THE KING'S SPEECH REVIEW

THE KINGS SPEECH
Director: Tom Hooper
Cast: Colin Firth, Geoffrey Rush, Helena Bonham Carter
Screenplay: David Seidler
Running Time: 118min
Rating: M
*****/*****

HOPEFULLY FIRTH'S NEXT SPEECH WILL BE AT THE OSCAR PODIUM

In the cannon of Cinema's offerings which detail the lives of those seemingly otherworldly creatures known as Royalty, whether the subject be real or imagined, we are usually confronted with a very conventional protagonist-the brave, beguiling, determined aristocrat who is either desperately attempting to grasp power or desperately attempting to hold onto it. The portrayal of these characters are always imbued with a certain sense of either subtle or overt arrogance, as if the position of almost indeterminable responsibility and privilege is theirs by divine right. What makes The King's Speech not only fascinating but indeed refreshing is that it chronicles the story of a man who not only has no wish to be on the throne but is absolutely terrified at the prospect of it.

The film tells the story of the man who would become King George VI (Bertie), the mild mannered, reserved "spare" to the throne who suffers from a dreadful stammer. As second in line, Bertie is confident that he will never be required to assume the role which he dreads, but as a member of the royal family he is regularly required to make public speeches, an event which both terrifies and embarrasses him deeply. Bertie's supportive wife Elizabeth enlists the help of maverick speech therapist Lionel Logue whose unconventional treatment techniques slowly begin to instill in Bertie the confidence in which he is so sorely lacking. Things take a turn for the worst however when Bertie's brother David abdicates the throne to marry scandalous American divorcee Wallace Simpson. As the country verges ever closer to war with Germany, Lionel and Bertie's relationship is stretched to breaking point as Bertie is forced to step up to the challenge of leading his country into battle.

This is Colin Firth's film, and if there is any justice the next speech he should be making will be from the winner's podium at the Academy Awards. Playing a protagonist afflicted with a stammer was risky business for both Firth and director Tom Hooper. Indeed, they pulled of quite a fete in the fact that the affliction never gets in the way of the story, it fills the viewer with sympathy not frustration and it never comes across as comical; which in the hands of a lesser actor it might have done. In movies such as this, the phoenix rising from the ashes so to speak, it would have been only to easy for Firth to really chew up the scenery which thankfully the actor wisely refrains from doing so. Firth plays Bertie with a subtle poignancy, the restraint shown in his choices truly showcasing what a remarkable actor he is.

As Logue, the eccentric Australian speech therapist Geoffrey Rush proves once again why he is one of the all time greats. Rush is similar to Firth in that they both appear to follow the same credo of he who screams and cries the most does not the best actor make. Their less is more approach shows that both are more willing to serve the film rather than their ego's. Their onscreen chemistry is one of the true joys of the movie, with the unconventional friendship eliciting both hilarity and tears in equal measure. If nothing else, Tom Hooper should be praised for capturing on celluloid two actors at the peak of their talent and ingenuity.

Rounding out the leads is one of cinema's most interesting leading ladies, Helena Bonham Carter as Queen Elizabeth. Carter's off screen persona is possibly about as far removed as you can get from the notion that the majority of us carry around about the Queen Mum; and yet her unquestionable talent wins through in the end, with bearing and diction so regal that it is quite a pity a coronation isn't around the corner for the actress herself. It is a very different character from the rather unhinged, larger than life creations Carter has become known for in the past decade. The actress herself stated in interviews that she was unsure about the role because at first she thought it was just another supportive wife part. Yet in Carter's hands, Elizabeth appears a woman before her time, an equal with her husband, supportive and yet not relegated to the background. Whilst Carter always comes across well in her collaborations with partner Tim Burton, viewing her in a role outside of the very distinctive world Burton creates is a revelation and it can only be hoped that the actress dares to venture outside of it more often.

Finally an honorable mention has to go to Guy Pierce as the playboy heir to the throne Prince David. Pierce did not go down the conventional leading man route as many critics may have thought after the success of LA Confidential, instead carving out a unique career as an in demand character actor. It can only be hoped that one day Pierce will be honoured with the accolades that he deserves as one of the finest actor's in the industry today.

Tom Seidler's script is superb. There is a lot of history to cover in the comparatively short running time of one hour and fifty minutes, not to mention the emotional subtext which must be present in order to make the film resonate as it should. Seidler does well to avoid for the most part the generic cliche's associated with films of this nature. Bertie is a flawed man, he will always remain a flawed man; as the film progresses he improves rather than is cured. He has triumphs of sorts but they are personal rather than political . Perhaps this is one of the reasons why the film has such emotional resonance. The majority of us can not relate to the struggles involved in leading a country, but we can relate to small victories, overcoming the fear inside us all. Seidler restrains the urge to turn Bertie into what we usually perceive to be a Hero. He is rather a rather ordinary man doing the best he can in extraordinary circumstances. The narrative flows seamlessly, always gripping, every scene essential.

Much of what I have praised in the film is also the result of Tom Hooper's direction. Not only does he illicit fine performances from his actor's but his visual choices and attention to detail are a credit to his talents. He seamlessly evokes the ambiance on 1930's London, ultimately delivering one of the finer period dramas of the last decade.

There is no getting around the fact that The King's Speech is a crowd pleaser, which may be slightly damaging to it's reputation in the fact that the only type of film which seems to be considered art these days are pretentious morality tales with unstructured narratives, scenery chewing theatrics and a lot of gratuitous sex and violence. If you can understand it and it makes you feel good about life than it's somehow less creative or valuable as a piece of cinema. This however is complete rubbish and if The King's Speech takes home the best picture Oscar than it will be a much deserved honor indeed. FIVE STARS OUT OF FIVE

BALIBO REVIEW

BALIBO
Director: Robert Connelly
Cast: Anthony LaPaglia, Oscar Isaac
Screenplay: Robert Connelly, David Williamson, Jill Jolliffe (book "Cover Up")
Running Time: 111 min
Rating: M15+
****1/5/*****

Balibo is one of the finest Australian films ever produced. Unfortunately, much like the events it portrays, the movie has not received the global attention it deserves. This can most likely be attributed to the fact that nobody wants to be reminded of their inadequacies; with the film depicting the harsh brutality of the world turning a blind eye to the suffering of an entire nation, it is sure to be a hard sell to the mainstream movie going public, which is a great pity indeed. The topic itself has also long been considered taboo, particularly because it exposes the shady underhanded dealings of the Australian and Indonesian Governments that would result in a cover up lasting for over thirty five years.

East Timor is in turmoil on the brink of invasion from Indonesia. During this tumultuous time, five Australian journalists vanish without a trace. A month later the young Jose Ramos-Horta travels to Australia to recruit veteran war correspondant Roger East (Anthony LaPaglia) back to Timor to help cover the events of the imminent invasion. Upon arrival East becomes determined to discover the fate of the Balibo five and in turn alters the course of his own destiny forever.

LaPaglia is the big name of the film and ultimately delivers a fine performance, endowing East with a certain weight in the eyes of the audience that only an actor of LaPaglia's stature could provide. The character arc of East feels a tad unrealised however, which can be more attributed to the fault of the writing rather than LaPaglia's performance. East's choices, motives and actions often appear rash and unpredictable with the audience not quite understanding how he got there. In a film that is required to cover a lot of ground, it appears that Easts character development is an unfortunate casuality in the quest to explore a bigger picture. LaPaglia might be the name draw but it is the lesser known supporting cast who really steal the show, delivering outstanding performances and endowing the film with emotional resonance. Oscar Isaac is a star of the future, delivering a subtle yet frighteningly charismatic protrayal of the future President of East Timor Jose Ramos-Horta. He instills the character with such a warmth yet cool conviction, that his presence is missed during the characters time off screen. Equally as enchanting are the Balibo 5. The actors manage to endear the journalists to the audience so much, that it only serves to make their subsequent fates infinitely more heartbreaking. The times we spend with them in the lead up to their fateful stay at Balibo are like breathes of fresh air into the film, rendering their death scenes extremely difficult to bare.

On the budget of an Independent film, writer/director Robert Connelly has delivered a masterpiece that runs rings around numerous films with ten times the budget, resources and star power. The script seamlessly weaves between the quest of East and the tale of the Balibo 5, with each narrative managing to be equally compelling in different ways. Despite the films main narrative concerning the lead up and subsequent consequences of the events at Balibo, the invasion of East Timor as a whole is never diminished or relegated to the background within the story. Throughout the film a deep sense of foreboding and tragedy permeates the atmosphere with the character of Ramos-Horta serving to remind both East and the audience of the bigger picture; namely that there are travesties afoot far beyond the slayings of five Australian journalists.

The pace is thrilling and the narrative never dull. Balibo signals hope that the Australian Film Industry is capable of delivering more than the bland, sub-par offerings of the past decade. Deeply moving and utterly unforgettable, Balibo is a must see. FOUR AND A HALF OUT OF FIVE

KICK ASS REVIEW

KICK ASS
Director: Matthew Vaughn
Cast: Aaron Johnson, Nicholas Cage, Christopher Mintz-Plasse
Screenplay: Matthew Vaughn &Jane Goldman
Running time: 117 min
Rating: MA
****/*****

IT KICK'S ASS!

Superheros, caped crusaders, masked avengers, latex wearing super studs. Why is it that these paragons of righteous humanity only exist in our dreams? The main point of Kick Ass is to show us that superheroes don’t exist in our modern world for a very good reason. Kick Ass is a parody of the insanely popular comic book adaptations that have been bombarding our theatres since the release of Spiderman back in 2001. The satirical elements of the film seem to be lost on a large number of critics who have branded the film with all kinds of damaging labels; ‘exploitative’, ‘gratuitously violent’, and ‘politically incorrect’ to name but a few. Of course Kick Ass is all of these things. But the film has a different motive for being so than your normal run of the mill action pick.

Kick Ass tells the story of Dave Lizewski, an avid comic book fan who wonders why no-one has ever thought of becoming a superhero? The constantly unnoticed and downtrodden Dave decides to do what others only dream of and create a crime fighting alter ego Kick Ass. Dave soon realises that being a superhero is harder than he thought, especially after only narrowly escaping with his life on many occasions. Dave’s problems escalate when Mafia kingpin Frank D’Amico thinks Kick Ass is behind a slew of recent drug busts that is actually the work of real vigilantes Big Daddy and Hit Girl.

Unlike most comic book adaptations Kick Ass does not glorify violence. The graphic nature of the fight scenes serve to humanize the actions. They do not appear heroic, just a big bloody mess. The film also explores the consequences of violence. Every time our hero engages in a battle he is beaten to a bloody pulp and only narrowly escapes with his life.

Most of the flack received by the film centre’s around the character of eleven year old, foul mouthed vigilante Hit Girl. Why exactly is it that this character has received condemnation from family groups worldwide, especially since the MA 15+ film has never been marketed as anything less than strictly adult entertainment? Sure Hit Girl is like a pint sized Rambo, but is she any more disturbing than the mass murdering, psychopathic child in Orphan? The sociopathic, serial killer played by Macaulay Culkin in The Good Soon? A callous, bloodthirsty Kirsten Dunst in Interview with the Vampire? There are countless other examples of child exploitation, but Kick Ass seems to be the film taking the beating. The fact that director Matthew Vaughn is making the point that Hit Girl is a product of our increasingly violent culture seems to be lost on most naysayers. He makes the statement that superhero films glorify violence so much that in our society it is perfectly within the realms of possibility for an eleven year old to wish for guns and knives for her birthday.

Kick Ass is a rollicking good farce and anyone who attempts to view it as a straight up action film is going to have trouble. It successfully pokes fun at many generic superhero conventions; the death of a parent, the arrival of a superpower (which in Dave’s case is a slightly heightened ability to take pain due to nerve damage sustained in a fight), the superhero costume ( a green scuba suit which Dave attempts to wear underneath his clothes at all times), the training regime, the nerd boy who likes popular girl, the showdown and the inevitable sequel setup.

The cast is exceptional. Nicholas Cage gives his best performance in years as Big Daddy, Chloe Moretz almost steals the film as Hit Girl, Christopher Mintz- Plasse brings the laughs as Red Mist and Mark Strong delivers another exceptional villain. The film’s star Aaron Johnson continues to show his versatility as an actor, possessing the humility to make Dave pathetic enough that the audience just can’t help but root for him.

Kick Ass is a unique film that deserves to find a large audience. Here’s hoping that audiences will get past the controversy and be able to view the film for the delightful romp that it is. FOUR OUT OF FIVE STARS

PERCY JACKSON AND THE OLYMPIANS: THE LIGHTENING THIEF REVIEW

PERCY JACKSON AND THE OLYMPIANS: THE LIGHTENING THEIF
Director: Chris Columbus
Cast: Logan Lerman, Brandon T Jackson, Alexandra Daddario
Screenplay: Craig Titley
Running time: 118 min
Rating: M
***/*****

IT'S A SHAME SOMEONE COULDN'T HAVE STOLEN CHRIS COLUMBUS!

Despite comparisons to another fantastical franchise featuring an adolescent boy with magic powers, Percy Jackson is not the next Harry Potter. It is instead a rather mediocre yet entertaining entry into the genre that has the potential to achieve far greater things than what has been elicited out of this initial outing.

Following the theft of his precious thunderbolt Zeus wages war on Poseidon, convinced that the culprit is Poseidon's half human half immortal son Percy. Raised as a normal teenager Percy must channel his dormant powers and find the real thief before a war of the gods destroys the world.

Everything about Percy Jackson is quite hit and miss. The screenplay by Craig Titley lacks the emotional subtext that makes Harry Potter resonate with all ages. Instead rather bad dialogue and scant character development abound, with hastily introduced sub plots wrapping up as unsatisfyingly as they are introduced.

Based on the novel by Rick Riordan it is a shame that Chris Columbus could not have delivered a better thought out product as the premise is rather good. The Gods of Olympus have not featured prominently in a mainstream film for decades, and the concept that their half human offspring must train as warriors to save the world is practically every fantasy enthusiasts wet dream. Unfortunately Columbus fails to capitalise on the rather ingenious premise instead meandering about not quite sure on what aspect of the film he should be focusing on

Luckily for the film, Logan Lerman in the title role goes along way in smoothing over the movies flaws. Lerman has long been a child star to watch and as he develops into a young man his performances, particularly last years My One And Only, grow in depth and stature. Doing well with the bad dialogue he is given it is hoped that Lerman follows a Dicaprio type career path and not get caught up in a string of dead end franchises like many other teen stars that have gone before him. The supporting cast does not fair so well. Indie darling Catherine Keener is practically nodding of in her role as Percy's long suffering mother and whilst Brandon T Jackson gets in a few witty one liners as Percy's sidekick Grover, he appears awkward in any scene that requires a more "serious" tone. It is hard to ascertain anything about Alexandra Daddario's performance as Percy's love interest and fellow immortal as you are too distracted by the fact that she appears to be trying to pop her eyes out of the sockets in every scene , the same can be said or Pierce Brosnan in the sense that his half human half horse physique elicits the giggles so profoundly that it is almost impossible to concentrate on what is coming out of his mouth.

On the plus side a few solid action sequences and interesting cameos manage to briefly lift the quality of the rather hodge podge fair. One has to wonder if Columbus rushed the filming of Percy Jackson in order to beat Clash of the Titans to the screens as it often comes across as hastily thrown together and not entirely thought out. If this is a case it is a shame because potential peaks through the crevices of the film, potential that will hopefully be capitalised on should Percy Jackson be granted a second outing.

Despite the criticism Percy Jackson is a bit of mindless fun, which perhaps would not have been such a disappointment if the fine calibre of artists assembled had not been involved. Still more enjoyable than a lot of pop corn movies flooding the marketplace, here's hoping that Columbus can create some real magic in the sequel. THREE OUT OF FIVE STARS.

SHUTTER ISLAND REVIEW

SHUTTER ISLAND
Director: Martin Scorsese
Cast: Leonardo Dicaprio, Mark Ruffalo, Ben Kingsley
Screenplay: Laeta Kalogridis
Running time: 138 min
Rating: MA
*****/*****

YOU WON'T WANT TO CLOSE THE SHUTTERS ON THIS ONE!

The dream team of Scorsese and Dicaprio deliver their most thrilling and original effort yet in the form of the physcological mindfield that is Shutter Island.

US Marshal Teddy Daniels is called to a remote island to investigate the disappearance of a murderess from an institute for the criminally insane. Upon arrival Daniels soon begins to realise that nothing is as it seems, nobody can be trusted and danger lurks around every corner.

Like Shutter Island the location, Shutter Island as a film is a rich tapestry of intrigue in which the viewer never feels safe in it's presence. Also like the island itself you never quite know what to expect from the film or even how to define it. As the story unfolds the genre you think you are watching is constantly evolving. Is it gritty film noir, closed circled crime fiction, cop drama or sensationalised pulp? Nobody knows genre better than Martin Scorsese and this very gift enables him to mess with the viewers expectations as he presents us with convention and then turns it upside down.

When it comes to suspense Shutter Island by far surpasses all other cinematic offerings of the past decade. From the opening scene to the rolling of the credits the viewer is bombarded with a plethora of plot twists, red herrings and interconnected sub plots as the narrative grows deeper and more intense. To discuss said narrative would merely spoil the experience for the viewer as the total unpredictability of the films plot is one of it's finest assets.

Dicaprio once again turns in an awards worthy turn as the films damaged protagonist Teddy Daniels. Few actors can emote so much in such a subtle manner without chewing the scenery. The pain expressed in Dicaprio's eyes will haunt you for long after the lights come up. Daniels narrative is complex but Dicaprio handles the progression of his character like the pro that he is. It is hoped that Dicaprio doesn't follow in his directors footsteps in being relegated to always being the bridesmaid for the coveted Oscar. Fingers crossed that Shutter Island remains in voters minds for the 2011 awards ceremony as Dicaprio's performance is one of the best of this or any year. Mark Ruffalo lends excellent support as Daniels partner Chuck Aule. It's definitely Ruffalo's best performance to date and one hopes that he will be offered more roles of substance after this outing. Rounding out the supporting class is the suitably intriguing Ben Kingsly as the resident head physcologist, a scene stealing Ted Levine as a suspicious warden and Michelle Williams as Daniels deceased wife. Brief cameos by Jackie Earle Haley as a patient and Patricia Clarkson as a mystery woman are masterclass acting at it's finest and enrich the quality of the picture.

Cinematographer Robert Richardson does a superb job of making Shutter Island the foreboding and maze of fear that it appears to be. All other departments also seem to come up trumps with the epic musical score of the picture in need of a notable mention.

Shutter Island is one of the most original, unsettling and thought provoking film experiences you are ever likely to get. The intricacy of the plot plays out like clockwork, showcasing film making at it's finest. One of the must sees of the year and definately worthy of being considered a modern classic, here's hoping the Dicaprio/Scorsese partnerships continues for years to come. FIVE OUT OF FIVE STARS

UP IN THE AIR REVIEW

UP IN THE AIR
Director: Jason Reitman
Cast: George Clooney, Vera Farmiga, Anna Kendrick
Screenplay: Jason Reitman, Sheldon Turner
Running time: 109 min
Rating: M
**1/2/*****

UP IN THE AIR CRASHES TO EARTH

Clooney's latest obligatory awards contender is a rather bland look at the life of a rather uninteresting individual that consistently fails to deliver emotionally despite exploring the "big issues" of life.

Up In The Air tells the story of Ryan Bingham, a corporate downsizing expert who delights in his jet setting lifestyle of travelling around the country firing hapless individuals whose companies could not muster the courage to do the job themselves. Ryan's dream of reaching ten million frequent flyer miles is threatened however by the arrival of ambitious young gun Natalie who has come up with a plan to fire individuals via video conference in order to cut back on company costs. A further threat to Binghams lone wolf existence arrives in the form of his dream woman Alex, a fellow frequent flyer with a similar fetish for elite status. Bingham begins to re-examine his choices in order to ascertain what he really wants out of life.

Bingham is given no back story, he just is the way he is- a selfish human being who has chosen a very solitary existence so that he can be held accountable to no-one. In a job that requires Bingham to bring constant suffering to others he appears unaffected and seems to relish each trip so that he can fulfill his rather empty goal of achieving ten million frequent flyer miles. With the arrival of Natalie on the scene it is hard to ascertain whether Bingham objects to her new "downsizing" technique because he finds it particularly cruel and impersonal or because it will put an end to his cherished existence. His character is not very well rounded and you find yourself unaffected by Bingham's suffering after certain events in the film, after all what has this man done to deserve any sought of happiness? It is as though we are supposed to overlook the fact that Bingham is essentially a selfish bastard because it's George Clooney, after all someone as suave and handsome as Clooney can't be all bad right? Wrong!

Aspects of this film just don't add up. Natalie is supposed to be one of the main catalysts for change in Bingham's perspective on life but it is difficult to ascertain how exactly she achieves this. To think that this rather insufferable, stuffed-shirt could even make a dent in Binghams considerable armour with some rather naive ramblings about life and love is just implausible, especially since Natalie's life doesn't seem any the better for it. Her character is also somewhat of a mess, one minute she is berating Bingham with a speech on the importance of love, relationships and human interaction and the next minute she is launching into a full throttle campaign to enable her company to fire people in the most humiliating way imaginable.

That leaves his love interest Alex. Alex is basically the female version of Bingham, so the fact that he would begin to question his lifestyle after meeting someone who fits into it perfectly is quite peculiar to say the least . His sudden misgivings feel somewhat false and out of the blue.

Like writer/director's Jason Reitman's previous film Juno you are left wondering what exactly the message of the movie is supposed to be? Life is better with people? Nope, considering the characters who do have loved ones in their lives are either miserable, jilted or looking for an escape. It's never to late to change? Nope, considering Bingham consistantly fails to do so. It doesn't pay to lead a selfish life? Nope, considering Bingham appeared to be far happier when he was self absorbed and unaccountable. So it must be.....life can suck? Oh!

The whole film just seems to fall flat, even the scenes where dozens of workers are getting laid off feel emotionally barren. Was it the intention of the film maker to leave us feeling dead inside like Bingham appears to be.

All three lead actors are receiving Oscar buzz for their performances and whilst they are not bad they certainly don't standout as particuarly unique or noteworthy turns. George Clooney is playing George Clooney, nothing different from any other performance he is given over the course of his career. Anna Kendrick is essentially playing Jessica from Twilight with a college degree and Vera Farmiga is good but not great. It is indicative of the lackluster year of films in 2009 that these performances and this movie in general is considered at all awards worthy.


It is hard to take anything but a mild case of depression away from this film, or perhaps the fact that it sucks to get fired. Duh! For Clooney enthusiasts and persons in secure employment only. TWO AND A HALF OUT OF FIVE

IT'S COMPLICATED REVIEW

IT'S COMPLICATED
Director: Nancy Meyers
Cast: Meryl Streep, Alec Baldwin, Steve Martin
Screenplay: Nancy Meyers
Running time: 120 min
Rating: M
***1/2/*****

MENOPAUSAL ROMANCE HAS NEVER LOOKED

LIKE SO MUCH FUN

It's a shame that middle age romcoms don't appear in the marketplace more often as they consistently prove to be more intelligent, thoughtful and of a much finer caliber than the horrendous run of the mill offerings featuring egomaniacal twenty-something starlets looking for an easy hit, a big paycheck and an excuse to strut around their overly aerobicised buts in skimpy outfits.

It's Complicated tells the story of Jane Adler (Streep) who after a drunken night out unintentionally rekindles the romance with her now married ex-husband Jake (Baldwin). Jane is confused about the nature of her feelings, not to mention being both horrified and a little elated at the fact that she is now the other woman. Further complications arise when, much to Jake's chagrin, Jane developes a crush on her architect Adam (Martin). Jane must figure out her emotions before she loses both men altogether.

Director Nancy Meyers last foray into the menopausal romance genre is the modern classic Something's Got To Give and whilst It's Complicated doesn't quite reach the same heights it is nevertheless irrefutably enjoyable. Meyers is something of a pioneer of the middle aged romcom, having had a hand in some of the finest films the genre has to offer (Father of the Bride, Private Benjamin, Baby Boom). Her films are consistently more layered than the usual boy meets girl, boy loses girl, boy gets girl back romcom shtick, often exploring issues effecting a demographic that are harshly rejected by most of mainstream Hollywood.

From sagging body parts to empty nesting, the effects of divorce and impotance, the menopausal romance genre explores what happens after the happy ending. As such these films have a much more emotional subtext to them because they manage to hit nerves that vapid romantic comedies can't help but miss. It's Complicated is a unique mixture of soaring comedic highs and surprisingly poignant interludes. One moment you are doubled over with laughter as Steve Martin inadvertantly receives a rather unflattering close up of Alec Baldwins wang and then you're bought sharply back to reality with Jake and Jane having a rather touching discussion about the their failed marriage. It's Complicated is also unique in the fact that right up until the end you are not quite sure who Jane will end up with and can't even make up your own mind about the situation. Both Jake and Adam seem to fulfill different needs in Jane and it's a credit to Streep's chemistry with her two leading men that you actually wish she could be with them both.

Meyers once again surrounds herself with a dream cast of Hollywood royalty, and with good reason. Streep is as flawless as always and an excellent choice for a romcom protagonist, especially considering she is one of the only actresses in Hollywood who can command universal good will from womankind. Her relatability and likability in the role is one of the main contributors of It's Complicated success. Equally likable is the utterly hilarious Alec Baldwin who can elicit the giggles with the arch of an eyebrow. Baldwin is a natural born comedian who is so successful at walking the fine line between subtlety and slapstick that he manages to rival comedy legend Steve Martin in the laughs department. Martin does well with the chances for comedy he is given (pot hasn't seemed this funny since Jeff Spicoli) but he inhabits a more mature and grounded persona than in previous outings (cough..pink panther). Rounding out the cast is The Office star John Krasinski as Streep's future son in law Harley. Although the part is small Krasinski nevertheless delivers the goods.

It's Complicated is not the most exciting or unique film experience you will have this year but it's sure to be one of the most charming, and there is nothing complicated about that. THREE AND A HALF STARS