Hitchcock's Great Flawed Films

Alfred Hitchcock is a Cinema God, that is a fact that cannot (or, at least, should not) be disputed. And even though he made about 15-17 masterpieces, he also made some films that were inherently flawed. But, curiously enough, his flawed films are very fascinating to watch and are often cited by little pockets of the film community to be "unsung classics." None of the films featured here could be considered his worst. In my opinion, however, there are several issues which stop each of these 5 films from becoming true cinematic classics.

Under Capricorn (1949)

*Ingrid Bergman, Joseph Cotten and Michael Wilding

Under Capricorn is one of Hitchcock's most unknown films. The Master of Suspense making a costume drama? Capricorn is very Hitchcockian, however; it features a psychologically torturous housekeeper, a murder of passion, the unfulfilled desire to confess and an innocent individual entering a large house full of wild secrets. The film is shot beautifully, with several long takes that go from outside to inside, downstairs to upstairs. But it doesn't seem to have any focus; it switches from one plot to the next. Nor does it explore either of them enough to satisfy. And Ingrid Bergman seems to be the only one in the cast who is able to rise above such problems.

Marnie (1964)

*'Tippi' Hedren, Sean Connery and Diane Baker

If there is a film more polarizing than Marnie, I don't know what it is. Some people call it Hitchcock's worst film ever, some his very best. While it has moments of brilliance, I cannot bring myself to love it. Part of the fault lies with 'Tippi' Hedren who just isn't experienced enough to perform the melodramatic part with the nuance it requires. (To be fair, she gives it her all but it just doesn't pay off). Sean Connery too struggles with finding the right tone for his performance. Other than that, the production design is amateurish, the background music is intrusive and the movie feels about three hours long. The story, however, is interesting and Diane Baker's character (about whom I wrote my final paper in my Hitchcock class) is quite fascinating.

The Wrong Man (1956)

*Henry Ford and Vera Miles

One of Hitchcock's favorite themes is the innocent man accused of a crime. That is basically the entire story of The Wrong Man. Based on a true story, Fonda plays a man who gets picked up by the police for a crime we know he didn't commit (well, the film asks you to just accept his innocence). Because all the evidence and witnesses inexplicably point to him, he is convicted and the rest of the film focuses on the effects of that conviction. The movie is too rushed for its own good; there are some fascinating ideas that I wish had been explored further. On the bright side, Henry Fonda's everyman appeal makes this film quite frightening and Vera Miles gives an astounding performance as an underwritten character.

I Confess (1953)

*Montgomery Clift, Anne Baxter and Karl Malden

When Anne Baxter descends the staircase and falls into a kiss with Montgomery Clift, it is truly a beautiful cinematic moment. The film is full of such sequences, like when the detective (played by Malden) tells the killer (wonderfully named Keller) not to be afraid while he suspiciously looks at Father Logan (Clift). But Anne Baxter is made to look like a foolish idiot and the climax seems rushed and dragged out at the same time. I Confess is a very enjoyable religious drama nonetheless.

Spellbound (1945)

*Ingrid Bergman and Gregory Peck

Ingrid Bergman as a brainy and love-starved psychiatrist? I am so there, it's insane. Watching her romance Gregory Peck (who, I'm not ashamed to say, is a very handsome man) is our reward for all the psychological nonsense the screenplay puts us through during various parts of the film. All the psychiatric blah-blah-blah really distracts from the tender romance between these two gorgeous and talented individuals as well as from Hitchcock's visual style which leaves us, well, spellbound. Despite this flaw, Spellbound is an ultimately compelling film, one that I will probably grow to love the more I see it.

This is my opinion on some of Hitchcock's flawed but still watchable films. All of his movies are worth seeing, despite their flaws. And that is because his directorial expertise is always present even when the other components fail him.

The 15 Greatest Films of All Time (part 3)

And now the final part of my series...

Star Wars Episode IV: A New Hope (1977; George Lucas)

*Mark Hamill, Harrison Ford and Carrie Fisher

"Help me, Obi-Wan Kenobi--you're my only hope..." These words have been parodied quite often in pop culture (even by Carrie Fisher herself in a memorable 30 Rock episode). But, when you hear them in the context of this space opera, they're still quite powerful. And that's the beauty of "Episode IV". No matter how many times you see it, every time is like the first time. Every classic scene is just as awesome as it ever was and the themes are just resonant as ever.

Star Wars Episode V: The Empire Strikes Back (1980; Irvin Kirshner)

*Mark Hamill, Harrison Ford and Carrie Fisher

Few sequels are as good as their predecessor. "Episode V" is one of the exceptions. The sci-fi classic is chock full of classic moments like the life-or-death battle between father Vader and son Luke and the "I love you"/"I know" scene between Han and Leia. There had never been a movie like this one and there never will be. The "Star Wars" space saga combines so many different genres that there's literally something for everyone.

Vertigo (1958; Alfred Hitchcock)

*James Stewart, Kim Novak and Barbara Bel Geddes

Alfred Hitchcock's Golden Period started in 1935 (with The 39 Steps) and ended in 1963 (with The Birds). In those 28 years, he made about fifteen or so masterpieces. The crowning achievement is Vertigo, a film so complete that its themes and motifs can be found in any scene, shot or line. For example, the shot in the picture basically tells you the entire story. Vertigo is such a hypnotic film that you are just compelled to return to its dreamlike world full of obsession, madness, ghosts and tragic love.

Vicky Cristina Barcelona (2008; Woody Allen)

*Scarlett Johansson, Javier Bardem, Rebecca Hall and Penelope Cruz

The beauty of this film is that each character has his or her own unsolvable character problem: Cristina has her chronic dissatisfaction; Vicky her debilitating doubt; Juan Antonio his obsession with beautiful women. I think that is so realistic--how many people actually change who they are? The film, which won the Golden Globe for Best Picture-Musical/Comedy, has a gorgeous screenplay that is matched by a lovely execution. And the whole cast is spectacular especially Penelope Cruz.

When Harry Met Sally (1989; Rob Reiner)

*Billy Crystal, Meg Ryan and Carrie Fisher

Few romantic-comedies are as respected by film critics as WHMS but this one deserves every ounce of praise it gets. Not only is it deeply heartfelt and sharply insightful, it is raucously funny. The jokes are fresh as they were the first time; indeed, the entire film is timeless despite Meg Ryan's very 80s hair and outfits. She delivers her career-best performance (though she curiously wasn't nominated for an Oscar) as does Billy Crystal who somehow is perfect as a romantic lead. Supporting cast is brilliant and New York City never looked so appealing and inviting and romantic.

So these are the 15 best films ever in my opinion. Feel free to comment if you agree or disagree!

The 15 Greatest Films of All Time (part 2)

And now here's Part 2...

Inglourious Basterds (2009; Quentin Tarantino)

*Brad Pitt, Christoph Waltz and Melanie Laurent

That Inglourious Basterds did not win Best Original Screenplay at the Oscars is the 2nd biggest crime in Oscar history. What makes this screenplay far superior than the other nominees is that each character speaks in a distinctly colorful way: Pitt is a jokester, Waltz is eloquently twisted, Laurent is quietly ferocious and (my favorite performance) Diane Kruger is deceptively flirtatious. IB is a winning neo-classic that unfortunately did not get its due.

Jackie Brown (1997; Quentin Tarantino)

*Pam Grier, Robert De Niro and Samuel L. Jackson

After the bang-bang-bangitty-bang of Reservoir Dogs and Pulp Fiction, one would expect Tarantino to deliver another exercise in bloodbath-chic. But Jackie Brown is an elaborate character study of several unique yet uniformly frustrated characters that is masquerading as a heist drama. It is also a love letter from Tarantino to Pam Grier as she is lovingly photographed and given an extraordinary part. The film contains many sequences that are pure Tarantino--like how he goes back in time to show what a different set of characters are doing in the same time frame. Jackie Brown is probably Tarantino's most mature crime saga.

The King & I (1956; Walter Lang)

*Deborah Kerr, Yul Brynner and Rita Moreno

Even if the Introduction of Royal Children takes about 10 hours to get through, it is a minor flaw when you consider the whole of this glorious musical. The film very gracefully walks the tightrope between lavish production and human drama. Unlike other musicals from this era, The King & I doesn't exchange character development and real character honesty for extravagant dance sequences and gaudy costumes. And from the heartbreaking "We Kiss in a Shadow" to the affectionate "Hello, Young Lovers" to the self-reflective "A Puzzlement," every song is a hit.

Pride & Prejudice (2005; Joe Wright)

*Keira Knightley, Matthew McFayden and Rosamund Pike

Kissed by the camera, Keira Knightley does the impossible: she successfully delivers a modern take on a classic literary heroine. In fact, the entire adaptation is accessible to a modern audience. That is in no small part due to Wright's innovative camerawork; it is more fluid than other Jane Austen films which tend to be rather stiff and stuffy. The supporting cast is impeccable especially the golden-haired and expressive Rosamund Pike in a sadly overlooked performance as Jane Bennett.

Rear Window (1954; Alfred Hitchcock)

*James Stewart, Grace Kelly and Thelma Ritter

The biggest crime in Oscar history is that Alfred Hitchcock never personally won an Oscar. Oh, sure, he was nominated five times (for Rear Window, Rebecca (1940), Lifeboat (1944), Spellbound (1945) and Psycho (1960)) but he's never won. If I had to pick the film out of all those that would have won him an Oscar it would be Rear Window. The way he stages the story is nothing short of revolutionary: all of the action is seen from one location which gives the film a claustrophobic and helpless feel. And he extracts career-best performances from the entire cast--Grace Kelly has never been so beautiful, so charming, so witty, so empathetic.

Look out for Part 3!

The 15 Greatest Films of All Time (part 1)

I've decided to list what I think are the greatest films of all time. Mind you, I haven't seen every film ever made. And all of these are English-language films. And the list is governed by my own personal tastes. But I think I've chosen films generally thought of by the public and the critics to be culturally significant and hugely entertaining. The list is in alphabetical order because I think ranking them would be rather pointless considering they're all pretty different.

American Psycho (2000; Mary Harron)

*Christian Bale, Chloe Sevigny and Reese Witherspoon

Seriously, what other film could be equally disturbing and hilarious? I think that's what gives this movie its rich texture--it's not a bland serial killer thriller nor is it a relentless satire of 80s America. The movie really allows us to get inside the sick minds of the characters by having such a mixed tone. We identify with them as much as we're repulsed by them. Plus the performances from the entire cast are nothing short of extraordinary.

Casablanca (1942; Michael Curtiz)

*Humphrey Bogart, Ingrid Bergman and Paul Henreid

Every "classic" film runs the risk of being deemed "overrated" (God, I hate that word) by today's audience. But I really think that Casablanca has aged well in the last 68 years. The romance is just as passionate, the screenplay is just as clever and the themes are just as resonant as they ever were. While Bogart may have the flashy lines, Bergman really steals the show with a subtle, tender performance. And about every line has become iconic. In fact, an entire episode of Frasier was built around the "Louis, I think this is the beginning of a beautiful friendship" line.

Gone with the Wind (1939; Victor Fleming)

*Vivien Leigh, Clark Gable and Leslie Howard

When I first saw this film three years ago, I wondered how the Rhett-Scarlett love story could be considered one of the greatest screen romances ever, considering Scarlett chases after the wimpy and very "un-Clark-Gable" Ashley almost the entire film. But then, as I got older, it clicked. And I saw this film for the enormous screen achievement it was (and still is today). Though it runs at about 4 hours, it's an absolutely riveting look at post-Civil War America--a desperate, confused, bitter and proud America. The love/hate relationship between Rhett and Scarlett can't be explained--it just is a very passionate, complicated romance.

Goodfellas (1990; Martin Scorsese)

*Ray Liotta, Lorraine Bracco and Joe Pesci

I'm as surprised as the next guy that I love this gangster flick as much as I do. I mean--it's a gangster flick! But I think what makes Goodfellas so different from your American Gangster and your The Departed is that Scorsese allows for the Bracco character to not just be a suffering wife stereotype. She's just as twisted as the rest of them. The intelligent screenplay, revolutionary direction, perfect soundtrack and amazing cast don't hurt things either. Scorsese allows the film the breathe and he neither glorifies nor judges the violence--he just lets it happen.

Harry Potter and the Prisoner of Azkaban (2004; Alfonso Cuaron)

*Daniel Radcliffe, Rupert Grint and Emma Watson

A lot of people like to whine about how the third "Harry Potter" movie leaves a lot of information from the book out of the film. My response is: who cares?! The film is a visual treat; Curaon's introduces some very beautiful and dark imagery into the world of Harry Potter. The film is a remarkable cinematic achievement because unlike Goblet of Fire (which is rather bland) and Sorcerer's Stone (which is too childish), it retains the spirit of the novel without being empty of any directorial flourish.

Look out for "The 15 Greatest Films of All Time parts 2 & 3!!"

Dial "U" for Underrated

In my previous posts, I discussed some of Hitchcock's best films as well as my favorites. But those are only 10 of his films. He made 43 other films but some of them are not as well-known nor do they get the appreciation and attention they deserve. So here are five of Alfred Hitchcock's most underrated works.

Dial M for Murder (1954)

*Grace Kelly, Ray Milland and Robert Cummings

This film is a stylish upper-class London potboiler. Sex, murder, blackmail, adultery--it's all there. Grace Kelly, in her first of three Hitchcock pictures, plays a woman who is rather immoral but gets our sympathy nonetheless. That's obviously because she is a very gifted actress. The film takes you through many twists and turns and, when it reaches its satisfying conclusion, it leaves you wanting more.

Frenzy (1972)

*Jon Finch, Barry Foster, Alec McCowen and Barbara Leigh-Hunt

To be honest, I would not reccomend watching this film until you have seen at least ten of Hitch's films. That's because the film is gruesome, horrific, ugly and depressing. But it's also full of Hitchcock's trademark macabre sense of humor. On first viewing, it's pretty off-putting. There aren't any Grace Kellys or Cary Grants in the cast. The film isn't beautiful to look at or glamorous in any way. It's dark and gory but it's also rather interesting. So watch it with caution.

Rope (1948)

*Farley Granger, John Dall and James Stewart

This thriller is unique because it has been shot using only long takes. This means that there are only cuts when there has to be (i.e. when the film runs out). The film is a fascinating look at murder as an intellectual exercise. It's about two friends who murder a former classmate, stuff the corpse into a trunk and then host a dinner party on that same trunk--just to see if they can get away with it! It's a cool idea and, since the film takes place in real time, the film is full of some very tense moments.

To Catch a Thief (1955)

*Cary Grant, Grace Kelly, John Williams and Jessie Royce Landis

This is the only Hitchcockian romantic-comedy in the Hitchcock filmography. (I make the distinction because he made a rom-com called Mr. and Mrs. Smith but he did it to fulfill an obligation to his friend comedienne Carole Lombard). TCAT is very Hitchcockian in that it is a romantic-comedy set against the backdrop of jewel thievery in the south of France. Also, Grant plays an innocent man on the run from the cops, another common theme in Hitch's films. The film is pure glamor (the antithesis to Frenzy). Grant and Kelly are gorgeous together, the costumes and sets are spectacular and the dialogue is hilarious and rather risque. I'd recommend this film to anyone looking for a beautiful cinematic trip to Cannes with two beautiful people.

Suspicion (1941)

*Joan Fontaine, Cary Grant and Nigel Bruce

Joan Fontaine, the only actor to win an Oscar under Hitchcock's direction, is phenomenal in this fascinating look at doubt, paranoia and, obviously, suspicion. While the ending is not as edgy as Hitchcock would have wanted, I don't think the film suffers from it. Cary Grant is also good though Fontaine overshadows him in every scene. There's a scene with a glass of milk that is just eerie and subtly terrifying. I would definitely recommend this overlooked thriller.

So if you're looking for some of Hitchcock's lesser known works, check these films out.

The Best of Alfred Hitchcock (part 2)

So here are my top 5 favorite Hitchcock films. Check out Part 1 below.

5. Notorious (1946)

*Ingrid Bergman, Cary Grant and Claude Rains

This romantic-thriller is one of the best uses of the MacGuffin, a plot device that is solely used to further the story but has no actual importance (in this case, searching for uranium). The real story is one of the sadistic/masochistic nature of redemption. Bergman's character, Alicia, constantly puts herself through fire-tests in an effort to escape her notorious past as a promiscuous alcoholic. Ingrid Bergman was the first of three leading ladies with whom Hitch was obsessed (the others were Grace Kelly in the 50s and 'Tippi' Hedren in the 60s). Her performance in this film is magical as are those of her leading men. The genius of this film lies in that it is a spy thriller, a film noir, a female Gothic romance and a morality tale all in one.

4. The 39 Steps (1935)

*Richard Donat, Madeleine Carroll, Godfrey Tearle and Lucie Mannheim

Even though North by Northwest is the "ultimate Hitchcock thriller", this is the one that started it all. It has everything: strong characters, laughs, romance, thrills and some surprising twists. Donat makes for a very interesting hero: he's reluctant, sarcastic but surprising reliable. Carroll was the first true Hitchcock Blond--a character type we'd see in almost all of his films in the 40s, 50s and 60s. And then there's Annabella Smith (pictured) who is one of the film's best characters despite her short screen-time.

3. Vertigo (1958)

*James Stewart, Kim Novak, Tom Helmore and Barbara Bel Geddes

I would call Vertigo Hitchcock's true masterpiece. It is an intoxicating, enchanting and surrealistic viewing experience but one that requires some serious mental preparation before you watch it for the 2nd time (you'll want to because it becomes a different film with every viewing). That's because the film is absolutely mind-numbing; it leaves your brain dead and your emotions drained when it reaches its shattering and devastating conclusion. Vertigo is a film that shows you the horrific consequences of obsession and takes you by the hand into the shadowy realms of "Mad"-ness. Kim Novak delivers a revolutionary performance--one which would have won her an Oscar if the film hadn't been critically panned upon its release. I love this movie immensely but I have to be in the right place to watch it which is why it's #3 and not #1.

2. Shadow of a Doubt (1943)

*Teresa Wright, Joseph Cotten, Macdonald Carey and Patricia Collinge

Hitchcock made his Hollywood debut with the aforementioned Rebecca but Shadow of a Doubt is the first film that deals with the American way of life. This film tackles the dark secrets of American suburbia. The Oscar-nominated screenplay is genius as it is so layered with subtext and hidden meanings. Wright, Cotten and Collinge offer wonderful acting jobs and the film contains many sequences that are just awe-inspiring. Hitchcock once said that this was his favorite film. It's not hard to see why.

1. Rear Window (1953)

*James Stewart, Grace Kelly, Wendell Corey and Thelma Ritter

Alas, what can I say about this absolutely perfect Hitchcock film? It is a thriller, a love story, a social commentary and a comedy. The movie contains about a thousand ideas--it's a whole new experience every time you watch it (like Vertigo). Hitchcock's command over the camera and his characters is positively stunning. Every little detail has some sort of significance to the film's hero. This is true of all his films but even more so here as each character is just a manifestation of Jimmy Stewart's insecurities and phobias. If you want to start getting into the Hitchcock Canon--start with Rear Window.

As an amateur Hitchcockian scholar, that's my list of the best Hitchcock films. I haven't seen all of his films but I certainly plan to. I would definitely say that Alfred Hitchcock is my favorite director and I thoroughly enjoyed spending five weeks with him in London.

The Best of Alfred Hitchcock (part 1)

For the last 5 weeks, I have been in London, studying the films of the British "master of suspense", Alfred Hitchcock. Hitchcock is one of the best filmmakers of of his time, making spy thrillers, horrors and psychological dramas. What makes him even better than his colleagues is his ability to add bits of humor into his pictures--in fact, the more times you see one of his movies, the funnier they become. Hitchcock was and is today the filmgoer's director--he gave us what we want (thrills, laughs, big stars) and gave it to us in the most unique way.

Having made 53 unique films, Hitchcock is not the kind of director who makes it easy to rank his films. Even his "bad" movies (both versions of The Man Who Knew Too Much, Marnie) are fun to watch and analyze. But, nonetheless, I have decided to rank his Top 10 as a way to help newcomers enter his world.

10 Strangers on a Train (1951)

*Farley Granger, Robert Walker and Ruth Roman

While this film certainly isn't a masterpiece, it's still a very thrilling drama. There's just something off about it. I think it's the performances which never seem to take the film to the level it wants to go to. But the film does have some beautifully executed sequences such as Miriam's death scene early in the film as well as a very tense tennis match later on. It's just that, unlike most Hitchcock films, this one doesn't reward those who view it multiple times. But it's still enjoyable that first time.

9. The Birds (1963)

*'Tippi' Hedren, Rod Taylor, Jessica Tandy and Suzanne Pleshette

While I am a fan of this movie and will defend it tirelessly, there is something that's stopping it from being a true horror classic: a proper leading man. Because this is a film about a horror that can't be stopped, there is nothing for Taylor to do besides try to protect his women from an unstoppable force. It doesn't help that Taylor is just not Cary Grant or James Stewart. In any case, the film offers a few legit scary scenes like both times the birds attack the children or when the birds are trying to literally claw their way into the Brenner home. I also love how you can take the bird attacks as a metaphor for almost anything.

8. North by Northwest (1959)

*Cary Grant, Eva Marie Saint and James Mason

This is the ultimate Hitchcock thriller-comedy. It's funny, suspensful, dangerous and full of classic lines and characters. This film was meant to be a lightweight, meaningless thrill-fest after the heavy Vertigo the year before. But in the last 51 years, it has become one of Hitchcock's most studied films. I think that is specifically because Hitchcock wanted it to be an easy film to shoot and watch. It's full of all the devices and imagery that Hitchcock used before--thus making the "Hitchcock picture to end all Hitchcock pictures".

7. Rebecca (1940)

*Joan Fontaine, Laurence Olivier and Judith Anderson

Trapped in a an opressive Gothic mansion, the 2nd Mrs. De Winter (whose name isn't given) must live under the shadow of Rebecca, the first Mrs. De Winter. Rebecca is the epitome of beauty, sophistication, class and wit--and the house's new bride is anything but. This film, a proper Gothic romance, is amazing because it makes us feel as claustrophobic as Fontaine's character, even though she's living in a gigantic palatial home. The ghost of Rebecca suffocates us and envelops us into her domestic drama right along with Joan Fontaine. This is definitely a must-see for those looking for a different Hitchcock.

6. Psycho (1960)

*Anthony Perkins, Vera Miles, Scott Gavin and Janet Leigh

Despite the fact that there are a ton of jokes hidden within the corners of this classic film, I find this movie to be more of a tragedy than a horror film. The two protagonists, Marion and Norman, are both people imprisoned by their lives. Any attempt to escape just ends in, well, murder. The genius of this film is that some scenes are still scary, even after seeing them many times. For instance, when Lila goes through Mother's room, it's a very tense and nervous atmosphere and that's what it makes it scary. You just don't know what's going to happen!

The Best of Alfred Hitchcock #5-1 coming up!

Get Me to the Nearest Exit

I'm always a little weary of comedies without a strong female presence for two reasons. The first is that male-oriented comedies tend to slip into the "boys will be boys" cliches of bachelors on the loose--hard partying, skanky-hot girls, an obscene amount of narcotics and alcohol, projectile vomit. Eye-roll!

The second reason is that women in male-oriented comedies are just items on a list of cliches. The list:

1. the naggy girlfriend/wife from whom the male has to escape (Leslie Mann in Knocked Up)

2. the impossibly flirty sex kitten (Elizabeth Banks in The 40-Year-Old Virgin)

3. the unattainable ex who is continually pleaded to take back the guy who doesn't deserve her (Elizabeth Banks in Role Models)

4. the Perfect Girl--at least she's the adolescent man's version of the perfect girl (Mila Kunis in Forgetting Sarah Marshall)

The last one, which is not as obnoxious as the others, is actually not featured in the comedy Get Him to the Greek, the second directorial feature by Nicholas Stoller who previously helmed the modern romantic-comedy classic Forgetting Sarah Marshall. Aldous Snow, the hilarious fictional rock star in Sarah Marshall, is given his own picture here and is again played by Mr. Katy Perry aka Russell Brand. Jonah Hill also stars as an up-and-comer at a failing music company. Supporting cast includes Sean Combs (aka P. Diddy), Elisabeth Moss (of Mad Men fame), the lovely Rose Byrne and Colm Meaney.

The plot is this: Aaron (Hill) is sent by his boss Sergio (Combs) to bring faded rock star Aldous Snow (Brand) from London to Los Angeles in 3 days for an anniversary concert, which can save both Sergio's company and Snow's career. Both Aaron and Aldous are having romantic problems with their love interests, ambitious doctor Daphne (Moss) and the newly successful singer Jackie Q (Byrne) respectively.

Yes, the movie is funny. The one-liners and the sight gags zing by at a rapid pace. But what makes films like I Love You, Man and Role Models and Forgetting Sarah Marshall so much better is that the zany comedy is accompanied by a real story in which characters grow as human beings. Greek's attempts to ground the characters in reality are harmed by three things.

1. Whenever the film touches upon a real issue, it doesn't explore the issue in a poignant-but-still-hilarious way. Instead, the situation escalates to a ridiculous and farcical level until the original issue is hardly recognizable. Aldous's daddy drama becomes a drug-induced fight scene at a Vegas club. Aaron and Daphne's communication issues become an ill-advised threesome with Aldous (being a fan of HBO's True Blood, I have seen some weird bedroom scenes that were also slightly funny--this one is just weird and poorly written).

In fact, Aaron's relationship with Daphne is one of the movie's biggest flaws. They're painfully awkward around each other as if they decided to move in together after the first date. Moss, who received an Emmy nomination Thursday for her work on Mad Men, is a talented actress but her character is disastrously written.

2. The "race against the clock" story offers no real tension. Sure, the careers of three men hang in the balance but there's no hint of future financial ruin. Aldous Snow doesn't mention his money running out; Sergio seems to be rich enough; and Aaron is about to marry an in-demand doctor! So even if Aldous doesn't make it to the Greek--who is really getting hurt?

3. Stoller (who also wrote the screenplay) seems to think that taking a parodical character from one film and making him into a real character in a spin-off is a smart idea. One of the things that made Aldous Snow so funny in Sarah Marshall was that he was impossibly ludicrous. His music, his lifestyle--everything was just so out there. In this film, he's a legit rock star with legit music--his songs aren't hilarious parodies. And then, when you give him real problems, it just doesn't work. In Greek, he realizes that his career and his marriage have both failed and he's out to destroy his own life through drug abuse, alcoholism and extreme partying. To me, that's pathetic, not funny. This version of Aldous Snow would be better off in an Oscar-bait drama, not a summer comedy.

The only character who is treated right is sadly the one character with the least amount of screentime: Jackie Q, wonderfully played by Rose Byrne (who just received her second Emmy nomination for her work on Damages). Not only does Jackie Q provide some of the biggest laughs in the movie (especially with her two songs "Supertight" and "Ring 'Round") but she is actually the most interesting character (just like how Sarah Marshall was). Jackie is a woman who loves Aldous but knows that he is wrong for her and thus has left him. She will probably never be able to love another man as much as she loves Aldous but she did what she had to do for herself and for her child. Even though Jackie has some serious issues, she's still uproariously funny (the sweetly raunchy phone call, the interview in the beginning of the movie), showing that it's possible to do both. It doesn't hurt that Byrne is a terrific actress whose talent probably brought out a lot of depth that may or may not have been on the page.

Get Him to the Greek is not a terrible movie. It's enjoyable (and even more so if you ignore all of its failures). But don't go see it looking for the depth and insight found in Forgetting Sarah Marshall or in any of the other Apatow Productions' films.

Get Him to the Greek: C+

"Are We There Yet?" and the American Dream

TBS has launched a new sitcom to join Meet the Browns and House of Paynes on their Wednesday night lineup and this new show also caters to the African-American/Tyler Perry-loving demographic, though less extremely as its predecessors. The show is Are We There Yet? and it is indeed based on the 2005 family comedy starring Ice Cube and Nia Long. The sitcom is a continuation of the film (thankfully erasing the dreadful theatrical sequel Are We Done Yet?). While the film was about a road trip, the sitcom is a traditional family sitcom, sort of a "black version" of The Brady Bunch with about 5 fewer characters.

The basic premise: Nick (now played by Terry Crews, of Everybody Hates Chris fame) is adjusting to life with his new wife Suzanne (now played by Essence Atkins AKA Yvette from Smart Guy) and her two kids Kevin (Coy Stewart) and Lindsay (Teala Dunn). Nick's friend Martin (comedian Christian Finnegan) and Suzanne's assistant/best friend Gigi (Keesha Sharp) help the two figure out how to achieve familial and financial success. The sitcom offers a new interpretation of the American Dream, the "there" in the title. Are We There Yet? is essentially about a couple who wants to have it all--the house, the kids, the friends, the job, the life.

I first wanted to watch this show because of Essence Atkins, who was my favorite on Smart Guy. But after I saw the first episode, I realized that this sitcom was BAD (but luckily not worse than TBS's other original sitcoms). The jokes are predictable, the characters are obvious and the show has a 1990s feel to it. It's a show that wants to be one of those comfort food-sitcoms like Full House or The Cosby Show--but it's sadly about 12 years too late.

Not to say that the "family sitcom" has disappeared completely--it's just evolved. We now have shows that are single camera, laugh-track-free and that tell the stories of less traditional families. For example, we have the happily struggling family on The Middle, the wacky extended family on Modern Family and the hilariously self-obsessed surrogate family on Cougar Town (all of which are coincidentally on ABC). These new shows are the face of the 21st century family sitcom. So when Are We There Yet? premieres with its tired dialogue and sleepy plots, it looks like a failure.

Even the episode titles are lazy--"The Day Off Episode", "The Soccer Episode", "The Rat in the House Episode" and so on. I take it as an attempt to give these episodes the same iconic feel as a Friends episode or a Seinfeld episode (both of which had episode titles that maintained a pattern) but both of those shows were groundbreaking and iconic, which Are We There Yet? certainly is not.

But, like with all bad sitcoms, Stockholm syndrome sets in and I start to enjoy the show (I once had obsessions with both Yes, Dear and The Steve Harvey Show). Are We There Yet?, despite its old-school sensibilities, has some charms. Most of them come from the charming and likable cast, who rise aboce the dreadful material. Essence Atkins, Terry Crews and Teala Dunn all excel in their roles and they have great chemistry. Less impressive is Coy Stewart, but he's young and will probably improve in the future. As the two sidekicks, Christian Finnegan and Keesha Sharp all too easily slip into boring best friend cliches.

The thing is, I don't know if I would recommend this anyone. It's pleasant, inoffensive and harmless but it's no outstanding piece of television history. Let me put it this way. The opening credits has the four leads walk into a brightly colored but empty room. Then Terry Crews does some awkward breakdancing while the other three look at him. Then they all sit on a random couch. If that repulses you, stay as far away from this sitcom as possible. If not, then check it out--you might just enjoy it.

These Are the Girls I Love the Most

I love television--watching it, writing about it, dreaming up ways to perfect it. And with every TV show with which I become obsessed, I find myself falling in love with one of its characters. So here's a list of my eight favorite TV heroines.

Roz Doyle (Peri Gilpin) on Frasier

Even though the first two seasons suffered from a "Lack of Roz", she was always a scene-stealer. The reason why I love her is because she serves as a perfect foil to Frasier--she's down-to-earth, no-nonsense and completely willing to bring Frasier back to reality when he's off on one of his pretentious rants. Also, Roz is rather "romantically-experienced" and yet she's never embarrassed about it despite Frasier and Niles's constant teasing. Peri Gilpin has a deadpan comic timing, often nailing her lines with a wonderful precision. How did she never get an Emmy nomination?

Sookie Stackhouse (Anna Paquin) on True Blood

Sookie can come off as being naive, immature and somewhat stupid. However, I see it as just her wanting to believe that the world is a better place than it is. Sookie, in my eyes, is courageous, loyal, genuine and subtly fierce. Anna Paquin is gorgeous, with that golden hair and sunny smile. I think she's a competent actress, albeit one with some limitations. But she also has an addictive screen presence.

Liz Lemon (Tina Fey) on 30 Rock

Oh, man, Lemon is the perfect woman with her food obsession, her love for the Star Wars films, and her devotion to pop culture. Combine that with Tina Fey's comedy chops and you have a classic TV character. Lemon is the everywoman--actually, the everyperson--and that makes her more attractive. This makes the running joke that she's the ugliest woman on the 30 Rock version of the planet even funnier.

Sydney Bristow (Jennifer Garner) on Alias

Whether she's scaling the wall of a shady warehouse at midnight Russian time or impersonating a French diplomat in Cairo, Sydney was the coolest heroine on prime-time TV from 2001-2006. Even when the show became caught up in its own mythology and lost some of its 1st season charm, Jennifer Garner still rocked it in every episode. What other actress looked as good in every hair color and sounded convincing in every language?

Robin Scherbatsky (Cobie Smulders) on How I Met Your Mother

She likes guns, scotch, a good steak and was a Canadian teen pop star. What's not to love? Robin is a unique TV female character because she's not looking for marriage and kids. Once she broke up with Ted in season 2, the show had to refigure what her purpose on the show is but that didn't stop Cobie, the least experienced of the cast, from being totally hilarious.

Rachel Green (Jennifer Aniston) on Friends

Rachel was and is my favorite of the Central Perk-ians. The traits that some find whiny and annoying, I find endearing and adorable (maybe because I'm a Ross?). Of the girls, she may not have been the funniest (that honor goes to Miss Monica Gellar) but she did have a unique comic presence--she kind of puts herself in embarrassing situations via her desire to prove herself. And she had the best chemistry with each of her castmates.

Olivia Dunham (Anna Torv) on Fringe

When Sydney Bristow ended her reign as Queen of Spy TV, the throne was empty until Torv debuted as Dunham on Fringe. I like Agent Dunham because she is so hardcore in her pursuit of justice that she's consistently unsatisfied unless she has all the answers or captured the criminal mastermind. Anna Torv is a very capable actress--with such a serious role, she still allows some charm and warmth to sneak in. And she's one of the most beautiful women on TV right now.

Jules Cobb (Courteney Cox) on Cougar Town

There is something about Cox's portrayal of Jules that makes this potentially obnoxious character so adorable. Jules is perky, self-centered, a maybe alcoholic and downright obsessed with her son and her friends. Thanks to Courteney Cox, she's also endearing and a total sweetheart. I like that she's flawed and three-dimensional and that she strives to be a perfect person. That makes her a lot more realistic than other sitcom heroines.

Even though I stole the title of this blog from Snoop Dogg's verse in Katy Perry's "California Gurls", it's still true. I genuinely adore these TV characters and I look forward to watching them every week (or rewatching them on DVD.)