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I like superhero stories that play with the tropes… and if such a story can take us to new places within a genre that seems like it must be totally played out by now, even better still. It turns out that Megamind is, in fact, just that kind of movie.
First of all, any movie that kills off the smashing Christina Hendricks in the opening 20 minutes deserves to be shot down on the basis of that alone. But that’s only the tiniest of the many cinematic crimes of Life as We Know It, which pretends to be something hip and fresh and is in fact relentlessly conventional, even retrograde.
This breezy but slight French rom-com so perfectly apes Hollywood’s output in the genre that I have no doubt that at this very moment, an English-language studio remake is being plotted… one that will remove even the small charms that make it worth a look.
If the grownup fimmakers have learned to move past the adolescent notion that girls and women are either virgins or whores and nothing in between, they nobly step aside to let Zack and Matt’s ideas about the male ownership of women — and the sullying of women that thereby occurs — dictate the course of the film.
The secret is out: Hollywood knows how to make movies about authentic female human beings. It just chooses not to do so 97 percent of the time.
The bizarre non sequiturs that pass for jokes — such as the golf-playing goose who really, really hates cupcakes — make the poop jokes sound like wit.
Kevin doesn’t play the lottery, because he thinks it’s ‘designed to keep poor people poor by selling them false dreams.’ So why does he buy a lottery ticket anyway?
It’s *Twilight* for boys…
It’s all absurd and overblown and — most importantly — consistently so through to the end.
It’s not so much *Dinner for Schmucks* as it is *Waiting for Dinner for Schmucks.* You know, like *Waiting for Godot,* only in reverse. Because the schmucks start showing up right as the damn movie starts, and they never go away.
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