David O'ConnellBe Kind Rewind
November 25th 2008 02:15
Frenchman Michel Gondry had the advantage of directing two Charlie Kaufman screenplays with his first two films – the underrated and under seen Human Nature, followed by the critically acclaimed, mind-bending love story, Eternal Sunshine of the Spotless Mind.
However, turning to his own ideas has led to a lowering of the boom on the talented director, firstly with The Science of Sleep, and now with Be Kind Rewind, a frustratingly uneven comedy about two ordinary guys in suburban New Jersey who are forced to recreate famous movies after inadvertantly erasing a store's limited VHS stock.
Jack Black is conspiracy nut Jerry Gerber, best friend of Mike (Mos Def) who helps run the archaic video store of the film’s title for his aged mentor Elroy (Danny Glover). The store generates virtually zero business and is under threat of closure from the authorities who want to tear it down and modernize the site.
Jerry’s more preoccupied with sabotaging the local power plant which backfires in an accident, leaving him magnetized. He soon wipes out every video cassette he comes into contact with in the store, which has been left in Mike’s hands whilst Elroy scouts the competition to assess the progress of DVD’s in the 'real' world!
The creative duo hatch a hastily-devised plan, but a momumental undertaking: to film their own versions of the destroyed movies to appease dimwitted customers and Elroy’s vigilant, dotty friend Miss Falewicz (Mia Farrow). They haphazardly create a makeshift 20 minute version of Ghostbusters - in one of the film’s funniest sequences - before attacking Rush Hour 2, Robocop and many others with similar gusto and resourcefulness.
The new versions are a smash hit in the community who find their unique, abbreviated takes on the classics to their liking. This causes an explosion of demand and a swiftly expanding mini-industry of their own, everyone pitching in to help the innovative productions prosper, including the lovely Alma (Melonie Diaz), their first recruit.
Unfortunately, Gondry’s aesthetic sense lacks the clarity or daring of Charlie Kaufman’s work, as well as the outrageous originality to spare it from the fate of just another wacky idea gone awry. His characters are all likeable in a clumsy yet charming way but his screenplay is overlong and dogged by inconsistency, inspired moments framed by tedious sequences that might have been trimmed.
He needed to tighten the reins as his duo revert to a childlike sense of wonder in their outrageous quest, the comedy played a little too broadly at times, especially by Black who is a force of nature, as usual, when unleashed, as if ad-libbing half the time.
Mos Def is solid, but unremarkable, as his organized, more logical mirror image who takes a while to warm to Jerry’s outlandish plans but caves in when the plight of the building ties in with their mission.
The ending, which follows through on the conceit of the store's building once belonging to legendary jazzman Fats Waller, provides the film’s most blatantly sentimental sequence, and though it’s gently moving, it seems awkward and forced in the light of the madcap antics that have preceded it.
Gondry’s love of cinema, and the power it has to transform lives and bring people together, shines through however and is the driving force of a film which, although feeling like an interesting but failed experiment, is still curiously endearing.
However, turning to his own ideas has led to a lowering of the boom on the talented director, firstly with The Science of Sleep, and now with Be Kind Rewind, a frustratingly uneven comedy about two ordinary guys in suburban New Jersey who are forced to recreate famous movies after inadvertantly erasing a store's limited VHS stock.
Jack Black is conspiracy nut Jerry Gerber, best friend of Mike (Mos Def) who helps run the archaic video store of the film’s title for his aged mentor Elroy (Danny Glover). The store generates virtually zero business and is under threat of closure from the authorities who want to tear it down and modernize the site.
Jerry’s more preoccupied with sabotaging the local power plant which backfires in an accident, leaving him magnetized. He soon wipes out every video cassette he comes into contact with in the store, which has been left in Mike’s hands whilst Elroy scouts the competition to assess the progress of DVD’s in the 'real' world!
Jerry and Mike get started on Ghostbusters.
The creative duo hatch a hastily-devised plan, but a momumental undertaking: to film their own versions of the destroyed movies to appease dimwitted customers and Elroy’s vigilant, dotty friend Miss Falewicz (Mia Farrow). They haphazardly create a makeshift 20 minute version of Ghostbusters - in one of the film’s funniest sequences - before attacking Rush Hour 2, Robocop and many others with similar gusto and resourcefulness.
The new versions are a smash hit in the community who find their unique, abbreviated takes on the classics to their liking. This causes an explosion of demand and a swiftly expanding mini-industry of their own, everyone pitching in to help the innovative productions prosper, including the lovely Alma (Melonie Diaz), their first recruit.
Jerry transforms into Robocop!
Unfortunately, Gondry’s aesthetic sense lacks the clarity or daring of Charlie Kaufman’s work, as well as the outrageous originality to spare it from the fate of just another wacky idea gone awry. His characters are all likeable in a clumsy yet charming way but his screenplay is overlong and dogged by inconsistency, inspired moments framed by tedious sequences that might have been trimmed.
He needed to tighten the reins as his duo revert to a childlike sense of wonder in their outrageous quest, the comedy played a little too broadly at times, especially by Black who is a force of nature, as usual, when unleashed, as if ad-libbing half the time.
The duo recruiting new customers alongside Alma (Melonie Diaz).
Mos Def is solid, but unremarkable, as his organized, more logical mirror image who takes a while to warm to Jerry’s outlandish plans but caves in when the plight of the building ties in with their mission.
The ending, which follows through on the conceit of the store's building once belonging to legendary jazzman Fats Waller, provides the film’s most blatantly sentimental sequence, and though it’s gently moving, it seems awkward and forced in the light of the madcap antics that have preceded it.
Gondry’s love of cinema, and the power it has to transform lives and bring people together, shines through however and is the driving force of a film which, although feeling like an interesting but failed experiment, is still curiously endearing.
Next up is Driving Miss Daisy!
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Comment by Tracy
Movies and Life
I nearly got this the other day but didn't...it sounds like it's worth a bit of a look.
Tracy
Comment by Movie Mall
Movie Catcher
The Invisible Sky
Such a let-down with two normally pretty funny guys in it.
Comment by David O'Connell
Screen Fanatic
Sorry to hear it rubbed you up the wrong way MM. Admittedly both actors - especially Black - have done better work, but it had enough redeeming moments to keep me interested for the most part.
Comment by Movie Mall
Movie Catcher
The Invisible Sky
Sorry mate, I was probably bit strong there. Must've been having a bad day hehehe.
Maybe I'll give it another look.
MM
Comment by Anonymous
A man in a woman's dress....ahhhh....yes.....just can't beat the classics......mindless comedy.
Good spot Dave, I actually needed a dose of quirky.
Comment by Cibbuano
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Comment by David O'Connell
Screen Fanatic
I remember Leonard Part 6 too Steve! I used to be a big Bill Cosby fan back in the day.......................... ....................hang on, did I just say that aloud!!??
He definitely should have begged Kaufman for another screenplay Cib, Gondry's own ideas will never qualify as genius at this rate, but you still have to admire him taking a shot at something offbeat, even if it's far less successful in its execution.