Yes Man

Peyton Reed's Yes Man depicts Carl Allen (Jim Carrey) as a reclusive non-committal introvert who retired from social life after the break up of his first marriage. Fortunately, he meets Nick (John Michael Higgins), a 'yes man' who subscribes to Terrence Bundley's (Terence Stamp) cult of the 'yes,' whose members say yes to everything in order to invigorate their lives. Carl reluctantly joins and discovers that life can be more exciting if one opens their mind to limitless possibility. But the excitement is countered by responsibility and the contradictions eventually engender a cathartic crisis.

Reed's comedy mixes reality and fantasy in a simplified narrative layered with internal complexities. Obviously saying yes to everything causes all kinds of problems many of which are absurd yet concretely founded. He didn't have to accept an international pseudo-bride, he could have said no to an alley fight, and there was no need to start learning another language (although he picks it up in something like three weeks). But by opening his mind to these opportunities, he learns when to say yes and when to say no, making several new friends, and beginning a relationship with the quirky musician Allison (Zooey Deschanel).

It's like Groundhog Day meets Along Came Polly while listening to 54-40. Solid performances from the cast congeal with the perspicuous pacing to present a fun romantic comedy wherein the cynic turns affably stoic through ironic hedonism. Jim Carrey's solid and competently demonstrates a wide range of emotion while still providing glimpses of his subdued chaotic sprightliness. Some of the situations don't make much sense, and certain scenes could have been cut to the improvement of others, but the overall affect is uplifting and aptly demonstrates the brighter side of life.

Vicky Cristina Barcelona

Woody Allen's Vicky Cristina Barcelona chronicles the liaisons of two American women summering in Spain. Vicky (Rebecca Hall) believes in monogamy while Cristina (Scarlett Johansson) is interested in experimentation. The insouciant hedonistic painter Juan Antonio (Javier Bardem) audaciously propositions them much to Vicky's shock and Christina's delight. As fate has it, Cristina receives food poisoning incapacitating her for the weekend, leaving Antonio and Vicky alone together. Vicky has trouble dealing with the aftermath, and melancholically resigns to watching Cristina, Antonio and Antonio's passionately temperamental ex-wife Maria Elena (Penélope Cruz) embrace their sensations. In the end, after both Maria and Vicky leave Antonio, he pleads with Vicky for one last assignation, having fallen victim to ancient laws of the heart, only Paris being able to slay Achilles. The girls return home, astute students of the senses, Christina still solely aware of that which she does not want, Vicky finding strength through fidelity. Another tale wherein ideological points of view are challenged by the heuristics of happenstance, where characters submit to either that which they long to possess or can never comprehend.

In the beginning, the narration is tedious, but, as the film progresses it becomes more endearing, thereby formally deconstructing the logic of first impressions. And Cruz's performance is outstanding, stealing each and every scene she graces, the wild chaotic impulsive destructive yet inspiring Latino genius, demanding her whims be worshipped, simultaneously driving and deflating Antonio's art.

Nice to see Woody Allen can still pull it off.