‘Get Him to The Greek’ Allows Us to Forget about Sarah Marshall

Get Him to the Greek movie poster

We have sequels and franchise reboots or remakes up the wazoo this summer, but it feels like it has been forever since we had a movie spin-off. I know there are tons of them on television these days, but TV spinoffs seem to be a necessity, especially with shows like “Law & Order” and “CSI.” We’re gonna have “Law & Order: Los Angeles” in the fall, proving the cancellation of the original “Law & Order” never ended anything. Personally, I’m waiting for “Law & Order: Barstow” and “CSI: Chico.” Now those would be the ones to really shake things up!

In fact, the last time we had a movie spin-off was “US Marshalls” which took Tommy Lee Jones’ character of Sam Gerard from “The Fugitive” and gave him his own movie. Looking back, it was more of a remake of “The Fugitive” than anything else.

Now we have “Get Him To The Greek” which takes Russell Brand’s character of spaced out rock star Aldous Snow from “Forgetting Sarah Marshall” and has him starring in his own movie movie. Give Hollywood some credit here for being a little more creative than usual. By making a movie based on a supporting character from another, they show an air of confidence they usually only pretend to have.

Whereas Aldous was drug free in “Forgetting Sarah Marshall,” he is shown to haven fallen off the wagon big time in this one as we watch him suffering the after effects of a horrible song he wrote and recorded called “African Child.” The song was declared to be the worst song of the decade, and it places second to apartheid as the worst thing to happen to Africa. The love of his life, Jackie Q (Rose Byrne from “28 Weeks Later”), ends up leaving him along with their son Naples, and he proceeds to go on one drinking/drug binge after another as his life goes from worst to intolerable. Then he hits rock bottom, but this doesn’t stop his spiral any.

Several years later, a record company intern named Aaron Green (Jonah Hill) brings up at a meeting how it is coming up on the 10 year anniversary of when Aldous performed a concert at the Greek Theater, one which resulted in one of the best-selling live albums of all time. After Aldous confirmed with Aaron’s boss, Sergio (Sean Combs), that he will do a new show to celebrate this occasion, Sergio sends him out to England to fetch Aldous and to make sure he makes it to the concert on time.

Judd Apatow is of course behind this one as a producer, and the setup reminded me a lot of his movie “Funny People.” Big fan meets his celebrity idol, discovers being where the celebrity is can be the loneliest place of all, and they somehow connect at the end in a way they never thought possible. But this one is just a flat out comedy and has none of the dramatic edge of “Funny People.” Its humor is vulgar and crude, but like all good Apatow productions, it also has a heart.

Like “Knocked Up,” “Get Him To The Greek” exists in the entertainment world. Hearing Aaron talk about how a new concert will spur large revenue for the record company, allowing them to re-release Snow’s back catalog in new remastered editions with bonus material struck a cord with me. I always fall for this stuff myself; remastered CD’s which make you actually feel like you’re in the room with the band as they jam together. I have been an addict of these remastered editions ever since I bought the one for Eric Clapton’s “Behind the Sun.”

This is not to mention all the cameos from artists like Pink and television personalities including Meredith Vieira from the “Today” show. You even have Mario Lopez and Kurt Loder poking fun at their public perception, something they probably would not have done ten years ago. “Get Him To The Greek” does not take place in some fairy tale world where everything ends up all nice and tidy. The laughs end up stinging much more here because they remind us of all those celebrity controversies the media thrusts at us every single day.

Russell Brand’s own drug addled past has been chronicled for some time now, so part of the fascination with watching him here is figuring out where he ends and Aldous Snow begins. Regardless of how out there he may seem in the media, there is something about his personality that makes us watch his every move. Not once does he do anything to hide his character’s hedonistic ways, and he scores one solid laugh after another. I’m not sure what to say about him as an actor because I haven’t really seen him in anything else, but watching him again as this character was indeed worthwhile.

Jonah Hill also was in “Forgetting Sarah Marshall” as a waiter, but here he plays an entirely different character. From “Superbad” to “Funny People,” he’s been basically playing the same kind of role over and over again. Here, he plays his most grown up character to date. As Aaron Green, he also gets to lose his trademark hairdo which makes him look like Little Orphan Annie. Clearly, his high school days are behind him, and he has us laughing at the most insane and compromising positions his character keeps stumbling into. Hill even has a great “Pulp Fiction” kind of moment, but I leave it to you to discover it for yourself.

But while Brand stole every other scene in “Forgetting Sarah Marshall,” he has this movie stolen from him by Sean Combs. That’s right, Puff Diddy is in this movie as record company executive Sergio Roma, and it allows him to parody his own image as a hip hop entrepreneur. What I loved about his performance is you never get the feeling he was trying to be funny. The more serious he gets, the more gut-bustlingly hilarious he becomes, and no one sells the term “mindfuck” the way he does here. It’s easy to fall into the trap of playing for laughs instead of playing the scene, but Combs never falls victim to it here.

You also have some nice supporting performances from actors like Colm Meaney, the “Star Trek” journeyman actor who plays Aldous’ father Jonathan, and he makes this man anything but a father figure. Having used his drug addicted son for his own gain, it is very surprising these two actually bother to be in the same room together. Rose Byrne also has some great moments as the love of Aldous’ life, Jackie Q, and her own music is ridiculously controversial in its own terms.

“Get Him to The Greek” was written and directed by Nicholas Stoller who also helmed “Forgetting Sarah Marshall.” Stoller does good work here, but he does let the pace drag towards the end to where there are lulls where you are waiting for the next big explosion of laughter. All the same, comedy is hard work, so you have to give him credit for the loud laughs he does get out of us.

Is this as good as “Forgetting Sarah Marshall”? Not quite. In fact, “MacGruber” was a funnier movie in retrospect, regardless of its audience not showing up when it was released. The plot itself is no different from a lot of road trip comedies, and you could compare this one a bit to John Hughes’ “Planes, Trains & Automobiles” when you think about it. Still, I had a lot of fun with it, and it is easily more fun than a “Geoffrey.” Trust me; just see the movie and then you will know what I am talking about. I’m sick of giving away the best parts of movies anyway.

* * * out of * * * *

‘Captain Underpants: The First Epic Movie’ is Wonderfully Entertaining

Captain Underpants movie poster

Sooner or later, we were bound to have a superhero, animated or live action, wearing just underwear. The main characters of “Captain Underpants: The First Epic Movie” tell the audience how superheroes typically look like they are in their pajamas, so they have created one who is wearing little to nothing. Most of the time, superheroes are wearing things we would never wear to the office, and there are others who look like they are barely dressed as it is. With Captain Underpants, we now have a heroic character who wears underwear as well as a cape, and he shows no shame in his appearance. Why should he anyway? He’s a superhero, and one look at him will confirm whether he prefers boxers or briefs.

“Captain Underpants” is a series of children’s novels written by Dav Pilkey who channeled his class clown behavior and learning disabilities into them, and now it has been adapted to the big screen by Dreamworks Animation. I had no idea what to expect from this “First Epic Movie” as I am unfamiliar with these books, but I am delighted to say the filmmakers have created an animated film which appeals to both kids and adults. While kids can revel in the adventures these characters have, the adults will get a kick out of the subversive comic elements which remind us of the problems we Americans experience with our malfunctioning education system. Just keep in mind, a lot of these problems began occurring before Betsy DeVos became Secretary of Education.

Anyway, we are quickly introduced to the main characters, George Beard (Kevin Hart) and Harold Hutchins (Thomas Middleditch), a pair of fourth-graders and best friends who revel in entertaining their classmates with pranks and creating comic books in their treehouse which they have branded as the headquarters for their company, Treehouse Comix Inc. Their friendship, however, is threatened by the evil Mr. Krupp (Ed Helms), the elementary school principal. After one prank too many, Mr. Krupp, decides to tear them apart by putting them into separate classrooms. But our young heroes quickly turn the tables by hypnotizing him with a 3D Hypno Ring they got out of a cereal box, and this allows them to turn Mr. Krupp into their most popular comic book creation, Captain Underpants.

I loved how this movie touches on a child’s view of elementary school to where I was reminded of the years I spent there. The thought of being in a separate classroom from your best friend was a real fear as recess time never seemed long enough to hang out together. And yes, school did seem like a prison at times where the teachers, the bad ones anyway, look determined to suck the fun out of anything and everything while making us learn facts and dates, some of which will escape our minds in the distant future. Heck, the teachers need textbooks to be reminded of these same things.

But moreover, “Captain Underpants” reminds us of how powerful our imaginations were at that age. We had such vivid fantasy worlds playing in our heads, and we went to places and experienced adventures where we were always the hero. Seeing George and Harold bring these adventures to life in comic books should make you remember when your imaginary worlds were infinite in what they promised. While the forces of schoolwork and conformity loom large in their lives, and they will loom even larger as they get older, we root for these two kids to persevere as we are reminded of how children need time to play and create. I feels like, in this day and age, the fun of childhood has given way to preparing kids for those damned SATs even before they graduate from pre-school.

Okay, maybe I’m making “Captain Underpants: The First Epic Movie” sound more serious than it has any right to be. In the end, this movie is all about fun as George and Harold try their best to keep their hypnotized principal in check even as his alter-ego of the Captain keeps him bouncing all over the place as he attempts to save those who don’t necessarily need saving. Seeing these two kids switch Mr. Krupp into Captain Underpants and vice versa makes for one of this movie’s funniest moments.

Of course, there proves to be an even bigger threat than Mr. Krupp here as the movie’s main villain, Professor Poopypants (Nick Kroll), comes to the elementary school as the new science teacher. His plan? To eradicate laughter from the planet as he has long become impatient with everybody not taking him seriously. Then again, how can anyone be taken seriously with a name like Poopypants? Just wait until you hear his full name.

Directed David Soren (“Turbo”) and screenwriter Nicholas Stoller (“Forgetting Sarah Marshall”) have given us a tale of good versus evil which is largely predictable, but they keep throwing left turns at us which keeps this movie feeling less so even when the climax is never in doubt. Not all the jokes work, but there are some which are priceless, and Professor Poppypants statement on the state of education is dead on. And yes, there are some fart jokes, but the ones here are far more creative than any which begged for your laughter in the abysmal “Diary of a Wimpy Kid: The Long Haul.

Both Hart and Middleditch have loads of playing the two fourth graders, and they remind you of the benefits of doing voiceovers in animated movies: you can get away with playing children even when you’re in your 30’s! As for Helms, you can always count on him to make a superhero sound so confident even as said superhero has yet to learn of his limits, of which there are many. Kroll has fun playing around with supervillain clichés as Professor Poopypants as he exploits the bad guy conventions which come with crazy hair and an all too thick accent. Jordan Peele, riding high on the success of “Get Out,” has a blast voicing the tattle tale we all love to hate, Melvin Sneedly. Kristen Schaal also co-stars as Edith, the school lunch lady whose shyness and closeted affections for Mr. Krupp she makes all the more palpable.

“Captain Underpants: The First Epic Movie” may not go down as an animated classic, and its animation does pale in comparison to what Pixar typically comes up with, but it is filled with an abundance of imagination and cleverness which I did not expect to find. The filmmakers clearly have a great affection for the books of Dav Pilkey, and if this is to become Dreamworks’ next big animated franchise, it will be lots of fun to see where it goes from here.

By the way, does it really make sense that Principal Krupp would just turn right into the hero George and Harold created from their imaginations? Oh wait, it’s an animated movie. Who cares?

* * * out of * * * *