Where is the optimum position to sit in the cinema? Actually that question is better put as, where is your favourite place to sit? For we probably all have differing, individual preferences. There are those that like to sit at the back of everything; the bus, the classroom, the theatre. There are those of a nervous disposition who like to have their seats adjacent to the aisle. Personally I prefer to sit against the wall in the upper middle section, usually away from others with a decent sightline, like the lonely uninteresting enigma I am.
But then perhaps where you sit also depends on the company you’re keeping that evening. If you’re on a hot date, somewhere close to invisible in the depths of darkness at the back, but within thrilling proximity of the projector, is a must. If you’re on a cooler date a discrete but ordinary and satisfactory view is preferable. With friends you want to bag a whole row for yourselves and avoid separation.
I’m the sort of person that requires exceptional circumstances to tolerate lateness. If I’m in charge of some sort of trip my contingent will be there early, with time to spare. I’m only late if I’m not bothered about said event, or if I’m trying to appear nonchalant and lose track of time. My point is that I’ve never timed my arrival badly enough to have to sit in the very front row of the cinema.
Arriving to see Paul it seemed my friends and I had plumped for this unknown space, the very front row, in order to give the appearance of being social. Of course it’s not as if, as decent human beings, we were going to have satisfactory conversations in the middle of a film, but that’s beside the point. Half way through the trailers however a handful loped away from the group for better seats. Leaving me in the front row, with others too embarrassed to surrender and back out of a commitment. Great.
I was thus anticipating a couple of hours of awkward discomfort, followed by a sleepless night due to chronic neck pain. And months of costly chiropractic bills. Which result in my financial ruin. I would drop out of university due to the endless agony and money worries. I’d then lose my car and find myself marooned at home. Scratching my constantly irritated neck in the shower I would slip, crack my head open and start losing unhealthy amounts of blood. I’d manage to drag myself to where my car used to be, but then remember I didn’t have one and die in a messy heap on the drive. All because I sat in the very front row; repeatedly contorting my neck and twisting my head from side to side, as if I were watching tennis, in order to see what was going on in a scene.
Before the end of the trailers though, I was beginning to view my predicament as an exciting opportunity for fresh perspective on the movie experience. Firstly there was extensive, ample leg room. I nudged a friend and performed erratic, normally dangerous, kicking movements in the air to demonstrate this. Perhaps what truly opened my eyes to the perks of the front row however was the trailer to Your Highness. Yes it looked like it might have the potential to be an amusing spoof, but more importantly Natalie Portman’s scantily clad features were rendered larger than life. I mean it was better than 3D.
When Paul the alien first appeared he loomed out of the screen at me. Even prior to this as loveable duo Pegg and Frost wandered in awe around a Comic convention, my proximity meant I felt as part of the crowd as they did. In the opening scene the alien crash landing seemed to happen right in front of my face, maybe because it literally did. The money ploughed into 3D is all well and good; but why not just make wider cinema screens with one endless front row, for the truly interactive experience?
Despite my obvious fascination with the novelty of my viewing position, I eventually lost myself in the film and forgot my surroundings. Because Paul is good enough to lose yourself in. I was really surprised by how much I liked it. Most critics have concluded it’s a poor offering from Pegg and Frost, far inferior to Hot Fuzz and Shaun of the Dead. Many thought that the marrying of American and British humour was uneasy and un-funny. I would agree that Hot Fuzz and Shaun are better films. But Paul is the most accessible movie this British comedy duo has ever made. It’s warm and affectionate and very, very funny at times.
I thought that far from hindering the film, the mix of American acting talent and humour with British comedy and perspective, gave this film something different, compared to the likes of Fuzz and Shaun. One minute you’d have a very British joke about tea, followed by some edgier comedy about creationism or physical, bumbling stuff from the pursuing FBI agents. None of it was groundbreaking but I laughed out loud several times. And there are some lovely touches for fans of sci-fi, with the appearance of a certain Ms Weaver and a recurring joke about the three tits given to a monster by Pegg’s illustrator.
There’s also a recurring gag about Pegg and Frost’s characters being a gay couple, which is nothing new to us Brits. Whilst this is predictable and not greatly funny, I didn’t find it an annoying recurrence but an endearing one. And if Paul has predictable moments it makes up for them with some really surprising twists at the end, even if they come alongside things you’ll see coming a mile off.
What about Paul himself then? Even for me, from my close up vantage point, the CGI looked pretty believable and flawless. I actually preferred Seth Rogen’s voice to Seth Rogen’s voice plus his body. As funny as he is he can also be irritating. I loved the concept of an alien influencing and absorbing our culture and it allowed lots of sci-fi related, more sophisticated gags alongside the obvious visual ones. Paul even mimics Rose hilariously from Titanic as Pegg draws him. I found Frost’s standard performance of a pathetic loser more touching in Paul than any other Pegg/Frost film, because of the way he can bond with both Rogen’s voice and the CGI Paul’s mannerisms. Pegg was the most impressive thing about the recent Burke and Hare, but here his acting is rather one dimensional and generic.
A supporting cast of Yanks including Jason Bateman and Glee’s Jane Lynch add flavour to the mix. But overall Paul is rather simple. This doesn’t make it bad. There is great to joy be found in the comic delivery of Pegg and Frost, and the fusing of thoroughly British funnies with American reactions in an American setting. The final, ordinary line of the film, hilariously delivered by Frost, sums up Paul: “That was good wasn’t it”.
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Life, for most of us, boils down to monotonous repetition. It’s broadly predictable, with the odd insignificant surprise. And Date Night, starring the comedy talents of Tina Fey and Steve Carell, is a routine rom-com affair, in more ways than one. It’s about the universal desire to shatter the same old everyday habits once in a while with some glamour and risk, and it’s a standard action packed tale of spiralling events, misunderstood circumstances and hilarious antics. Like life it does feature the odd surprise, in the form of cameos dotted throughout that are often scene-stealing turns, but the outcome is never much in doubt and the route is familiar.
Indeed critical opinion of Date Night following its release earlier this year was fairly unanimous. It’s an average film, neither good nor bad but “pretty good”. Most reviews inevitably focus on the central pairing of Fey and Carell, so crucial to the success of the movie. Most verdicts declare Date Night to be an adequate vehicle for their talents, with pleasing performances from both, but certainly not their best. I would certainly agree with the assessment of the leads’ performances and add my voice to the chorus praising (or denouncing?) Date Night as a pretty good film. However like most reviewers I was caught off guard by some brilliant cameos that overshadow the stars at times and generally I enjoyed Date Night considerably more than the usual “pretty good” film.
What was the reason for this I wonder? Well perhaps it was largely down to the fact I’m a sucker for sentiment. Whilst Carell is undoubtedly better working with comedic material, he’s proved he can handle the action in films like Get Smart and more importantly the emotional side of things by giving his characters bags of appeal as well as humour, for example in 40 Year Old Virgin. Here he does a more than passable job as the well meaning everyman. Fey too proves she is comfortable with the serious stuff as well as proving more adept in the funnier moments. It was easy to buy into the dying relationship scenario and the basic premise set up by a cameo from Mark Ruffalo; that marriage can descend into two people that are “really excellent roommates”. It tugged at the heartstrings to see two people so comfortable with each other, so suited and so close, growing tired of each other’s company simply from over exposure and the onset of tedium. The story keeps prodding at your emotions and stirring them into life, in that instantly recognisable rom-com manner, as the thrills and spills reignite the couple’s buried love for one another. Crucially though this is confidently executed romantic comedy based on real-life, largely free of sick inducing soppiness and lame gags and stuffed with quality.
There is a danger of the film losing sight of its focus at times though. The description of the film called it an “Action/Adventure, Comedy, Thriller” and this might suggest an identity crisis. Indeed during a key action set piece, a car chase with a slick new Audi, the comedy is at its weakest at the expense of some ridiculous and not hugely exciting thrills. This is not to say there is not some enjoyment to be found in the action segments of the film, but the average excitement of these scenes is ultimately what ensures the labels of mediocre and average. The comedy has some excellent moments, and is consistently good throughout with some likeable running gags. I particularly liked the recurring theme of outrage that the Fosters (Fey and Carell) would have the audacity and cheek to take someone else’s table reservation, as they explain to various people the crimes and horrors heaped upon them since.
And those cameos of course, from James Franco and Mila Kunis as a wonderfully bickering criminal couple that simultaneously mirrored the Fosters and were opposite to them. From Mark Wahlberg, in a bare-chested performance that first alerted the world to his hidden comedy talents and William Fichtner as a detestable caricature of corruption. These performances inject life into the film and stop it going stale. Not that there is ever any real danger of it doing so; the runtime is blissfully snappy and the leads are always likeable, if not always powerfully magnetic. Of course you could want more from a film, but perhaps Date Night’s message and execution is best summed up by the song “You Can’t Always Get What You Want”. The Fosters undoubtedly need each other and you might find yourself needing a pick-me-up like Date Night on a dreary drizzle sodden winter’s day.
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