Spy is built on a very cool idea. The Melissa McCarthy vehicle casts the terrific comedienne, at the height of her career, in the last role you’d think to put her in: ass-kicking, globe-trotting super spy (Jean Bond, if you will). For the most part, it succeeds, revitalizing the endlessly revisited 007 parody with some snappy comedy, an extremely compatible ensemble, and some genuine surprises that keep things moving at a speedy clip. Its biggest weakness, unfortunately, is pervading, and is one of the most infuriating clichés in modern comedy. I’ll get to that in a minute. (You’ll just have to wait a little longer and read through the rest of my review to find out what it is, Agent Whatsyername. Don’t look down…unless you enjoy the sight of sharks with freakin’ laser beams attached to their heads! Muahahahaha!!!)

Ahem. Anyway, Spy begins with McCarthy playing Susan Cooper, a CIA desk analyst who feeds remote assistance to super-suave field operative Bradley Fine (Jude Law, whose unrealized dreams of playing Bond are semi-realized here). Fine’s on a mission that goes terribly wrong when he accidentally shoots a baddie in the head while interrogating him, a shocking moment that proudly announces the movie as a full-on spoof. The bungled assignment leaves the CIA in a tight spot: the new big bad, an obnoxiously posh Brit named Rayna (Rose Byrne), has revealed that she knows the identities of every active CIA field operative, making she and her flock of henchmen virtually impossible to sneak up on.

Left without any options, CIA boss Elaine Crocker (Allison Janney) sends mousy Susan out into the field to track Rayna (the only person in the world who knows the secret location of a nuclear bomb) from afar and report any activity. Naturally, Susan disregards the “from afar” part and mixes it up with Rayna and her musclebound goons across Paris, Rome, and Budapest. She’s receives help from her very own earpiece analyst, played by an endearingly klutzy Miranda Hart (she and McCarthy’s sizable height difference is a nice visual gag). As a bonus, the agency sends a handsy Italian Lothario named Aldo (Peter Serafinowicz) to aid Susan, though he only seems interested in caressing her bosom.

Susan’s efforts to nab Rayna get dicey when she’s forced to go undercover and act as the bitchy Brit’s personal bodyguard. Making things worse in a hilarious way is Jason Statham, playing a cocky rogue agent with a long list of dubious war stories. He’s all bark and no bite, and his sloppiness only gets in the way of Susan’s mission, as she’s constantly having to save his ass instead of focusing on the mission at hand.

Director Paul Feig is smart to allow McCarthy to explore her range. Her comedic timing and delivery is world-class (she gives Samuel L. Jackson a run for his money when it comes to cursing people out), but she’s got dramatic chops as well, and the movie’s got enough serious beats in it (all of which McCarthy carries on her shoulders) to keep us invested in the story and the characters’ fates.

The ensemble on display perhaps isn’t the most comedically talented when taken on an individual basis, but as a collective they have shockingly effortless chemistry across the board. Statham overachieves in his role as the butterfingered, loudmouth lummox, and is arguably as funny as McCarthy. Bobby Cannavale plays a slick, international mob-boss villain; it’s a small part, but he nevertheless gave me the biggest laugh of the movie in a scene where he’s running towards a helicopter like a frightened school boy, squealing, “Hurry up, hurry up, hurry up!”

The best gags are set up by the inherent humor in the film’s premise. Susan’s rotating undercover identities run the gamut of middle-aged lady archetypes, from “cat lady” to “soccer mom.” In one scene, Susan giggles with excitement as she walks through a test lab full of cool, shiny gadgets she’ll get to use on her mission. To her disappointment, it’s revealed that, due to her being undercover, the only gadgets she’s able to use are disguised as stereotypical “mom products” like tampons and fungal spray.

Okay, time to lay it all out on the table: “You look like” jokes have got to be stopped. Enough already. Literally every mainstream comedy that’s come out in the past 5-7 years is chock full of them, and Spy is no exception. You know what I’m talking about. When Susan’s given a midwest-mom secret identity, she exclaims in disgust, “I look like somebody’s homophobic aunt.” When Rayna sees Susan and her earpiece buddy sitting next to each other, she says “you look like a pair of demented aunts.” When Susan sees Statham’s rogue agent wearing a ridiculous hairpiece and fake mustache as a disguise, she says, “you look like a perverted bus driver.” There are easily 20 or more jokes like this throughout the movie, and I couldn’t help but cringe as they piled up. It’s one of the cheapest trends in comedy today, its creativity level on par with the “yo momma” jokes from that insufferable Wilmer Valderrama MTV show from the mid ’00s.

Aside from only being mildly funny at best, these cheap one-liners actually do real damage to Spy. The movie’s two hours long (which feels pretty bloated for a comedy), and maybe if Feig had cut out a big portion of the mostly disposable schoolyard barbs, the movie maybe could have been cut down to a more appetizing 90-100 minutes. These jokes were a thorn in my side, and I’d be interested to see how the movie would play if Feig would just pluck it out.

Once I calmed down from my “you look like”-induced rage, I was able to clear my head and realize that, in hindsight, I had a really fun time with Spy. While Feig doesn’t reach same level of quality he did with Bridesmaids, he gives McCarthy’s talent the platform it’s deserved for a long time, and she makes the most of it. She’s pretty much irreplaceable in today’s comedy landscape, and this hopefully won’t be the last time we see her excel in a tailor-made starring role.

Director Ross Katz (Taking Chance) has a bit of fun without leaving the shallow end of the pool in his sophomore full-length feature, Adult Beginners. It’s a generally tame but warmly entertaining familial dramedy steered by three very talented grown-ups: Nick Kroll, Rose Byrne and Bobby Cannavale. The former two play an estranged brother and sister reconnecting at a pivotal time in their lives; the latter two play a relatively happy married couple whose world is consumed by their young, wily son. The drama that ensues is packed on pretty light. Low-stakes affairs don’t typically go over well at the movies, but this thing, as it turns out, has just enough charm and humor to make it pleasurable, especially on a lazy Sunday afternoon, cuddled up in your favorite onesie, a heaping bowl of cereal at the ready.

A flash of comedic buffoonery opens the movie, the high energy of which is never revisited again. We meet entrepreneur Jake (Kroll) celebrating the launch of his new startup with his tech-bro business partners in his expensive Manhattan apartment, making rich douchebag jokes, making out with his hot girlfriend, and snorting blow. Before the opening credits end, Jake’s business abruptly crashes due to a logistics oversight he made, losing he and all his buddies a ton of cash. Dejected, dumped by said hot girlfriend, and nauseous from riding the train backwards, Jake returns to his hometown of New Rochelle where his sister, Justine (Byrne), is raising a family in their childhood home. Her husband, Danny (Cannavale), persuades her to hire Jake (now broke as a joke) as their son Teddy’s babysitter.

Justine’s faith in Jake is rightfully uneasy. He’s a self-absorbed, pig-headed bellyacher who easily rivals the bouncing 3-year-old as the most high-maintenance person in the house. She needs the help, though: On top of being constantly pressured at work, she’s got another baby in the oven. Danny, while unquestionably in love with Justine, is sexually stonewalled due to her high-demand schedule and brother issues. Naturally, as per indie comedy tradition, he has a moment (or two, or three) of weakness, seeking affection outside the relationship. Just as naturally, Jake starts to get pretty good at being an uncle. He goes from rolling Teddy around in a suitcase (he can’t figure out how to configure the stroller) to eventually preparing the tyke’s favorite snacks and lulling him to sleep with old story-time cassettes.

Throughout, Adult Beginners is schematic and derivative, but the three mains are game enough to keep things interesting surprisingly soulful. In almost everything she’s in, Byrne is the pick of the litter. As a gift to Katz and writers Liz Flahive and Jeff Cox, she breathes life into scenes that on paper are kind of flaccid and uninspired. Cannavale isn’t the most versatile actor, but the fact that he and Byrne have been dating in real life for years obviously makes for an easy dynamic between them. Kroll’s humor is admittedly not up my alley. Sometimes he hits me in the gut and I burp up a laugh, but he throws a lot of big whiffs too, especially when he tries to be a funny asshole (all I see is asshole). He’s actually most useful when he’s being sincere, a pleasant surprise considering his background.

It’s hard to shake the similarities between Katz’s movie and Craig Johnson’s The Skeleton Twins, if you’ve seen it. That indie sibling dramedy, which has Kristen Wiig and Bill Hader filling Byrne and Kroll’s shoes in a broadly similar narrative, has a much larger spectrum of emotion: the laughs are louder, the drama is more heightened and deepened, and the actors showcase more of their talent. Adult Beginners feels too stabilized and mild-mannered to warrant more than a sick-day rental.

It’s about time. Nick Kroll has been a consistently funny presence everywhere he’s popped up over the last few years (Kroll Show, The League, and as The Douche on Parks and Rec), so it’s safe to say we’re pretty excited to watch him lead a film.

Adult Beginners sees Kroll play Jake, a guy who has recently destroyed his career, lost all of his money, and made some enemies. To get away from it all he sneaks away to his sister’s (the woefully underrated Rose Byrne) to hide out and cool down, only to become the nanny of her baby and clash with her husband (Bobby Cannavale).

The dramedy, co-written by Kroll and directed by Ross Katz, looks to set Kroll a little out of his abrasive comfort zone (though not too far) and place some real emotional heft on his shoulders. So, while comedy and drama can be a tough nut for most films to crack, the supporting cast alone is enough to ease some worry; Byrne (Neighbors, This Is Where I Leave You) and Cannavale (the still-wonderful The Station Agent) both tend to bring searing depth to even the most minor roles (see: The Place Beyond The Pines and Blue Jasmine respectively).

Adult Beginners came out of TIFF 2014 on a high note, not to mention the trailer is hilarious. Check it out below.

Adult Beginners trailer

Dan Mazer isnt exactly new to the film industry, having worked extensively with Sacha Baron Cohen in the past helping to write comedies such as Borat and Bruno. I Give It a Year is, however, his directorial debut, and what an interesting premise it has—where most films end when the two main characters tie the knot, this one starts with the wedding, and then goes on to take a look at married life. The problem is, I Give It a YearRose Byrne), an attractive but uptight workaholic, and Josh (Rafe Spall), a goofy laid-back writer. It seems in this case that opposites did indeed attract, but at the end of the day the differences between them are more important than they anticipated, with Josh’s dopey attitude quickly getting under Nat’s skin and her demanding temperament doing the same for him. It doesn’t help that better prospects seem to lurk in the wings for both of them, with Nat’s suave new American client Guy (Simon Baker) taking a keen interest in her, and the reappearance of Josh’s old (again American) flame, cute charity worker Chloe (Anna Faris). The story’s told from 9 months in, when the couple are seeing a marriage counselor to deal with their problems, so from early on it’s not hard to guess what kind of direction the film is going to take.

For a film that advertises itself as an anti-rom-com, it is unfortunately just as susceptible to the cliches and stereotypes we’d expect from the rom-com genre, albeit with characters that are not nearly as likeable. Nat comes across as irritating more than anything, making it largely unbelievable when Guy is so taken with her, and even though the film seems to side with Josh, even he is so goofy that it goes past the point of adorable. In contrast, their prospective lovers are both appealing, with Baker and Faris being pretty talented and charming, but their characters are too two dimensional for us to really feel much attachment to them – perhaps with greater development of these two, the chemistry between the four characters (which is currently close to nonexistent) could have been more engaging.

There are some genuine laughs found in I Give It a Year, playing up the comedy that exists in the absurd and extorting the amusement that comes with watching embarrassing and awkward scenes play out. However, the humor quickly disappears when each joke is drawn out for too long, and the embarrassment begins to only make us cringe, rather than laugh. One scene in which Chloe finds herself accidentally involved in a threesome begins as fairly funny, particularly with Faris’ cute disposition seeming too innocent for such situations, but even Faris can’t keep it entertaining when it is so overly lengthened.

Stephen Merchant’s appearance as Josh’s best man Danny is particularly a disappointment, given his penchant for hilarity, but we get the overwhelming feeling that he’s simply thrown in to deliver some politically incorrect lines to shock us; what these lines really serve to do is make us feel uncomfortable. This is perhaps due to the fact that much of the dialogue—whether from Danny or from other characters—isn’t realistic enough for us to believe that people would actually say these things. From Olivia Colman’s role as the marriage counselor, who seems to have nothing but disdain for marriage, to Minnie Driver’s part as Nat’s sister Naomi whose own marriage is something of a shambles, their frequent comments on how the couple should just give up may be mildly amusing, but aren’t very likely or even feasible.

While it’s good to see a film that accepts the reality that sometimes marriages don’t work, it’s subsequent lack of a plausible plot or likeable main characters make it somewhat frustrating. With its nice but predictable ending, I Give It a Year is one of those films where if you’ve seen the trailer you’ve basically seen the best it has to offer.

I Give It a Year trailer

After premiering (and receiving a relatively warm reception) at TIFF in September, we really haven’t heard much about Derek Cianfrance’s new film, The Place Beyond the Pines. Some wondered what would come of the film. A couple months back the studio releasing the film, Focus Features, announced that it would see theaters near the end of March.

I personally saw this as a meaning that the film wasn’t as strong as some once thought. Well now we have a full length trailer and boy does it look to be an emotional experience. The film stars Ryan Gosling as a motorcycle stunt man who starts committing robbery’s to support his family. On the other side of the coin is a cop played by Bradley Cooper whose looks to take him down.

Cianfrance was last seen with the emotionally wrought drama Blue Valentine (also starring Gosling). By the end of that film, it felt like my heart had been ripped out and stepped on. This looks to have the same emotional impact. The film also stars Rose Byrne, Eva Mendes, Bruce Greenwood and Ray Liotta. Check out the trailer below.

Watch the official trailer for The Place Beyond the Pines: