Pjtaylor-96-138044

'Role Models (2008)' is the kind of comedy that makes you check the clock more than chuckle. It isn't outright bad, I suppose, but I'd be lying if I said I actually enjoyed most of it. A handful of short, sharp nose exhales and some generally amusing moments aren't enough to make this genuinely worthwhile, especially since the chemistry between the core characters is lacking and the emotional journey they go on feels fairly forced. It's a generic, no-frills buddy comedy in which the buddies aren't really buddies and the comedy is rarely funny. Sean William Scott isn't wild enough to be the wild card, and Paul Rudd is too nihilistically grumpy to act as the exasperated straight man of the duo. To be fair, the third act is actually rather satisfying in its commitment to the bit, presenting what it initially seems to mock in a more sincere way and being all the better for it. It isn't exactly funny, but it's a nice way to wrap things up prior to the expectedly convenient ending. Ultimately, though, there are many better movies that deal with almost the exact same themes and dynamics as this one, so it's difficult for me to recommend this over them with any level of enthusiasm. Even if you're a fan of these actors, there are certainly better ways to watch them. Like I said before, it isn't exactly bad (it's entirely watchable, after all), but it also isn't exactly good, either. It's a pretty meek effort.

'Clerks (1994)' is a shoestring-budget indie comedy about a pair of store workers who pass the time by playing hooky, hockey and "how am I going to sort my life out?" as the various not-so-mundanities of their jobs present themselves as the nine circles of hell. Written and directed by Kevin Smith, the flick has the unmistakable energy of a first-time feature, both for better and worse. Clearly put together as cheaply as possible, the affair smartly makes its bugs into features by presenting its narrative with stark yet satisfying black-and-white cinematography and creating plot points to account for the necessities of its night-time shoot (such as a convincing excuse for the shutters to be shut, meaning no natural light is needed inside the store). Although its vulgarity often feels included simply to be edgy and a lot of its dialogue has that waffly, realistic-yet-not-really quality that can be a little annoying at times, the piece is remarkably engaging for what's essentially a dialogue-driven day in the life of two bored-at-work slackers. It's funny on occasion, albeit never rib-ticklingly so, and some of its stories twists and turns are certainly unexpected. Plus, despite some notably rough performances from the supporting cast, the major players all handle their work respectably well considering they're all doing it for the first time on (feature) film. It's a little dull on occasion and it's never so charming so as to completely overcome some of its more notable flaws, but it's enjoyable enough for what it is and it clearly marks more than one of the people involved as genuine talents within the industry. It's good, but not great. I can see why it's a cult classic, but I certainly can't claim to view it as such.

'Paper Moon (1973)' is basically a hangout movie following a conman and his maybe-biological-but-certainly-surrogate daughter as they travel across the country making money selling personalised bibles to unsuspecting widows. Starring real-life daddy-daughter duo Ryan and Tatum O'Neal (the former of which reportedly hit the latter upon learning of her Oscar nomination and his perceived snub; yeah, father of the year right there), the film ambles along from con to con in a semi-vignette fashion, yet it never feels like it's outstaying its welcome and it renders its world with such tangible warmth that you want to live in it alongside its characters for as long as possible. The plot isn't the most laser focused, but it doesn't need to be. It's well-paced and engaging, and it's consistently enjoyable. With strong central performances and a relatively realistic screenplay, it sucks you into its delightfully photographed milieu and remains effortlessly charming for its duration. It constantly threatens to rip your heart out of your chest, but it has to good grace to never land a blow so crushing that it completely destroys you. Instead, it's simply a film about life, with all its ups and downs, arguments and agreements, joys and fears, fathers and daughters, conmen and conned men. It isn't monumental, but it's still pretty great. It's a strangely cosy and comforting experience. And, no matter what anybody says, Tatum deserved that Oscar.