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Breaking up is hard to do, breaking up with your best friend is even harder

The film begins with a seemingly normal married couple, casually chatting in the car, until they take out a Vaseline tube. Giggling wildly they simulate what can only be described as a mini happy ending for the classic lip chap, eventually squeezing the tube to allow the clear gel to squirt out of the top. It’s weird. Very weird. But it’s the kind of inside joke that true best friends can share without inhibition. We immediately realize that Celeste (an absolutely perfect Rashida Jones) and Jesse (a sweet and subdued Andy Samberg) have a unique and meaningful relationship. What we do not yet realize is that the pair have been separated for the past few months.

“It’s the perfect breakup,” says Samberg’s character, who is still living in his ex-wife’s guest house – until it isn’t. Although Jesse is not ready to call it quits, Celeste is set in her decision, and the ex-couple finally decide to do the unthinkable: cut each other out of their lives for good.

Jesse initially tries to change Celeste’s mind but when that proves futile, Jesse decides to move on and suddenly it’s Celeste who is in turmoil over the breakup. The movie slowly churns on as we follow Celeste’s endearing Type-A personality through a string of classic breakup scenarios and attempts at healing her broken heart.

There is a club scene, emotional eating, marijuana-fueled pity parties, including a hilariously honest heart-to-heart between Celeste & her creepy yet charming drug dealer, Skillz, played by Will McCormack. As if that wasn’t enough, there is snooping through trash, house parties, bad dates, yoga, discussions with her gay best friend (an adorable, although cliché, Elijah Wood), divorce papers, Facebook stalking, and of course, karaoke (which leads us to conclude that while Jones can successfully carry a movie, she should probably leave music up to her father, Quincy Jones).

The movie is heartfelt, funny, and just a little bit predictable. Jones and Samberg prove that they can charm any audience, but the script (penned by Jones and McCormack) is less than perfect, sometimes leaving us with jokes that fall short and characters that, with the exception of Celeste, could be further developed. However, it is the sincerity of its main characters and the thoughtful, genuine way in which Celeste goes about her rediscovery, that makes the movie so enjoyable.

She definitely fails more times than she triumphs, but along the way there are meaningful and honest moments, cleverly cushioned by humour and a heartbreaking soundtrack, from Donnie & Joe Emerson’s “Baby,” to Biz Markie’s “Just a Friend,” it might be the most diverse soundtrack of the summer.

The cinematography is surprisingly impressive as well, with one of the film’s most poignant scenes culminating in a striking frame of Jones, smoking a cigarette, her hair and coat blowing in the wind as she stands in front of a white wedding tent.

If there is a pair who can laugh while signing divorce papers and then high five while they leave the building, it’s Jones and Samberg. Celeste and Jesse Forever is sad at the same time as it is heartwarming and will probably join the ranks of classic indies such as (500) Days of Summer.

As the credits roll, we are left with a string of questions to contemplate. Can friendship between two people be forever, even if they aren’t? Is there such a thing as the right person, or even the wrong person? Can two people truly love each other, move on, and still be happy for one another? The movie’s main truth may be that we grow with every relationship, whether we wish to or not.

As Skillz says to Celeste while they take hits from a massive blue bong, “When you can no longer change the situation, you need to change yourself. Victor Frankl… or Biggie… I don’t know.”

Celeste and Jesse Forever  will open Aug. 31 at Cineplex Forum. See your local listings for showtimes.

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Arts

ARTiculate: The summer of the re-hash


Reduce, reuse, recycle; so the old adage goes, but must we subject ourselves to recycled films as well as cans and bottles? Year after year, Hollywood subjects moviegoers new movies spilling over with old content, and this summer theatres were littered with recycled material from Hollywood’s blue bin.

There was not one, but two Snow White story adaptations, another remake of Spiderman and adaptations of both Total Recall and Prometheus. Not to mention the countless sequels, such as Madagascar 3, Ice Age: Continental Drift and Men in Black 3, which are the same formulas as the first few films, but with a fresh coat of paint thrown on to make them look new again.

Summer has always shown a propensity for re-hashed films, mainly because they are the movie industry’s highest earning releases and summer is when most studios release films that are aspiring for Blockbuster status.

According to Box Office Mojo’s yearly box office results, re-hashed and sequential films released this summer were among the top ten highest grossing films of the year thus far. The Dark Knight Rises, ranked number two in worldwide gross, Ice Age: The Continental Drift ranked third, The Amazing Spiderman ranked fourth, MIB 3 and Madagascar 3: Europe’s Most Wanted ranked sixth and seventh and Snow White and the Huntsmen brought up the rear in ninth place.

Recycled films beat out even very popular films such as The Hunger Games, which ranked fifth in worldwide gross behind The Dark Knight Rises, Ice Age  and The Amazing Spiderman. Last summer The Hangover: Part II brought in $581.5 million dollars worldwide, beating out the original comedy Bridesmaids.

The Hunger Games and Bridesmaids were both well received by critics and yet they could not overcome the popularity of these re-hashed films. Among this summer’s highest grossing films worldwide only two of the top ten films, (Brave and The Intouchables), did not originate from a previous movie conception. This would seem to illustrate that more people will pay to see a film they are already familiar with, rather than one that is relatively new to them, even when it gets rave reviews.

Therefore, by all evidence, movies that have been re-made from old, adapted from fairy tales or are part of a sequence, are much better received financially than more original films. Proving that for Hollywood, a summer of the re-hashed pays off, and we viewers don’t mind one bit.

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Arts

Is there a price to pay for freedom?

In her documentary Crimes Without Honour, Raymonde Provencher presents the impact that honour crimes have had on four individuals from different countries in Europe.

An honour crime can be described as a way for a family member to bring honour back to the family by ‘punishing’ the person who brought dishonour or shame. If violence is not the answer for regaining the honour that was lost, it is possible for the family to refuse a person back into the family. In some cases this can be an opportunity for the person who is said to have brought dishonour to start a new life.

Necla Kelek, Sara, Aruna Papp and Arkan all elaborate on their lives and the struggles they faced with their families. Kelek and Sara both have similar stories having had difficulties with their fathers and brothers for dishonoring their families for being seen in public with a man not from their own culture. They ended up both leaving their countries and changing their names in order to better protect themselves. Kelek, now devotes her time to ensuring that if anyone who has left their families or were asked to do so as a result of dishonour, desire to return, that it will be to a safe environment. Kelek makes a difference by getting in touch with the families and making them understand how mistakes are meant to happen sometimes in life and that killing or beating is not the answer.

Furthermore, in the documentary we get a glimpse of their new lives and how they are coping with being separated from their families. The story of Aruna Papp, now a social worker in Toronto, takes a look at the situation she faced while living in India. Her husband was beating Papp, and she felt that she needed to divorce her husband. Her family, however, felt like the beatings were deserved and were not supportive.

The last character, Arkan, is a young Iraqi Kurd in Switzerland who wrote a book about his personal experiences with dishonoring his family. Arkan brought shame to his family by simply telling his father that he did not want to marry his cousin and by doing so he gave his father a heart attack. He finally gave in and decided to marry his cousin only to change his mind later on.

All four of these individuals are truly an inspiration to those who aspire not only for a life of freedom, but one without constant fear of being judged for bringing shame or dishonour to the family.

For the most part the goal here is to educate not only the young generation, but those who are willing to listen and make a difference in the world.

This ‘dishonour,’ as it is shown in the documentary, can take various forms: dating someone of a different culture, the refusal to take part in an arranged marriage or even wanting to divorce. Crimes Without Honour explains brilliantly a sensitive issue that is holds significance in many countries across the world. The work of the director Raymonde Provencher succeeds in giving importance to an issue that needs attention in order to enhance the chances of reducing such crimes.

This documentary is now playing at the AMC theatre and at the EXCENTRIS.

Watch the trailer:

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Arts

Blockbuster or Bust: The Avengers

Joss Whedon's The Avengers (2012)

Marvel Comics’ The Avengers opened this past weekend to the tune of 200 million dollars in revenue. But were moviegoers shelling out for a box office hit or a Hollywood bust?

The Avengers combines characters from four previous Marvel Comics films and begins where the last movie, Thor, left off. For those who have never seen Thor (and I don’t recommend that you do), Thor’s brother Loki rules their home world of Askgard in Thor’s absence (he’s banished to Earth). When Thor is redeemed and returns to Askgard, Loki is made to give up the throne.

The premise of The Avengers is thus, that Loki wants revenge for losing the throne and so he teams up with a colony of bloodthirsty aliens, the Chitauri, with the purpose of enslaving humanity. His plan is to bring the Chitauri army to Earth, but the portal he uses to travel between worlds won’t transport an entire army. What he needs is the object known as the Tesseract, currently in the possession of the U.S. government agency, S.H.I.E.L.D. In the opening scenes, Loki successfully steals the Tesseract from the S.H.I.E.L.D facility, prompting leader Nick Fury to recruit the Marvel superheroes, Hulk, Iron Man and Captain America. Uninvited, Thor arrives to dissuade Loki and joins up with the other superheroes to save Earth.

Action packed and peppered with biting one-liners and physical comedy, The Avengers brings together the best of the previous five Marvel superhero films. Not all the previous movies in this series were successful, but director Joss Whedon manages to take what worked best for each of the individual films and have them coalesce as a whole.

Avengers heroes Thor (played by Chris Hemsworth) and Captain America (Chris Evans) headlined their own comic-to-movie adaptations in 2011

The action sequences are set up so that there are several fight scenes happening at once and the camera cuts from one to the other and back again. In this way the different plots and storylines are able to happen simultaneously without any unnecessary breaks in the action. There is very little wasted time in this film, something the other movies suffered from; spending more time on character than on plot. Whedon, however, gives enough character information so that first time Marvel superhero movie-goers will understand the action, but not so much that veterans are bored or plot time is wasted.

Robert Downey Jr. as Tony Stark/Iron Man gets the best one liners, as is the nature of his character, but it’s the ease in which he plays his character, demonstrating the growth Stark has gone through since first becoming Iron Man that is most impressive and he stands out as one of the more well-rounded characters. Mark Ruffalo as Bruce Banner/The Hulk also gets his share of laughs, playing off of Downey’s witticisms in his own smart-aleck way, while also indicating a deeply troubled inner life that draws focus to his character more than any other.

Chris Hemsworth as Thor is exactly as he was in the first movie, with his signature accent, reliance on stern facial expressions and Yoda-like lines of wisdom to convey character. Chris Evans is Captain America/Steve Rogers who is still adjusting to 21st century life, which is perhaps why he only ever seems to be half present. Secondary characters, like Hawkeye (Jeremy Renner) and Black Widow (Scarlett Johanson) are indications of movies to come. The story continually hints of a deep dark past for both of them, which we never fully learn about but helps to qualify them, somewhat, for inclusion in The Avenger team picture.

Overall, if you’re looking to treat yourself to a night at the movies, this is the picture to shell out the money for, at least for this week.

CINEMATOGRAPHY: A
ACTING: A-
PLOT: B+

FINAL GRADE: A-
CLASSIFICATION: BLOCKBUSTER

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