Food For Thought: Review of Sausage Party

Sausage Party

Director: Conrad Vernon & Greg Tiernan

By Alex Watson

While this does have the odd chuckle thrown in for good measure, Sausage Party isn't quite the laugh a minute affair many would expect. At first, this rowdy and raunchy supermarket comedy is amusing but before long the innuendo jokes begin to reach their expiry date. In the later stages, directors Conrad and Tiernan do show some great maturity and restraint on the level of humour, but its poor taste of food stereotypes makes it lose points.

Frank (Seth Rogan) is a hot dog who along with his friend Carl (Jonah Hill) and stumpy friend Barry (Michael Cera) live inside a package within a supermarket. On the Fourth of July, he is delighted when he and his bun girlfriend Brenda (Kristen Wiig) are chosen by a shopper are destined for the mythical 'Great Beyond'. When the encounter a traumatized jar of Honey Mustard (Danny McBride) the group finds themselves separated. Soon some bitter and traumatic truths come forward when the discover precisely what happens to them in the real world.

Sausage Party is the first ever R-rated animated movie and for those who like rude jokes and unashamed potty humor, this is right up your street.  Opening with a song and dance number that ranges from funny to downright bizarre, this sets the tone. When Honey Mustard shatters Frank and Brenda's delightful hopes and jumps to his death, things turn into a battle scene replica which does tickle the ribs when you see Peanut Butter crying to a jar of jam "I'm nothing without you!" From there, things dissolve into a variety of food-related puns as we meet Salma Hayek's Taco character who has an especially close eye on Brenda, David Krumholz's grumpy Middle Eastern bread Vash and Edward Norton's Sammy Bagel Jr.

Vernon and Tiernan seem of the opinion that if they drop the F-Bomb as frequently as possible it will guarantee laughs. Here, it often falls flat and after a time just becomes tedious and its lack of subtly hinders what could have been something great. There are some glimmers of hope like the hilarious character Douche (Nick Kroll) , who is an actually a Douche. A funny and relevant Italian-American stereotype, watching him get juiced up on juice is very hilarious. His quest for vengeance against Frank for ruining his chance at the great beyond is endlessly watchable. The moment where Barry and friends are at the same shoppers home are smartly played. Watching an Irish potatoes horror as the human rips down the peaceful facade by peeling him makes way to some horror film like moments as we see Nachos being made and carrots wailing in pain at being shredded. Moments like these are rare and it is during these sequences where the most comedy is found.

Sausage Party tries to engage with the idea of people believing in something higher and what it really means to be human? Meeting Firewater (Bill Hader) an old bottle of spirits breaks ground on the real truths of the supermarket, but doesn't raise any sufficient laughs. Also stranded is a wad of gum that looks and sounds like Stephen Hawking. In the right hands and deft comic touch this movie really could have been far stronger, here were stuck with German mustard resembling the Nazi's and such flat lines as "Ketchup, catch up!" When the movie morphs into an extended food orgy scene, those weary of the constant sex references will be sighing internally. It's not to say that this film will be one of the worse that will be reviewed this year, just it could have been toned down rather than just go for all out explicitness.

Seth Rogan is able to bring his usual lazy charm to the role of Frank but neither he or Kristen Wiig are stretching themselves by doing this type of role. You can see the appeal for a whole range of Hollywood stars to get paid handsomely by talking dirty all day. Edward Norton's voice is nearly unrecognizable as he sounds closer to Eugene Levy or Woody Allen. Nick Kroll steals the show as the mad and bad Douche, who now has a thirst for revenge. Michael Cera's naive charm as Barry does make us smile, particularly when he meets James Franco's junkie whose high on bath salts.

Sausage Party will satisfy some tastes, but others will probably spit this food right out. Overall this could have been given a little more flavor.

21st Century Girl: Review of Trainwreck

Trainwreck

Director: Judd Apatow

By Alex Watson

Judd Apatow seems to have a knack for being able to realistically examine modern day relationships and this trend continues with Trainwreck. Capturing a raw hilarity mixed with a slightly superficial tone, Apatow bring us one of the more ruder comedies of 2015. This is in part thanks to an excellent script by star Amy Schumer which essentially flips her directors usual man-up stories on its head. Prepare for some shocking debauchery to follow.

Amy Townsend (Amy Schumer) is a 20 something girl who lives life to the fullest. That is she likes to hook with any number of random men and refuses to settle down. She works as a writer for a men's magazine, S'Nuff under her ruthless editor Dianna (Tilda Swinton). Soon Amy is assigned to cover sport's doctor, Aaron Connors (Bill Hader) despite her lack of interest in sport. As the pair become acquainted a possible relationship begins to develop. Is Amy mature enough to finally work past her fears and commit to a monogamous relationship?

From the outset of Trainwreck Amy's love of sex is made abundantly clear, an opening sequence sees her taking the walk of shame on the Staten Island Ferry. Smartly this often rumbustious and fun-loving character is not one dimensional. Back in her youth when her parents divorced, her philandering and obnoxious father Gordon (Colin Quinn) set her 9 year old self straight on his belief on how "Monogamy isn't realistic". Because of this belief she openly mocks her contented and married sister Kim (Brie Larson). In short, Amy is afraid to embrace long term because simply, she does what she wants.

With Aaron in the picture, finally a real shot appears unlike her tepid romance with self-serving body builder Steven (John Cena). After cruising through life and its opportunities, Amy's reaction to this one is one of alarm. One scene sees her panicking when Aaron calls her post coitus, leading her airhead colleague Nikki (Vanessa Bayer) telling her that he is sick. Amy has a constant need to feel worthy of someone's love which Aaron attempts to overcome. Their love in the first half of the movie makes the movie run smoothly compared to an awkward second act. When a tragedy is involves it both advances and hinders the movie. Though intelligently, it forces the characters to think harder about themselves which brings about the question of whether this pairing is meant to be?

As this is an Apatow film, the funny is a very smart type and he is able to find comedic moments everywhere. The relationship between Amy and Aaron is very much the catalyst and it has sufficient charm to power the movie. The little moments alongside this are the ones that make film tick. From LeBron James 'accidentally' forgetting his wallet to dinner with Aaron or Dianne and the other writers of S'Nuff spit balling ludicrous ideas like "Ugliest Celeb Babies Under Six". Length wise, the movie is perhaps longer than it needs to be, but Apatow want us to feel involved in this world. Moments such as Amy's foul mouthed but sincere and loving eulogy at her father's funeral are too good to miss.

Unashamedly this movie is very a star making vehicle for Amy Schumer, which she dominates with ease. Fans of her comedy series 'Inside Amy Schumer' will be familiar with her approach to crude humour. Schumer gives us a modern day girl who isn't striving to make a living, she is attempting to be something she isn't familiar with- being faithful. Underneath it all, Schumer has written a wonderful and painfully real version of her experiences. Bill Hader is also finally given a more extended character than he is accustom to receiving and he equally anchors the film. LeBron James however, nearly steals the show playing a self-absorbed and possessive version of LeBron James! Apatow has made great use of him and it may make us want to see him in future efforts.

When Judd Apatow makes a comedy, you can usually expect a fun ride. Trainwreck may be filthy and course in places, but otherwise it is one ride you will come out of smiling. Relationships are a funny thing and might cause any number of ups and downs. Out there though, there is someone for everyone.

Part of Me: Review of Inside Out

Inside Out

Director: Pete Docter

By Alex Watson

Once again Pixar has shown its power in the animated world and its new effort Inside Out imaginative and heartfelt effort. Focusing on the birth of human conscience, Docter is able to make our minds tick throughout and in someways even question ourselves. Even to this day, Pixar are still able to amaze us with their detail in their animation. This film is yet another firm step forward for them and it is thanks to a story that relates so well to the audience and makes us think about just how much motions define our personality?

Riley (Kaitlyn Dias) is an 11 year old girl who has recently moved with her mum and dad from Minnesota to San Francisco. Watching over her since birth have been her emotions Joy (Amy Poehler), Disgust (Mindy Kaling), Anger (Lewis Black), Fear (Bill Hader) and Sadness (Phyllis Smith). Together they have made Riley into a vibrant and buoyant young girl. But when Riley begins to descend into unhappiness, Joy and Sadness by complete accident find themselves thrown out of the control room! With two core emotions missing, the young girls life could soon be problematic.

The greatest part about Inside Out, is viewing the scenes going on inside the control rooms. The emotions themselves make up more than just feelings, they contribute to here personality. For her personality, each different aspect has a different island or land. It's almost like a more zany version of Little Big Planet! But Sadness is the only emotion struggling to fit in and against Joy's ever so slightly possessive attitude, she may just deprive Riley of being able to grow up. The move to San Francisco has left the young girl with an increasing sadness that it isn't fully clear to her mother (Diane Lane) and father (Kyle McLachlan).

When both Joy and Sadness are literally sucked into a brand new world, Riley is now facing a something problematic. Her core memories are stocked away in glowing balls which have also disappeared. Now without her happy memories, the girl faces a disaster of epic proportions as now she cannot function normally! Docter shows these scenes to almost like some kind of never ending nightmare and her once childlike innocence is now dissolving into some kind of surly pre-teen attitude. But amongst the visuals, there is some important symbolism to be found. The emotions displayed are ones that mirror humans themselves. Through these, we find key elements of ourselves reflected and with Riley, she may need sadness more than she realizes to become herself again.

Having a blank canvas at his disposal, Docter has great fun creating new and wacky ideas for the world outside the control room. We are introduced to such places as abstract thought, subconscious, dream productions (watch for the continuously funny gum commercial) and the Train of Thought. All these ideas spark a wonderfully funny and unconventional ride for Pixar fans. But it is the simpler moments in Inside Out that are the most effective. One magical scene sees Joy re-playing an old memory of Riley ice skating to cheer her up, alongside this footage she skates as well. It is a moment of pure Pixar happiness which reminds us of just what they are capable of bringing.

In the voice department, Amy Poehler makes for a fine lead as Joy. Through her, this emotions enthusiasm for the job along with her bossiness is well portrayed. One of the better comedic actress today, Poehler is able to bring across a great sense of humour but also finds the warmth at key moments.  But Phyllis Smith is the one who steals the vocal honors and makes great use of her typically downbeat voice as Sadness. There is more to her performance than just sounding morbid and Smith encapsulates this emotions lack of purpose and confusion.

Pixar is once again back in fine form and Inside Out is more than likely going to be the animated adventure of 2015. When you exit the movie theatre, think of the emotions that sit inside of you and wonder what they may look like?