MAJOR EMOTION PICTURES Episode 4: The LEGO Movie

This is Major Emotion Pictures, a discussion show where I sit down with my fellow film loving friends and discuss movies that mean a lot to them, for better or worse. In episode 4, we'll be discussing The LEGO Movie, the 2014 animated action comedy with my guest, Aaron Clark Burstein.

Unpregnant - Review

 

As bizarre as it may seem, a comedy about abortion isn’t that unique of an idea. “Juno” and “Knocked Up” made the unplanned pregnancy funny over a decade ago and since then, numerous other films have centered around the idea; “Obvious Child,” “Saint Frances,” “Grandma,” “Palindromes,” “Polyester,” “Citizen Ruth,” and films like “Fast Times at Ridgemont High,” “Dirty Dancing,” and  “Alfie” have abortion come up within their plots.

In 2020 though, its extremely easy to see “Unpregnant” receive a whole heaping of comparisons to “Never Rarely Sometimes Always.” The plots are almost exactly the same, save for some differing locations and a clearly different tone. But, instead of comparing “Unpregnant” to that serious dramatic affair, its more aptly compared to 2018’s “Booksmart” in its tone, comedy, and winning cast.

The two leads, Haley Lu Richardson (“Support the Girls,” “Edge of Seventeen”) and Barbie Ferreira (“Euphoria”) have a perfect chemistry that flourishes as the plot requires. Their friendship never feels fake or forced, and the two play wonderfully off each other. While they are the two main roles, the supporting cast that pops up throughout their journey are virtually all scene-stealers, even if those scenes only last for a few minutes.

Breckin Meyer (“Clueless,” “Robot Chicken”) is an absolute scene-stealer as Mark, an overly devoted and antagonistic Christian father, Sugar Lyn Beard (“For a Good Time, Call…,” “Mike and Dave Need Wedding Dates”) is twitchingly creepy as his wife, Australian pop star Betty Who appears for mere moments as a wonderfully charismatic stock car driver, and Denny Love (“Looking for Alaska,” “Empire”) as a momentary kind face who helps the girls escape from the cops.

The two supporting characters who get the most screen time are Alex MacNicoll (“13 Reasons Why,” “Transparent”) as Kevin, the clueless but well-meaning boyfriend of Richardson’s character and Giancarlo Esposito (“Breaking Bad,” “The Boys”) as Bob, a limo driver. MacNicoll rides the line between well intentioned and complete idiot perfectly, until he implodes in the third act. It’s a testament to Esposito’s talent that, despite not saying much, he leaves his bizarre mark on the film and transforms into one of its most memorable characters.

If there’s anything that will draw debate as more people see the film, it’s the use of humor within the subject material. Writer/Director and Funny or Die alumni Rachel Lee Goldenberg (“A Deadly Adoption,” “Valley Girl”) and the rest of her writers Ted Caplan (“Love Sonia”), Jenni Hendriks (“How I Met Your Mother”), Jennifer Kaytin Robinson (“Someone Great”), and Bill Parker (“Billy on the Street”), adapting from Caplan and Hendricks novel, make the smart decision of forgoing any and all jokes about abortion within the film.

Despite the premise, there’s never any “dead baby” jokes or things of that nature. There is an extended and elaborate sequence that makes fun of the far extreme pro-life activists in a way that virtually borders on parody. It’s a highlight of the film thanks to its ridiculous and goofy nature, but often times the humor gives way to the more emotional conversations the film wants to have.

An initially humorous moment turns somber as Richardson screams her frustrations at the governmental system and the men behind it who’ve forced her to travel 900 miles for an abortion. Her previously mentioned boyfriend turns from a comedic idiot to a sinister force as he reveals his true colors as the film progresses. It’s a great example of using the disarming aspects of comedy to peel back and reveal some real-world frustrations.

Unfortunately, it isn’t all great. The film’s biggest flaw is, for as entertaining as its sideshow characters are, it’s a pretty routine road trip comedy, complete with the same emotional beats between the two main friends seen numerous times before. It does lead to a feeling of sameness that sets in by about halfway through, but at least it’s an entertaining sameness regardless.

“Unpregnant” may be cliched by road trip comedy standards, but its central premise, cast of characters, two leads, and use of its humor make it a surprise delight of a film. It clearly isn’t the most serious take on its topic, but there’s still a surprising amount going on underneath the candy-colored and pop music sheen. 4/5

Mulan (2020) - Review

 

It’s hard to believe that anyone out there expects the live action Disney remakes to surpass their original films. So far only one has managed to do that, 2016’s “Pete’s Dragon”, and that’s really only because the film it was based on wasn’t that great to begin with. So, how does one judge one of these remakes if not by their original source material?

Well, its actually quite simple: do the remakes try to set themselves apart from the originals? Are they like “Aladdin” or “The Lion King” where they are so obsessed with the original films that it ends up being to their detriment, or are they like “Maleficent” or “Christopher Robin”, where they take characters and worlds and turn them on their head in new ways? In the case of “Mulan”, the answer is a bit of both.

This new film is more so a new adaptation of the legend of Mulan, rather than a straight remake of the 1998 animated classic. It brings more eastern influences to the story and locations, as well as concepts of chi and witchcraft. While the overarching narrative remains the same, these smaller changes help to differentiate it from the 1998 film in nice ways.

Quite simple there are plenty of times where it doesn’t feel like a Western film. The editing is easily comparable to Chinese martial arts and wars films, with quick cuts and sword fights that happen at superhuman speeds. While they might seem a bit odd, the film fully embraces these moments, peppering them throughout the film. The discussions of honor, chi, and a woman’s place come off cheesier than the editing, mainly because they’re mentioned so frequently. It is inherent to the story, and of course a 2020 remake would double down on these themes, but it nevertheless feels like it’s just a bit too much.

Those aforementioned action moments are sweeping and epic though. Swords clash and arrows fly with wild abandon, and the excellent cinematography creates battles of great scale and action. Numerous moments that play with smoke, snow, fog, fire, and other elements billow forth to create a wonderous sense of depth and creativity on the battlefield. These fights are also great highlights for the sweeping landscapes. A 200-million-dollar budget can buy a lot of shooting time in real locations, and its used to great effect here.

Director Niki Caro’s (“The Zookeeper’s Wife,” “McFarland, USA”) decision to excise some of the more-Disneyfied elements of the original film might be the subject of debate for years to come, but in the film they work well. The inclusion of certain lyrics in regular dialogue might cause some eye rolls, but they’re nevertheless effective, and the instrumental reinterpretations of some of the songs that play underneath some important moments are stirring.

It is one of those films that does take a bit to get going. The first 10-ish minutes aren’t the films strongest, but it is important exposition for the rest of the film. This is also an odd case that every single member of the cast is good, without anyone really standing out as excellent enough to mention on their own. Yifei Liu (“Outcast,” “Hanson and the Beast”) is great as Mulan, balancing her internal struggle with her external force. Donnie Yen (“Ip Man,” “Rogue One: A Star Wars Story”) is also good as Commander Tung, the commander of Mulan’s regiment. Yoson An (“The Luminaries,” “Mortal Engines”) as Chen, the soldier who befriends Mulan, is also good without really standing out.

The few cast members worth mentioning in particular are Jason Scott Lee (“Lilo and Stitch,” “Seventh Son”) as the scenery chewing villain Bori Khan, who’s performance isn’t so much good as it is overacting in the best way. Gong Li (“Raise the Red Lantern,” “The Story of Qui Ju”) as the witch Xian Lang provides the most depth in the film outside of Mulan, and the scenes the two share together are rich with tension and chemistry. Jet Li (“Kiss of the Dragon,” “Hero”) seems miscast as the Emperor, lathered in old age makeup and seeming as though he’s putting on an “old man” voice for the while film. He isn’t in it that much, so it isn’t a huge issue, but it is an odd choice.

Thankfully, the new “Mulan” manages to be in a rare class of live-action Disney films that differentiates itself from its original film rather than trying to simply replicate it. There are some hokier moments and some editing and shooting choices won’t be for everyone, but its hard to deny that the film simply works on a fundamental and earnest level that few other live-action Disney films do. It’s not perfection, but its quite the adventure. 3.5/5

Tenet - Review

 

Christopher Nolan is a director near impossible to review. Not because his films are unworthy of your time or they are bulletproof to criticism. Most, if not all, are based around such tightrope acts of delirious plotting and high concept action. He makes the thinking man’s blockbuster, and with “Tenet” he’s created, for better or worse, his most cerebral and ambitious project yet.

John David Washington (“BlacKkKlansman,” “Ballers”) stars as The Protagonist, the lead character who goes without a name for the entire film. He’s cool and collected, giving off the same gravitas that one might expect from a James Bond type spy, yet he’s also not afraid to express when he (often) has no idea what is happening, allowing the audience a small semblance of solitude as, if he doesn’t know what’s happening, neither do they.

Robert Pattinson (“Twilight,” “The Lighthouse”) is his handler, Neil, and the pair have great chemistry as they loop through the events of the film, shutting themselves off from quips when it comes time to get work done and allowing an easy rapport to evolve off the clock. Elizabeth Debicki (“Widows (2018),” “The Night Manager”) is also great as Kat, an art appraiser and abused wife of Kenneth Branagh’s (“Dunkirk,” “Hamlet (1996)”) antagonist Sator.

Debicki’s performance is the most uneven, mostly due to the whiplash her character goes through. She’s without a doubt the character who knows the least of what’s going on, and it shows in her performance, for better or worse. Branagh, meanwhile, is chewing up the scenery with a thick faux Russian accent and long philosophical monologues throughout the film. He’s certainly doing a lot of acting here.

From a technical standpoint, “Tenet” is an absolute beast to behold. Like his previous films, Nolan is a stickler for using as little CGI as possible. That would normally make scenes like a Boeing 747 crashing into an airport free point thrilling enough but knowing that this and numerous other sequences were filmed multiple times, syncing everything up to get the flow of time mechanic of the film just right is mindboggling.

It’s a film full of technical wizardry. Smoke is sucked back into the ground as people fire guns normally. Even just a simple moment where the Protagonist steps into a puddle, only to have it splash in reverse as he moves forward is incredible. The music is also exceptional. Composer Ludwig Göransson (“Black Panther,” “Creed”) continues his meteoric rise to the top of every filmmaker’s most wanted list and delivers a stirring score in both the calmest and most pulse pounding sequences.

From a technical standpoint, “Tenet” is immaculate. However, its in the plot that things get far stickier. No plot information will be given outside of what little is detailed in the film’s trailers but suffice it to say this is Nolan’s most ambitious film narrative yet. It’s the kind of movie that you might understand when its over, but if you were asked to explain it, it would be nye impossible.

This means it lacks the sort of easy explanations of films like “Inception” or “Interstellar.” Not only that, but both of those films were also easily digestible to audiences because their concepts were doled out much more slowly as the film went on. They didn’t differ in density, merely were explained more slowly. “Tenet” doesn’t hold your hand at all, even in the sound mixing department, merely throwing you headfirst into its action and saying, “try to keep up.”

For some, this will work. If you’re into the kind of films where you throw your hands up and succumb to the experience, “Tenet” will be thrilling. By the end it does make sense, in its own way, and yet there are still massive gaps in the plot that don’t so much feel like a director inviting the audience to piece it together, but more a director saying, “If you don’t get it, I can’t help.”

It’s an auteur blockbuster film if there ever was such a thing. It’s a film that is so clearly one man’s vision, with no compromises. Even if you don’t understand what’s happening, its impossible not to get swept up in the action as it unfolds, as its truly like nothing else that has come before in cinema.

Yes, it has more than its fair share of “holy shit” moments of realization, but its also the kind of film that reminds what’s possible with the medium of film. Love it or hate it, a movie like this could only exist now, with today’s technology and today’s movie audiences.

In its own special way, “Tenet” is a fabulous reminder of the magic of the movies; when a creator is given free reign to do whatever they want, money and logic be damned. It helps that Nolan has some great actors and technical merits to back up his most bonkers story yet, and whether or not you like it, its inarguable that you won’t forget “Tenet.” 4/5

I'm thinking of ending things - Review

 

Charlie Kaufman’s (“Being John Malkovich,” “Eternal Sunshine of the Spotless Mind”) movies have never ever been for the faint of heart. While there are some that are more mainstream and easily digestible, like “Eternal Sunshine of the Spotless Mind” and “Anomalisa,” there are also films like “Synecdoche, New York” that are beloved by film fans and virtually impossible to be enjoyed by the average cinema goer.

“i’m thinking of ending things” is the latest from Kaufman, adapted from the novel of the same name by Iain Reid. To classify the film’s genre is actually more straight forward than his past films, as this one veers far more into psychological thriller or even horror territory than his past works. Even at his most depressing in “Synecdoche” or “Anomalisa,” Kaufman blends his works with a wry sense of black humor that are unmistakable when compared to his contemporaries.

His directing style here is minimalist, almost like he’s mixing Wes Anderson’s static shots and lateral movements with David Cronenberg’s sense of dread and darkness. It makes for a purposefully uncomfortable viewing experience that feels more like you’re being dragged along for the ride, rather than experiencing it alongside the characters.

Those characters are all extremely fascinating in ways that are impossible to parse while the film is happening, but thanks to some incredible performances, not once can you tear yourself away from them. Jesse Plemons (“Other People,” “Friday Night Lights”) is the only named character, Jake, a young man taking his girlfriend to visit his parents for the first time. His performance teeters on neurotic and self-aggrandizing but is an absolute powerhouse throughout the entire film. Jessie Buckley (“Chernobyl,” “Wild Rose”) is Jake’s girlfriend, and delivers a triumphant performance that makes her an easy frontrunner for an Oscar.

Toni Collette (“Muriel’s Wedding,” “Hereditary”), as Jake’s mother, continues to mine her newly minted middle-aged scream queen status by turning in a truly bizarre role that is equal parts endearing and absolutely unnerving. David Thewlis (“Anomalisa,” “Harry Potter and the Prisoner of Azkaban”), as Jake’s father, is a slow and quiet counterpart to Collette, but is nevertheless fascinating to watch. Guy Boyd (“The Young Pope,” “The Loudest Voice”) plays a janitor that seemingly doesn’t do much of anything and yet does everything by the end.

There’s almost no way to review this film. You can easily talk about the physical makeup of its construction; how it looks, sounds, how the actors are, how the dialogue is, but at the end of the day all of that is thrown out the window if the final product somehow doesn’t coalesce into one finished piece. “ending things” somehow does and doesn’t.

It’s the perfect masterpiece of a singular vision, one that begs to be discussed for weeks after the first viewing is over with. Kaufman’s master control over the pace and tension of the film means that nary a moment goes where he doesn’t have a firm grip on the audience’s attention. Yet, numerous moments throughout the film cause nothing but a “What the fuck?” reaction. Nothing is explained, yet everything is fascinating.

So where does it lie in terms of quality? How can a critic judge a work like this? Everything is expertly constructed, placed in each scene verbally and physically with the precision of a surgeon. Is the point of it to create discussion? Is it purposefully confusing or just meant to be open to interpretation?

This is without a doubt one of Kaufman’s most intense and enveloping films. It’ll be discussed for months, and it’ll never really leave the viewers head. Some aspect will still be there, be it the performances, the music, the cinematography, or any number of the philosophical ideas and time paradoxes it presents. It is a boldly original work that defies the “one and done” viewing attributed to disposable cinema, and even the “I’ll see it in theatres twice” suggestion purported by critical darlings or Oscar bait pieces.

But still. How do you judge a work without knowing what the work is?

The best answer I can give is, you don’t.

Bill & Ted Face the Music - Review

 

What has always set Bill S. Preston and Theodore Logan apart, and made their films easy to return to, is the sense of kindness seen throughout. At no point do Bill or Ted become the butt of the joke thanks to their lackadaisical spaced-out lingo or attitudes. They didn’t resort to attacking or punching down at their teachers in “Excellent Adventure,” and they even befriended Death himself in “Bogus Journey.” It’s worth bringing up because their third and possibly final adventure, “Bill & Ted Face the Music,” is not only an extremely wholesome adventure, but a textbook example of comedy through kindness.

Alex Winter (“The Lost Boys,” “Freaked”) and Keanu Reeves (“The Matrix,” “John Wick”) slide gracefully back into their old shoes as Bill and Ted. The pairs friendship is electric, and the chemistry is as good as it’s ever been. They’re the lifeblood of the film, and, like the last two, their infectious love for each other and general optimism and kindness towards the world at large is infectious.

Bill and Ted’s daughters, Theodora (Thea) and Wilhelmina (Billie), are played by Samara Weaving (“Ready or Not,” “The Babysitter”) and Jack Haven (“Atypical,” “Bombshell”), respectively. They easily match their father’s chemistry and are just as delightful to watch as Bill and Ted Sr. Weaving is definitely more toned down between the two of them, and Haven absolutely runs away with every scene they’re in. It’s as if the actor has taken classes entirely on imitating Reeves, but puts a fun, hyperenergetic spin on the performance that prevents it from turning into a mere caricature.

While there are plenty of other support actors here, such as Kristen Schaal (“The Last Man on Earth,” “Gravity Falls”) as Rufus’s daughter Kelly, Anthony Carrigan (“Gotham,” “Barry”) as murderous cyborg Dennis Caleb McCoy, and the glorious return of William Sadler (“Die Hard 2,” “Deep Space Nine”) as Death, none have as much time devoted to them as Bill and Ted Jr./Sr. It leaves them less as characters and more as just vehicles for fun moments and jokes.

Unfortunately, the same goes for Bill and Ted’s princess wives, now played by Erinn Hayes (“It’s a Disaster,” “They Came Together”) and Jayma Mays (“American Made,” “Glee”). There seems to be a plot running in the background that takes them on their own wild adventure that the movie just doesn’t seem too concerned with, reducing them to just popping up on occasion for comedic moments.

There is a weirdly complicated plot going on in “Face the Music,” in a good way. Throughout the film, numerous characters crisscross through time with wild abandon, and it perfectly captures the spirit of the original film. Sure, it’s silly and lighthearted, it has its share of groaners and goofy moments, some spots of plot convenience, and low budget CGI and green screen, but it all feels so endearing.

None of these moments feel sour, because they all feel authentic to the characters and their adventure. It’s a bizarre comparison, but Face the Music often feels like a theatrically released fan film, as it is a perfect recapturing of what made these characters so lovable in the first place. Its hard to fault a movie like this for some poor CGI, given that its clear the choice was made to do that rather than sacrifice some other more important aspect of the film.

That being said, this is still a movie about time traveling slacker 80’s dudes, so even if it’s the best movie it could possibly be, it’ll only be so good. But that’s the incredible thing, more important than the plot or effects, the fact that the characters of Bill and Ted are so perfectly nailed here is the true triumph.

Director Dean Parisot (“Galaxy Quest,” “Monk”) and screenwriters Ed Solomon (“Bill and Ted’s Excellent Adventure,” “Men in Black”) and Chris Matheson (“Bill and Ted’s Excellent Adventure,” “A Goofy Movie”) know exactly where the appeal of these characters lies, and they mine those moments for all their worth. By progressively digging into what could be the worst future for everyone involved, they’ve created a parable for active kindness and living in the now.

It feels so easy nowadays to make a comedy that revolves around one or more people having the piss taken out of them. “Dumb and Dumber” might be funny, but the leads are always being laughed at, never laughed with. That’s where the true success of “Face the Music” lies, it’s a kind film, to its characters, its audience, and it aspires to just make people happy.

The fact that “Bill and Ted Face the Music” is without a doubt the most wholesome film of the year is no small feat. Sure, it’s easy to get hung up on the clear lack of budget in some effects, and the overall cheesiness of the whole affair. But never before has the original spirit of a property or characters been so expertly recreated. It may have been quite a few decades, but Bill and Ted are just as excellent as ever. 4/5

MAJOR EMOTION PICTURES Episode 3: A Knight's Tale

This is Major Emotion Pictures, a discussion show where I sit down with my fellow film loving friends and discuss movies that mean a lot to them, for better or worse. In episode 3, we'll be discussing A Knight's Tale, the 2001 adventure medieval comedy film with my guest, Clint Wright, aka Dr. Awesome.

Boys State - Review

 

Somewhere around 20 minutes into the A24 and Apple TV+ documentary “Boys State,” one of the young men running for chairman of his party says to a crowd of other young men “I believe our society is stronger when everybody is disciplined, yet dangerous. Our masculinity shall not be infringed.” A few moments later, another young man says “I am going to use this devotion to see change for this year’s Nationalists and to pressure the Federalists into a state of absolute submission!”

It’s a harrowing statement and one that encapsulates the entirety of not only this American institution but also the viewpoint of the film. “Boys State” is a documentary that is as detached from its subjects as possible. At no point do the directors step in, do we hear them speak directly to the subjects, or do we even see any filmmakers or camera people. These boys are, for better or worse, doing exactly what they want to do in this situation with cameras rolling all around them.

For those unaware, since 1937, every state in the U.S.A. has held an American Legion Boys State and American Legion Auxiliary Girls State conference where high school juniors come and participate in a mock election process. They’re split into two parties, elect party heads, have a television station, reporters, debates, all in an effort to allow those youths who are interested in the political process to participate in a facsimile of it.

This particular documentary is set at the Texas Boys State convention, and it certainly show in the participates. While there are a large variety of youth there, a majority of them seem to be conservative, and it leaves the film feeling a bit lopsided as a result. Like the two quoted at the top, most of these boys result to screaming their points and opinions at each other. Thankfully, these traits eventually subside as the filmmakers eventually narrow the focus down to four specific people.

Shot back in 2018, there are plenty of guerrilla tactics taken in the filming that make it feel as though you’re a fly on the wall as opposed to an active participant. Like previously stated, the filmmakers don’t insert themselves into the proceedings, and it creates a more clinical and cut and dry film.

Its difficult to talk about this film without delving into politics, but that’s really where its strongest aspects are. Regardless of party affiliation, or lack thereof, there’s something weirdly dystopian about this entire practice. Whereas the politicians that most of these young men likely idolize stand on stage and speak slowly and calmly, these men scream and shout, rallying the crowd like a high school election or frat meeting.

To hear words like “bipartisanship” be thrown out and followed by a whoop of applause like a football game was just won is a weird sensation and it is utterly intoxicating. These are some of the people who will likely lead the future U.S. government in some way, and to watch the fat be trimmed and the real leaders emerge is a great experience.

Early on in the film, one of these so-called screaming frat boy styled men, Robert, says that, despite his outward appearance, he is mostly progressive and is pro-choice, directly going against the appearance he put on previously to the crowd of his party. “This is a game I would like very much to win. My stance on abortion would not line up well with the guys out there at all, so I chose to pick a new stance. That’s politics… I think.”

With testosterone fueled antics like pushup contests on stage before a debate starts, “Boys State” feels as close to a nature documentary on Lord of the Flies as one could possibly get. One of the party leaders, Ben, states “A message of unity, as good as it sounds, is not winning anyone any elections,” and yet the most calming and uplifting moment in the film is a small scene showing how the mock House of Representatives is getting along far better and doing more “good” than the mock election boys.

It’s hard to tell if “Boys State” has a message or ethos. It seeks to paint with large broad strokes, to provide a window into a world that not even all Americans are aware of. It’s an enthralling piece of documentary filmmaking at its purest form, detached and simplistic. Some may want more specific attention on certain aspects of the subject, but one thing is certain. This is an excellent film that, similar to Robert, might not be what it appears to be on the outside. Despite an appearance of gung-ho pro-politician attitude, it does end on the harrowing line “I don’t hate the man. Never will, I think he’s a fantastic politician. But I don’t think a fantastic politician is a compliment either.” 4/5

An American Pickle - Review

 

Seth Rogen (“Freaks and Geeks,” “Pineapple Express”) is no stranger to creating a bizarre mix of raunch and heart that really shouldn’t work. Films like “Pineapple Express” and “Superbad” layer their tales of friendship and love underneath the guise of weed and bad behavior, and other films like “The Disaster Artist,” “The Night Before,” and “50/50” are more upfront with their emotional stakes.

So, it should come as no surprise then that An American Pickle is his most “emotional” film yet. But what exactly does that mean, and does that equal a good film?

Rogen has double billing here, both as Herschel Greenbaum, the early 1900’s immigrant who ends up pickled, and his great grandson Ben Greenbaum. While there is the typical Seth Rogen shtick here, with pop culture and jewish gags, there’s something different about Rogen’s performance. Neither role is identical in any respect, despite the visual similarities, and neither person is innocent either.

There’s actual character development and growth as the story progresses, and it allows Rogen to stretch his legs arguably more than ever before. The supporting cast is also good, but no one here has nearly enough screen time to mention, save for Sarah Snook (“Succession,” “Steve Jobs”) as Herschel’s wife, Sarah Greenbaum. She’s sweet and delivers her deadpan lines well.

Simon Rich (“Man Seeking Woman,” “Saturday Night Live”) wrote the screenplay, which was based on his short story “Sell Out,” and for anyone familiar with his previous works, “Pickle” isn’t nearly as sweet, nor as sour, as it could’ve been. Where Rich’s most successful works brilliantly blended the bizarreness of modern life with an overblown sense of fantastical elements, “Pickle” is far lower key than previous outings. It doesn’t mean the dialogue is any less snappy or the emotional arcs any less crunchy, its just a bit more pedestrian than its writer and premise might have suggested.

Each machination on religion, one’s purpose in life, and the nature of family still ring true, and Rogen’s eager delivery sells it all. Herschel is easy to care about and it’s easy to be angry or apathetic towards Ben, but Rich is never content with letting those surface glances be the only ones we get, even as the movie gets bogged down in some “look at the old guy experience the modern world” clichés.

Cinematographer turned Director Brandon Troust (“This is the End,” “The Interview”) certainly has created a bizarre world here to play in. The way everything is shot gives the appearance of a stage play, as if the backdrops are merely made of cardboard. While it isn’t as evident in the modern-day sections of the film, it’s the 1900’s chunk that really shines with a slimy sheen of beauty that is definitely distinct.

Make no mistake, as good as the dialogue, the vibe of the film, and Rogen’s performance is (and his performance is very good) the entire film lacks that something special to make it a must-see affair. That might be odd, saying a movie about a man who’s been pickled for 100 years lacks something special, but it is indeed the case.

It’s far from terrible and fits snuggly in Rogen’s filmography alongside his other weird and heartfelt films, but it just doesn’t come together as smoothly as one might hope. It’s still got a delicious crunch to it that should please Rogen and oddball movie fans alike. 3.5/5

MAJOR EMOTION PICTURES Episode 2: The Big Green

This is Major Emotion Pictures, a discussion show where I sit down with my fellow film loving friends and discuss movies that mean a lot to them, for better or worse. In episode 2, we'll be discussing The Big Green, a 1995 Sports Comedy film from Disney, with my guest Jordan Stroud.