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LOVE & OTHER DRUGS For all the pleasure it reportedly provides, Viagra does flirt with potential side effects, including headache, upset stomach and blurred vision. Similarly, while Love & Other Drugs offers its own pleasures, this adaptation of Jamie Reidy's Hard Sell: The Evolution of a Viagra Salesman results in such possible side effects as irritation, frustration and disgust. For the most part, this is an intelligent piece in which cocky pharmaceutical salesman Jamie Randall (Jake Gyllenhaal) tries to make his mark in business while also engaging in a no-strings-attached relationship with the no-nonsense Maggie Murdock (Anne Hathaway). The picture is initially as light and carefree as their romance, but as their mutual commitment deepens, so does the film, with Maggie's medical misfortune — and Jake's reaction to it — resulting in some standout sequences and coaxing a knockout performance from Hathaway. Alas, the idiotic character of Jamie's odious brother (Josh Gad) cheapens an otherwise mature seriocomedy, and some formulaic romcom trappings feel equally out of place. The mental and emotional stimulation caused by the film is strong enough to recommend it, but had some flaccid passages been trimmed, its studio could have had an awards contender on his hands. ***
MEGAMIND 2010 has brought us two animated features about a supervillain who eventually discovers his long-buried humanity, yet viewers who check out Megamind needn't have seen Despicable Me to feel slightly let down by this similar outing. Will Ferrell handles vocal duties as the title villain, whose joy at finally destroying his arch-nemesis, the preening Metro Man (Brad Pitt), soon turns to depression once he realizes there's no one around to challenge him. He ends up creating his own superhero (Jonah Hill), but it isn't long before the supposed do-gooder realizes it's more fun to be bad and sets about destroying the city and kidnapping TV reporter Roxanne Ritchi (Tina Fey). Megamind now finds himself in the unlikely position of having to save rather than terrorize the civilians who have long feared and despised him. Megamind is perfectly fine for the kids, but adults might find their own megaminds wandering at various points throughout a film that doesn't compare to The Incredibles when it comes to affectionately tweaking the superhero genre. Certainly, there are some moments of delightful inventiveness — I love how Megamind occasionally disguises himself as Marlon-Brando-as-Jor-El-in-Superman — but all too often, safe and sentimental scriptwriting proves to be this film's fatal Kryptonite. **1/2
127 HOURS Let's be honest with one another. I'd be dead. You'd be dead. Almost everyone we've ever known would be dead. But not Aron Ralston. After five days of slowly withering away while his right arm remained lodged between a boulder and a rocky wall in a Utah canyon, Ralston did the unthinkable and used a small, dull knife to cut off the arm so that he might continue to live. 127 Hours, based on Ralston's memoir, is writer-director Danny Boyle's mesmerizing account of those fateful days in the outdoor enthusiast's life. But while a stirring parable about the indomitability of the human spirit, this story doesn't quite lend itself to a cinematic rendition — it just sounds too simple, too constricted. But Boyle and co-scripter Simon Beaufoy expand the picture in all sorts of marvelous ways. Visually, the film is always hopping with the same energy as its protagonist (played in a career-best performance by James Franco), relying on split-screen techniques and other lively tricks of the trade. And thematically, the picture doesn't settle for the expected "man vs. nature" route, instead realizing that it isn't nature that's at fault but one man's own near-fatal folly. By turns funny, frightening, inspiring and, yes, nauseating, 127 Hours turns cinema into an extreme sport, leaving us satisfactorily spent. ***1/2
THE OTHER GUYS It makes sense for a film like, say, An Inconvenient Truth or Enron: The Smartest Guys in the Room to end with a plea to our sense of activism or with a mountain of hard data about the evils of unchecked capitalism. But what to make of The Other Guys, featuring closing credits that are packed with statistics concerning government bailouts and the glaring discrepancy between the average salaries of CEOs and the rest of us poor clods? No matter: The film's ample laughs had already dried up long before this ode to Michael Moore muckraking. That's a shame, because for its first hour, The Other Guys is a very funny movie, as two desk cops, meek Allen Gamble (Will Ferrell) and hotheaded Terry Hoitz (Mark Wahlberg), are provided a chance to step up once New York's finest (Samuel L. Jackson and Dwayne Johnson) are put out of commission. Ferrell holds his excesses in check more than usual (though still not enough to my liking), and he and Wahlberg prove to be an amusing team — whether scripted or improvised, their banter is often top-grade. But humor largely vacates the premises during the second half, as the emphasis is placed more on autopilot action sequences and, worse, a topical, torn-from-the-headlines scam that's an ill — and dull — fit for this sort of raucous outing. **1/2
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