On the Big Board |
| Position |
Staff |
In Brief |
| 4/20 |
Les Winan |
I love you, I Love You, Man. Tons of belly laughs. Terrific work from the entire cast. |
| 17/169 |
Max Braden |
Pretty funny, but The Hangover beats it for the year. Jaime Pressly is great. |
| 21/21 |
Jason Lee |
I don't particularly enjoy watching 2 hours of people making fools of themselves by using forced, unfunny idioms peppered with macho guy-speak. Plus the gay characters were ridiculous caricatures |
| 47/82 |
Kelly Metz |
I didn't love this bro-mance as much as a lot of people seemed to - Jason Siegel was annoying as hell and I didn't believe for a minute that Paul Rudd would have been friends with him. |
Hollywood, as a giant corporate entity, does not have a motto. There’s no “Just do it” or “Fifteen minutes could save you 15 percent or more on car insurance” blazed in fiery letters along the Hollywood Hills. And yet, if the Hollywood community took a moment to delve inward, wrestle with their internal demons and come to terms with the tenets and principles that truly guide their actions, I think they’d be hard pressed to adopt any slogan that deviates significantly from the concept of “Don’t mess with success.”
The safest, most reliably-profitable movies nowadays (and thus, the movies that the studios seem most eager to produce and market) tend to be franchises. And thus, we’re inundated with sequel after sequel to movies that may not have been very good in the first place. And if there isn’t a sequel handy, then we get a theatrical adaptation of a successful book. Or a comic book. Or graphic novel. Or TV show.
And if none of THOSE options exist, then what’s a producer or movie studio to do? How do you capitalize on previously successful films in creating a new movie property that has the greatest propensity for financial success? That’s right, you bring together the creative teams that were responsible for other hit movies.
In the case of I Love You, Man, producer Ivan Reitman (of Animal House, Ghost Busters, and Eurotrip fame) has brought together Paul Rudd and Jason Segel for their theatrical pairing after successful stints in Knocked Up and Forgetting Sarah Marshall. Director John Hamburg also inked the script, which centers around the story of a soon-to-be-married-man (Rudd) who goes to extraordinary lengths to find the perfect Best Man (ultimately played by Segel). In an age in which people in Australia are auctioning off their lives on eBay and YouTube can make an Internet celebrity out of anyone, the plot of I Love You, Man feels timely if not a bit forced. But with a couple of Judd Apatow alums in starring roles and a veteran screenwriter constructing the story, this sure sounds like a recipe for success, right? I bet Reitman is hoping so. If nothing else, I’m sure we can expect I Still Love You, Man and I Still Love You Last Summer, Man in the years to come if this film makes a few bucks. (Jason Lee/BOP)
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