The House Bunny - Review by Becky Kinder

Bad casting and skimpy comedy for this ‘Bunny’

Becky Kinder
Staff Writer



Published: Tuesday, September 9, 2008

Updated: Wednesday, September 10, 2008


I know that “The House Bunny” is supposed to be funny and point out that we should all be secure with who we are, even though society may not appreciate us. I know the same women who wrote “10 Things I Hate About You” and “Legally Blonde” teamed up to pen “The House Bunny,” which should have made for an entertaining movie. I know that Anna Faris is superb when it comes to her comedic timing, delivery and expertise in giving a glazed-over stare.

What I also know is that the talent of one actress does not make a funny and well-made movie.

Expectations for this film were not especially high, but knowing it was produced under Adam Sandler’s production company, Happy Madison, creates some expectation for what I like to call a “well-made stupid comedy,” which is where films such as “Talladega Nights” and “Tommy Boy” can be classified.

“The House Bunny,” however, was not well-made...it was just stupid. Granted, I did laugh at times, but even Faris cannot carry something as poorly written, directed and acted as this film was.

The story is basic: Playboy bunny and centerfold hopeful gets kicked out of the Playboy mansion for being too old, finds socially-inept ugly ducklings to take under her wing and turn into swans, and systematically gets them laid and saves their sorority chapter at the same time. Did I mention Faris’ bunny, “Shelley Darlingson,” grew up in an orphanage and was never adopted (though the rest of the orphanage was) because she was too unattractive until blossoming as a teen just in time to be swept up by Playboy? Every story in this film is as used as Hugh Hefner’s bed must have been in the ’60s.

Some of the better moments of the film came when it seemed the cast wasn’t trying so hard. At times Emma Stone gave a performance that seemed more improvised, especially in the scene next to Faris at the foot of the Zeta house stairs. There were a few other more natural moments from a couple of the other cast members, but those got lost in the over-bearing muck that was thrown around through the rest of the film.

Over-the-top characters, such as Carrie Mae (Dana Goodman), trampled through the wrong movie, filling the screen with so many different acting styles it felt like somebody was constantly changing the channel on a TV. Director Fred Wolf didn’t stick with a clear vision and style, and seems to have simply allowed whatever he thought was funny at the time stay in the movie, regardless of how unfitting it ended up being in the final product.

A rabbit’s foot would not bring enough luck to any of the hordes of people who had cameos and cannot act. One or two sports stars or Heffner and his girlfriends - all with stiff delivery - can be forgiven, but this film is packed with scenes that would be better performed by many high school theatre departments.

Those who actually have the talent to be in a movie, such as Colin Hanks, are upstaged by the pathetic attempts of other cast members and how bad other scenes are. Even stand-up comedian Owen Benjamin, somebody one would think could pull off a small role, should never appear in a film again.

The few laughs you’ll get watching “The House Bunny” are not worth the price or the time you’ll have spent in the theatre. You could even wait to catch it once it eventually airs on a cable network for free. You wouldn’t be missing much. Personally, I think there’s a better chance you’d have more fun doing The Bunny Hop at your second cousin’s wedding.



STARS: 2 out of 4

OUR VIEW: Tired script and direction, mixed with multiple unfocused acting styles, cannot hide under Anna Faris’ talent.

SUMMARY: Social outcasts and a Playboy bunny all help each other stop trying to be anything but who they are.

All the world’s a stage at Laguna Beach pageant - Review by Becky Kinder

By Becky Kinder

Published: Wednesday, August 20, 2008

Updated: Saturday, August 23, 2008

The Pageant of the Masters celebrates its 75th anniversary in Laguna Beach

"All the world's a stage," and the players are meeting in Laguna Beach. This year The Pageant of the Masters is celebrating its 75th Anniversary with a theme of the same: "All the World's a Stage."

The pageant re-creates famous works of art in the vein of tableaux vivants, a tradition that dates back to medieval pageants and plays. There is a wealth of historical information via video and narration on the history of the tableaux as well as the history of the pageant and its creators.

With scenes representing classical and contemporary works and encompassing pieces such as paintings, porcelain figurines, and even metal sculptures, this truly is where you can find art coming to life. Using its theme, the pageant also framed its re-creations with theatrical and musical numbers.

The outdoor amphitheater's canvas is filled with the colors of the orchestra's original score, the voices of actors and singers, the slapstick of Commedia Dell'Arte players, and of course the volunteers who posed and painted the incredibly faithful re-creations of original art works.

The effort that goes into the planning of pageant and its nightly performances - from the application of makeup and costume design to the precise lighting used - is amazing. Each aspect is sculpted together for re-creations to delight even the most discriminating critic.

One of the best re-creations was Henri de Toulouse-Lautrec's oil painting entitled "At the Moulin Rouge: The Dance." The depth perspective the professionals and volunteers are able to achieve is breathtaking. "The Passing Leap," an oil by John Steuart Curry, caused a collective combination of gasps and sighs at the realization that there were real people holding the positions of the people who had once just been still brush strokes in a painting.

There were many other pieces leaving viewers in awe as to how the recreations could be so realistic, some based on how little it seemed some of the people were wearing and others based on the poses. One such piece was the recreation of the bronze "Olympic Spirit" by Edward Eyth.

The pageant of living pictures lasts roughly 90 minutes, though it could have been a few minutes shorter had they cut the awkward Can Can number, which closes out the First Act. The dancers, to be generous, shift their skirts and move their legs more than dance, with one girl on the main stage kicking about all over the stage like a fish out of water. The video footage shown during this bizarre number can be likened to riding through a tunnel in Willy Wonka's boat.

With so many beautiful re-creations, it's difficult to choose only a few as noteworthy. During the show - and in the purchasable collective program - the behind-the-scenes look we are given of how the production is put together does not take away from that beauty. Many aspects of the pageant assist in creating a greater appreciation and respect for artwork of all kinds.

Arriving at the pageant an hour or more early is recommended to give you at least a little time to enjoy the outdoor art gallery, which features a wide range of works by local artists. Many pieces are available for purchase, but know that original and one-of-a-kind pieces often mean price tags that come with heavy brush strokes. If you're not interested in the gallery, you can still use the extra time to tackle the restroom lines, sip a glass of merlot, or grab a caffeine jolt from the coffee stand. Your ticket from the pageant also is a season pass to the art and events the Festival of Arts has to offer.

The 75th Anniversary season of the Pageant of the Masters' "All the World's a Stage" is a work of art in and of itself that you won't want to miss.

Information:
Performances run nightly through August 30. Tickets, though most nights are already sold out, range from $15 to $150. The theatre and festival are located at 650 Laguna Canyon Rd. Laguna Beach, CA 92651. Tickets can be purchased at (800) 487-3378 or online at www.lagunafestivalofarts.org