Review: "How to Be Single"

"How to Be Single" is part raunchy sex comedy, and that part's fun, at least for awhile. But it also wants its moments of tenderness and wisdom, and that stuff is just pure death, man.

In addition, it sets up a female protagonist and her off-the-hook wingwoman, and then just as we're settling in with them and their man troubles, it introduces a whole other heroine, and throws in a sister for the first woman to boot. Suddenly we're dickering around with these two new ladies and their romantic contretemps, plus the main gal, and there are so many storylines and random hook-ups with dudes we lose track of who's on first.

The end result is a confused mash-up of "Love, Actually" and "The Hangover." If that sounds like an impossible mix of mutually exclusive tones, that's because it is.

"Single" is based on the debut novel of Liz Tuccillo, adapted for the screen by Abby Kohn, Marc Silverstein and Dana Fox. Christian Ditter directed, and while normally I'm not much of a player in the identity politics game, the use of a male director for a story on dating from a decidedly feminine perspective feels wrongheaded.

The women wind up as feminized versions of male characters, carousing and partying and waking up in bed with people they don't recognize. Except sometimes they show a little regret afterward, whereas the guys wouldn't.

(And considering how much sex these characters have with random strangers, a more credible title would've been, "How to Deal with a Tsunami of STDs.")

Dakota Johnson plays Alice, a sweet girl from Wesleyan University who spent all four years in a relationship with Josh (Nicholas Braun), who's tall and nice and cute but not, y'know, vroom! So she kicks him to the curb when she moves to New York City for a new start. Officially it's a "break," not a break-up, so they can try life as singles to see if they really want to be together.

Alice gets a job in a posh law firm as a paralegal, where she meets Robin, played by the incomparable Rebel Wilson. Wilson always seems to play the same role, yet we never tire of it: the audacious party girl whose orbital confidence wows the boys and divides the girls, who either dismiss her or become her bestie. Alice opts for the latter.

Segue to a bunch of scenes of the pair dancing, drinking, sexing. Alice's first conquest is Tom (Anders Holm), an agreeable bartender whom Robin introduces as the training wheels runway to a new life of debauchery. After their coupling, Tom offers his own pointers on how to avoid emotional entanglements, such as keeping no food or running water in his apartment, so overnight guests have to leave for sustenance.

Then into Tom's bar walks Lucy (Alison Brie), using the free WiFi to maintain her 10 dating site profiles. She thinks she's got this whole mate selection thing down to a science, feeding potential dates into a spreadsheet. Meanwhile, the scruffy pourer across the bar from her might just be her ideal match after all. (When he's not screwing Alice, that is.)

Alice briefly lives with her (implausibly) older sister Meg, an Ob/Gyn doctor played by Leslie Mann who secretly hates babies but even more secretly wants one of her own. She eventually gets pregnant via an anonymous sperm donor but then attracts the eye of a much younger man (Jake Lacy), leading to some predictable prevaricating about the source of her burgeoning belly.

Occasionally the movie remembers to go back to Alice, who's tempted to reunite with Josh, then gets in deep with a slightly older widower (Damon Wayans Jr.) with a young daughter. There's one scene where the guy shows his kid pictures of her mommy for the very first time. It's genuinely moving, but a completely head-whipping changeup from what comes before and after.

I haven't read Tuccillo's book, but to my understanding its protagonist is a publicist pushing 40 who sets off to write a book about what it's like being a single woman in different parts of the world. Which makes "How to Be Single" the latest movie to buy the rights to a book just because somebody liked the title, and throw everything between the covers into the trash.

Review: "Dirty Grandpa"

Well, he's certainly dirty alright.

If you were expecting the presence of acclaimed actor Robert De Niro to having a taming effect on this raunch-and-roll party, think again. De Niro plays a hard-partying gramps who has just lost his wife of 40 years, and decamps to Florida with his grandson to let his inner 21-year-old out.

On her deathbed, he insists, she told him to get out there and live the life he wants, and now he's carrying through on that pledge -- and not even waiting until her body is cold to do it.

De Niro plays Dick Kelly, a retired Army guy who, by his own acknowledgement, was an awful father. His son (Dermot Mulroney) turned into an uptight jerk, and now third generation Kelly Jason (Zac Efron) is following in his footsteps. He's already a junior associate in his dad's corporate law firm, more concerned with forming LLCs and getting married to a controlling rich witch (Julianne Hough) than pursuing his dreams.

Protesting the suspension of his driver's license due to cataracts, Dick shames Jason into driving him from Atlanta down to Boca Raton, with a few "stops" along the way. They play golf, chase some girls, head to Daytona for spring break, chase more girls, drink a lot, drug a lot, get into some fights and maybe, just maybe, learn some life lessons.

If it sounds like a goofball bender, a young-meets-old version of "The Hangover," that's because it is. Director Dan Mazer and script man John Phillips keep things loose and fast-paced. It may be 102 minutes of debauchery, but it's got just a smidgen of class.

Along the way they hook up with a threesome of hotties: Shadia (Zoey Deutch), who shared a freshman photography class with Jason and is interested in another exposure; Lenore (Aubrey Plaza), a slutty girl with a thing for oldsters; and Bradley (Jeffrey Bowyer-Chapman), a fabulous gay black man who can't tell if the crass grandpa is pulling his leg or not.

Both De Niro and Efron show off a considerable amount of skin in the movie, proving that the 72-year-old screen legend still has a body of iron, and that the 28-year-old Efron is a frequent patron at the hair waxing salon. There's also a bed-sharing scene that ups the ante from a similar one in "Planes, Trains and Automobiles" -- though with some stunt, uh, body parts, methinks.

One of the running jokes is how lax law enforcement is in Florida. Jason Mantzoukas plays Tan Pam, who runs a souvenir shop that's just a front for his drug operation. He fires pistols randomly -- "This entire state is licensed as a gun range!" -- and has endeared himself to the local cops so much that they pat him on the head and tell him to run along whenever he does something bad, like selling meth to 8th-graders.

It's a weird kabob of a movie, one bite tasty and the next one foul, though there's probably enough good to recommend if you're into this sort of thing. Just know what you're getting: this grandfather isn't cantankerous, he's one crude dude.

Video review: "Sleeping with Other People"

"Sleeping with Other People" never made it far past the festival circuit and a modest theatrical release, but it was probably the best romantic movie I saw this year. It's funny, smart, sexy and treats its main characters like knowable people rather than mice scuttling through the same tired old romcom maze.

Alison Brie and Jason Sudeikis play a pair who lost their virginity to each other back in college, and reconnect as friends. Unlike the usual romantic movie tropes, in which the couple spend the entire film ignoring the fact that they're perfect for each other, Lainey and Jake openly acknowledge their lingering attraction.

But they undertake a conscious effort to break free from their inability to commit, using each other as foils and advisers for the journey. They make a pledge not to hook up to see if they're capable of love without sex, a notion that of course gets tested.

The dialogue from writer/director Leslye Headland ("Bachelorette") is whip-smart and surprisingly honest. The supporting cast is uniformly good, existing as believable people who go on living their lives whenever they're not hanging around the main characters.

This is the sort of movie that blends romantic, comedic and dramatic elements so deftly that we don't work to label it.

Alas, bonus features are non-existent, on both DVD and Blu-ray editions.

Movie:

Extras:

Review: "Sleeping with Other People"

"Sleeping with Other People" is the most ambitious romantic comedy I've seen since "(500) Days of Summer." It probably doesn't even belong in that category, since it contains many notes of drama and pathos in addition to plenty of laughs and witty wooing. It's also fairly raunchy, without ever showing any real skin.

It stars Alison Brie and Jason Sudeikis as a messed-up pair of lovers who run into each other about 10 or 15 years after losing their virginity to each other in college. Each was a late bloomer who finally decided sex was something to just have and get over with so it doesn't become a big thing. Neverthless, it became a big thing despite their one night stand, with neither able to commit despite a string of flings.

They resolve to have a platonic friendship, despite the attraction between them, basically as a test to see if they're capable of a loving relationship sans sex. This goes on for more than a year, with predictable results.

I say the end point of this story is unsurprising, but what's unconventional is how writer/director Leslye Headland ("Bachelorette") arrives at the destination.

We quickly know that Lainey (Brie) and Jake (Sudeikis) are meant for each other; usually these sorts of movies are an exercise in the audience waiting for the characters to catch up with them. But here the couple also senses this, talks about it between them, but decide to continue the experiment because they value the relationship that's grown more than they care about physical intimacy.

Take Jake, for instance. He's a variation of the wiseacre lothario, a guy we've seen in countless movies before. But here Sudeikis and the script endow the character with self-awareness and doubt. He presents to the world the image of a fearless ladies' man, but inside he knows he's mostly a coward who's afraid of women.

"If you want someone to fall for you, you gotta be you," Lainey advises.

"Yeah, I don't think I like me enough to introduce him to other people," Jake says, but we understand the loathing underneath the quip.

Lainey, for her part, has been pining for the same guy since college, secretly believing he would choose her despite the way he's always kept her on a shelf. Matthew, now a successful OB/GYN, is played by Adam Scott, who's cold and manipulative in a way we haven't seen from the self-effacing funnyman.

He's just one of a terrific supporting cast that fills in the gap around the main players. Amanda Peet plays Jake's new boss, whom he immediately puts into his crosshairs despite the professional barrier between them. (He threatens to quit, walking away from a contract that will make him a millionaire, in return for one date.)

Jason Mantzoukas shines as Jake's long-suffering best friend, who resents but secretly desires his hedonistic, attachment-free lifestyle. (An Ecstasy-fueled scene at his son's birthday party is one of the film's giddy high points.) Natasha Lyonne plays the counterpoint role of Lainey's wingwoman, offering sage advice and a prod when needed.

I don't like to make predictions about how a movie will do, but "Sleeping with Other People" feels like it will break out a number of careers. Headland crafts some of the cleverest lines and vivid characters I've seen in a while. Brie is charming and vulnerable, a woman who can both admire and, at times, pity.

Sudeikis, though, just steals the show. Headland sets him up with a juicy part and he cracks it out of the ballpark. It's a familiar archetype that he endows with all sorts of shadings and subtleties. Sudeikis is entertaining yet believable. Plus, he's funny as all get out, spewing one-liners at a near-constant pace.

This must-see take on modern love is tragic, wise and hilarious.

Review: "The Dictator"

It goes almost without saying that "The Dictator" is not as funny as "Borat" or "Brüno," Sacha Baron Cohen's two other comedies about crude foreigners who come to American shores and haplessly inflict their outrageous behavior on the natives. Really, no other outcome was possible.

"Borat" had a fresh, vibrant feel coupled with a mad hatter's sense of spontaneity. (It actually received an Oscar nomination for best screenplay, which I do not take issue with beyond questioning how much of anything was written down before they started filming.) "Brüno," if not nearly as consistent, cleverly uncovered some uglier parts of pop culture.

But the big difference those two movies had from this new film is that they were, at least ostensibly, mockumentaies. That is to say, most of the people reacting to Baron Cohen's antics were regular rubes trotted in as unwitting victims.

The joke was not Brüno or Borat acting out, but the reaction it provoked .

"The Dictator" is fundamentally different in that it's a scripted comedy in which everyone is an actor hired to play a role. Instead, their reactions to General Aladeen, the despotic ruler of the fictional Middle Eastern country of Wadiya, are preordained. And that just drains all the juice out of the movie.

In large part, that's due to the fact that the supporting cast doesn't really have any reaction. Aladeen will say or do something incredibly racist, or sexist, or some other -ist, and the people just sort of stare at him quizzically like they're addled.

No one personifies this better than Zoey, Aladeen's would-be American love interest. A crunchy, Birkenstock-wearing "sustainable Earth" type, Zoey (Anna Faris) is absolutely appalled when all that hatred comes tumbling out of Aladeen's mouth, wrapped into a twisted braid of bent vowels that's supposed to represent a Wadiyan accent. But other than a couple of mild admonishments, she never tells him where to go.

Director Larry Charles and Baron Cohen, who co-wrote the screenplay with three others, don't attempt much in the way of plot. Aladeen comes to America after the United Nations threatens action over his country's development of nuclear weapons, and somehow he gets switched out with his simple-minded sheepherder of a body double.

Tamir (Ben Kingsley), Aladeen's ambitious right-hand man, sees an opportunity to install a puppet and run the show himself. Curiously, Tamir's big plan is to turn Wadiya into a democracy so he can start selling his country's vast oil wealth on the international market.

As evil schemes go, it's a pretty benign one.

I won't deny there are some good laughs in "The Dictator." I counted three that actually got me guffawing loudly, and perhaps a half-dozen others that evinced a smile and a chuckle.

But there are also many long, dull stretches where not much is going on. Despite the movie's skimpy 83-minute run time, it often seemed to drag itself out unnecessarily.

The interesting question is where Sacha Baron Cohen's career goes from here. He's too famous now to pass himself off for goofs, and clearly his model of humor isn't geared toward scripted fare. Based on "The Dictator," I'd say his reign of funny has come to an end.

1.5 stars out of four