Veronica Mars (2014)

Director: Rob Thomas
Starring: Kristen Bell, Jason Dohring, Krysten Ritter, Ryan Hansen, Francis Capra, Percy Daggs III,
Chris Lowell, Tina Majorino, Enrico Colantoni, Gaby Hoffman, Jerry O' Connell, Martin Starr, Ken Marino, Max Greenfield, Amanda Noret, James Franco
Running Time: 107 min.
Rating: PG-13

★★★ (out of ★★★★)
  
Following the announcement that beloved cult series Veronica Mars would be kickstarted into a feature film to simultaneously be released on VOD and into theaters, I was surprised just how much more interested I was in the controversial crowdfunding issue than actually seeing it return in any form. But after considering it, that indifference makes perfect sense. The first season of Rob Thomas' Veronica Mars is unquestionably flawless, deserving of its standing amongst the most creatively realized single season television dramas of the past decade. It took the unremarkable premise of a high school private eye and turned it into something that transcended the genre with its writing, tone and execution. Arriving at a time when serialized, self-contained storytelling wasn't popular and shows didn't revolve around strong female protagonists, telling one story throughout a season or even an entire series was unheard of. After turning loyal watchers into "fans" and forcing casual viewers to catch up later through word-of-mouth or social media, a cult was born.

In 2004 delivering one season of TV at such high quality was an anomaly. Not anymore. In fact, many showrunners have now done it multiple times, slightly diminishing Thomas' accomplishment, even if he got there first. A second solid season aired followed by a third that deserves to be forgotten and mostly is. But that first season is still magnificent and represents the best kind of episodic storytelling the medium has to offer. That's why it's so disappointing that network brass and even many fans insisted on turning the show into something it wasn't, failing to realize the gift they were given. They wanted it to be The Gilmore Girls or 90210 and the CW network responded by attempting it, causing the show to limp to the finish line in a far lesser state than it started. For further proof look no further than the fact that re-runs started regularly airing on SoapNet of all places.

With its legacy somewhat tarnished and that magical first season in the rearview mirror, trepidation toward this project is understandable. Worse yet, it exists to provide "fan service," which is partially responsible for unraveling the show to begin with.  Freed from the constraints of network television, this is a big test for Thomas, as we finally find it whether he was a single season wonder or it was outside factors that caused the series' eventual downfall. So with that in mind, how did he do?

Picking up nine years after the events of the third season, Veronica (Kristen Bell) has left her hometown of Neptune, California, graduated law school and moved to New York City, where she's in a relationship with college boyfriend "Piz" (Chris Lowell). While awaiting an offer from prestigious law firm Truman-Mann, she's contacted by her ex Logan Echolls (Jason Dohring), who's been serving in the Navy and is under investigation for the murder of his girlfriend Carrie Bishop, a former Neptune High classmate who went on to find fame as troubled pop star "Bonnie DeVille." Veronica agrees to fly back to Neptune under the condition of helping him and his still obnoxiously hilarious best friend Dick Casablancas (Ryan Hansen) find an attorney to build a believable defense.

With her ten-year class reunion approaching and the case becoming more complicated, Veronica's soon drawn back in to the chaotic life she thought she left behind, much to the chagrin of her former sheriff father Keith (Enrico Colantoni). He's running Mars Investigations while sickened by the corruption overrunning Neptune under sleazy Sheriff Dan Lamb (Jerry O'Connell). With the help of old friends Wallace (Percy Daggs III) and "Mac" (Tina Majorino), Veronica has to find Carrie's murderer and exonerate Logan, all while coming to terms with the past and figuring out what it means for her future. 

The movie answers one of its biggest questions right away in how much background Thomas intends to give the uninitiated, with a brief, narrated prologue that's quick and painless, yet doesn't waste the time of diehards who know every detail of the mythology. Archival footage marks the extent of Amanda Seyfried's role, as we find out how Thomas handles the absence of the series biggest star. Since her character's long dead, the passing acknowledgment of Lilly Kane seems to be a pretty easy solution. With a nine-year gap to be accounted for, it was the right move to keep the Veronica voice-over (which the series eventually fazed it out) since it's as good a device as any to catch viewers up to speed provided it isn't abused. Thankfully, it isn't.

Clever choices are also made with the opening titles and theme song, which I won't spoil. But what's surreal is just seeing the characters ten years later, but in the context of a feature film. It took some adjusting to since it does look and feel different with the sheen of a higher end production, yet still strangely the same. Visually speaking, it's the best VM has ever looked on a technical level with Thomas and director of photography Ben Kutchins capturing the color palette of the series' early days, as well as Neptune's noirish atmosphere.

The tease that age has mellowed Veronica and she's left her rebellious streak behind to settle down with Piz and start a legal career is short-lived. It isn't long before she's back home making quips and trading one-liners with her dad, the writing still as quick and snappy as before, and Bell's delivery of it just as perfect. She slides back into this character like riding a bike with the actress clearly relishing the rare chance to step back into the role she was born to play. In that respect, it's almost as if no time passed at all. What's interesting about the murder set-up is how it transforms Veronica back into the outsider she once was when the show began, bringing everything full circle. All fans can at least agree that the father-daughter relationship between Keith and Veronica is the most missed aspect of the show and Thomas definitely doesn't disappoint in following through with the full implications of that reunion.

Veronica's reconnection with Logan is admirably treated with a restraint I wasn't expecting considering my biggest concern was that relationship taking over the picture, much like it eventually did the series. If one thing can be pointed at as creatively torpedoing the show, it's that. Unsurprisingly, there's one scene involving this I could have done without, but at least it's built up to well and handled painlessly. Until Veronica joins a monastery, I'll just have to accept to the fact that the depiction of their relationship is a necessary evil, but one hardly as integral to the show's initial success as many believe. Dohring actually gives a really interesting performance here, doing away with some of the more milquetoast elements of Logan that emerged pre-cancellation while reintroducing the darker, angrier aspects of the character. We know he probably didn't commit the crime, but Dohring thankfully doesn't play it like that. While few will be happy to see Piz again but his presence does make story sense and Chris Lowell, who's done okay for himself since, is a much better actor now than then.           

What's most surprising is how serious everything is treated while still somehow retaining much of the fun. In a PG-13 rated film we're treated to swearing, bar fights and shootouts that wouldn't have been possible during the series' run due to budget constraints and network interference. And the class warfare aspect of Neptune is not only emphasized but kind of enhanced with a legitimate sense of danger looming. There's a feeling that the first time our favorite characters could actually be hurt, or perhaps worse.

The nine-year layoff for the characters is a blessing in disguise, as their aging assures the series can longer be pigeonholed into a genre it never quite belonged. It's also a slight detriment, since part of the original thrill came from a story of such epic scope revolving around high schoolers. Supporting players Wallace, Mac and Dick are given much more to do here than they were in all of the show's third season and help move along the plot rather than merely stop in for appearances sake. The big surprise in that regard is Weevil (Francis Capra) who's given a subplot that's almost downright shocking, playing on the character's shady past in a clever way.

Unexpectedly, the film is filled to the brim with cameos, one of the more notable coming from James Franco, who probably jumped at the chance to appear considering how he seems to have his hands in everything in pop culture. Bigger roles go to Gaby Hoffman as an obsessed Carrie Bishop impersonator who could also be a key witness/suspect in her murder and hugely successful show alum, Krysten Ritter, returning as Veronica's frenemy Gia Goodman. The part is expanded accordingly to capitalize on her presence, reminding us how we underestimated the actress' versatility the first go around.

My personal favorite recurring character, goofy private investigator Vinnie Van Lowe (Ken Marino!) also makes a comeback, integrated briefly into the case. And yes, Max Greenfield does show up as Deputy Leo. It's hard to think of any big names left out whose absence damage the film, with maybe the exception of the original Carrie Bishop, Leighton Meester. The murder plot was probably conceived with the actress in mind so her unavailability is a blow, as it's easy to imagine she could have brought a lot more to it now. Jessica Chastain or Aaron Paul returning just isn't realistic but boy would that have been a shock had either appeared.

There is some clunkiness to the central mystery, but what really does work is how the film incorporates modern technology and social media into the investigation of the crime. This is technology that didn't exist (at least to this extent) during the show's run, so it's only fitting for a series that was always slightly ahead of the curve to now be able to pull the trigger on it. Thomas and crew delivered as promised, wrapping the show's and its title character's return into a thematic package about the battle between holding on and letting go.

The idea that Keith wants better life for his daughter than one in Neptune and is downright disappointed and angry at the possibility she'd consider throwing it away really resonates. In fact, it resonates in a way the series hadn't at the end of its run. It does surprisingly look and feel like authentic Veronica Mars and there's far less of a drop-off in the quality of writing than you'd expect. It's really as good as it could have possibly been, at many points recalling the mood and tone of the first and second seasons rather than the far lesser one that succeeded them. And although it's been called it, this doesn't merely come off as a reunion show with Thomas attempting to do more than reassemble the cast and call it a day.

None of the events or characters feel jammed in and it's unnecessary for us to adjust our expectations for who is and isn't there like we did for Netflix's revival of Arrested Development. It's unfair to compare such wildly different reboots (in separate mediums nonetheless) but it's really the closest thing to this situation we've got, proving how creatively risky bringing back defunct properties can be. While a solid effort, even diehards couldn't claim that fourth season holds a candle to the previous three, or even slightly resembles the show it was.

The waters should have been even choppier for VM, but unlike AD, its saving grace is that it went out struggling with some unfinished business. And since the show's quality fluctuated and it didn't deliver three perfect seasons like that series did, expectations are lower. It also has to deliver one powerful extended episode instead of an entire season, with the catch being that it has to look and feel cinematic, which it does. Add to that the pressure of the mainstream paying attention because of this untested funding and distribution model. Casual eyes have never really been on this series before and even if it is made to appeal primarily to fans, there has to be some entry point for everyone else. Or does there?

Whether this film appeals to those who haven't seen the show doesn't really even matter. When you consider how much work it took to resurrect this and the circumstances under which it eventually happened, the movie's potential success is dependent on the fan base being just large enough to eliminate risk for Warner Bros. This is being sold as a product with preexisting loyalty and familiarity so casual viewers just won't have the same long-term investment in the characters. But that doesn't mean someone who's never seen an episode wouldn't enjoy it. It just means they'd likely enjoy it on an entirely different level. As a smart mystery thriller.

As much potential as there is for this saga to continue or for the series to undergo a full-blown resurrection, ending it here would also be fine. Rob Thomas and this cast should never have to beg for money or hustle this hard because Warner Bros. won't financially support the series. The studio couldn't even manage to follow through on their basic publicity and marketing obligations. But regardless of those issues, there's no denying the Kickstarter approach works best for a property exactly like this. It wasn't about making Veronica Mars "happen" since that ship sailed a while ago, but rather giving the series the victory lap it deserves. And they delivered, making this trip back to Neptune one worth taking.

Hit and Run

Directors: David Palmer and Dax Shepard
Starring: Dax Shepard, Kristen Bell, Kristin Chenoweth, Tom Arnold, Bradley Cooper, Ryan Hansen, Michael Rosenbaum, Beau Bridges, Joy Bryant, David Koechner
Running Time: 100 min.
Rating: R

★★★ ½ (out of ★★★★)

Whenever seeing anything involving the Federal Witness Protection Program I always think back to that episode of The Simpsons when Homer wore and hat and shirt that read: "WITNESS PROTECTION PROGRAM." The main character in the action crime comedy Hit and Run would probably wear something like that, not out of stupidity, but just out of exhaustion from hiding for so long. He's played by Dax Shepard, who also wrote and co-directed with David Palmer what turns out to be something rare nowadays. A smart, funny, edgy and exciting mainstream comedy that marches to the beat of its own drum. That he's the brains behind this might be surprising to some, but not to anyone who's seen NBC's Parenthood where he consistently crushes it as a key player each week. Now with this, it seems his talents extend behind the camera as well, but it's still hard not to be at least a little surprised the movie works this well and that he's actually leading man material on the big screen. Besides utilizing a terrific cast well, he's also written for his real-life girlfriend Kristen Bell her strongest post-Veronica Mars role yet and one that brings all her strengths as a performer to center stage again. Which makes sense. You'd figure if anyone could figure out how to do it, it's him. I know I'm supposed to dislike the guy, but he's sure making it really difficult.
  
Robbery accomplice "Charlie Bronson" (Shepard), has been spending the past four years in Milton, California under protection and monitored by clumsy, incompetent and trigger happy U.S. Marshal Randy (Tom Arnold). He lives with his fairly new girlfriend, Annie (Bell), a professor at the local college who holds a doctorate in "Non-Violent Conflict Resolution" from Stanford and has just been informed by her kooky boss Debbie (Kristin Chenoweth) of an opportunity to head up her own department in Los Angeles.Only there's a problem: Charlie can't legally leave and her hilariously sleazy, overprotective ex-boyfriend Gil (Michael Rosenbaum) will do it whatever it takes to stop them, even enlisting the help of his gay police officer brother Terry (Jess Rowland) and recruiting the dangerous Alexander Dimitri (Bradley Cooper), one of the defendants Charlie testified against who's hell bent on evening the score. With Charlie driving his suped up, restored Cadillac, he and Annie are suddenly on the run from not only Dimitri, but Charlie's sordid past, the exact nature of which Annie remains in the dark about. Now besides Annie getting to her interview on time, both have to worry about even making it to L.A. alive.

Don't be fooled by the generic title. As far as action comedies go, this is better than most, with a clever script packed with jokes and smart dialogue that rarely miss the mark. Much of why everything works can be attributed to the fact that while the characters are colorful and their actions often unrealistically preposterous, it's kind of strangely grounded in a reality we can relate to. Shepard crafts a screenplay that captures the way people talk to one another, with the style of humor almost Seinfeld or Arrested Development-like in how ridiculously relatable it is and that's evident in almost every conversation between Charlie and Annie. They actually seem like a real couple who talk how real couples talk and joke and argue about things real couples do. Of course the joke there is that Bell and Shepard actually are one but that has absolutely nothing to do with the writing. And we've definitely seen more than a few off screen partners fizzle on screen due to a lack of chemistry so the pairing was far from a guaranteed success, even on paper. But they make the snappy dialogue come alive, sharing a natural back and forth that feels distinctively authentic and unforced. An argument about the ethics of using the word "fag" is surprisingly interesting and funny in their capable hands as is a scene in which Charlie explains to her how he decided on the manly "Charles Bronson" name.

From its opening minutes it's obvious this diverges from your usual comedies, taking its time getting where it needs to go, to the point that the real action doesn't really start to kick in until the third act. But by then we're so invested in these crazy characters we're practically on the edge of our seats waiting to see it resolve. The car chase sequences (and there are three notable ones) set to a solid soundtrack are a welcome respite from the CG enhanced chases we're used to and a throwback to when actual cars were driven by real people in movies. They're well choreographed and exciting, but more importantly, it's easy to follow what's happening and they exist for reasons that aid the story. But if I had to choose, the relationship arc works better as the film's surprisingly at its best when in full rom-com road trip mode. Shepard and Bell are just that good together. Annie's pacifist approach to solving conflicts makes for some really funny scenes opposite the quick-tempered, impatient Charlie and it feels like an even exchange. The two actors are really co-leads in this, which isn't a claim you can often make in mainstream comedies.

Physically, Shepard may not exactly fit the standard definition of your typical movie star, but here he transcends his supporting roots to carrying an entire full-length feature with offbeat charm and likability. Playing straight man to all the comic chaos unfolding around him he shows off a considerable amount of versatility, successfully fluctuating between the more broadly comic material of the film's first half and the off-the-wall intensity and violence of the second. He's a perfect match with Bell, whose performance in this couldn't have possibly come at a better time, reminding us what she's capable of with engaging material. It's something she hasn't been given in the past six years as this script gives her the opportunity to show off the quick, witty one-liners and smart delivery that originally caused TV audiences to originally fall so hard for her. It's fair to say after some dicey choices in projects, her future prospects have suddenly improved in a big way just within the past month with the announcement of the Veronica Mars movie so it'll be intriguing to see her try to capitalize on it. This role proves everyone right that she's got what it takes to succeed on the big screen, but who could have guessed that Shepard of all people would, quite literally, be the driving force who brings it out?   

The rest of the cast is uniformly excellent, especially a dreadlocked, pre-Silver Linings Bradley Cooper as Dimitri, who has a scene involving the purchase of dog food that's funnier than it has any right being. Tom Arnold turns in his most inspired comedic work since, well, True Lies, as clumsy U.S. Marshal Randy. The character isn't necessarily important, but he's likable and unannoying, with Arnold nailing every scene he's in. It appears Shepard pretty much just cast all his friends in this (right down to Parenthood's Joy Bryant as Dimitri's girlfriend and Veronica Mars' Ryan Hansen as a bank robber) but he made the right choices since they all do as good a job as possible in roles they're obviously well suited for.

In a perfect movie world more audiences would have heard about this and it would have done better, yet it's easy to understand why it didn't. It would be difficult for marketing to convey what a neat genre hybrid it is, and the plot and cast, outside of possibly Cooper (and even that was doubtful at the time), wouldn't exactly inspire confidence at first glance. It's one of those "under the radar" surprises that needed word of mouth to get people to check it out, but if they do now, they'll be shocked just how funny it is. There was hardly a moment where I wasn't smiling or laughing. Judging from what's in theaters it isn't easy writing and co-directing a creatively successful action comedy, not to mention a frequently funny one in which you're the lead. That Shepard can do this better than most his first time out is the biggest surprise. While he's actually believable as a motorhead action star, his true strength might lie in writing and directing romantic comedies he can headline with Bell. It's a partnership already off to a strong start.