The Invention of Lying

PCMR Verdict: Unashamedly intellectual, and admirable for being so, but it's not very funny.

Honestly, I might have chuckled only a couple of times, which is pretty unforgivable considering the cast of this movie.

PCMR Rating: 5/10

Love him or hate him, you have to admire Ricky Gervais' work ethic. The Office made him a household name, and the syndication will guarantee him financial rewards for the rest of his life, but since then, he's done a few successful stand-ups (Politics, Animals, Fame, Science), made Extras, another successful TV Series (which PCMR controversially prefers to The Office), developed a children's book called Flanimals, which will now also be made into a TV series. His record breaking podcast with regular collaborator Stephen Merchant and best mate Karl Pilkington has been made into an animated HBO Series, and spawned an excellent spin-off series called 'An Idiot Abroad'. And most lately Gervais' gleefully irreverent appearances as the host of the Golden Globes have copperfastened his global celebrity status.

Somehow, with all of this going on, Gervais has also managed to make a couple of Hollywood movies. Now, not all comics can survive the jump to the big screen, so this is a bold move for Rick. The most obvious comparisons to draw from his foray would be with the attempts of Jerry Seinfeld and Chris Rock. Although this duo have enjoyed huge success on television and on stage, their Hollywood careers are not exactly glittering, so the expectations for Ricky are probably not too high.

Low expectations or not, Gervais' first attempt at a Hollywood movie is a bit of a mess. The premise is so straight-forward, it could apply to a Jim Carrey vehicle: it can be easily Hollywood Pitched in the gravelly trailer man voice. Just like this. (Ahem).

In a world.
Where everyone tells the truth.
One man.
Has just invented...
The LIE.
*cue hilarity*

The movie certainly starts out on those lines, but unexpectedly, in this lie-free, truth-only world, people don't just avoid lies, they constantly blurt out painful home truths about themselves and others. Indeed, in the opening scenes, Mark Bellison's (Gervais' character) first date with Jennifer Garner is punctuated by painfully honest observations on everything from masturbation to Gervais' slim chances of a second date.

However, after inventing the lie, Gervais suddenly finds himself in a world of gullible fools who will believe anything he says. Then, he finds that he can tell little white lies to make people feel better. Each of these revelations present their Bellison with different dilemmas.

Gervais' script diverges from the Hollywood premise rather sharply however, when he lies to his mother on her deathbed about the existence of heaven. Some doctors and nurses overhear, are amazed, and demand to hear more about the existence of this magical place. Bellison becomes an overnight celebrity, known for having a direct line to the 'man in the sky', and the movie enters a more philosophical act.

Gervais actually has a degree in philosophy, and the ideas in 'The Invention of Lying' are good ones. You can only admire his genuine attempts to make a smart movie, rather than opting for the easier, more lucrative Adam Sandler route. The only problem with his execution is that I sat down in front of this movie expecting a good laugh, and there isn't enough comedy to balance out the clever ideas. The movie can only be disappointing as a result.

I certainly admire Gervais' ambition with this movie. He recognises that he needs to do more than just be funny (which by itself ain't easy), that he needs to leave the audience with something to think about. The only problem with this movie is that the balance favours philosophy, and comedy is neglected as a result. So, next time, more comedy please Rick!

Source Code

PCMR Verdict: Everything is iterative: particularly this tidy, enjoyable popcorn actioner that shouldn't disappoint.

PCMR Rating: 6.5/10

Louis C.K. has a great bit of material where he makes an observation that has a hint of genius about it: "everything is amazing nowadays, and nobody cares." Think of how apathetic we have become to so much modern technology that enables our lives: things like high-speed broadband, routine air travel and, er, high-speed broadband on planes. (Nice - Ed) Louis' point - or at least PCMR's take on Louis' point - is that technology itself isn't a problem: it's just that we're so bombarded with technological progress these days, apathy has become an understandable coping mechanism. ("Oh look, there's another new version of iTunes? ... meh...")

The lesson here: over-exposure to technology - even the awesome stuff - can engender mental fatigue. A case in point related to movies: CGI.

'Rise of The Planet of the Apes' demonstrated how the technology could be used, both for good and bad, but surely one man above all has become totally synonymous with the abuse of CGI, and caused mental anguish to thousands of over-25's the world over in the process. 'Bay Syndrome' effectively defines this apathy towards movie CGI: after the 47th massive explosion, the CGI might still be as awesome as the 46th, but I just don't care any more.

Happily, Michael Bay had no involvement in Source Code. Instead, a certain Duncan Jones has the reins for this, his sophomore flick. If you've not seen his first, the most excellent 'Moon', then dear reader, I encourage you to take a two hour break from reading this review, and go seek it out. As a convincer, among its many great qualities, 'Moon' features the best use of emoticons in movie history. (Competing with..? - Ed)

And this is one of the fundamental differences between Jones and Bay: understatement. Or, to put it another way, Jones understands the power of technology in movies, and how to use it sparingly, to greatest effect. Kevin Spacey's GERTY robot in Moon only has a small number of simple smiley faces to express his so-called 'feelings', but the device is chillingly effective: when GERTY's smile changes to a frown, the audience's mood shifts with it.

The writing credit for 'Source Code' goes to Ben Ripley, and interestingly, he seems to share this understated approach. From early on in the movie, the dialogue encourages us to forget about the technology that is enabling this crazily imaginative premise. Jake Gyllenhall is constantly told not to think, just to 'do'. The focus is more on people and details than on expensive gadgets or green-screen whizz-bangs..

On the premise: in a nutshell, Gyllenhaal is repeatedly reliving 8 minutes on a train as someone else, in order to prevent a terrorist attack. It's unashamedly borrowing from a number of influences (Quantum Leap, 24, Groundhog Day, 12 Monkeys) but somehow it nimbly avoids being overly derivative.

Much of the credit for this has to go to the skill with which Jones reshoots the 8 minute iterations, with subtle differences each time they re-play. Credit is also due to the likeability of his main players. As befits an action-hero role of the "what's happening to me?" genre, Gyllenhaal is suitably grizzled and Keanu-confused (is that a real word? - Ed) Also, Michelle Monaghan manages to somehow resist being annoying, even as she repeats a line for the 7th time. And Vera Farmiga (who you might remember from 'The Departed') is very well cast as Gyllenhaal's military guide, who just might be sympathetic to his plight.

The story itself is tidy and lean, and should keep you guessing throughout. And, as the final credits roll, PCMR was left with the enjoyable head-scratching moments that only a time-bending tale can deliver. (Triangle, Twelve Monkeys, Primer etc)

So, all in all, PCMR enjoyed this one, missed it in the cinema, but it's a quality DVD night in.

(Oh, and as a reward for making it to the end, here's that Louis CK link)