REVIEW: Paul

Comedy writers Simon Pegg and Nick Frost have made a name for themselves spoofing popular movie genres with their zombie-comedy Shaun of the Dead and buddy-cop parody Hot Fuzz.  In Paul, the duo take on the science fiction/alien genre... or begin to, at least.  Within the first ten minutes of the film, British sci-fi nerd Graeme (Pegg) marvels at being in America and asks his friend Clive (Frost) "Can you believe we're really here?"  While Hot Fuzz and Shaun of the Dead were decidedly British in their comedic choices, Pegg and Frost claim they tried to give Paul a much more 'American' sensibility.  While there are a few good characters and plenty of great moments in the film, Paul is ultimately dragged down by its attempt to pander to a wider audience.

Paul focuses on Graeme and Clive's American road trip, which starts with Comic Con and is followed by visits to a series of UFO and conspiracy-theory hot spots.  Along the way, they witness a car crash and meet up with its driver, Paul (Seth Rogan): a down-to-earth extra-terrestrial on the run from government agents.  Rogan's delivery goes a long way in making his hitchhiking alien likable, and the computer animation that brings him to life isn't intrusive or noticeable.  Pegg and Frost have great chemistry onscreen as always, and Rogan's Paul makes an excellent third-party to their banter.

The movie is at its best when it's doing what it was conceived to do: spoof sci-fi and nerd culture.  Paul delights in mocking or playing along with plenty of alien stereotypes, and there's a great subplot about the ways he's secretly influenced pop-culture since his arrival several decades back.  It's the parts of Paul that try to capture 'American humor' that make it a less-than-impressive successor to Pegg and Frost's previous films.

Apparently, what it takes to be funny in America boils down to a few key comedic devices: penis jokes, homophobia, hillbilly Christians, and bucketfuls of pointless, nonsensical cursing.  A great deal of the humor is heavy-handed and obvious.  At one point, Paul gives Graeme's love-interest, Ruth (Kristen Wiig), advice on her haphazard swearing.  "You've got to pick your moments," he says.  The movie should have taken its own advice.  To make matters worse, Pegg and Frost's writing isn't nearly as tight and structured as usual.  In the final third of the movie at least three supporting characters make behavior shifts that don't make any sense at all.

Paul starts out strong with excellent acting, surprising cameos and supporting roles, as well as by cleverly spoofing a played-out genre.  I'm sure plenty of you will love this movie; just don't go in expecting the subtlety of Pegg and Frost's previous works.  It doesn't take long for the film to devolve into a stereotypical example of the crude status quo of American humor.