Love at First Slight:YOUR PLACE OR MINE and YOU PEOPLE

Movies should more often be about beautiful people falling in love. It’s one of the most pleasurable plots cinema has to offer. When a movie can make you root for appealing celebrity performers twinkling with charm to finally get on the same wavelength to swoon and smooch, that’s a magic no effects can buy. I, like most who came of age cinematically in the 90s, have a particular affection for that era’s brand of romantic comedy artifice: high-gloss and high-concept, shot in big bright urban spaces and glamorously implausible apartments, and loaded up with reasonably clever banter and pop montages. When all of that is working at a decent clip, what more could you want? We don’t get that enough these days, especially in theaters where the comedy of any sort is a dying breed, and the rom-com leading the way out to the streaming services. That’s why last fall’s Ticket to Paradise was an oasis in this genre desert. How pleasant an afternoon to sit with an appreciative crowd and watch stars pantomime an inevitable slide in romance. Credit Netflix for trying to keep this sort of movie alive, I suppose, although a decent evening home is no substitute for the crowd when it’s a clear crowd-pleaser on screen. They have two new, prominent ones out now, and they each make for a good watch.

I had an amiable time with Your Place or Mine, the directorial debut of screenwriter Aline Brosh McKenna. She’s the voice behind The Devil Wears Prada and Morning Glory, so she knows her way around a charming studio movie of this scale. It stars genre vets Reese Witherspoon and Ashton Kutcher as longtime pals who once, in their younger years, might’ve been more than that. They live on opposite coasts, though, and therefore have an entirely call-and-text based friendship. Circumstances contrive to get them to swap houses for a week—he moving into her LA home to supervise her teenage son while she’s crashing in his New York apartment during a business trip. As with Sleepless in Seattle, it makes the most of the continental separation to stretch this romantic tension. But by keeping up their phone chats—in perfunctory split-screen that could’ve used a bit more Pillow Talk cleverness— while settled in the trappings of the other’s routine, they slowly and unknowingly edge back toward their earlier romantic possibilities. Witherspoon and Kutcher can crank up the charm in their voices, even as their eyes sparkle and they slide through the genre’s usual paces. The result is cute and sweet and full of the usual cast of supporting eccentrics of clever friends, oddball neighbors, and other potential partners (Tig Notaro, Steve Zahn, Rachel Bloom, Zoe Chao, Jesse Williams, and more). This is a soft and comfortable version of this sort of movie, with just enough charm to keep proceedings pleasant.

There’s a bit more superficial edge to Kenya Barris’s You People, but it comes around to a satisfyingly sickly sweet sentimentality in the end. It’s the feature debut of the prolific sitcom writer best known for Black-ish, and treads some similar water angling into modern race relations while brushing past class. Co-writer Jonah Hill stars as a Jewish podcaster who falls for a Black Muslim costume designer (Lauren London). Would you believe meeting the parents becomes a rolling social satire once the couple decides to get married? This Apatowian riff on Guess Who’s Coming to Dinner gets most of its comic energies here. Hill’s parents are cringingly well-meaning liberals who are so flop-sweat desperate to appear accepting that they circle all the way around to offensive. Played by Julia Louis-Dreyfus and David Duchovny, they are devastatingly awkward in scenes that stretch their niceties to clumsy outrages on the regular. Even better are London’s parents. Mother Nia Long side-eyes like a pro and jabs with cutting quips. Her father is Eddie Murphy, who can still take a so-so line of dialogue into the stratosphere of hilarity through nothing more than sheer charismatic commitment. In a supporting cast full of funny people (every role, down to the smallest is cast with amusing figures), he’s the biggest reason to see the movie. His constant testing of Hill is a fine, funny skewering, from needling the young man about the title of a rap song to backing him into blustering corners by pressing about the specifics of books it’s clear Hill hasn’t read. The whole thing builds to the mistaken breakups and inevitable apologies and the lovey reconciliation. (And a dance party over the credits, natch.) It errs on the side of sitcom styling, and is gilded with stylistic tics in scattershot establishing shots, but has an ear for honest stumbling conversations that erupt in big punchlines at a good, regular clip. I could imagine a packed theater crowd rolling with satisfied laughter, and maybe sniffling a bit at the finale.

Escape from Vegas: ARMY OF THE DEAD

If you’re going to stage a zombie outbreak and are looking for some sociopolitical resonance, you could do worse than Las Vegas. Seeing hordes of zombies milling about the slot machines or mindlessly shuffling down the strip isn’t exactly a stretch. It’s a pretty clear escalation of Romero’s use of the mall in Dawn of the Dead. Why are they there? Well, it’s what they’re used to. But really, what Zack Snyder proposes in his newest film, Army of the Dead, which, name aside, is not an extension of his remake of the Romero picture from nearly twenty years ago, is that it’d be a really neat thing to stage a heist movie inside a zombie movie. He's right. (So was Yeon Sang-ho, whose okay sequel to his great zombie actioner Train to Busan coincidentally used the same premise last year.) So why does it have to have a metaphor at all? He creates a rough future — shooting it with a smudged bleary digital paleness; ironically there are even some fleeting dead pixels in some dark scenes that had me thinking my TV was on the fritz — in which Vegas is the source of a zombie outbreak. An early scene with a speeding car accidentally smashing head-on into a military convoy transporting Patient Zero from Area 51 is a splashy start. (Car crashes are just so cinematic, no?) The city has been walled off, Escape from New York style, and is, in fact, about to be leveled with a nuclear bomb in order to stop the spread. That leaves just a few days for a casino owner (Hiroyuki Sanada) to get a team of mercenaries into his abandoned vault and rescue his money. It’s up to a mournful tough guy (Dave Bautista) to gather his forces and execute the plan.

Snyder knows what he’s doing, making a movie retrofitted from borrowed genre parts, an ambulatory homage that doesn't push too hard on anything but gore. He brings some slow-mo and needle drops and complicated world-building. But here even the lore of his take on this sort of world gathers lightly and in the margins. He’s making what might be his simplest movie. The movie gathers up some unfussy men-on-a-mission exposition in its open act, introducing a big cast of potential zombie chow to arm up and go in. Bautista is a soulful center to this thin pulp, and the fun mix of personalities around him puts Omari Hardwick next to Ella Purnell next to Garret Dillahunt next to Tig Notaro and lets their various energies crackle well enough. Then the movie spends its time plunging headlong into an extended Aliens homage the rest of the way through as the machine guns and strategy play out against hordes of dangerous undead. As bullets splatter the decomposing dead walkers, and the blood in general gathers to such ludicrous geysers that one grenade down a corridor appears to result in a gush of chili against the wall, it’s clear Snyder is enjoying the brutal goofiness inherent in his approach. 

That aside, the action is mostly hectic instead of visually striking, with Snyder, one of our last big budget visual stylists, making some of his blandest functional shots. A Romero or Verheoeven or Carpenter would’ve pushed harder on the style and satire, too, the bright lights city going to set its soul on fire. But Snyder, for all his excess and action, has some hint of a softie in him, making a movie ultimately about broken families mirrored in both humans and monsters, and with Bautista approaching the mission mostly as an excuse to repair a relationship with an estranged daughter. (Those inclined to read autobiography here will find that relationship extra poignant.) So it may be so much reanimated thrills from its inspirations, but it has just enough motivation and good structure to its hook to work at a sturdy popcorn level nonetheless.