Reitman (himself the distinct and clever voice behind “Thank You for Smoking”) wisely steps aside for a one-off and applies a perfect, hands-off directorial approach.

He sprinkles certain moments of gravity here and there.

As for Page, I’m not even sure she’s a talented comedienne. She just has the range to act that funny. While there’s none of the same intensity she brought to “Hard Candy” here, there’s still some of the (barely used) tenderness she brought to Kitty Pryde in “X-Men: The Last Stand”.

In “Juno,” she never falls into smugness despite spending most of her screen time being a wise girl. That’s probably because – in this film’s rich screenplay – she’s never necessarily the smartest person in the room. Each adeptly cast role gives a character a speech or moment to shine.

Director Jason Reitman in “Juno”.
Photo courtesy of IMDb
Allison Janney’s nail-obsessed stepmother has the hilarious dressing down of an ultrasound technician while J.K. Simmons has the funny reaction to learning who knocked up his daughter: “Next time I see him, I’m punching him in the wiener.”

That would be Michael Cera, who is still earning his own career-launching lauds from “Superbad”. Despite having the least amount of quotable lines, he milks awkward stutters and sweetness better than anyone his age.

The couple played by Jennifer Garner and Jason Bateman – in what at first seems like a superfluous subplot – lends the movie most of its gravity. Garner’s baby-lacking matriarch has her best moments when Juno tells her she’s lucky not to be pregnant.

The gem is the turn by Bateman, who tweaks the sarcastic authority of his “Arrested Development” persona into a surprisingly bottom-line, to-be father who never got over the night his band opened for the Melvins. When Bateman, Garner, Simmons and Page first meet on screen, it’s the film’s centerpiece scene.

Jennifer Garner (left), Jason Bateman and Ellen Page in “Juno”.
Photo courtesy of IMDb
Again, this movie belongs to Cody from her blogging. She’s originally from Chicago, by the way, but moved to Minnesota to live with her Internet boyfriend – Jonny – who’s now her husband. Seriously. They now live in Los Angeles.

Cody is used to clever wordplay to pad earnest moments of connection and soul bearing. Formerly a brief stripper, Cody’s long-running blog (formerly here) gained national exposure with her memoir “Candy Girl: A Year in the Life of an Unlikely Stripper”.

While the book and blog are almost equally as entertaining (if a little overwritten), Cody’s style – when applied to dialogue – has a leaner, tongue-jumping humanism to it.

Reitman gives generously selfless direction. He finds the widely sought comedy light touch that’s essential here. How many times have you seen a clever movie where the mumble mouths and lazy eyes of actors are passed off as dry wit?

From right to left, Olivia Thirlby, Allison Janney and Ellen Page in “Juno”.
Photo courtesy of IMDb
I recently screened “Juno” at the Austin Film Festival where both Reitman and Cody introduced the film.

Reitman said he remembered the day he first read “Juno”. As he introduced her, he told the audience: “You’ll remember this as the day you met Diablo Cody.” Cody promptly replied: “That is the stupidest intro I’ve ever heard.”

Cody could go either way from here. Delivered by inferior actors or directors, her dialogue could quickly grow annoying and go the way of Zach Braff’s blog. Then again, she could be next Kevin Smith.

Reitman himself is too good a writer to only direct.

Page’s range is once in a generation. She’ll be a draw for anything she stars in from here on out. For all these diverse talents, I ultimately came away from “Juno” just wanting these three to get together and make many, many more movies.

Juno is slated to open in limited U.S. theaters (including Chicago) on Dec. 14, 2007. We selected this film as one to watch for on Sept. 14 Our Oscarman rating for this movie currently ties with our highest films.

By Shane Hazen
Staff Writer
HollywoodChicago.com

‘The Kingdom’ a Prescient Portrayal of Relentless Ghost in the Terrorist Machine

HollywoodChicago.com — Fri, 28 Sep 2007 20:37:09 -0600

CHICAGO – In 1967, author Arthur Koestler wrote the non-fiction book “The Ghost in the Machine”.

The title has come full circle with Friday’s release of “The Kingdom” whereby the ghost – an Osama bin Laden-like extremist – must be extricated from his clandestine machine of terrorists.

From left to right, Jason Bateman, Jamie Foxx, Jennifer
Garner, Ashraf Barhom and Chris Cooper in “The Kingdom”.
Photo courtesy of IMDb
Even if you could smoke out the ghost in the machine, the most disquieting concept of such a search-and-destroy mission is much like what happens with the mythical Hydra creature. When Heracles decapitated one of the monster’s heads, another grew right back in its place.

Such can be said about today’s terrorist leaders. Even when offing a big fish, the mere action itself fanatically rouses another to rise in his place.

In “The Kingdom,” which can be thought of as the anti-“Syriana,” wild-man director Peter Berg (“Friday Night Lights,” “The Rundown”) touches with grave timeliness on modern-day fears through excellently evocative histrionics and relatively accurate portrayals of the abomination that is life and war in Saudi Arabia.

Jennifer Garner in “The Kingdom”.
Photo courtesy of IMDb
Following blood-splattering carnage in broad daylight, FBI agents Jamie Foxx, Chris Cooper, Jennifer Garner and Jason Bateman are surreptitiously dispatched from the U.S. to the scene in Riyadh to recreate the chaos and punish the executioners.

Life there – with several American families dangerously trying to live in local harmony – is a perplexing and ferocious wake-up call for many of us who lead relatively normal American lives.

The film was actually shot in Abu Dhabi in the United Arab Emirates along with at Arizona State University; in Phoenix; in Mesa, Ariz.; and in Washington, D.C.
As you could imagine, diplomats are hamstrung with slow debates of territorialism. The FBI agents quickly learn that Saudi authorities are leery and unwelcoming of American interlopers into what they consider a local matter.

Jamie Foxx in “The Kingdom”.
Photo courtesy of IMDb
They nonetheless permit them local access, impart as much safe passage as possible and work as a team to bridge two innately dissimilar cultures.

Foxx gets the decoration for this film’s best acting, Cooper loves to get down and dirty and makes you appreciate him for it, Garner feels fragile for her surroundings until Berg grants her one hardcore whoop-ass scene and Bateman is unfortunately cast as an attempted funny man who the film seriously could have done without.

Richard Jenkins, who plays the FBI’s director, felt exactly where he should be and likely equaled the performance that would have been handed over by Robert De Niro before he decided not to accept the role. Chicago’s Jeremy Piven was purely obnoxious and should have sported the dunce hat along with Bateman.

Jennifer Garner in “The Kingdom”.
Photo courtesy of IMDb
Don’t be fooled by Danny Elfman’s beautiful score. For Berg’s cast and crew – much like in “A Mighty Heart” about the death of Wall Street Journal reporter Daniel Pearl in Karachi, Pakistan – filming with intense sequences of brutal violence often wasn’t safe overseas and even in the U.S.
During filming on Aug. 12, 2006, assistant property master Nick Papac was killed in Mesa, Ariz. after the all-terrain vehicle he was driving crashed into Berg’s SUV. On set in Phoenix, Garner collapsed twice due to the sweltering, 115-degree heat.

While some films launch us into fictitious fantasy worlds, we also escape reality into film to glimpse an even truer reality that’s deep within chasms we could never reach.

The geopolitical thriller that is “The Kingdom” makes an important statement about our political relations with that country while vitally illuminating how and why terrorists become who they are.

By ADAM FENDELMAN
Editor-in-Chief
HollywoodChicago.com
adam@hollywoodchicago.com