Review: "Peace, Love & Misunderstanding"

"Peace, Love & Misunderstanding" is one of those movies where you genuinely enjoy hanging out with the characters, but the story unfolds with all the surprises of the changing of the guard at Buckingham Palace. As time goes on, you find yourself liking the people you're watching less and less because you know what they're going to do long before they get around to doing it.

For a movie that professes to teach us to get past our insecurities and think more freely, it does so with astonishingly conventional storytelling tropes.

This dramedy is set in the town of Woodstock, which because of the eponymous concert holds mythic status among that portion of the Baby Boom generation that never grew up, and their fresher disciples.

Jane Fonda plays Grace, a sort of queen mother of the hippies, who eschews possessions but owns a magnificent piece of idyllic farm property outside of town. She grows (and smokes) a lot of pot, paints portraits of landscapes both geographical and anatomical, howls at the moon with fellow aging females, protests wars (any will do), bangs drums and pretty much every other stereotype of crunchy Earth Motherhood you can think of.

Her character is actually not the protagonist, but rather the flighty nexus around which other characters and their stories orbit.

Grace's daughter Diane (Catherine Keener), who supposedly was born at Woodstock, has rebelled against her mother's rebellion by becoming a conservative, uptight lawyer who hasn't seen her mother in 20 years. But Diane's own life is crumbling around her, with her husband (Kyle MacLachlan) curtly announcing one day that he wants a divorce.

She decides to trundle up her two teenage kids and head to mother's to ... well, apparently to form the basis of a screenplay. (Certainly no other logic applies. Who, in a time of extreme emotional duress, seeks to pile on more conflict?)

 Jake (Nat Wolff), still in high school, thinks life is a film, and he wants to be the director -- mainly because it allows him to shoot video of everyone instead of interacting with them. (He bristles when people call him a budding Spielberg, preferring to be associated with the more iconoclastic Werner Herzog.) Jake is painfully shy around girls, until he meets the winsome Tara (Marissa O'Donnell) at one of his grandmother's protests.

Zoe is the older child, already a student at Columbia, who has continued the rebellion streak in her family by becoming a vegetarian, peace-loving poetry lover. (In one of the movie's funnier bits, Jake complains that Zoe once had her Barbie dolls hold a war crimes tribunal for his G.I. Joes, and beheaded them.)

Zoe is more like her mother than she'd care to admit, presenting herself as open-minded but really rather dismissive of anyone who doesn't share her views. That includes Cole (Chance Crawford), the cute guy who works in a butcher shop (at least it's organic), smokes tobacco but not marijuana ("I like reality," he explains) and even hunts animals recreationally. Their relationship has a proverbial, almost slapsticky I-hate-you-until-the-moment-I-realize-I-love-you flavor.

Since both kiddies have exchanges of goo-goo eyes with a townie, Diane isn't about to be left out. Her match is Jude (Jeffrey Dean Morgan), a songwriter/carpenter who takes her skinny-dipping, beckons her onstage to sing at a concert and tells her she needs to untie the balloon of her spirit from the sandbag of her inhibitions, or something.

(Somehow, I suspect this pitch would seem less dreamy if it were coming from a potbellied guy with rotten teeth instead of a handsomely grizzled Jeffrey Dean Morgan.)

Director Bruce Beresford shot his first short movie in the 1950s, and has made some gems along the way ("Tender Mercies," "Driving Miss Daisy"). He has a nice, light touch with his actors, and helps lend a sense that the characters are more fully drawn than they really are.

Screenwriters Christina Mengert and Joseph Muszynski, though, have a tendency to build their writing around individual scenes and particular lines of dialogue rather than develop a coherent whole. As a result, the “Peace, Love & Misunderstanding” registers as a collection of Important Moments rather than a fully realized story.

2.5 stars out of four

Review: "What to Expect When You're Expecting"

Unless you're pretty slow on the uptake, you already know that "What to Expect When You're Expecting" bears little relation to the self-help book aimed at educating pregnant women about the little darlings growing in their bellies.

In fact, it's such a deliberate departure, one wonders why the producers insisted on keeping the title, other than nefarious purposes to lure in millions of moms and mama wannabes, who don't really require much luring for bubbly romantic comedies. Of course, this is the same industry that is also this week releasing a movie based on a board game about sinking military naval vessels, so starting off assuming the worst is probably going to work out pretty well.

There is no advice to be contained in the movie version of "WTEWYE," which is what I will call it henceforth, since I don't feel like typing it all, plus it seems like that would come out "wha-TOO-wee," which is good aural representation of how I felt about it.

Directed by Kirk Jones from a script by Shauna Cross and Heather Hache, "WTEWYE" feels like it was cooked up in a Hollywood laboratory ruled by poll-testing tubes and focus group beakers. Despite this, there actually are a few moments that shine.

The story takes a disparate group of five women, loosely interconnected and located mostly in Atlanta, who learn they're to become mothers right around the same time. There are also their male counterparts, plus friends, relatives, various hangers-on and a walk-on by some unrelated fathers known simply as The Dudes Group (more on them in a bit).

Now, that is a whole heapin' lot of characters to keep straight, let alone make them believable and identifiable. The result is that one couple's story works so well that I was annoyed whenever the movie focuses elsewhere, two other orbits of pregnancy feel forced and faked, another is really just a secondary story to the first one, and the last one has no purpose for even existing.

A quick run-down:

 Jules (Cameron Diaz) is a celebrity fitness trainer who just won a "Dancing with the Stars"-type reality show and fell in love with her gorgeous dancer to boot. They're rich, famous and busy, and find there's not much they truly agree upon.

Wendy (Elizabeth Banks) runs a store called The Breast Choice devoted to everything about having a baby, but she and her hubby Gary (Ben Falcone) have had trouble conceiving on their own.

Gary's dad Ramsey (Dennis Quaid), a retired race car driver, knocks up his second wife with twins. She's younger than Gary, a plastic-y Barbie type who makes pregnancy look like a breeze.

Holly (Jennifer Lopez) and Alex (Rodrigo Santoro) can't get pregnant, so they look to adopt a baby from Ethiopia. Alex is getting cold feet, which gives Holly the jitters.

The last couple is Rosie (Anna Kendrick) and Marco (Chace Crawford), early-20s owners of competing food trucks and recovering from a high-school split. They get back together for a one-nighter, she gets knocked up, and then they have a lot of Very Important discussions to share.

I genuinely enjoyed the Wendy/Gary storyline, with Banks getting some of the best lines and scenes as a woman who's spent her adult life pushing the motherhood-is-magic theme, only to find it's more about cankles and hemorrhoids. "I didn't get 'The Glow,' I just got bacne."

The one with the young kids is given the shortest shrift, which is OK since it feels like it was only included to rope in a certain demographic.

The Dudes, a club for dads to hang out with their kids, are also worth a laugh or two, with their mantra of total acceptance of each other's substandard parenting. But their sequences bring the movie to a dead stop.

I wasn't expecting much from "WTEWYE," but audiences certainly deserved more than this.
1.5 stars out of four