
Paul, 2011
Before I start, let me get just one thing off my chest: I am a Simon Pegg and Nick Frost fangirl. I watch their movies, follow their Twitters, read articles I find about them. I bought Pegg’s book. I am pretty clearly within their intended audience, so keep that frame of reference with you as you read this.
That all being said, while I enjoyed Paul and I would recommend it, it’s not amazing. No new ground is broken, no genres invented, no comedic highs hit. Your life will not be changed by watching it. If, however, you are looking for nothing more than a fun little diversion with lots of nerd culture jokes then this is the movie for you!
There are two things that Pegg and Frost do very well, and Paul is full of them both: geek references and bromances. The two of them were adorable together in both Shaun of the Dead and Hot Fuzz and that continues here — they are indeed the ideal heterosexual lifemates, as it were. The actors’ real life friendship shines through their interactions, adding a really sincere element to their on-screen shenanigans.
I saw a lot of reviews mention that the movie poorly handles its midwest redneck stereotypes, to the point where I was kind of expecting a reverse Deliverance or at least a lot of very crude charactures. As it turns out, though, I think Pegg and Frost were actually nicer to the ignorant religious types in Paul than they ever were to rural township busybodies in Hot Fuzz. It didn’t really seem that transgresive to me.
Anyway, in short I believe you will get your value from seeing Paul if one or more of the following is correct:
- You laugh when aliens and cute girls cuss like sailors.
- You enjoy nerdy pop culture references.
- You have enjoyed the previous Pegg/Frost movies.
- You like movies that are sweet, silly, and don’t take themselves too seriously.
I give Paul a very lippy:

Peacock, 2010
Peacock is a complicated movie to review, as much as it was to watch. As a film that revolves around the secrets of a disturbed man, much of the story is hidden at the outset, to be slowly revealed as we go. I came into this film expecting something very different from what I got, even if the end result was still quite good. Likewise, it is hard to review without revealing too much and risking the viewer’s ability to be surprised as the film slowly exposes the central plot. I felt this was part of what made the movie so satisfying to watch; you are injected into a world that is obviously a result of a great deal of unspoken history, which the director shows to us with skillful and understated interactions between the characters. Knowing what to expect robs the movie of its greatest asset: the ability to make the watcher reassess what they know from what they’ve seen already.
The gist of the film focuses on a man, John Skillpa (played by Cillian Murphy, who sweats, twitches and stammers with the best of them), in small town Peacock, Nebraska. He lives in the house that belonged to his abusive and possibly insane (and now deceased) mother, brings lunch in a brown paper bag to his basement office at the town’s bank, and avoids contact with his neighbors and coworkers. When he gets home, he quietly and with great formality dresses in womens’ clothing and a wig, moving about the house in a sort of domestic contentment until it is time to leave the house for work the next morning. One gets the immediate impression he has lived like this for some time. When a train goes off the tracks near his home and plows through his backyard, he is suddenly thrust into the town’s spotlight, and as his secrets are exposed, he begins to disintegrate under the pressure, ultimately completely breaking down in a…very unexpected fashion.
The plot of the movie thrives on secrets, both John Skillpa’s, and those of the few other people in his life. As they are slowly revealed to the viewer as the film goes on, each new piece of information pulls back another curtain on his mind, showing us the depth of the damage he is concealing. He begins the film portrayed as something of a known quantity to the audience, but as his secrets are revealed, the director manages to transform the character slowly and subtly, as his mind cracks under the pressure of the town’s scrutiny, turning him from a tragic figure to a disturbing one, before a finale that is equal parts sinister and heartbreaking. While Cillian Murphy’s portrayal of John Skillpa is a little over the top at times, most of the acting in the movie is very understated, with a script that seems almost loathe to say more than it has to. This worked for and against the movie, I think – sure, it gave the director excellent control of the pacing of the plot, as he handed us tidbit after tidbit, but at times it left me feeling adrift in the story, unsure what was going on, and forced to simply wait passively for the characters to reveal what I didn’t know yet that would tie it all together.
At day’s end, an excellent if very slow burning thriller. Maybe not a good party movie, but definitely a rewarding watch. I give it a solid three stars.
Wasabi, 2001
Okay, so Jean Reno plays a hard boiled French detective and ex-spy who goes back to Japan to find out who killed the love of his life… and who is now after her daughter. Chaos ensues!
This movie is extremely French, even though it’s mostly set in Japan. Very, very French. It’s not particularly clever, but it is a lot of fun, and few people can play hardasses like Jean Reno. My favorite part of this movie was how it gave me a window into how France (and the rest of Europe, perhaps?) sees Japan.
So nothin’ special, but a fun little movie to watch while having a beer or three with friends on Friday night.
Rating: