“This Is 40″

3 stars

Starring: Paul Rudd, Leslie Mann, Megan Fox, Jason Segel, Graham Parker, Chris O’Dowd, Albert Brooks, John Lithgow

Rating: R, for crude humor, sexual candor, pervasive language and drug use

By Derrick Bang
Enterprise film critic

Some perceptive truths about marriage, mid-life crises and parental angst linger around the edges of “This Is 40,” but they tend to be overshadowed by Judd Apatow’s reflexive insistence on vulgar humor, crude slapstick and bewildering plot detours. Obviously, he just can’t help himself.

Although Apatow oversees a busy comedy empire, “This Is 40” is only his fourth feature as director, following “The 40-Year-Old Virgin,” “Knocked Up” and the tediously morose “Funny People.” This new film, something of a peripheral sequel to “Knocked Up,” focuses on the five-years-later lives of Pete and Debbie (Paul Rudd and Leslie Mann), that film’s sidebar characters.

Except that Katherine Heigl, who played Debbie’s sister Alison in “Knocked Up,” is nowhere to be seen here. Apparently she got lost in translation.

As this new film’s title suggests, events center around the ramp-up to Pete’s impending 40th birthday. He’d normally share this milestone with Debbie, but a refusal to face the onset of middle age has prompted her to deny her own birthday; indeed, she even rolls back the clock and claims a younger age, a running gag that becomes truly hilarious during a routine doctor’s office visit, when various nurses and receptionists try to nail down her birth year.

That scene works, by the way, because Apatow goes for subtle underplaying, rather than his usual, last-row-of-the-upper-balcony broad strokes.

Age-related angst aside, Pete and Debbie aren’t in a terribly happy place for several reasons, starting with financial troubles. Pete’s indie record label is hemorrhaging money because he insists on representing aging “classic rockers” who have no relevance to modern music fans. (In a nice nod to the real world, venerable British singer/songwriter Graham Parker plays himself and delivers several songs in various scenes.)

Debbie’s boutique clothing shop is short $12,000 that seems to have been skimmed by one of her two employees: knock-out sex bomb Desi (Megan Fox) or mousy Jodi (Charlyne Yi). Pete further exacerbates the cash-flow situation by continually lending money to his mooch of a father, Larry (Albert Brooks, overplaying his patented Jewish shtick).

Plenty of money, as it turns out, and this financial issue eventually becomes quite distracting. Even without the 80 grand shoveled in Larry’s direction during the past few years, I cannot imagine how the income from two small, struggling businesses could produce the ridiculously opulent lifestyle that Pete and Debbie enjoy with their spoiled and over-privileged daughters, Sadie (Maude Apatow) and Charlotte (Iris Apatow). Their house alone is humongous, and stocked with every possible high-tech toy; Pete’s party, when it finally arrives, looks like something catered at a Beverly Hills country club.

Both Pete and Debbie have grown insecure about their bodies, and their sex lives, and their desperate search for “alone time.” (Pete’s solution to the latter will be recognized by every guy in the theater.) Their alternately frustrated and panicked reactions to these various traumas, large and small, are spot-on; fortysomething (and older) viewers will roar with pained recognition, while their kids — who shouldn’t be watching this tawdry movie in the first place, but I know better — will wince and say “Ewwwww” a lot. (Too much parental information.)

Indeed, all details relating to this age crisis, and the myriad ways our bodies begin to betray us, are by far the best part of “This Is 40.” Apatow has a rare gift for drawing humor, often ribald humor, from our everyday anxieties: both the minor ones that we attempt to joke about in public, and the private ones that we don’t even like to share with our partners.

I’ll even grant Apatow a solid understanding of a typical family generation gap, and the tension created by an elder daughter entering her teen years, and no longer wanting anything to do with her younger sister. Apatow should know; they are his daughters (and Mann is his wife/their mother). Granted, Maude Apatow’s Sadie overplays the shrill bee-yatch card, but she has cause, having to endure such lunatic parents.

Iris Apatow’s Charlotte, in welcome contrast, delivers a far more natural and authentic performance as the sweeter younger child, prone to perceptive and quite telling comments.

Too many other stray issues, however, seem shoe-horned into the script solely to give various supporting characters and guest stars something to do. Melissa McCarthy, so funny in “Bridesmaids,” struggles gamely but can’t leverage her hopeless cameo as the obnoxious parent of a boy who runs afoul of Debbie after leaving nasty messages on Sadie’s Facebook page. Daft as this scene is, however, it’s nothing compared to the weird place Yi’s Jodi eventually wanders, during a confrontation with Debbie.

And while we might have been amused to discover that either Pete or Debbie’s father is preoccupied by next-gen families with younger wives, playing this card with both Larry and Debbie’s estranged father, Oliver (John Lithgow), is just silly. Indeed, poor Lithgow hasn’t the faintest idea how to handle his part, and no wonder; Apatow doesn’t even try to justify the reasons for Oliver’s hands-off approach toward Debbie. It’s just another inexplicable left-field detail like the size of Pete and Debbie’s house.

The always engaging Chris O’Dowd shines as Ronnie, one of Pete’s record label colleagues. O’Dowd’s best moment comes when he and Jason Segel, also droll as Debbie’s physical trainer, wind up vying for Desi’s attentions in a swimming pool. It must be noted, as well, that Fox finally has found a role perfectly suited to her limited thespic talents. Sadly, she really is little more than her bodacious bod, and the character of Desi is carefully tailored to Fox’s modest acting range.

Lena Dunham, currently a hot commodity on HBO’s “Girls,” pops up as Pete’s other record label employee; Tatum O’Neal lends her voice as a Realtor during a phone call with Pete, but I doubt you’d recognize her without being told. But you will recognize Green Day’s Billie Joe Armstrong, as an appreciative fan during one of Graham Parker’s club gigs.

The lion’s share of screen time, however, belongs to Rudd and Mann. She does a far better job of keeping Debbie more or less grounded and genuine; her various mood swings — and some of them are pretty wild — never completely bury Mann’s core vulnerability. For the most part, Debbie deserves our support and empathy.

Not so Rudd, who channels yet another of his cranky, condescending, self-involved jerks. At a crisis point, after we’ve spent close to two hours with this couple, Debbie wonders whether they’d even be together today, had she not gotten pregnant with their first daughter. Pete is stuck for an answer, and that moment feels right; why would she continue to put up with him?

That awkward, devastating pause carries far more truth than the film’s obligatory final scene, which leaves us feeling that nothing has been resolved. That may accurately reflect the real-world squabbles of mismatched couples, but it’s not terribly satisfying.

As is the case, ultimately, with much of this film.

— Read more of Derrick Bang’s film criticism at derrickbang.blogspot.com. Comment on this review at www.davisenterprise.com

Hollywood apparently expects us to have quite an appetite for fractured family dynamics this holiday season, no doubt thanks to the success of previous December hits such as “Meet the Fockers” and “Little Fockers.”

Honestly, one such endurance test would be enough for the month, but no, we’re getting three: “The Guilt Trip” (Seth Rogen vs. mom Barbra Streisand), “This Is 40” (Paul Rudd and Leslie Bibb vs. their two daughters) and “Parental Guidance” (Billy Crystal and Bette Midler vs. their three grandchildren).

One of those films runs more than two hours. My posterior aches in anticipation.

In fairness, the season leading up to Dec. 31 also offers the usual high-profile Oscar bait, with “The Hobbit: An Unexpected Journey” and “Les Misérables” leading the charge, followed closely by “Zero Dark Thirty” and “The Impossible.” The latter, in particular, probably will linger with viewers for months (if not forever).

A few other high-minded entries would like to think they’re Academy Awards contenders, but probably won’t make the cut. “On the Road” and “Hyde Park on Hudson” head that list, with “Hitchcock” and “Not Fade Away” not far behind.

Finally, happily, we’ll get several that promise a good time at the movies without trying to overwhelm us with artistic pretensions. I’m eager to see “Jack Reacher,” “Quartet,” “Promised Land” and “Django Unchained” … the latter quite possibly the least appropriate movie ever scheduled to open on Christmas Day.

So what’re you wanting for? Grab the popcorn, and let’s go see a movie! (Or two. Or six.)

————

Already in release:

“Hitchcock” — The Master of Suspense is reasonably well served by this biographical snippet, set during the tempestuous development, production and release of “Psycho,” the ground-breaking shocker that made him even more of a household name. Anthony Hopkins wisely minimizes the Hitchcockian affectations, and Helen Mirren is splendid as his longtime wife and colleague, Alma. I’m not sure this project has the desired “holiday vibe,” however (see also “Django Unchained,” further down), and a narrative device concerning serial killer Ed Gein is strictly weirdsville.

“Lay the Favorite” — British director Stephen Frears hits Las Vegas for this earthy romantic comedy, which concerns a transplanted small-town Florida stripper (Rebecca Hall, as Beth) who heads for the greener pastures of Sin City and comes to the attention of fast-talking meta-gambler Dink (Bruce Willis). Turns out Beth has quite a head for numbers, on top of being a two-legged good luck charm; Dink finds her increasingly hard to resist, much to the annoyance of his wife (Catherine Zeta-Jones). Frothy comedies are a change of pace for Frears, best known for sturdier fare such as “The Queen” and “Dirty Pretty Things.” Expect this one to pop up in arthouse theaters, probably after the holidays.

“Playing for Keeps” — Director Gabriele Muccino’s so-called romantic comedy is an odd duck, due to a disorganized script that can’t decide whether to be smutty or endearing. Gerard Butler is charm personified as a former soccer star trying to mend fences with ex-wife Jessica Biel and their young son (Noah Lomax). Sadly, the A-list co-stars (Dennis Quaid, Uma Thurman, Catherine Zeta-Jones, Judy Greer) are given bizarre characters and little to do with them, and everything builds to a wholly unbelievable final act. Hardly the holiday bonbon everybody intended.

Friday, Dec. 14

“The Hobbit: An Unexpected Journey” — Goodness, does anybody not know about what likely will be December’s biggest box-office sensation? Peter Jackson once again takes the director’s chair for this fresh slice of Tolkien myth-making, with newcomer Martin Freeman starring as the titular Bilbo Baggins; returning familiar faces will include Ian McKellen, as Gandalf; Cate Blanchett, as Galadriel; and Andy Serkis, as Gollum. The story, set before the events of “Lord of the Rings,” concerns Bilbo’s quest — alongside numerous feisty dwarves — to reclaim a treasure stolen from them by the dragon Smaug. Be advised: This is only the first chapter of Jackson’s three-film adaptation of Tolkien’s stand-alone novel.

“Hyde Park on Hudson” — Bill Murray’s portrayal of Franklin Delano Roosevelt will be the primary draw of this light-hearted biopic, set during the historic meeting between the U.S. president and Britain’s King George VI (Samuel West), which set the stage for the Allied collaboration that would halt the advance of Nazi Germany. One might expect this to be enough for most films, but director Roger Michell and scripter Richard Nelson actually are more concerned with the possibility that FDR used this retreat to cement his extramarital affair with sixth cousin Margaret “Daisy” Suckley (Laura Linney). The tone sounds typical of Michell, who helmed “Notting Hill” and “Venus,” but one wonders if the execution will seem, well, disrespectful.

“Save the Date” — Writer/director Michael Mohan’s Sundance darling stars Lizzy Caplan as Sarah, a gal who has second thoughts about her upcoming wedding after accepting boyfriend Geoffrey Arend’s proposal. Worse yet, Sarah’s younger sister Beth (Alison Brie) is going gaga over wedding details, to the disinterest of her own fiancé (Martin Starr). The plot sounds like a TV sitcom, and the film clearly is designed to showcase the rising Caplan. The big question: Will anybody notice?

Wednesday, Dec. 19

“The Guilt Trip” — Nice guy inventor Seth Rogen hits the road in an effort to market his newest endeavor, and in a staggering display of questionable judgment invites his mother (Barbra Streisand) along for the ride. The resulting road saga is guaranteed to exploit every familiar, lowbrow verbal and slapstick element from countless earlier parent/adult child comedies, but there’s no denying the potential when these two stars play off each other. Colin Hanks, Kathy Najimy and Adam Scott top the supporting cast.

“Monsters Inc. 3D” — “You won’t believe your eye,” screams the publicity campaign, in reference to Mike Wazowski’s single-orbed, green beach ball self. Pixar’s delightful comedy follows “Finding Nemo” with this 3D makeover, but — honestly — we really don’t need that excuse to spend more big-screen time with Billy Crystal’s Mike and John Goodman’s James P. “Sulley” Sullivan, as they attempt to make dreamtime safe for little children around the world.

“Zero Dark Thirty” — Director Kathryn Bigelow and screenwriter Mark Boal (“The Hurt Locker”) re-team for this ambitious account of the decade-long hunt for al-Qaida leader Osama bin Laden, following the 9/11 terrorist attacks. The story hook focuses on a CIA analyst (Jessica Chastain) who becomes convinced that bin Laden isn’t “hiding in some cave” but actually is someplace where he could be reached; the lengthy docudrama then follows her dogged effort to persuade everybody else. The initial openings will be solely in New York and Los Angeles, for Academy Awards consideration; we’ll get it in January.

Friday, Dec. 21

“The Impossible” — Ewan McGregor and Naomi Watts star as a husband and wife who arrive at a Thai beach resort with their three sons on Christmas Eve in 2004, just as the devastating 2004 Indian Ocean tsunami hits. Director Juan Antonio Bayona’s harrowing docudrama is based on events recounted by Maria Belon, the role Watts plays here. This is no Hollywood-ified “disaster flick,” but a grim depiction of the catastrophe that killed roughly 283,000 people, as experienced by the members of this one family, all desperately trying to stay alive. I suspect you’ll not soon forget it.

“Jack Reacher” — Best-selling novelist Lee Child’s Jack Reacher stands 6 feet 5 inches, weighs between 210 and 250 pounds and sports a 50-inch chest. On the short list of commanding actors able to play this intriguing character, Tom Cruise hardly fits the physical description … and yet he’s got the part in director/scripter Christopher McQuarrie’s adaptation of “One Shot,” the first Reacher story to hit the screen. It’s a crackerjack book, full of delicious plot twists, and even if Cruise doesn’t look the part, he certainly has the presence. The top-flight supporting cast includes Robert Duvall, Richard Jenkins and Rosamund Pike. I can’t wait.

“On the Road” — Jack Kerouac’s seminal, semi-autobiographical Beat Generation novel comes to the big screen courtesy of director Walter Salles and scripter Jose Rivera, with Sam Riley, Garrett Hedlund and Kristen Stewart starring as Sal, Dean and Marylou. Sal was Kerouac’s alter ego, of course, while Dean stood in for Neal Cassady. Salles was nominated for the Palme d’Or at this year’s Cannes Film Festival, and early reports suggest that, contrary to what we’ve come to expect from the “Twilight” series, Stewart really can act. The question, of course, is whether this film can capture the counter-culture vibe that has made the book so significant since its 1957 debut.

“This Is 40” — Paul Rudd and Leslie Mann revive Pete and Debbie, the sidebar couple they played in 2007’s “Knocked Up,” in this new sort-of sequel once again written and directed by Judd Apatow. At a rather indulgent 134 minutes, this raunchy ode to fractured parenthood likely will wear out its welcome long before the final reel, but there’s no denying the American appetite for Apatow’s signature blend of smut and low comedy.

Tuesday, Dec. 25

“Django Unchained” — Having turned Nazi Germany on its head during the alternate-history events of “Inglourious Basterds,” enfant terrible Quentin Tarantino now will splash blood and snarky dialogue all over this similarly bent saga of the 19th century, slave-holding antebellum American South. Jamie Foxx stars as a slave-turned-bounty hunter who, with the help of mentor Christoph Waltz, attempts to rescue his wife (Kerry Washington) from the racist clutches of a sadistic Mississippi plantation owner (Leonardo DiCaprio). Look for plenty of familiar TV and B-movie faces: Bruce Dern, Don Johnson, Robert Carradine, Michael Parks, Tom Wopat and stuntwoman-turned-actress Zoe Bell (so memorable in Tarantino’s “Death Proof”). Certain to be tasteless and audacious, and opening on Christmas Day. You gotta love it.

“Les Misérables” — Victor Hugo’s massive novel began its modern musical life in a production that opened Oct. 8, 1985, at London’s Barbican Center; I guess we can admit that all concerned took their time to develop a big-screen adaptation, no doubt hoping to get everything right. Certainly the casting is superb, with Hugh Jackman as Jean Valjean, and Russell Crowe as his relentless pursuer, Javert; Anne Hathaway co-stars as the forlorn Fantine, with Amanda Seyfried as Cosette, and Helena Bonham Carter as Madame Thénardier. Tom Hooper (“The King’s Speech,” “The Damned United”) absolutely seems the correct director for the job, and in just a few weeks we’ll be able to judge whether he brought it off.

“Parental Guidance” — Yet another drink from the well of slapstick family dynamics, with Billy Crystal and Bette Midler starring as old-school grandparents asked to watch their grandkids by helicopter mom and dad Marisa Tomei and Tom Everett Scott. Based on the rather broad preview, we can expect plenty of exaggerated yocks and, I’m sure, the destruction of considerable personal property. This is the best Midler can do?

Friday, Dec. 28

“Not Fade Away” — Writer/director David Chase (“The Sopranos”) returns to his own New York roots, as a former kid who dreamed of being a star drummer in a rock band, for this saga of three friends in 1964 New Jersey who try to make it big in the music world. John Magaro’s Douglas carries the focus, with Bella Heathcote as his girlfriend, and “Sopranos” alum James Gandolfini as the domineering father who, wouldn’t you just know, can’t understand his son at all. Chase is too electrifying a talent to ignore, but one must be wary of long-gestating directorial vanity projects; they have a tendency to disappoint.

“Promised Land” — Here’s one ripped from contemporary headlines: Natural gas company front man Matt Damon and partner Frances McDormand arrive in a rural town suffering economic decline, where they’ve been sent to sell the residents on a plan to pump cash into the local coffers in exchange for vaguely defined “drilling rights.” The assignment should be a slam-dunk, but the corporate shills encounter resistance from respected schoolteacher Hal Holbrook and a grass-roots counter-campaign run by concerned local John Krasinski. Director Gus Van Sant (“Milk”) should bring the proper tone to this hot-potato script by Damon, Krasinski and John Eggers.

“Quartet” — Dustin Hoffman turns director (!) for Ronald Harwood’s cheery play-turned-film, which is certain to be adored by everybody who flocked to see “The Best Exotic Marigold Hotel.” Maggie Smith has a similar role here, as Jean, a former stage diva forced into a home for retired opera singers. The hook: an upcoming concert intended to celebrate Verdi’s birthday, which — if they can learn to get along — would unite Jean with former colleagues played by Billy Connolly, Pauline Collins and Tom Courtenay. The senior citizen clichés are apt to be thick, but who could mind, when given such a cast of scene-stealers?

— Read more of Derrick Bang’s film criticism at derrickbang.blogspot.com. Comment on this review at www.davisenterprise.com