The Guilt Trip (2012)

Another day of Amazon Prime films, and what do you know, today is the first day of the Jewish holiday of Passover, so pesach sameach to those celebrating it, albeit in rather unusual circumstances this year, which somewhat torpedo the tradition of eating a meal together. Anyway, to celebrate this occasion, I’ve selected a movie with Jewish themes… broadly — look, it’s a comedy and it stars Barbra Streisand and Seth Rogen, so I think that’s probably qualification enough.


I’m not Jewish, and perhaps Barbra Streisand’s over-fussy mother might be grating if I were, but the family dynamic is still pretty familiar all the same. Seth Rogen plays a scientist and entrepreneur who’s trying to sell his ecologically-friendly cleaning product, and he takes his mother with him on his sales trip in order to reunite her with her college sweetheart. It’s a slender excuse really to get these two people in close confines with each other, and the road movie is a venerable format for two disparate characters to learn about each other, open up emotionally, and — in theory — grow. All that happens of course, and it skirts closely at times to being treacly, but there’s something in both Rogen (whom I’ve always found to be an engaging screen presence, though apparently he has his detractors) and Streisand which keeps it pretty level. I found this film likeable.

The Guilt Trip film posterCREDITS
Director Anne Fletcher; Writer Dan Fogelman; Cinematographer Oliver Stapleton; Starring Seth Rogen, Barbra Streisand, Adam Scott; Length 95 minutes.
Seen at home (Amazon streaming), London, Wednesday 7 August 2019.

This Is the End (2013)

No matter where this directorial debut from Canadian actor Seth Rogen may go — and it goes to some pretty ridiculous places — it always seems to retain the goofy charm of a low-key stoner movie, something like Harold & Kumar Go to White Castle (2004) but far more self-referential. After all, everyone in the film is playing a (clearly fictionalised) version of themselves, partying and hanging out in Los Angeles. It’s a brittle conceit, and it works better than by all rights it should, but you can at least imagine all the guys in this film — and it is very much a guys’ film — being friends in real life.

The set-up sees Jay Baruchel arriving at LAX to stay with his old friend Seth Rogen while he’s in town. Both grew up in Canada, and while Jay is concerned Seth is being swallowed up by Los Angeles, Seth’s LA friends see Jay as a last link to the Canadian past he needs to slough off, leading to tension between Jay and the rest of the cast. After a bit of bonding over video games and weed, Seth drags Jay along to James Franco’s housewarming, at a deranged brutalist bunker decorated with kitschy art and populated by a large number of familiar faces. It’s here that the core cast is introduced. If Franco is a preening whiner, then Jonah Hill is chanelling a more right-on holistic West Coast vibe as the ‘sensitive’ emotional actor, while Craig Robinson is a no-nonsense party guy who spends the whole movie wearing a t-shirt emblazoned with the words “Take Yo Panties Off”. There’s little point mentioning any of the celebrity cameos here, as part of the fun is in spotting the faces, but it’s fair to say that (as many critics have already pointed out) Michael Cera gets the standout role.

These are enjoyable scenes, certainly, but this is a film about the Apocalypse, and it doesn’t take too long before things get biblical. Part of the joke is that when it comes — and it starts with the Rapture, when the souls of the worthy ascend to Heaven — only actors are left behind, such that Franco’s party becomes something like a gathering of the living damned. Eventually only a handful are left holed up in Franco’s home; they must try to survive and find a way out of the apocalyptic hellscape that Los Angeles has become.

For a film that trades so heavily on Christan iconography, it’s interesting that almost all of the film’s creators are of Jewish upbringing, but perhaps that’s a key to the film’s success. They get plenty of anarchic fun out of their premise, one which trades on the more skewed aspects of theistic belief that are part of the American cultural upbringing, and which have naturally been inculcated through generations of Hollywood fantasies. For the most part Rogen and Goldberg tap into that (there are all kinds of movie-literate quotes, not least from The Exorcist), abetted by their ensemble cast.

It does at times feel strained by its limitations. One such is the fact that this is a very male-dominated film. These kinds of apocalyptic fantasies do, after all, tend to be the preserve of a certain kind of nerdy fanboy and indeed, the opening scenes position Rogen and Baruchel rather neatly as such. To be fair, the film tries to critique its own limitations, such as when Emma Watson shows up briefly, but the guys’ subsequent conversation — with its self-consciously parodic ease at outing one another as potential rapists — still feels in rather poor taste, even if Watson’s response is just right.

However, it always manages to pull itself back on track, with goofy and well-meaning charm. Some of that may be dependent on how much you like the core cast members — they are playing versions of themselves, after all — but for me, the insouciance at the heart of the enterprise was sufficient to carry me through even the most adolescent of dick jokes. There are quite a few adolescent dick jokes. But I laughed even so.

This Is the End film posterCREDITS
Directors/Writers Seth Rogen and Evan Goldberg; Cinematographer Brandon Trost; Starring Seth Rogen, Jay Baruchel, James Franco, Jonah Hill, Craig Robinson; Length 106 minutes.
Seen at Cineworld Shaftesbury Avenue, London, Saturday 29 June 2013.