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to Section One | to Arts & Entertainment
posted Friday, August,2 2013 - Volume 41 Issue 31
Movie Reviews
Arts & Entertainment
ALL STORIES
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Role reversals - Director Maggie Carey hopes The To Do List will subvert your sexual paradigm
by Sara Michelle Fetters - SGN A&E Writer

THE TO DO LIST
Now showing


Don't let Maggie Carey's laid-back, lackadaisical nature fool you - this woman has tenacity and talent to burn. As the writer/director of the coming-of-age sex comedy The To Do List, it was important to her to infuse her debut motion picture with both smarts and smarm. This chronicling of a high-school valedictorian, Brandy Klark, played with self-effacing easygoing ease by Aubrey Plaza, is female-centric and unafraid to shock and pull at the heartstrings, sometimes both at the same time.

'I really just wanted to deal with losing your virginity from an authentic teenage girl's point of view,' comments the filmmaker, in Seattle to promote her film a good two months before its actual theatrical release. 'That was important to me. It's refreshing to me that the humor comes from a female [perspective]. The movie gets called a female American Pie, which I'm totally OK with. I'd call it a dirty Sixteen Candles, but I do like that idea about a female American Pie because [the movie] is talking about sex in a specific way, which is what teenagers do. When you're not having sex all you do is talk about sex - when you start having sex, you don't really talk about it as much.'

'There's a moment where Brandy is making out with Johnny Simmons' character Cameron on the couch, and she's trying to check 'fingerbang' off her list, so she's encouraging him in a very Type A personality type of girl way and he's fumbling with her clothes but it turns out she's not wearing a skirt - it's a skort. I wouldn't think a male would write that joke but I do think he'd appreciate [it], and that's been a lot of the conversation after people see the movie. My guy friends love that because they've had to fumble with bras, they've encountered weird clothing they don't understand, but the girls love it because something like a skort is just so specific. And that's what I was trying to do. I was trying to be truthful. [I was inspired] by specific things from my life and my experiences as a teenager.'

In the movie, Brandy is a driven young woman who realizes she's three months away from college with no romantic experience whatsoever. More to the point, no sexual experience, and, much like she did with her education she's determined to fix that problem as clinically and as methodically as possible, crafting a sexual to-do list of important and necessary experiences, hopefully culminating in the losing of her virginity by summer's end.

'One thing that happened organically, and it wasn't the intention, was that Brandy was approaching losing her virginity as if she were studying for the SATs,' explains Carey. 'She's very by the book - you do this, this, and this, and that will equal sex. She is a little bit emotionally removed. Her arc, she learns that feelings and emotions are part of sex, but when she's going into it she's just going for that main goal.'

LOVE : IT'S A GUY THING?
'But then, the other character who has a main role in the movie, Cameron, he is very much about that sex is about love and your first time should be [special]. It happened organically that this ended up being in some ways a gender-role reversal between these two, which I think actually gave us a lot to play with in regards to the comedy and that's also where many of the big laughs involving Cameron come from, stuff like that a girl would give him a handjob and then not think they were dating.'

With the cast, especially the three principals, Brandy and her two best friends, Fiona and Wendy, Carey went off the beaten path, not basing her decisions on trying to fit a certain model or mold but instead going with gut instincts as to who would be best for the part. 'Aubrey Plaza, who plays Brandy, Alia Shawkat, who plays Fiona, Sarah Steele, who plays Wendy - I didn't even think about it, but we cast them because we love them, not because they fit a certain look or anything,' she recollects.

'Aubrey, who I worked with on 'The Jeannie Tate Show' and from working with as part of the Upright Citizens Brigade, was on board early on. Alia, it was like, oh my God, I'm such an Arrested Development fan. Sarah had just done Please Give, and she was so good in that, and she just felt so real, and here she just gets so many big laughs in the movie. I was looking at them on the set and I was never thinking, 'Oh, we cast three brown-haired girls,' where had this been a studio-financed movie you'd have had a redhead, a blonde, and a brunette, and that would have been important for someone.'

'But, for me, I wanted the best people for the parts, and I think because this was an indie movie we had the luxury, as well as the difficulty, of casting the movie ourselves and going after the actors who we admired their work and had a personal connection with. We wanted people who would respond to the material.'

TRUE-LIFE EXPERIENCES
A lot of the humor flowed right out of the filmmaker's own experiences growing up and going to school in Boise, Idaho. The more embarrassing the moment or the recollections, the more likely some semblance of those memories would find their way filtered into the script itself.

'When I was in high school, when I was 16 and you went to junior prom, that's when I thought you lost your virginity,' Carey admits candidly. 'Somehow, junior prom rolled around and I was still a virgin. I don't know how I picked that up - maybe it was watching 'Beverly Hills 90210' or reading Sweet Valley High or from John Hughes movies, but whatever it was that was coming from the ether had me convinced this was true, but then suddenly it didn't happen. I wanted to explore that, too, with the movie.'

'I still have my diaries from the '90s. I was very similar to Brandy, very Type A, in accelerated classes, total jock, played a ton of sports. I had a lot going on in my teenage girl life, but my whole diary was boy crazy - it was all about teenage boys. Talking nonstop about them. So that was something else I wanted to explore [with the movie] as well.'

COMEDIC DREAM TEAM
Even though her movie was filled with comedic heavyweights including Clark Gregg, Andy Samberg, Connie Britton, and Christopher Mintz-Plasse (as well as included a scene-stealing central role for husband Bill Hader), Carey never doubted for an instant that Plaza would be able to front the picture. From their time working together at UCB, to their collaboration on 'The Jeannie Tate Show,' to Plaza's roundly applauded work as both a series regular on 'Parks and Recreation' and her deliriously inspired turn in last summer's incredible Safety Not Guaranteed, Carey was positive from the get-go she had her Brandy even though the actress had never played a character quite like this one before.

'The Jeannie Tate Show' is this web series about a soccer mom who does this talk show from her minivan while she's driving errands,' Carey explains. 'So she interviews people like Rashida Jones, Bill Hader, Rob Riggle, and others while she's driving around town and picking her kids up from soccer. Aubrey is her angsty teenage stepdaughter who [Jeannie] hates, and she's continually hilarious coming up with lines and little moments that would continually have us all breaking down in laughter.'

'When you do improv you play like 10 characters in one show, so thanks to the web show and to UCB I knew [Aubrey's] wide range. She does play this kind of dark, sarcastic, angsty person really well, which is somewhat similar to like April on 'Parks and Rec,' but I knew she could do a lot more. It was fun to cast her as someone much different [than that]. Brandy is a very Type A personality. I kept telling her that this person, Brandy Klark, was Aubrey Plaza's version of Tracy Flick from Election. When you see the film, there are just these specific moments where you see this spark of Aubrey coming through that gives [the performance] a specific spin, like the masturbation scene. When you see it and you see what Aubrey decided to do, it's genius.'

SCRIPT VS. IMPROV
But while her praise for Plaza is without end, at the same time Carey didn't want to leave out another actress she felt stole nearly as many scenes in The To Do List as her headliner did. 'I did want to say, Rachel Bilson, she's so funny,' says the filmmaker with a gigantic grin. 'I knew she was talented and funny because I adored her on 'The O.C.,' but I think people are going to be surprised at just how funny she is. She did a lot of improvising with her lines, which was awesome. She was great. It was a wonderful surprise. [Rachel] was perfect for the part as [Brandy's] hot older sister but then to have her elevate that character so much with her own humor and improvising was awesome.'

With a cast filled with so many comedic heavyweights and veteran improvisers, the pressure to let them all have free rein to come up with material on their own was omnipresent. At the same time, as the script was in many ways her baby, born from experiences she herself had while traversing her own high-school coming-of-age minefield, one does wonder if battling the impulse to let her actors improvise or forcing them to stick to the written material weighed on her at all during shooting.

'It did,' Carey admits. 'You don't want to be too precious with your words but you also don't want to become too attached. When you're directing comedy, there are jokes that are going to play on paper but aren't necessarily going to play once you edit them [into the movie]. Then there is the joke that is going to work on-set and the crew is going to laugh but isn't going to work in the final film and you have to cut it out. Then there are the jokes that don't click when you shoot them but bring the house down when they're shown to an audience.'

'I think what you're just hoping for as a director is to try and get options. I want to shoot it all ways. I want to shoot as scripted but if this actor is responding to something on the set or in the moment, something we couldn't predict, I want to shoot that, too. I also like to see the stuff that we get that's unscripted, that's totally improvised. I would tell people, 'We've got the shot, we've got what was on the script, now go for it. If there's something you want to do, something you want to try, now is the time.' In the same moment, the hardest thing you're struggling with on a movie with such a low budget is that time. You need options in editing with comedy but you're also fighting this thing with time where you have producers telling you that you need to move on even though you want to wait because you know it could be funnier. Let us keep trying.'

WIDE RELEASE A SURPRISE
As for the movie, at this point the main pressures are born from the fact that what was once this little independently produced labor of love has now been dropped right into the heart of the summer movie season amidst the big-budget major studio tent-poles. This fact hasn't been lost on Carey, not at all, but overall the filmmaker is doing her best to retain perspective and stay confident in the fact she's made a comedy all involved have every reason to be proud of.

'It's a little intimidating,' she laughs. 'I just kept saying to my husband that I just wanted the movie to be good so I could show my high-school friends - that was very important to me. Then hearing [CBS Films] was going to do a somewhat wide release was a dream come true, but it was also very intimidating. But I think it speaks to the strength of the cast. It's such a fantastic cast, and I felt completely lucky to work with them all.'

'What I like about the movie is that hopefully younger audiences will like it because it is closer to what they are dealing with now. But then, also, I do think people who grew up in the '90s will love it as well because they'll enjoy all the shout-outs to the time period. There's a really good call-waiting joke I think my fellow 1990s [peeps] are going to find particularly funny. I'm happy with the movie and I'm just glad people are going to get the chance to see it and enjoy it for themselves. Hopefully that's just what they'll do.'


Jokey 2 Guns fires its share of blanks
by Sara Michelle Fetters - SGN A&E Writer

2 GUNS

Opens August 2


Robert 'Bobby' Trench (Denzel Washington) is a DEA agent who has been working deep undercover for the past year. He and his nutty, by all accounts clueless partner, Michael 'Stig' Stigman (Mark Wahlberg), have grown increasingly close to Mexican cartel drug lord Papi Greco (Edward James Olmos), even learning the whereabouts of the bank where he hides his U.S.-based funds. Stig comes up with the idea to rob that bank, and even though the plan is crazy it's one Bobby can still get behind, as doing so would cripple Greco (setting him up for potential money laundering and tax evasion charges) while also allowing him to see his Neanderthal partner arrested and behind bars.

The problem? For one thing, Stigman isn't a criminal - he's an undercover Naval investigator tasked with ripping off the cartel kingpin so his funds can be used against him in covert military operations. For another, the money in the nondescript small-town bank isn't Greco's - it belongs instead to the CIA and is under the protection of a psychopathic agent going by the nondescript nom de plume Earl (Bill Paxton). Finally, turns out Stig's boss, Commander Quince (James Marsden), set him up under false pretenses, making him the fall guy for a theft no one was supposed to know about.

BY THE NUMBERS
Based on the Boom! Studios graphic novels by Steven Grant, the buddy action-thriller 2 Guns isn't nearly as convoluted (or, for that matter, interesting) as that description might lead one to initially assume. Bobby and Stig will of course learn of the other's subterfuge and find themselves through circumstance and situation forced to team up as partners, looking to get back the money they stole and figure out how to get themselves out of criminal holes neither man, each a soldier for law and order in his own way, intended to dig. Greco, Earl, and Quince all want the money for themselves, while another DEA agent, nicknamed Deb (Paula Patton), finds herself at the center of all of the bullets, bloodshed, and carnage. It's relatively familiar and not exactly original, everything leading to a Sergio Leone-meets-Walter Hill-meets-Richard Donner conclusion action aficionados will likely have seen coming long before the two antiheroes do.

But wouldn't you know it, thanks to the talents of both Washington and Wahlberg, their odd-couple chemistry bursting right off of the screen, coupled with some inspired villainous supporting turns from Paxton and Olmos, 2 Guns ends up being a heck of a lot more entertaining than it ultimately has any right to be. The banter between Bobby and Stig is consistently funny, the action sequences have the requisite punch required to make them sizzle, and the script by Blake Masters (a former staff writer on both 'Brotherhood' and 'Law & Order: Los Angeles') is a tiny bit more layered and subversive than at first glance it appears. At just under two hours the movie never feels long or padded, and while credibility is thrown out the window right at the start for whatever reason, accepting what is going on and not rolling one's eyes at the stupidity is far easier to do than anticipated.

BETTER THAN CONTRABAND
I don't want to lead anyone to believe the film is actually good, per se. Calling it better than Wahlberg and director Baltasar Kormákur's last flick together, 2012's misbegotten heist thriller Contraband, isn't high praise, the cartoonish nature of all of this sometimes a bit too much to take. More, at a certain point the whole thing becomes so obnoxiously torturous it almost becomes a parody of itself. It's never risible, never annoying, never so insufferable that anything going on grew tiresome, but at the same time it never does much in the opposite direction to cover up its flaws.

Yet Washington and Wahlberg prove to be a terrific team, their crass, four-letter-laced back-and-forths amusing, getting me to chuckle on a number of occasions. Even better are Paxton and Olmos, both having such a grand time overplaying their extremely broad amoral hands I almost couldn't help but smile each time they sauntered into the frame. They're terrific, plain and simple, more often than not stealing the film right out from underneath the superstar leads.

Would I watch 2 Guns again? Maybe, when it shows up on cable and I'm folding laundry, this thin piece of comic book inspired hokum might fit the bill perfectly. As far as recommendations go, I realize that's a pretty nondescript and nominal one, but as much as the movie never annoyed me and I didn't detest spending my time in the theater watching it, that doesn't mean I'm willing to give it a total pass. As good as Washington and Wahlberg are, as great as the supporting players might be, that doesn't make this anything more than a relatively OK trifle. While there's not anything particularly wrong with that, I can't in good conscience urge people to buy a ticket to see it, either.






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Bringing Messiah down to earth - A performance so good, you shouldn't wait for Christmas
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Madonna's first album turns the big 3-0
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Role reversals - Director Maggie Carey hopes The To Do List will subvert your sexual paradigm
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Jokey 2 Guns fires its share of blanks
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No drama here - Fitz and the Tantrums' Noelle Scaggs isn't letting fame get in her way
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