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Mike Wilmington

By Mike Wilmington Wilmington@moviecitynews.com

Wilmington on Movies: What to Expect When You’re Expecting

WHAT TO EXPECT WHEN YOU’RE EXPECTING (Two Stars)
U.S.: Kirk Jones, 2012

If you’re pregnant, or if your significant other is pregnant, or if you’re just in the mood for another modern rom-com with an all-star cast, you may get a kick or two (sorry) out of What to Expect When You’re Expecting, a not-very-good movie with a pretty good cast. Based — or rather “inspired by” — a longtime best-selling pregnancy guide book by Heidi Murkoff, this is yet another example of why it seems so hard to make good or funny romantic comedies these days — although here the subject mostly deals with what happens after the heavy breathing has stopped and the consequences of parenthood loom large.

How do you make a movie out of a best-seller self-help guide about pregnancy? How do you make a movie out of a best-seller self-help guide about anything? (The only good example that comes to mind is Woody Allen’s 1972 all-star film of Dr. David Reuben’s Everything You Always Wanted to Know About Sex (But Were Afraid to Ask).

But I doubt that “Hire Woody Allen” is an acceptable answer to those questions. Instead, director Kirk Jones (Waking Ned Devine and Nanny McPhee) and writers Shauna Cross (Whip It) and Heather Hach (Legally Blonde: The Musical) have decided to craft an ensemble comedy, mostly set in Atlanta, in which four couples go though pregancy problems, one other couple tackles adoption, and three of the twosomes (Cameron Diaz & Matthew Morrison, Elizabeth Banks & Ben Falcone, Brooklyn Decker & Dennis Quaid) amazingly wind up in the obstetrics ward all at the same time. (I refuse to even consider a spoiler alert for this.)

OH WELL, SPOILER ALERT

At the same time, astonishingly, the fourth couple (Jennifer Lopez and Rodrigo Santoro) adopt a baby in Ethiopia, and the fifth couple (Anna Kendrick and Chace Crawford) hold hands, stride through the hospital corridor and face the future (and any possible sequels),

END OF ALERT

The writers’ imaginations are fertile. (Sorry). This is not one of those anemic rom-coms with few characters and lots of clichés. This one has lots of characters and even more clichés. Banks plays pregnant Wendy, the author of a best-selling book on lactation and propreitor of a store called, I believe,  Breast Choice (or possibly The Breast is Yet to Come). Her squeamish hubby Gary (Falcone) is an overweight nebbish whose dad Ramsey (Quaid) is a rich exNASCAR champ with a young, gorgeous (and also pregnant) wife named Skyler (Decker). Diaz’ Jules runs a weight-loss clinic, and was impregnated by her partner on a TV dance contest show, Evan (Morrison, of “Glee“), aftere throwing up on the show. Lopez’ Holly is the prospective adoptive mother with husband Alex (Santoro); both of them play more for seriousness than for laughs. The result is the same.

The most convincing couple in the movie, which tells you how convincing the movie is, is the twosome of duelling food truck owners Rosie (Kendrick) and Marco (Crawford),who move from rivalry to a one night stand to prospective parenthood to…..Well, we’ll leave that to your bestseller-fed imagination.

Stranger than the fact that the stork (so to speak) ends up making so many deliveries to the same ward, and to people who know each other (sometimes), while apparently keeping tabs on events in Ethiopia, and cueing the music for Rosie and Marco, is the fact that some of the quintet, have baby-related occupations (baby photographer, breast-feeding manuals and the like) and can therefore dispnese wisdom from Ms. Murkoff’s book. Or the fact that four seeming househusbands, calling themselves the Dude’s Group –played by Chris Rock (spewing wisecracks like a late-night Vesuvius of wit) , Tom Lennon, Rob Heugel and Amir Talai — keep strolling through the movie, through a sunny park, looking like a mini-Wild Bunch with baby carriages and dispensing more baby wisdom — though they’re seemingly unable to keep one of their clumsier little kids, named Jordan (after Michael Jordan?) from getting continuously bonked on the head.

Nnne of this though is as peculiar or as funny as the episode in Allen‘s Everything…Sex, where Gene Wilder falls in love with a sheep. But maybe that’s one of the reasons why Allen isn’t writing or directing here..

Actually. this is kind of a sweet-tempered picture. You will have noted that it has a very good cast, But it matters little, since the script, following  the usual modern rom-com norm, is a poor one: hectic and preachy and clichéd and not every funny. (Rebel Wilson as Janice, Wendy’s friend, is the only consistent laugh-getter.) Diaz, Banks and Decker have all been given senwhat convincing prosthetitic tummies. And in the end, they all scream convincingly.

But the movie, which tries hard to leaven its sunny comedy and advice with a little darkness and realism, succeeds only in dredging up unwelcome memories (to me) of Valentine’s Day and New Year’s Eve, and unpleasant thoughts of a possible “What to Expect When You’re Expecting: The Musical.” Is that likely? Is that conceivable? I’m afraid to ask.

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Wilmington

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“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas