By Another film in the Apatow-produced oeuvre, Nicholas Stoller’s Get Him to the Greek provides some of the most memorable laughs and running jokes in film this year. In Greek, Russel Brand reprises the rock star character Alduous Snow that he made famous in 2008’s Forgetting Sarah Marshall. Snow is the frontman of fictional band Infant Sorrow (taken from the title of a William Blake poem, fyi), but unlike his previous sober and wisdom-spewing incarnation in Marshall, in Greek, Snow is back on the drugs and wreaking havoc for Jonah Hill’s Aaron Green. Hill also had a role in Marshall, but is remoulded here as a talent scout for a record company, though he still harbours fanboy affection for the rock legend. Hill plays the young-man-with-a-future — pre-med girlfriend (Elizabeth Moss) included — while Snow represents either the realization of that promise, or its demise.
Another film in the Apatow-produced oeuvre, Nicholas Stoller’s Get Him to the Greek provides some of the most memorable laughs and running jokes in film this year. In Greek, Russel Brand reprises the rock star character Alduous Snow that he made famous in 2008’s Forgetting Sarah Marshall. Snow is the frontman of fictional band Infant Sorrow (taken from the title of a William Blake poem, fyi), but unlike his previous sober and wisdom-spewing incarnation in Marshall, in Greek, Snow is back on the drugs and wreaking havoc for Jonah Hill’s Aaron Green. Hill also had a role in Marshall, but is remoulded here as a talent scout for a record company, though he still harbours fanboy affection for the rock legend. Hill plays the young-man-with-a-future — pre-med girlfriend (Elizabeth Moss) included — while Snow represents either the realization of that promise, or its demise.{{page_break}}
Aaron’s record executive boss, Sergio, is played to perfection by Sean “Diddy” Combs. Pertinent to the financial times, the house that Sergio built is struggling, so Diddy demands a solution from his young staff. Aaron proposes that Sergio bring the borderline has-been Snow to Los Angeles for a 10th anniversary reprisal of his performance at the legendary Greek Theatre. Sergio is skeptical, since Snow’s last record “African Child” flopped, but he lets Aaron pursue a pipe dream that will take him from London, to New York, Las Vegas, and finally, to the Greek. These early office scenes are rounded out by the comically douchey Matty and Kevin, played by Aziz Ansari of Parks and Rec fame, and Nick Kroll, currently starring in F/X’s fantasy football comedy The League.
The party life style is a central focus of the film. Aaron, who leaves the loving Daphne behind–their relationship on a well-timed brake–is subjected to a whirlwind of dancefloors, drinking, woman, and Aldy’s favourite, drugs. Stoller treats this touch subject with great humour but without glamour. While fun is certainly had, Hill’s hilariously intermittent vomit attacks remind us that it’s not a sustainable lifestyle. Brand calls on his own drug-addled past to demonstrate the addict philosophy, expunging such great ditties as “When the world slips you a Jeffrey, stroke the furry wall.” But viewers are periodically reminded that the larger-than-life character is also sad and lonely, and has only fallen back on his old habits after the failure of “African Child,” and the break up of his relationship with Jackie Q, a similarly styled singer-model.
Rose Byrne is a surprisingly good fit for the satirical poptart. Modeled on the love-you/hate-you antics of couples like Amy Winehouse and Blake Fielder-Civil, and Kate Moss and Pete Doherty, Jackie Q is the perfect tabloid queen to Snow’s king. If you’ve seen Byrne in any of her more dramatic roles–Troy, Wicker Park, Damages–the transformation will prove astonishing. More than a little fun is to be had from scenes featuring Jackie Q’s new beau, Lars Ulrich of Metallica, who admirably allows himself to be the butt of the joke on more than one occasion and–one could argue–just by appearing as himself. Moss (Mad Men) is strong in her supporting role as the hard-working intern, delivering many of her scenes with aptly sweet sleepiness. When the words “I’m f***ing psyched” finally drop from her sugary lips, the character is elevated from being just the cute, hard-done-by girlfriend, to comedic player.
As you may have heard from earlier reviews, Combs is the best thing in this film, the disbelief we all shared at his timing and delivery only adding to our appreciation. But Combs is just one part of a comedic formula that works across the board. Hill and Brand play nicely together, and the story appropriately hits rock bottom the only way a movie about this much drugs can. Behind all the raunchy jokes and potty humour is a movie about salvation that takes many twists, turns, and binges to get there. The ride is rarely boring, and though filled with caricatures, Stoller knows just the right amount of sincerity to add to keep them identifiable. Except for Lars Ulrich; that’s a lost cause.
Overall Score: 7.80 – Good. (7s are good, but not great. These films often have a stereotypical plot or are great movies that have a few minor flaws. Fans of this movie’s genre might love it, but others will still enjoy seeing it in theaters.)
After achieving box office and critical success with 2008's Forgetting Sarah Marshall, director Nicholas Stoller has another hit on his hands with Get Him to the Greek. Brand's Alduous Snow is a perfect trainwreck; Hill is hilariously in over his head; and P.Diddy is simply awesome.
