Daily Archives: April 13, 2007

Laura Dern on Neuroses, Parenting

At the recent press day for Mike White’s generally pleasantly offbeat Year of the Dog, Laura Dern talked some about parenting as a story device, and playing a mother on screen now that she’s one in real life. “The area of
parenting is so funny and interesting because you feel so out of control when
you’re given this job of protecting. It creates panic,” Dern says
.

“Bret is deeply neurotic and a true perfectionist,” Dern continues, talking about her character. “The
difference between her and most of us in the world that are new moms, because I
think there is a level of obsessiveness and neuroses that comes with becoming a
parent, like… ‘Oh my God, my job is to protect you for the rest of your life? How did
this happen?’ So I think that’s innate in way, even though when you try to be
conscious and balanced it’s easy to get neurotic about one’s children. The
difference is most of us look at our children and say, ‘I want to control every
waking moment of the rest of your life and make sure it’s OK… too bad the world
isn’t like that.’ Bret says, ‘And I know I can.’
And she believes it in her core. That’s why she was so fun to play. Because anyone who has that kind of ego
it so fantastic. And Tom McCarthy was so amazing as her husband, because he’s
sort of like her dog, he’s sitting
there just acquiescing to whatever she says.”

Are We Done Yet?

Now, was there ever a chance that Are We Done Yet? — a sequel to 2005’s $82 million-grossing Are We There Yet? — was going to
be a critics’ darling? No, probably not. But the first film was a
harmless enough family comedy about besieged masculinity and eventual
maturation. It had its moments of diverting amusement, and it actually
told a linear story in some loose, relatable sense. This sub-moronic
re-up, though, is completely divorced from any sort of reality (even
of its own devising) and totally mind-numbing
, even at well under 90 minutes.

That Are We Done Yet? runs on comedy of the predictable is surely
no surprise, but Hank Nelken’s script is especially atrocious, a
desultory mix of slapstick and bland bickering, powered by
mind-boggling contradictions in character. You know going in
that there will be: a) toys stepped on; b) a leaky roof; C) a falling
chandelier; d) a comic electrocution; and e) Ice Cube falling through said
roof. And there are
. What you don’t expect, necessarily, are bits involving a talking
raccoon, a deer whose eyes bug out in cartoonish fashion and Ice Cube
wrestling a giant sturgeon.

But it’s the breathtaking manner in which the movie so immediately
announces its complete gracelessness and lack of respect for its
audience’s intelligence that is most amazing
. After an animated opening
credits sequence that trumps the entire combined feature for
imagination and sheer entertainment value, Ice Cube’s character is awakened by his
alarm clock, at 5 a.m., to an outdoors that is completely bright and spilling sunlight into the room. Nothing gets much better from there, in either attention to detail or certainly cleverness. For the full review, from FilmStew, click here.