Movie Review

Sing serves up a heap of mindless, soulless entertainment

It has become readily apparent over the years that no other American animated movie studio is willing to challenge Disney when it comes to making films with complex emotions. Notwithstanding the occasional one-off movie, the other studios are content to stay within the fun/adventure mode, rarely approaching anything that resembles anger or sadness.

Many films have succeeded doing just that, but the problem comes when a film focuses purely on surface storytelling, trying to force fun without actually engaging with its characters. That’s the biggest failing of Sing, a movie that’s designed to make you feel good through song, yet can’t do it because it never makes you care about its characters.

Those characters include Buster Moon (Matthew McConaughey), a koala who comes up with the idea for a singing competition to save his failing historic theater. Among the ones attracted by the contest are pig Rosita (Reese Witherspoon), mouse Mike (Seth MacFarlane), porcupine Ash (Scarlett Johansson), elephant Meena (Tori Kelly), and gorilla Johnny (Taron Egerton), among others.

And that’s basically all there is to the film. Writer/director Garth Jennings gives some insight into the personal lives of each main character, but he ping-pongs between each of them so much that nothing ever really sticks. It’s a manic kind of storytelling where they seem to be telling you a lot, but you actually learn nothing at all.

The songs are obviously what the movie hinges on, but here too the movie falls down on the job. They're a mishmash of genres and time periods, assigned to characters with little thought as to why they should be singing that particular song. Unlike the recent Trolls, which integrated pop music into to its story to a fantastic degree, Sing throws out songs as throwaway gags, just hoping to get some kind of reaction.

Its use of a variety of animal characters also makes it pale in comparison to another recent animated movie, Zootopia. In that film, each species, despite walking and talking like a human, had distinct animal characteristics that made it more fun and interesting. In Sing, having the characters be animals makes no logical sense in the context of the film. Aside from making them extra cute or scary as the case may be, they rarely act like animals; having them be humans would have worked equally as well.

The voice actors work well for the most part, although, as usual, the use of big-name actors adds little of substance to the film. But having actors who can actually sing or, like Kelly, be an actual singer, at least serves to make their performances enjoyable. If only the rest of the film lived up to those abilities.

It’s obvious that the makers of Sing viewed the film as mindless entertainment for families during the Christmas holidays. Audiences deserve much more than that; don’t waste your time with this forgettable film.

Matthew McConaughey plays Buster Moon in Sing.

Buster Moon (Matthew McConaughey) in Sing

Photo courtesy of Illumination Entertainment and Universal Pictures

Matthew McConaughey plays Buster Moon in Sing.

Movie Review

Feuding couple fights for survival in dark comedy Over Your Dead Body

Jason Segel and Samara Weaving on Over Your Dead Body

Photo courtesy of IFC Films

Jason Segel and Samara Weaving on Over Your Dead Body.

When dysfunctional couples are depicted in movies, about the worst that typically happens is an acrimonious divorce. But in the new comedy/thriller Over Your Dead Body, the husband-and-wife have already gone way past that point by the time they’re introduced to the audience, with their plans leaning toward murder.

Dan (Jason Segel) is a low-level filmmaker relegated to directing pop-up ads, while Lisa (Samara Weaving) is an actor making do in small theater productions. The film finds them heading toward a rare getaway to a remote lake cabin, but it’s clear from the start that the married couple has been at odds for months, if not years. As the film begins, Dan clumsily drops hints at an alibi for his planned murder of Lisa to his ailing dad (Paul Guilfoyle) and others.

His shoddy planning was already sussed out by Lisa, who turns the tables on him when he tries to attack her, revealing a plan of her own. The situation naturally heightens their shared enmity of each other, but their blind hatred turns out to reveal the presence of Pete (Timothy Olyphant) and Todd (Keith Jardine), two escapees from a nearby prison who were helped by guard Allegra (Juliette Lewis). What was once a shared murder plan turns into a fight for survival, forcing Dan and Lisa to work together.

Directed by Jorma Taccone (The Lonely Island) and written by former SNL writers Nick Kocher and Briand McElhaney, the film aims to mine comedy out of darkness. Dan and Lisa’s ire for each other is palpable, and their interactions early in the film are uncomfortable. As the film turns increasingly violent with the introduction of other unsavory characters, most of the humor is derived from the creative ways people are attacked and the ultraviolence that results from them going after each other.

It’s a little tough to get fully invested in the story when the filmmakers throw the audience directly into the plot with almost zero setup. There’s not even a cursory montage of Dan and Lisa being in love, so it’s hard to care a lot about their current hate for each other. Likewise, the presence of the prison guard and escapees is completely random, and the three of them aren’t utilized well in the story despite having a couple of well-known actors portraying them.

The saving grace of the film, though, is the twists and turns it takes in the final act. Everyone on screen is put through the wringer, with each of them suffering multiple injuries or worse. The mayhem becomes so chaotic that it’s almost impossible to tell what’s going to happen next, which slightly makes up for the fact that the story as a whole is lackluster. Even though the audience knows they’re being manipulated, the sequences are entertaining enough to overcome that fact.

The cast as a whole is solid. Segel (How I Met Your Mother, Shrinking) uses his comic sensibility to keep the proceedings light. Weaving (Ready or Not) has done multiple movies in this vein, so she knows how to navigate the comedy/thriller waters. Olyphant feels a little out of place, but he has a presence that elevates his part. Lewis goes a little too manic in her part, and Jardine ably embodies the dumb brute.

The comedy history of Taccone, Segel, and Weaving keeps Over Your Dead Body as a positive experience even when the story doesn’t quite measure up. The film never becomes fully predictable, giving the audience a great dose of pandemonium that lifts it up despite its other faults.

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Over Your Dead Body is now playing in theaters.

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