Documentary Review Good Hair

Good Hair (2009) 

Directed by Jeff Stilson

Written by Lance Crouther, Paul Marchand, Chris Rock, Chuck Sklar, Jeff Stilson

Starring Chris Rock

Release Date October 9th, 2009

Just what is good hair? Some might go with the simple answer that anything that looks good is good hair. However, among African Americans good hair describes hair that is relaxed and or extended. The process, the cost, and the origins, literally and historically, are explored by comedian Chris Rock in the terrific doc Good Hair.

Chris Rock has two daughters and they were the impetus behind Good Hair. Wondering whether or not he would advise his girls to straighten their hair or whether he should discourage them, Rock went out into the community and found something he might never have expected, an anthropological journey into a world of hair, products and styles; the beautiful and the bizarre.

The main setting for Good Hair is the hair salon and the barber shop. Hair for women is not merely a style, it is intricate to how they see themselves and how the feel about themselves. A multi-billion dollar industry has grown almost solely around the need for products related to a black woman's hair. At the Bronner Brothers hair show, a sort of comic-con for the hair obsessed, Rock finds a meeting of business and the bizarre that is something out of a Fellini film. 

At the hair show there is a competition among stylists that is kind of about styling hair and mostly about the fabulous ego-driven spectacles that are the stylists themselves. These scenes are as funny as or funnier than Rock's very funny convos with the denizens of his local salon and barber shops. The interaction with customers and cutters play as buffers between Rock and Director Jeff Stilson's three set pieces: The Bronner Brothers show, the science of hair care products, and the final, and most effecting set piece, a trip to the slums of India where hair is cut in a purifying ceremony and is then collected, sewn and sent to the US to be sold as hair extensions. The scenes in India have a sadness that is leavened well by Rock's sad, humorous commentary.

There are also interviews with famous men and women including Al Sharpton, Maya Angelou and R & B star Eve among others. There is insight and oddity found in these interviews that a more trained interviewer than Chris Rock might have missed. Rock has a way of putting his interview subjects at ease that allows for unexpected moments of humor and truth. If there is one thing missing from these scenes it is Rock breaking it to these women where their hair extensions came from?

If Good Hair lacks punch it is because Rock is trained to go for the laugh and not the jugular. There is an undercurrent of anger buried deep beneath Rock's good nature. He wonders why so many African Americans pay unseemly amounts of money essentially to placate white people. In the barber shop people joke about the product relaxer because it is relaxing to white people to see African Americans with straight hair. Rock is visibly irritated with this line of thinking. He understands it, but it still bothers him.

In moments when he examines the hair care products, exposing their dangers-relaxer can melt a coke can in just over an hour- Rock shakes his head with amused disgust. When he finds that the products are dangerous to make and a danger to the people administering and using them, he again shakes his head but doesn't push the issue.

In the end, Rock is entertaining and his subject is fascinating. The intent was never to be the Michael Moore of the hair care industry. He had an honest question. He explores it with his brand of good natured jabbing. The journey for the audience is fun and fascinating and judging the intent rather than the possibility of Good Hair, it's an easy doc to enjoy and recommend.

Movie Review Rustin

Rustin (2023) 

Directed by George C. Wolfe 

Written by Julian Breece, Dustin Lance Black

Starring Colman Domingo, Aml Ameen, Glynn Turman, Chris Rock, Jeffrey Wright 

Release November 3rd, 2023

Published November 2nd, 2023 

I must be honest, I am not sure I can review the movie Rustin objectively. The film stars Colman Domingo, an actor whom I have interviewed on three occasions and who I have found thoroughly charming. Despite being an actor on a media tour on which he spoke to numerous journalists and was undoubtedly as the same questions again and again, Domingo is one of the most dynamic and kind interview subjects I've had the pleasure of talking to. And, on top of that, after my first interview with him, he remembered my name the next two tours I was on with him and recalled details from the prior interviews. The man is a wonder. 

With that out of the way, Colman Domingo is exceptional in Rustin. Based on the true story of the 1963 Civil Rights march on Washington D.C, Domingo plays the driving force behind the March, Bayard Rustin, a controversial figure in the Civil Rights movement of the 50s and 60s. Rustin was at the right hand of Martin Luther King (Aml Ameen) until Bayard over played his hand politically and King was forced to side against him, causing Bayard to resign and leave the Civil Rights movement all together for several years. 

Rustin was drawn back into the Civil Rights struggle after seeing the horrors being committed by authorities in Alabama. Reverting to his roots as a planner and organizer, Rustin gathers together a disparate group of young radicals in California and starts planning for a two day march on Washington D.C intended to put pressure on Congress to pass President Kennedy's Civil Rights bill. The plan is for more than 100,000 black people to gather on the National Mall where people like Dr. Martin Luther King and prominent black leaders from around the country will address the crowd. 

8 weeks is the time frame when Bayard pitches the idea to Union Leader and Civil Rights legend, A. Phillip Randolph (Glynn Turman). The idea would be absurd if it weren't for Bayard Rustin whose talent for organizing is seemingly unmatched at the time. Randolph is on board but it will take a lot more convincing to get black leaders involved. Specifically, Roy Wilkins, the head of the NAACP is no friend or fan of Rustin. It was Wilkins who appeared to orchestrate Rustin's ouster from leadership among Civil Rights leaders, and help divide Rustin from his friendship with Dr. Martin Luther King. 

Click here for my full length review 

Movie Review Grown Ups

Grown Ups (2010) 

Directed by Dennis Dugan

Written by Adam Sandler, Fred Wolf

Starring Adam Sandler, Chris Rock, David Spade, Rob Schneider, Kevin James, Taylor Lautner

Release Date June 25th, 2010 

Published June 24th, 2010

Critics, like me, can decry the Adam Sandler brand of comedy all day. We do, we will, I will. But, we cannot deny its continuing success. Sandler is, arguably, the safest business bet in all of Hollywood. Even at his worst in garbage like “Bedtime Stories,” the worst film of 2008, bar none, Sandler still turns out his fans and returns on studio investments. That will not change with the release of “Grown Ups.” This thin excuse for Sandler to get his oldest friends together for a lakeside working vacation is exceptionally typical of the Sandler brand: dog doo, passing gas and copious pratfalls. It's not filmic poetry but fans of the brand do not care.

In “Grown Ups” Adam Sandler is Lenny, a 40-something Hollywood Agent married to a sexy fashion designer (Salma Hayek) and raising three spoiled kids who text their nanny to bring them things ,and spend most of their time in front of a flat screen TV. Lenny laments his children's lack of imagination but does little to change them. That is until Lenny is shocked out of his rich boy Hollywood idyll by the death of his childhood mentor and basketball coach, Coach Buzzer (Comic and Sandler crony Blake Clark).

Gathering up his wife and brats, Lenny is headed home to a lakeside retreat to meet his old pals and former teammates. There's Eric (Kevin James), the chubby one, whose wife (Maria Bello) is still breastfeeding their 4-year-old son.

Kurt (Chris Rock), a henpecked house husband under the thumb of his pregnant wife (Maya Rudolf). There is Marcus (David Spade), the single and loving ladies man. And finally there is Rob, a dopey thrice divorced vegan spiritualist married to a much, much, much older woman (Joyce Van Patten).

Beyond these minor character quirks there really is nothing to any of these characters. In the course of “Grown Ups” none of these characters evolve, deepen or expand our understanding of them. Sure, each is given an issue to play, like Sandler and his tech-obsessed brats, but each of these issues is resolved with little, if any, dramatic effort.

Like most Adam Sandler comedies, “Grown Ups” is an idea in search of a story or unifying theme that settles for being a series of occasionally funny gags and one liners. Sandler and his company Happy Madison don't so much develop screenplays really; rather, they come up with ideas, grab a camera and hope that something will come together in editing.

Nothing much comes together in “Grown Ups.” David Spade gets in a few good jabs. Kevin James falls down funny once or twice. Rob Schneider has a bit with an arrow that earns a chuckle but the good gags are few and far between. More often you get a lot of dead space in which the gang riffs in search of a punchline, often never finding it and allowing a scene to simply end awkwardly and unfunny.

None of my criticism of “Grown Ups” will matter to the Sandler cult. There is poo, there are multiple farts and the chubby guy, James, falls down funny. That's all the Sandler fan asks for and that is all that “Grown Ups delivers.” Success, it seems, is a highly subjective concept.

Movie Review: Death at a Funeral

Death at a Funeral (2010) 

Directed by Neil Labute 

Written by Dean Craig 

Starring Chris Rock, Martin Lawrence, Loretta Devine, Regina Hall, Zoe Saldana, Luke Wilson

Release Date April 16th, 2010 

Published April 16th, 2010 

Director Neil Labute has a terrific eye for human behavior. It's a very particular and often quite dim view of humanity that lead to brutal yet insightful films like In the Company of Men and his magnum opus of anger and inhumanity Your Friends and Neighbors. Yet, there is also a brilliantly whimsical side to the director of the dark side of humanity.

In Nurse Betty Neil Labute took the cute as a button Renee Zellweger and had her play a woman who falls in love with a soap opera character following a psychotic break brought on by witnessing the violent murder of her brutish husband. From there begins a road picture and a strangely romantic and wondrous performance from Morgan Freeman as the killer who falls for Betty from afar. 

The strange comic sensibilities of Nurse Betty were a turn off for many audiences but for me it was a remarkable insight into a filmmaker who is tuned to a very different wavelength than most other filmmakers or other human beings in general. It is this quality that makes Neil Labute perfect for the new comedy Death at a Funeral. What other director could find so much wacky fun at a funeral? 

Chris Rock stars in Death at a Funeral as Aaron the oldest son of a family that just lost its patriarch. Aaron is a tax attorney who longs to be a novelist and lives in the shadow of his slightly younger brother Ryan (Martin Lawrence) a successful writer of trashy novels. This however is the least of Aaron's troubles as he has his wife Michelle (Regina Hall) pushing to have a baby and his mother Cynthia (Loretta Devine) constantly on the verge of a meltdown.

Oh and then there is the issue of the funeral home delivering the wrong body. Yikes! Among the funeral guests are Aaron's cousin Elaine (Zoe Saldana) and her boyfriend Oscar (James Marsden) who dreads seeing Elaine's father (Ron Glass) who has made it clear how much he hates Oscar. They are joined by Elaine's brother Jeff (Columbus Short) a minor drug dealer whose pill concoction is set to make trouble at the funeral.

Family friend Norman (Tracey Morgan) and his pal Derek (Luke Wilson) each have a different purpose at the funeral. Norman is helping out by bringing cranky Uncle Russell (Danny Glover) to the funeral while Derek will be seeking out Elaine with whom he has a romantic past that he hopes to rekindle. 

And then there is a mystery guest. Peter Dinklage plays Frank, the same role he played in the original British version of Death at a Funeral in 2007. Frank holds the key to a major subplot that drives the middle portion of the film to a wild climax that though it comes up a little short by being too easy, does not fail so completely as to sink the whole film. 

Death at a Funeral brilliantly builds comic momentum from the opening scenes involving the wrong body in the casket to the reveal of Frank's secret to Oscar's wild drug infused ride to finally sitting everyone down for the actual funeral. It's remarkable how Labute keeps all of these comic plates spinning and pays off each set piece with a big, big laugh. 

The cast of Death at a Funeral is first rate with Marsden stealing scene after scene with his acid trip wackiness while Chris Rock grounds the film by bringing the craziness back to earth with exasperated truthfulness. Rock is used to driving the comedy by prodding the actors around him with his in your face style. Here, Rock is more relaxed than ever before and it suits him. He may not be pushing the edges but his punchlines are just as strong. 

Neil Labute worked from a script that is credited to original Death at a Funeral writer Dean Craig. Indeed the characters, set pieces and other aspects of the story are almost entirely unchanged from the 2007 film. What is different is the perspective Labute and his cast brings to the picture. There is more willingness by all involved to explore the black comedy side (not a racial observation) of a story that is after all a comedy set at a funeral. 

Especially interesting is the exploration of gay panic, something that in African American circles is an especially touchy subject. This part will contain spoilers so skip to the last paragraph if you hate spoilers, Rock and Lawrence in the film's main plot deftly balance horror, acceptance and humor at the prospect of their father's homosexuality. I would have liked to see a little more attention paid to this subject, it's wrapped up a little too neatly in Rock's closing speech, but overall well handled and bold for merely being in the movie. 

Death at a Funeral is wacky and smart, slapsticky but with an eye for the laughs that don't involve bodies being dumped out of caskets. I could have done without the gross-out moments with Tracey Morgan and Danny Glover, which I will not detail here, but it's not so horrible that it ruins the film. Nor does the relatively comfy wrap up at the film’s end take away from the big laughs and wonderful discomfort of Death at a Funeral.

Movie Review I Think I Love My Wife

I Think I Love My Wife (2007) 

Directed by Chris Rock 

Written by Louis C.K 

Starring Chris Rock, Kerry Washington, Gina Torres, Steve Buscemi, Orlando Jones, Wendell Pierce 

Release Date March 16th, 2007

Published March 16th, 2007

President Bill Clinton redefined infidelity in the 90's with his 'the definition of the word is' bit, but it was the great auteur Eric Rohmer who began the most thoughtful and incisive conversation about infidelity with his 1973 film Chloe In The Afternoon. That film wondered if infidelity of the mind was on par with actual infidelity and left audiences to answer that question for themselves.

Chris Rock is a big Eric Rohmer fan and has taken Rohmer's conversation about infidelity and added his own sensibilities to create the new film I Think I Love My Wife. The title is a daring, questioning, plea that I'm sure will make many married couples a little uncomfortable. This story about boring married life versus the constant excitement of what Rock has called in his stand-up routines "new pussy", is at times daring, at times touching and at times maddeningly cute.

Chris Rock is maturing as a filmmaker and this is a step forward but there is a way to go.

Richard Cooper is happily married with two kids but that doesn't mean he isn't bored out of his fucking mind. Richard and his wife Brenda (Gina Torres) have become roommates as much as they are husband and wife. They have stopped having sex and Richard is growing frustrated. It is at this crossroads that Richard gets a visit from an old friend who throws some excitement into his life.

Nikki (Kerry Washington) knew Richard before he got married, she dated a friend of his who had a nervous breakdown after she dumped him. Nikki comes to Richard for a job reference and becomes a fixture at his office, going out to lunch with him everyday so she can enlist his help in getting out of a bad relationship. Nikki can't believe Richard is married and she takes great pleasure in tweaking him about just how happy he is.

Nikki is exciting, sexy and flirtatious and Richard is very intrigued. As Nikki keeps showing up at his office Richard finds himself risking his marriage and his job for the excitement of spending time with Nikki. Will he take the chance for an exciting affair with Nikki or will he return to his comfortable but boring life as a suburban husband and father.

Written and directed by Chris Rock, I Think I Love My Wife wants to be taken seriously while still being funny. Rock nearly pulls that off. However, broad jokes involving viagra and fantasy sequences about women in their underwear on the streets of New York undercut the film's more serious purposes. Similar problems permeated Rock's last directorial effort; the political comedy Head Of State.

In Head Of State Rock played the first African American President of the United states. While much of his satire of race and politics was dead on, Rock could not resist his innate comedian's sense that the audience must laugh every ten to twenty seconds or something isn't right. As he did in Head of State and does again in I Think I Love My Wife. Rock cannot simply stand by and allow the story to be told. He forces in jokes and sight gags and an odd bit of singing that get in the way of an otherwise thoughtful and serious minded examination of marriage and infidelity.

I found an interesting correlation between this film and Stanley Kubrick's Eyes Wide Shut. Both films examine betrayal, apathy and fidelity and though I Think I Love My Wife is more straightforward in terms of storytelling; Eyes Wide Shut is more true emotionally. Where Rock pulls punches Kubrick's metaphors are like body blows landing with impact, especially the ending which has just the kick needed to send audiences home reeling. Rock goes for a very similar ending in his film however, an ill-timed musical number, yes I said musical number, cuts into the truth of the moment and sells it out in favor of a bit.

Gina Torres as Rock's wife Brenda in I Think I Love My Wife delivers the film's truest dramatic performance. Her measured, practical observations of Richard's behavior, belying a naivete of his actions with Nikki, are some of the most compelling moments in the film. Torres takes a character written as something of a cold fish and infuses her with a hidden passion and fire that comes out in quiet, desperate moments that are some of the films best.

Chris Rock's stand up comedy act has always been edgy and insightful. Most people remember his controversial rants on politics and race. However, it is on the topic of relationships where his most insightful work comes from. In his Bigger and Blacker special from 2000, Rock masterfully demonstrated the benefits of marriage over being single with brutal honesty.

Rock talked openly about how marriage is boring. Why don't men want to be married? How easy it is for a man to cheat. But the overarching point was still strongly made by weighing his options. You can be married and bored or single and lonely. Rock chose marriage and boredom and now he's written a movie about this very topic.

I Think I Love My Wife attacks this same topic with similar honesty and openness and though some of his more broad gags get in the way of the film's very real drama, the humor still carries the day in this loving tribute to bored married couples.

Chris Rock remaking Eric Rohmer? It's not as far-fetched as it might seem. Both are fascinated with the same topics, morality, politics, infidelity, women. One just happens to be from the French New Wave and the other is a brilliant stage comedian. I Think I Love My Wife is much more heavy handed than Rohmer's more thoughtful take, but it's also much funnier than Rohmer's Chloe In The Afternoon.

Though there really is no need to compare these two films in terms of quality. Rohmer was a far more experienced filmmaker in 1973 than Rock is today. It's unfair to expect Rock to match Rohmer in his command of the medium. Where the two cross paths well is in insightful examinations of the subject. Both are equally fascinated with the mechanics of marriage and relationships and both have something unique and interesting to say about them.

I Think I Love My Wife adds a good deal of humor to the equation and that is mostly welcome, except when it becomes a crutch. Chris Rock needs to learn to let his storytelling breath and that there is no need to shoehorn in the jokes. The humor can come from the characters and the situation. After watching I Think I Love My Wife I can see that Rock is learning these lessons and I can't wait to see him mature further.

Movie Review Head of State

Head of State (2003) 

Directed by Chris Rock

Written by Chris Rock, Ali LeRoi 

Starring Chris Rock, Bernie Mac, Dylan Baker, Nick Searcy, Lynn Whitfield 

Release Date March 28th, 2003 

Published March 27th, 2003

Just over a year ago rumors of two competing film projects about unlikely guys who become the first black President sparked rumors of a feud between the film’s respective creators. Both Chris Tucker and Chris Rock wrote and prepared to direct the competing projects and many wonder if there was some bad blood between the actors. Both quickly put those rumors to rest and now Chris Rock is the first out of the gate with Head Of State, a politically charged satire that combines Rock's biting stand up material with Farrelly Brothers style overstatement.

Rock is Mays Gilliam, an alderman from the poorest neighborhood in Washington DC. When Mays makes the news for saving an old lady and her cat from a house explosion, the headlines bring him to the attention of a shady Senator (James Rebhorn). The Senator needs a guy like Mays Gilliam because his party's Presidential and Vice Presidential candidates have just been killed; their planes ran into one another. Because the candidates were already pretty far behind in the polls and the other party's candidate (Nick Searcy) is the current Veep, a war hero and Sharon Stone's cousin, the party is ready to throw in the towel. They need a candidate that they can throw to the wolves and pave the way to the next election.

So Mays is the man and with the help of campaign advisors Martin Geller (Dylan Baker) and Debra Lassiter (Lynn Whitfield), he sets out to lose just like he's supposed to. That is until May's brother Mitch (Bernie Mac) sets his little brother straight. Stop reading the speeches you're supposed to read, quit sucking up to the special interests and just tell the plain simple and hard-to-accept truths. Once turned loose Mays actually starts connecting with voters to the dismay of the Senator and his opponent.

The film is not about its story, it's about the jokes and it's packed with laughs from beginning to end, all of them with Rock's searing satirical touch. The political humor that comes from May's speeches comes directly from Rock's standup and it's just as brilliant as it was in Bring the Pain and Bigger & Blacker. Some may be uncomfortable with Rock's take on white people in general, but it's done in a clearly satirical way and those who are too uncomfortable with it may just feel it hit too close to home.

Some critics are missing the point of Head Of State attempting to contextualize the film’s realistic characters and its over the top set pieces. None of the Head of State should be considered as reality. It's a satire with a serious point of view that takes some shots that will make many people uncomfortable. Some have compared Rock's political stances in Head Of State with those of Michael Moore and they aren't far off. They are the individual concerns of every American something Rock and Moore seem far more in touch with than any politician does.

While Rock's direction is definitely that of a rookie, he can only get better; his scriptwriting is pro level. It's funny and intelligent. The script and the film have respect for the audience’s intelligence and it will leave with as much of a smile on your face as it leaves you with issues to discuss.

Movie Review: Bad Company

Bad Company (2002) 

Directed by Joel Schumacher

Written by Jason Richman 

Starring Chris Rock, Anthony Hopkins, Gabriel Macht

Release Date June 7th, 2002

Published June 6th, 2002 

Anyone who has ever written a screenplay knows one of the hardest parts is coming up with a title. Back in 2000 Jerry Bruckheimer thought that when he bankrolled a mismatched, fish out of water, buddy, action comedy that the film had a perfect title. That title was Black Sheep. Bruckheimer had forgotten that just three years earlier Chris Farley and David Spade starred in a god-awful comedy of the same title. So the title was changed, however, the new title now seems just as curious. 

Bad Company is the title of at least a dozen films, one of which was a spy movie made in 1990 starring Laurence Fishburne and Ellen Barkin. Curiously that film is just like the new Bad Company, about CIA agents. Of course the fact that I have spent the first few paragraphs of this review writing about the title of the film should indicate how I felt about this latest Bad Company.

Chris Rock stars in dual roles, the first being an undercover CIA agent who is killed in the former Czech Republic in an arms deal gone bad. The second role is that of the CIA agent’s estranged twin brother Jake Hayes. After his twin brother’s death, Jake is recruited by the CIA to replace him and complete the arms deal. Jake is not surprisingly reluctant to team with the CIA and his brother’s former partner Oakes (Sir Anthony Hopkins). After finances are discussed, Jake eagerly takes up his brother’s cause.

This, of course leads to one of those typical fish out of water sequences where the low class character has to learn to be high class and do so in very little time. Jake needs to know which fork to use at a fancy dinner and needs to learn how to dress, walk and speak. It's a scene cribbed from a dozen other formula fish out of water comedies and not improved upon here. 

Once Jake is ready he is taken to the Czech Republic to do the deal, but wouldn't you know it, the same guys who killed his brother are already waiting for Jake and the CIA and the deal goes bad. The nuclear weapon that was the subject of the deal is stolen and moved to New York City, and somehow Jake's girlfriend is kidnapped. I'm sure there was a good reason for how the bad guys figured out Jake wasn't his brother but I was so bored with Bad Company by this point I didn't care.

It's not surprising to find this formula swill was directed by Joel Schumacher, the king of formula swill. (I should note my still simmering bitterness towards the man who destroyed the Batman series). What is surprising is seeing two actors as talented as Sir Anthony Hopkins and Chris Rock in such a conventional film. From the script to the screen, I can't imagine they couldn't see how formulaic and trite this material was. 

Rock deserves a lot of credit for going off the script as often as he does, providing the only solace from the lame formula with bits taken from his standup act and his natural wit. Sir Anthony Hopkins on the other hand makes it clear that he is merely picking up a check sleepwalking through the entire film, especially it's lamest of all ending. 

It would be very easy for me to blame Joel Schumacher for this formula trash but the real fault lies with Jerry Bruckheimer. He after all is the one who keeps financing this supposedly crowd pleasing, screen tested trash. Bruckheimer knows formula swill because he and his late partner Don Simpson invented it.

Movie Review: Bee Movie

Bee Movie (2007)

Directed by Simon J. Smith, Steve Hickner

Written by Jerry Seinfeld, Spike Feresten, Barry Marder, Andy Robin

Starring Jerry Seinfeld, Renee Zellweger, Matthew Broderick, John Goodman, Chris Rock

Release Date November 2nd, 2007

Published November 1st, 2007

I'm a big fan of Seinfeld. That talky seemingly going nowhere about nothing style is just hilarious to me. Jerry has significantly lowered his profile since his legendary TV show made him the second richest television personality in America, right behind Oprah. Now Jerry is getting back to business and not being much of an actor, he's found himself a niche in animation. Bee Movie is the brainchild of Jerry and a few friends from Seinfeld. The story of a worker bee who leaves the hive and discovers a whole new world of possibilities is really just a collection of Seinfeld-isms masked by kid friendly animation.

When Barry B. Benson (Seinfeld) discovers that he will be working the same job for the rest of his bee life he longs for an escape. He gets his chance when a squadron of pollen gathering jock bees invite him to fly outside the hive. What Barry discovers is that while most humans want to squash him, at least one human, Vanessa (Renee Zellweger), will defend his right to live.

Though bee law doesn't allow bees to speak to humans, Barry is compelled to thank Vanessa for saving his life. This leads to a friendship, and a puppy dog crush for Barry. Eventually, Vanessa leads Barry to another revelation, humans have been stealing the bee's honey. With her help, Barry decides to sue humanity for the return of the precious nectar they work so hard to create.

So, there is a semblance of a plot in Bee Movie. The whole thing about humans stealing honey from bees gives the film something to do while Seinfeld riffs opposite Renee Zellweger. The dialogue is a combination of classic Seinfeld fascinations (awkward introductions, pop culture, et al) and bee puns. Some of these meandering conversations hit with a good punchline, sometimes they thud like a bad pun. Still, everything is delivered in a good natured and pleasant fashion.

The animation of Bee Movie is in the Dreamworks style, reminiscent of both Shrek and Shark's Tale. Shiny surfaces, oddly shaped bulbous characters and bright colors. For Bee Movie yellow and black are, naturally, the dominant colors, especially in the hive. Outside, bright blue skies and gorgeous green grass standout as some remarkable, eye catching visuals.

Joining the fun of Bee Movie are a number of big name guest stars. It's like a sweeps episode of the Love Boat. Oprah Winfrey, John Goodman, Chris Rock, Matthew Broderick, Kathy Bates and Seinfeld's old TV pal Patrick Warburton each play key roles. Sting drops in for a brief, humorous cameo and Ray Liotta steals the movie in a terrifically over the top bit of self parody.

Jerry Seinfeld is so naturally funny that you will laugh while watching Bee Movie. You just won't laugh enough. Gags and one liners work well in a stand up act but in movies we long for characters with some depth and insight. We long for characters who aren't merely placeholders in search of the next setup and punchline.

Ratatouille is soon to come out on DVD and that film about a gourmet rat shows the potential of animation to create animal characters with depth, insight and more to offer than a few good zingers. Bee Movie is amiable and nice but compared to Ratatouille, it's superfluous and entirely forgettable. While some won't mind the trifle that is Bee Movie, deep down they will long for more. I know I did.