Killers
Ashton Kutcher must have read some pretty shocking scripts during his acting tenure. That he supposedly rejects the worst ones is a merciful relief as the ones he’s gone on to do have been very ordinary. Killers is one such debacle continuing to show his choice of films has been less than stellar. He seems a nice enough guy, but niceness doesn’t equate to quality as Killers’ substance-free zone adds to his mediocre catalogue of clunkers.
Holidaying in the sunny climes of Nice, Jen (Katherine Heigl) meets Spencer (Ashton Kutcher). Swept off her feet, she marries him and moves to a quiet life in suburbia. Three years later Spencer’s past catches up with him. Revealed to have previously been a professional hit-man, his former boss demands he return to his old ways. Refusing and becoming a marked man, he drags Jen away from the gaggle of assassins in their wake whilst attempting to sort out their less than blissful marital issues.
Killers is the type of film commercial mega-plexes love. Put two cute looking actors together, mix some romance and light comedy with a dollop of action and you have inoffensive fluff everyone can enjoy. Unfortunately there isn’t much fun to be had as Killers is a crushing bore with little ingenuity or sophistication. Despite an opening scene promising a throwback to the European comedy thrillers of the 60’s, the plot moves to the dull confines of America with a standard roster of nosy neighbours becoming little compensation for what could have been.
Saddled with an illogical script, Kutcher and Heigl are hung out to dry with stereotypical characters and zero chemistry. Much blame should go to Rob Luketic whose lifeless direction squeezes any fun or atmosphere from a story having some potential. For a comedy there are no laughs to be had, nor does the action inspire any excitement – there’s just a feeble plod towards a preposterous conclusion defying belief. It’s a bit sad seeing Tom Selleck in this – playing Jen’s father – making one wish a Magnum P.I. movie will eventuate as it would be much better than this insipid offering.
Even though no one sets out to make a bad film, Killers joins the list of ‘must avoid’ flicks. Predictably the multi-screen cinemas are publicising this as if it’s the Second Coming - don’t be fooled although Kutcher can console himself that his title as King of those emporiums of banality remains intact.
Rating out of 10: 1
Get Him To The Greek
A famous rock and roll story involves the group Van Halen. In its desire to ensure a venue’s adherence to their requests, they asked a bowl of M & M’s be available with the brown ones taken out. According to their logic the venue which didn’t remove them left suspicions on what other more important details may have been overlooked. This tale of musical folklore is one the leading rock-star character in Get Him To The Greek would likely make, with his demands showing how spirited rock and roll life can be.
Aaron Green (Jonah Hill) is an unappreciated underling working at Pinnacle Records. After a session where its boss Sergio (Sean Combs) asks for money-making ideas, he hatches a plan which would elevate his professional standing. Detailing how a comeback concert at the Greek Theatre by notorious British singer Aldous Snow (Russell Brand) would be a hit, Aaron is sent to drag the recalcitrant rocker to L.A. This is easier said than done as he becomes caught in Aldous’ debauched existence proving once and for all his reputation as the ultimate rock and roll rat-bag.
Get Him to the Greek is a very strange beast. At once a wickedly amusing satire on music industry excess, it morphs into a drama relating to the consequences of this over-indulgence. It’s as if the writers felt the script wasn’t strong enough to warrant constant laughs and so decided to graft some familial crisis into the mix. Unfortunately this has the effect of blunting the punch-lines after its comedy sequences are built up. This creates a flat atmosphere where there should be one of continual anarchy given the idea. This is a bit disappointing as its’ genuinely funny moments aren’t fully embraced by the disjointed screenplay.
Its’ biggest plus are the characters who are all disturbingly believable. Aaron’s ‘yes man’ to Snow’s over-blown egotist provides the most laughs despite Brand appearing curiously subdued. Whether he was told to tone down his persona or over-emphasised the material’s dramatic aspects, one would have expected him to display more energy. He works well with Hill however as both form a good double act. Especially enjoyable is Sean ‘Puff Daddy’ Combs who seems to have the most fun in portraying the oily record honcho desperate for a dollar.
Get Him to the Greek wallows a little too much in its self-indulgence to fully work. The potential’s there for a fantastic comedy but the addition of more dramatic elements in order to make it more ‘worthy’ drags events down. Maybe a film about Van Halen’s exploits would be have been infinitely more interesting as their unusual requests seem more outlandish than this occasionally funny but uneven effort.
Rating out of 10: 5