This Week at the Movies

Film critics have dedicated a significant amount of hand wringing this past week to determining whether the film adaptation of Kathryn Stockett’s novel, “The Help,” crosses the line from earnestness to exploitation.

I’ll admit to being a fan of the 2009 novel and admiring Stockett's ability to draw her characters in exquisite detail. Tate Taylor’s film could be accused of exhibiting a certain naïveté, but its heart is in the right place.

And the picture is loaded with terrific performances, from Octavia Spencer’s force of nature portrayal of Minny Jackson and Sissy Spacek’s wily Mrs. Walters to Jessica Chastain as the semi-tragic, but comical, Celia Foote. But the movie belongs to the underrated Viola Davis, who plays maid Aibileen Clark.

“The Help” juxtaposes the experiences of Minny and Aibileen, two black maids working for wealthy white families in 1960s Mississippi, with the story of Skeeter Phelan (Emma Stone), an aspiring writer who has just returned from college.

Skeeter rejects the racism of her societal circle, especially Hilly Holbrook (Bryce Dallas Howard), who has drafted an initiative that calls on white families to construct separate bathrooms for the black maids who raise their children and clean their homes.

Skeeter lands a low profile gig at the local newspaper as a cleaning advice columnist and enlists Aibileen, who works for one of Skeeter’s society peers, to help provide the answers to questions from readers.

But Skeeter soon comes up with an idea for another book after finding out that her mother (Allison Janney) has fired the family’s long-time maid (Cicely Tyson). She convinces Aibileen and several other maids – including Minny, who has recently been fired by Hilly - to relay their stories of working for white families for an anonymously written book.

The picture has its flaws, including the oft-made Hollywood mistake of using one character – in this case, Hilly - to act as a symbol of racism, rather than portray it as a widespread societal ill. Also, several characters have last-minute changes of heart that are a little difficult to swallow.

But “The Help” is a handsomely crafted, beautifully acted film that is alone among this summer’s crop of movies to tackle anything resembling serious subject matter.

It counts for something when a movie manages to draw emotion from an audience and its scenes resonate. Much of this is due to the stellar work from the picture’s cast. If there’s any justice in Hollywood, then Davis will soon enjoy a career as a leading lady.

 “The Help” may not mean to cause offense, but “30 Minutes or Less” surely does.

The film is the umpteenth this summer in a trend of vulgar comedies that includes “The Hangover Part II,” “Horrible Bosses,” “The Change Up” and “Bad Teacher.”

“30 Minutes” stars Jesse Eisenberg, who is obviously slumming a little following his terrific performance in last year’s “The Social Network,” as an aimless pizza delivery guy named Nick who has feelings for his best friend’s (Aziz Ansari) sister.

The picture’s title refers to a policy at Nick’s pizzeria that guarantees quick delivery. This, of course, sets up the fact that Nick is a fast driver.

Simultaneously, Danny McBride plays Dwayne, a crass loser who hangs out in his father’s (Fred Ward) basement with his equally pathetic pal Travis (Nick Swardson). The duo concocts a scheme to get their hands on Dwayne’s father’s fortune by hiring a hitman (Michael Pena, in the film’s funniest performance) to bump him off.

But these two clowns must first find the cash to pay off the hitman, so they decide to order a pizza, strap a bomb to the delivery guy, force him to rob a bank and then use that money to have Dwayne’s father whacked. Guess who ends up with a bomb strapped to his chest?

Director Ruben Fleischer (“Zombieland”) draws a few laughs from the movie’s ludicrous scenario, which bears some resemblance to an actual 2003 heist-gone-wrong in Erie, Pennsylvania. But much of the rude humor in the film feels forced, especially Dwayne’s continuously misogynistic comments revolving around his plans to launch a prostitution ring.

Thankfully, the movie - as its title implies - is mercifully short.