Tag Archives: Rose Byrne

Neighbors 2: Sorority Rising (2016)

Neighbors 2: Sorority Rising has all the hallmarks of a comedy sequel. It basically repeats the same plot as the original and tries to outdo previous gags. Mac (Seth Rogen; Pineapple Express) and Kelly (Rose Byrne; The Meddler) are selling their house and have finally found a buyer. The catch is that they are in escrow for 30 days, meaning that the buyers can check in at any time and withdraw their offer if they see something they don’t like. This isn’t an issue until the previously abandoned frat house next door is rented by a group of college girls led by Shelby (Chloë Grace Moretz; Kick-Ass). The young women are fed up with official sororities and the debasement of frat parties and want to break out on their own. Teddy (Zac Efron; High School Musical), the frat leader from the first film, joins forces with Mac and Kelly to get girls kicked out of the house before they scare off potential buyers.

Despite the familiar setup, the film uses the gender swap to approach the story from a different angle. They do an incredible job of skewering the Greek system. Sororities are shown as superficial with cult-like rules and rituals and fraternities are portrayed as cesspools of objectification. At their first frat party, Shelby is horrified to learn that the party is just a way to get them drunk enough to have sex. The film is able to evaluate this with humor. There are signs that read “NO MEANS YES” and frat guys shouting “You wanna go upstairs?” to anyone that will listen that are hilarious but also resonate because they are based in reality. These are only slight exaggerations of things that happen at real fraternity parties and the film is able to balance its comedy with criticism.

The critique of sexism inherent in Greek organizations provides a unique source of humor.

Many of the jokes rely too heavily on improv. This has become somewhat of an epidemic in modern comedies, particularly those starring Seth Rogen. Instead of using written and rehearsed lines, the director allows actors to ad lib several takes and compiles the results in post-production. This method can sometimes lead to spontaneous gems, but relying on it misses the essence of good comedy: timing. There are several scenes where the cast is clearly making up their lines as they go along, hoping that overacting will lead to some laughs. However, this typically only leads to failed jokes and in some cases racially charged remarks that don’t have a place in the film. The movie is at its funniest during the elaborate, planned, set pieces. These sequences allow the likeable cast to show off their comedic talents and have the required timing necessary to succeed.

It would have been easy for this film to fall into The Hangover 2 category. A by-the-numbers sequel relying on the success of the original, rather than its own quality, for box office revenues. The humor does not live up to the first film but even as many jokes miss their mark, it’s difficult to dislike the movie. The cast is eminently charismatic and even their failed attempts don’t become irritating. Instead, the surprisingly well realized feminist theme adds depth unusual to the genre and is able to eclipse the uneven humor and elevate the film.

3/5 stars.

The Meddler (2016)

What are all moms best at? Everyone knows the answer to that question: forcibly inserting themselves into your life. The Meddler features Susan Sarandon (Thelma & Louise) as Marnie, a widow that was left with a large sum of money after her husband passed. So, she did the only natural thing and moved from Brooklyn to LA to be closer to her writer daughter Lori (Rose Byrne; Neighbors). Still reeling from a recent breakup, Lori is depressed and only wants to be alone. She goes to great lengths to avoid social events with her friends but unfortunately can’t avoid her mother who has a key to her house

Director Lorene Scafaria (Seeking a Friend for the End of the World) accurately captures how ingratiating a mother’s unwanted help can be, despite good intentions. Everyday Marnie calls repeatedly and leaves meandering voicemails that aren’t actually about anything. She asks her 30 something daughter to text her each time she leaves the house and does things after beings specifically asked not to. As Lori tries to set boundaries, Marnie uses her free time to become a part of other peoples lives. She attaches herself to Lori’s friends and other strangers she meets, offering unsolicited advice at every turn. Marnie starts driving an Apple store employee to night school, planning (and funding) a wedding for Lori’s friend, and helps a bedridden woman at the local hospital. She fully occupies herself with financially and emotionally helping others.

Zipper introduces Marnie to the other women in his life...his chickens.
Zipper introduces Marnie to the other women in his life…his chickens.

Marnie creates relationships with others to fill the hole left by her late husband. After she starts seeing Lori’s therapist and gets approached by interested men, she exposes how fragile she is. Any mention of his passing and she’ll change the topic. It’s clear that both she and Lori are still grieving their loss, but the film does not fully explore its effects. It gestures towards these deeper feelings but barely skims the surface before reverting back to comedy.

The few glimpses into her true emotional state occur when she meets Zipper (J.K. Simmons; Whiplash), a retired cop who raises chickens. Simmons, for his part, is thoroughly charismatic as her Harley-loving suitor. His gentle approach and understanding of her behavior only serve to further endear him. As their romance grows, there are telling moments when Marnie deliberately pulls back. He invites her over, but she declines even though she is interested. She is still connected her late husband and isn’t ready to move on to someone else.

Despite her antics, Marnie never becomes unlikable. Even as she tries to steer Lori’s love life or uses salt bagels as a form of mental and emotional help, her deep affection for her daughter is always apparent. However, the film focuses too much on this behavior without thoroughly examining her and Lori’s grief. It sticks to the easy laughs and misses the opportunity to provide insights into the emotional aftermath of a losing a loved one. Without this added depth, The Meddler remains an agreeable comedy, but falls short of its potential and lacks the dramatic heft needed to give it staying power.

3/5 stars.