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This is 40 (2012)
I laughed a lot during “This is 40,” Judd Apatow’s comedy of middle-aged angst, but he needs to rein in his performers. Or himself. Too many times it felt like people were doing bits, for which they had commitment, for which their commitment to the bit was the whole point, rather than simply being characters in a story that was moving forward. As a result, the story didn’t move forward. It stalled. The movie clocked in at 134 minutes. You could watch “Annie Hall” in that time and still have 40 minutes left over for pizza.
Here. At one point, Pete and Debbie’s daughter, 13-year-old Sadie (Maude Apatow), has a dust-up on Facebook with classmate Joseph (Ryan Lee), which Pete and Debbie (Paul Rudd and Leslie Mann) become aware of. Debbie subsequently runs into Joseph at the school when she’s having a bad day and lets him have it. She calls him a little hairless wonder, compares him to Tom Petty, says his hair looks like a Justin Bieber wig on backwards. Then she adds:
So next time you think about writing something nasty on my daughter’s Facebook page, just remember me. Remember me. I will come down here, and I will fuck you up.
A few days later, when Pete is having a bad day, he runs into Joseph’s mom, Catherine (Melissa McCarthy), things escalate, and we wind up with this:
If he insults my daughter again, I’m going to hit him with my car. Got it? In fact, if you insult my wife again, you know what I’m going to do? I’m going to show up at your house when you’re sleeping, and I’ll take your iPad and your iPod or your iMac and I’ll shove them up your fucking iCunt.
Eventually everyone is called into the principal’s office, where Pete and Debbie play dumb, or sweet, or innocent, or all three. Now it’s Catherine’s turn, or Melissa McCarthy’s, to push the envelope. She threatens Pete and Debbie:
I’d like to rear up and jackknife my legs and kick you both in the jaw with my foot bone.
She insults the principal:
Fuck you, Jill. You’re a horrible woman. This is why everybody hates you. This kind of shit. Ineffective. Bullshit hair. And I’m glad your husband died. Because you’re a fucking asshole. He probably killed himself.
As a result, Pete and Debbie get away with it, leave with smirks, and it momentarily draws them closer together. I like that idea, the awfulness of grown-ups, but none of it feels real. It feels like performers trying to outdo each other at a celebrity roast. It feels like comedians pushing the envelope.
During one of his denials, Pete says this: “That’s ridiculous. Who talks like that?”
People in Judd Apatow movies.
People like us
Let me add that it is a pleasure to see a movie about a couple who shares the same bathroom. They’re tired of each other. They know each other’s bad habits. She sneaks cigarettes, he cupcakes. She shaves off years, he hides bankruptcy woes. His father (Albert Brooks) keeps asking for money, her father (John Lithgow) is rich and distant.
It is a pleasure to see a movie where parents argue with their plugged-in children over screen time. Where they get rid of the Wi-Fi. Where they take away the iToys. Where Sadie, arguing with her father over her obsession with J.J. Abrams’ “Lost,” brings up his obsession with “Mad Men,” and how stupid that show is, which the father momentarily defends until he realizes how absurd the whole thing is and makes a frantic hand-washing gesture before ending the discussion.
A lot of it felt like life. But it felt like life as viewed through a privileged L.A. prism. Which it is.
Debbie is turning 40 and feels unattractive, but she’s only unattractive because she’s working next to Megan Fox, the real Megan Fox, who plays Desi, an employee in Debbie’s clothing boutique. That’s an L.A. problem. That’s a consequence of living in and working among stars in Hollywood. People like Fox don’t exist anywhere else. They may grow up in South Dakota or Minnesota or Tennessee but they all wind up in the movies and away from the rest of us. They turn two-dimensional. Anywhere outside of L.A., Leslie Mann at 40 is the hottest girl in town.
Every one of their complaints, in fact, their “real life” dilemmas, could be followed by a “fuck you” from the rest of us.
- Debbie’s turning 40 and looks like Leslie Mann?
- She’s stuck with a husband who looks like Paul Rudd? And who cheats on her with cupcakes?
- They have financial woes but live in that house?
- They have financial woes because he loaned $80,000 to his father?
- They have financial woes because her boutique business, at which we rarely see her working, is only breaking even?
- They have financial woes because in the middle of the global financial meltdown he left a well-paying job at Sony to start his own record label, at which he signed favorites from his youth, like Graham Parker, who never sell anymore, even though he knows that the entire music industry is going through the digital toilet? And we rarely see him even working at this place? Or breaking a sweat? Or going to clubs to check out new acts?
All together now: Fuck you.
Apatow calls this a sequel of sorts to “Knocked Up,” which grossed $148 million in 2007 ($171 million today), because Pete and Debbie showed up there as cautionary tale to Ben and Alison (Seth Rogen and Katherine Heigl), and because a few other folks from that universe make it into this one. Not Alison and Ben. They’re referenced, but vaguely.
Instead we get the soft-talking Jason (Jason Segal), who is now a personal trainer, creating “Bodies by Jason,” and who soft-talks Megan Fox’s character into, we imagine, bed. There’s also Jodi (Charlyne Yi), who also works at the boutique, and who blames the missing $12K on Desi. Turns out she’s the thief. During the big reveal she gets to overcommit to her own bit. Another 30 seconds down the drain.
Despite these overcommitments, Apatow gets good performances from his actors. Both Mann and Rudd feel natural and effortless—although Rudd’s late-movie anger didn’t do it for me. Albert Brooks has most of the funny lines that feel like lines someone (someone funny) might actually say. Lena Dunham and Chris O’Dowd and Jason Segal do a lot with small moments. Even Megan Fox, now seemingly relegated to playing the hot, obtuse girl in middle-aged comedies (“Friends with Kids”), gets off some good line-readings. I was impressed.
I was also impressed with the acting of Apatow’s daughter, Maude, who totally seems like a semi-privileged, somewhat smart teenage girl here. This is her third movie. She played Sadie before in “Knocked Up” and Mable in “Funny People.” In each, her sister plays her sister, and her mother plays her mother, and all three are written and directed by her father, who always inserts a handsome dude into his role as husband and father: Rudd here, Eric Bana, whom the “Knocked Up” boys talk up as the great Jewish hero of “Munich,” in “Funny People.” It’s got to be a joke around the Apatow household. Who do we get next time, dear? Hell, it might make a good idea for a screenplay.
Again, I laughed out loud at “This is 40.” It’s a movie that tries to cut through the shit. But Apatow overindulges. He needs greater commitment to his characters and less to their bits.
December 29, 2012
© 2012 Erik Lundegaard