Universal Pictures

‘Brüno’: Must a Movie Like This Be Broadcast Üniversal?

Ebeth — Fri, 10 Jul 2009 00:39:54 -0600

Rating: 2.0/5.0

CHICAGO – As a tribute to “Borat,” let’s start with a lesson in “not” jokes.

“Brüno” is everything one would hope for in a Sacha Baron Cohen return. The film is hilarious, unpredictable and worth every dollar it will make… NOT! There is a great fallacy that has spread in Hollywood and “Brüno” is one of its many victims.

Some making and marketing comedies believe that shocking their audience is an edgy and guaranteed formula for laughter. For the greater part of films like “Brüno,” however, the audience feels only disgust. Far from amused, several leave before the film has concluded.

The comedy “Brüno” from Universal Pictures is Sacha Baron Cohen’s follow up to “Borat”.
Photo credit: Frank Ockenfels, Universal Pictures

Attempting to match the cinematic success of 2006’s “Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan,” “Brüno” follows much the same format. This time we have an Austrian-import title character traveling with his assistant’s assistant, Lutz (Gustaf Hammatsten). Just as Borat did in 2006, Brüno meets with politicians, celebrities and members of the global community for his own special brand of interview.

The comedy “Brüno” from Universal Pictures is Sacha Baron Cohen’s follow up to “Borat”.
Photo credit: Frank Ockenfels, Universal Pictures

However, Borat struck a responsive chord because of the innocence and humanity of the character. We empathized with him and enjoyed laughing (for the most part) at his supposed naiveté.

Baron Cohen’s Brüno proves to be nothing more than a self-absorbed histrionic who is constantly foul just for foul’s sake. For Brüno, emotional depth is a faux accessory worn as low as his Dolce & Gabbana belt.

The mention of scenes like Brüno drinking champagne from his boyfriend Diesel’s (Clifford Bañagale) buttocks or his trip to the “Pink Cheeks Anal Bleaching Salon” amply makes the point.

These images – compounded by swinger’s party sex scenes, footage of Brüno and reality star Brittny Gastineau critiquing celebrity ultrasound pictures while loudly concluding that Jamie Lynn Spears should “abort!” her baby and a scene where Brüno feigns sex acts on the supposed ghost of Millie from Millie Vanilli – all make us wish for a selective delete button on one’s memory.

As if these aren’t surefire ways to get a reaction, the filmmakers throw in Baron Cohen’s penis. When they feel its dancing and spinning may not be enough, the penis talks to us. This gets a reaction. But what reaction?

Equally as bemusing, the film ends with the antithesis of a “We Are the World”-like effort as Bono, Sting, Snoop Dogg, Chris Martin and Slash collaborate with Brüno on an incredibly contrived-for-the-cameos theme song. Awful.

The comedy “Brüno” from Universal Pictures is Sacha Baron Cohen’s follow up to “Borat”.
Photo credit: Mark Schwartzbard, Universal Pictures

To Sacha Baron Cohen’s credit, the man is one fabulous character actor. Many declared Baron Cohen’s career in “shockumentaries” over after the success of “Borat” simply because most of the world would easily recognize him.

The comedy “Brüno” from Universal Pictures is Sacha Baron Cohen’s follow up to “Borat”.
Photo credit: Universal Pictures

But not only does he transform into Brüno with hair color, massive waxing and a new wardrobe but the man is able to change his entire demeanor including the intricacies of his posture and facial expressions.

And the film is not completely void of comedy. An ironic interview with Paula Abdul discussing her humanitarian efforts while she’s seated on one of Brüno’s “Mexican chair people” is certainly funny up to a point.

And Brüno’s confusion of the terms “Hamas” and “humus” left me giggling when I later dipped my pita bread.

Whether “Brüno” is to be deemed a successful film depends on the intent of the filmmakers. Due to the rampant and heavy marketing of the film as a comedy, one assumes that it’s a “comedy” the creative team: director Larry Charles and writers Anthony Hines, Dan Mazer, Jeff Schaffer, Peter Baynham and Sacha Baron Cohen intended to make.

However, the film’s true impact is one of profound sadness. Many scenes play as a behind-the-scenes look at the darkest of human behavior. Crowds merely look on as Brüno unpacks a baby sent through the airport baggage claim while no one seems to strive to help the child.

At a casting session Brüno holds in Sherman Oaks, Calif., parents casually agree to allow their children to be exposed to bees, wild animals, heavy machinery, propulsion at high speeds without a car seat and a 25 percent weight-loss goal within a week all in the name of “fame”.

RELATED CONTENT
Read more film reviews from critic Elizabeth Oppriecht.

It’s this team of ugly “characters” that leaves us thinking about what we’ve seen (though we may not want to long afterward).

Though not necessarily in its intended purpose, Brüno is effective at this level. Those expecting this film to bring a Borat-level banter and brouhaha will leave drastically disappointed. Those looking for a commentary on the sad state of the world will leave just slightly more depressed than when they arrived. Said simply, Brüno disappoints.

“Brüno” stars Sacha Baron Cohen, Gustaf Hammarsten, Clifford Bañagale, Chibundu Orukwowu, Josh Meyers, Bono, Chris Martin, Elton John and Slash. The film, which opened on July 10, 2009, is rated “R” for pervasive strong and crude sexual content, graphic nudity and language. “Brüno” has a running time of 83 minutes.

By ELIZABETH OPPRIECHT
Staff Writer
HollywoodChicago.com
elizabeth@hollywoodchicago.com

‘Wanted’ With Angelina Jolie, James McAvoy Concocts Curving Bullet in Gluttonously Entertaining Blockbuster

HollywoodChicago.com — Thu, 26 Jun 2008 23:01:00 -0600

Rating: 4.5/5.0

CHICAGO – With curving, clinking and kissing bullets, “Wanted” indeed does Chicago proud. And Angelina Jolie sells it. And Morgan Freeman is ominous. And in his body of work, James McAvoy – the star of this orgasmic summer blockbuster – becomes a man.

Fox (Angelina Jolie) shoots from the driver’s side of her Dodge Viper in the action-thriller that tells the tale of one apathetic nobody’s transformation into an unparalleled enforcer of justice in “Wanted”.
Photo credit: Universal Pictures

Many Chicagoans have been keenly aware of the film’s local filming throughout downtown Chicago and Broadview, Ill.

Angelina Jolie as Fox in “Wanted”.
Photo credit: Jaap Buitendijk

After also focusing its filming lens throughout the Czech Republic and Hungary, Chicago’s prominence reigns surprisingly dominant and central to the film’s assassin-based plot of one “apathetic nobody’s transformation into an unparalleled enforcer of justice”.

James McAvoy is the man of the hour, and in a short 110 minutes, is handed a Hollywood renovation from an initially fear-laden, listless boy to a surgically precise killer who’d give Matt Damon’s character (Jason Bourne) in “The Bourne Ultimatum” a fight for his life.

“Wanted” features Chicago front and center not only in its aesthetics but also central to its high-adrenaline pacing and action sequences. The Universal Pictures film needed exactly this big-city, fast-action feel to haunt McAvoy with the necessary vibrations in his quest to decide who he really is.

While “Wanted” is chock full of innovation – especially in its fight sequences and “The Matrix”-inspired special effects on ludicrously entertaining Hollywood steroids – the film at times still falls victim to the traditional stereotypes of what you’d expect in an assassin action-thriller with an ever-increasing death count.

“Wanted,” which was pushed back to a June 27, 2008 release date from an initial March 28, 2008 plan, won’t accrue the high marks and huge numbers it deserves because of its story alone. This is an outright action fest of sensory enchantment, carnal killing and orgasmic delight.

James McAvoy as Wesley in the action-thriller that tells the tale of one apathetic nobody’s transformation into an unparalleled enforcer of justice in “Wanted”.
Photo credit: Jaap Buitendijk

While ultimately not blown away by the power of its story as a whole – yes, it can be said “Wanted” is just another assassin film with big names, fancy sequencing and the PR machine in full gear – James McAvoy’s character is an important one many people can relate to. As well, it actually conveys a valuable message.

On the flip side, the “Loom of Fate” is a god-awful plotline decision. A loom in a textile factory that spells out who you should kill and assassins blindly follow the decades-old machine to the bloody death of someone they’ve never met and know nothing about? Cut. Edit. Rewrite. Something else. Just not that.

But like McAvoy as Wesley Gibson, are you also in a dead-end, 9-to-5 desk job that you either just tolerate or actually despise because you have bills to pay even though your passion might be something else entirely that can’t pay your living?

A handcrafted bullet makes its way to an unfortunate target in the action-thriller that tells the tale of one apathetic nobody’s transformation into an unparalleled enforcer of justice in “Wanted”.
Photo credit: Universal Pictures

Not all of us have the bravado to utter the sure-to-get-fired “death mouth” to the boss. Certainly in the real world we don’t then transform into a crushing assassin and find our calling in offing people. But this is just a metaphor to inspire you to find and live your own calling.

While the plot’s somewhat tired – yeah, yeah: no one can trust anyone, everyone’s out to get someone and one man must learn to rise above them all – first-time U.S. film director Timur Bekmambetov sells the journey as one that’s genuinely inspirational.

The “Wanted” we’re seeing now, though, came from an entirely different origin: comic books.

Not only was the entire “supervillains take over the world” storyline dropped in this “Wanted” but originally in the comic book the story takes place in an alternate present day. Bekmambetov’s “Wanted” strays so significantly from its comic origins that you can hardly tell where it came from.

The premise was for these supervillains to “band together … and use their vast collective powers – including mad science, magic and mind control – to eliminate all the world’s superheroes and rewrite reality in their own dark image.”

Instead – and along with delivering a delicious and indisputably entertaining film – screenwriters Michael Brandt, Derek Haas and Chris Morgan manage to dig down deep and pose one of the more thought-provoking questions a blockbuster has taunted audiences with in some time:

“What have you done with your life lately?”

RELATED IMAGE GALLERY
View our huge, high-resolution “Wanted” image gallery.

RELATED AUDIO
Listen to our episode-two podcast on “Wanted” and more.

RELATED READING
Read more news on “Wanted”.
More film reviews from critic Adam Fendelman.

It’s a critically important question. On one hand, intended “Wanted” moviegoers have already committed to purchasing their ticket because Hollywood allows us to peer into the darkest depths of our most primal instincts and unshackle the chastity belts of our most sensual fantasies.

But on the other – a side you wouldn’t foresee in a film with the mission to dish out a decidedly raucous ass kickin’ – McAvoy’s pursuit to buck the normalcy of his paper-pushing life and his verbally abusive cubicle boss in favor of something that makes him feel alive shouldn’t inspire us to unleash our literal killer within.

In the subtle subtext of this entertainment behemoth, we are urged to find our own path that transforms our life into one that’s worth living. We are to choose one where waking up and falling asleep every day isn’t all for nothing. Rather than just floating by, it’s time to wake up and be alive.

“Wanted,” which opened everywhere on June 27, 2008, stars James McAvoy, Angelina Jolie, Morgan Freeman, Terence Stamp, Common and David O’Hara.

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

Bourne is Back, Badass in ‘Ultimatum,’ Still Unrealistically Unbreakable

HollywoodChicago.com — Wed, 01 Aug 2007 14:23:02 -0600

CHICAGO – Matt Damon as Jason Bourne never thinks. He just does.

Bourne’s always armed with the right devices and brainwaves to foretell his next move. Should he need a rag because he’s about to rooftop hop in Morocco and his hands need protection from random glass shards, Hollywood obliges.

Matt Damon (left) and Joey Ansah in “The Bourne Ultimatum”
Photo courtesy of Universal Pictures
As badass as Bourne is, though, the film tends to forget it isn’t “Unbreakable”.

Bourne – or, as he learns in “The Bourne Ultimatum,” really David Webb – is no Bruce Willis. He’s human without supernatural CGI. While the character is designed to just be a man, the third in this series especially takes his body to the extreme. There’s no way in hell he’d still be standing at this one’s conclusion.

Matt Damon in “The Bourne Ultimatum”
Photo courtesy of Universal Pictures
Think of Rocky being pummeled by the Russian and living to tell the tale. Bourne shows a little bit of blood, utters a few “ow” growls and always gets back up in his rapid-thinking, rapid-acting prime. This ghost continues to refuse to be found.

That’s forgivable, though, because “The Bourne Ultimatum” isn’t selling you on its realism. If you’ve been following what is now a trilogy, you’ve come to expect intense action, explosions, nauseating camera work and yet another deep look into the CIA’s inner chasms.

Director Paul Greengrass (left) and Matt Damon in “The Bourne Ultimatum”
Photo courtesy of Universal Pictures
Though the story feels as if it’s being stretched ad nauseam to prolong its money-making roll, it’s still fun, I was still looking forward to screening it and I’m still glad I did.

In his three peat, Bourne goes home to steal some answers about who he really is and why he’s so unbreakable. While jumping through lots of hoops and thwarting all the “assets” our secret government has to dish out, he solves his own riddle.

The film, which opens wide on Aug. 3, is left open for an entirely new story.

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