The Soon To Be Forgotten Off Season Folly Of IDENTITY THIEF

Opening today at a multiplex near you:

IDENTITY THIEF (Dir. Seth Gordon, 2013) 

Jason Bateman, in his standard exasperated everyman role, takes on Melissa McCarthy as a con artist who’s racked up a huge debt in his name in this uninspired comedy that deserves to be dumped into this sorry season.

Bateman plays Denver-based accountant Sandy Patterson - a name that could be a woman’s name which, of course, equals lotsa laughs - a straight laced family man married to the suitably bland Amanda Peet, who travels to Florida to confront McCarthy, and bring her back to confess her identity theft to Bateman’s boss (HAROLD & KUMAR’s John Cho) so that he won’t lose his job.

In what’s largely a PLANES, TRAINS, AND AUTOMOBILES (minus the trains) or DUE DATE-type road movie, Bateman and McCarthy are pursued by drug dealers (Genesis Rodriguez and T.I.) and a skuzzy bounty hunter (Robert Patrick), as they go through by-the numbers car chases, gay panic jokes, and even a night in the woods in which Bateman tangles with a seven foot snake.

With her tacky hair, gaudy fashions, hideous makeup, and constant inappropriate innuendo McCarthy is a broadly drawn archetype that never feels fully fleshed out. Craig Mazan’s (SCARY MOVIES 3 & 4, THE HANGOVER PARTS II & III) screenplay exploits McCarthy’s BRIDESMAIDS persona, but in a manner that’s too sketchy for the character to have any depth.

This makes for a distinct lack of emotional pull and an overriding emptiness when the movie gives up trying to make us laugh, and piles on the sentiment.



Only one moment, set in a cheap hotel room, involving Modern Family’s Eric Stonestreet as a rich good ol’ boy who falls for McCarthy has any weight to it.

Otherwise, despite Bateman tossing off a few dry one-liners, and a running gag involving McCarthy's defense mechanism of punching people in the throat, there is very little that even slightly resembles humor here.



It’s also way too long at 112 minutes, something that makes its lack of laughs even more noticeable. The in and outs of its tedious narrative so lost my interest, that I can’t remember what the significance of Breaking Bad’s Jonathan Banks’ prisoner character was in the rest of this mess.

McCarthy, who has proven her considerable comic talent in BRIDESMAIDS and a stint hosting SNL (I’ve never watched Mike and Molly), will undoubtedly get better chances to bring the funny in future films, so this will soon be a forgotten off season folly that won’t be much of a black mark on her resume.

As for Bateman, the much anticipated Arrested Development reunion reboot can’t come soon enough.

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THIS IS 40 Is Funny But Enough With Your Family, Apatow!

Opening today at a multiplex near you:



THIS IS 40 (Dir. Judd Apatow, 2012) 

Although it’s being billed as “the sort-of sequel to KNOCKED UP,” I’m considering Judd Apatow’s newest to be the third in the Apatow family trilogy. 

We were introduced to married couple Paul Rudd and Leslie Mann (Apatow’s wife of 15 years) and their two daughters Maude and Iris Apatow in KNOCKED UP in 2007, sans Rudd they appeared as different characters in Apatow’s 2009 comedy drama FUNNY PEOPLE, and now they revert back to their original incarnations to take center stage in THIS IS 40.

Set during a week that both Rudd and Mann turn the big Four-O, Apatow’s glorified 134 minute home movie juggles a bunch of fussy threads.

Let’s see, there’s the thread in which Mann is lying about her age - she’s even tells her doctor she’s only 38.

There’s Rudd’s fledging record label thread, staffed with Lena Dunham (HBO’s Girls), and Chris O’Dowd (BRIDESMAIDS), in which he’s trying to revive the career of British rocker Graham Parker (appearing as himself reunited with his great old band the Rumour).

There’s the story-line about the oldest daughter, 13 year old Maude Apatow, getting put on a Facebook “not hot” list by a boy at school, which results in a confrontation with the boy’s mother (Melissa McCarthy).

There’s the subplot about Rudd’s father, the always welcome Albert Brooks, continually borrowing money to take care of his young blonde triplets.

There’s the Mann’s clothing store thread, in which Mann frets over which one of her two employees (Megan Fox and Charlyne Yi) stole $12,000.

There’s the story-line about Mann trying to reconnect with her emotionally distant father (John Lithgow).

In the mix as well is Jason Segel as Mann’s overconfident trainer (returning from KNOCKED UP), Robert Smigel as Rudd’s best friend, and cameos by Green Day's Billie Joe Armstrong and North Carolina native singer-songwriter Ryan Adams.

Whew! It’s a good thing that KNOCKED UP’s Seth Rogen and Katherine Heigl don’t put in appearances – there wouldn’t be room for them.

THIS IS 40 is Apatow’s most indulgent movie, but it’s packed with enough laughs to make it worthwhile for comedy fans. It’s funnier than FUNNY PEOPLE, maybe about equal to KNOCKED UP and 40 YEAR OLD VIRGIN, and the leads’ likability goes a long way.

Language-wise, it’s a hard R. It may actually be as profane as DJANGO UNCHAINED, albeit in a very different context. A scene with Melissa McCarthy (put her in and consider the scene stolen), maybe contains the most amusing usage of profanity in a comedy this year (stay through the end credits to see an extended version of this scene in which Rudd and Mann are about to lose it).

I hope with this movie, Apatow’s family trilogy is complete. Three movies featuring his wife and kids is enough. With this movie, and the inevitable tons of bonus footage that will surely be on its later Blu ray/DVD release, I really hope he can get all the humor derived from his household out of his system, and find the funny in other things.

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