1. When a movie's budget is limited
2. When a movie's writer(s) is/are its stars....
(See Clerks, The Brothers McMullen)
These two qualities are what make "Kissing Jessica Stein." I will give examples of both by referring to scenes that hopefully won't ruin the movie for those who haven't seen it yet...
Budget:
Hand held cameras, everyday shots of New York City, scenes right on the sidewalks complete with unsuspecting pedestrians... sets that include an art gallery that's nothing more than 4 walls... This is realistic, this is what life looks like to most people, shaky handheld cameras almost add to the drama of particular scenes... The scene outside of the wedding dress boutique is a perfect example... This being my second viewing of the film, I kept a closer eye on the background... Here you will see people crossing the street looking back at the actresses wondering what the heck is exactly going on... This is real, that is what people would do if they say two people having the same conversation...
Writers:
Kissing Jessica Stein was written by the film's two co-stars... Fleshed out over years in theater, you really get the feel that these characters really know what their characters think and feel... In short, the actresses' performances are believable... You believe that Jessica sings Yiddish, you believe that Helen when she talks about kissing a girl in the stairwell... But the scene that best exemplifies this is the scene on the porch of Jessica's parents house... Did you believe she was in pain? Did you believe that she was in misery?... I've seen this happen to friends of mine and that's about as dead-on as it could be...
These two factors are really the essence of what makes this film so enjoyable... a hilarious and believe supporting cast including, the overbearing Jewish mother, the pregnant best friend and the guy who needs a drink to get his courage up (Josh) all help to round out the ensemble... In a couple of words, the movie is honest, believable, and entertaining...
Beyond that, there were a few problems with it. First and foremost was the fact that the course of activities in the movies was so wearily predictable. The stereotypical nature of so many of the characters allowed one to accurately predict how they would react to the varying stimuli and how they would interact with each other. The classic relationships between many of the characters also provided a roadmap that alerted the viewer as to where the story was going next. Second, the pervasive vulnerability that all the characters display is almost sickening. Too many puppy dog eyes.
The cinematography and direction itself was interesting, however, which gave the film some life. One thing I found odd, is it traditional at Jewish dinners to have no male figure at the head of the table?
So, a film that I would not watch again, but one that I could see having value for people who enjoy films from the genre. A small twist on an old story coupled with some interesting execution techniques.
The twist and turns of the lesbian/heterosexual dillema of Jessica was intriguing and not your 'typical' plot. It wasn't a usual hollywood script that you just know what words are going to come out of the actors mouths next. What I mean is that the conversations were believable, you felt like it was real life.
Not knowing that this was a low budget film, I give some props to the filmmakers. The 'NYPD Blue' camera angles made it a little more realistic.
I also enjoyed not knowing any of the actors, because in this day in age where every other movie stars Julia Roberts, you can actually become involved in the plot and characters and not critique the acting so much or what color hair Julia has this time around. I especially liked Jessica's nosey co-worker, she was a kick in the pants.
But in the end the predicatability factor sets in and you know before the movie is over what is going to happen to Jessica. So I didn't walk away in awe.......but all in all, not a bad flick. Worth renting, but would've felt a bit robbed if I had seen it on the Big Screen.
The recycling of previously explored themes is a common occurrence in the Muppet flicks, and this film, the third in the series, is no exception. Oz and his screenwriters, choosing to stick with the familiar "talented amateurs trying to break into show business" storyline, has lifted the majority of Manhattan's plot straight from The Muppet Movie; fortunately, Oz (who would later direct such diverse films as Little Shop of Horrors, Dirty Rotten Scoundrels and In and Out) demonstrates a remarkable ability to inject fresh life into otherwise banal situations, for which the movie immeasurably benefits.
The story: Kermit the Frog and his friends have just graduated from college and, eager to break into the entertainment business, move to New York. Their potential ticket to stardom is "Manhattan Melodies," a musical penned by the insecure amphibian. Although his friends are certain the show will be a smash hit on the Broadway circuit, Kermit remains unsure. "There's still something missing," he muses while re-reading his latest draft. But the plucky Kermit, caught up in his friends' enthusiasm, agrees to make a go of it regardless.
But the Muppet gang soon discovers that New York is an expensive place to live. Bordering on broke, the members of our intrepid troop are forced to separate and take odd jobs to make ends meet, while Kermit continues marketing the script to an increasingly unreceptive array of Broadway producers. These scenes offer some of the film's biggest laughs, particularly Kermit's attempts to pass himself off as a big-shot writer/producer, a plan which (as usual) results in disaster.
Whereas The Muppet Movie was largely a road flick focusing on Kermit's journey from Florida to California to audition for a movie studio, Manhattan keeps the action focused on the show-biz industry itself, a distinction that gives this offering a distinctive feel even though some of its themes are similar. There are some moments of terrific--even brilliant--satire contained in Manhattan (Kermit's attempts to pass himself off as a fast-talking, afro-wearing New York agent, for instance), but there's genuine heart too: when the Muppets sing the haunting "Saying Goodbye" during their parting scene, you'll probably feel drops of water pricking at your eyes (don't worry, I won't tell anyone). Watching the movie now, the song is made even more tragic by our knowledge of Henson's death (from an untreated case of pneumonia) not long after the film's release.
The movie does get sidetracked on a few occasions, with the main culprits being a ridiculous subplot involving a pointless case of amnesia, a sunny but ultimately unnecessary performance by Juliana Donald as Kermit's human sidekick Jenny (think Piper Perabo in The Adventures of Rocky and Bullwinkle), and a barrage of distracting celebrity cameos (Dabney Coleman, Gregory Hines, Linda Lavin, and Joan Rivers, among others) that repeatedly interrupt the flow of the story. It's also a little disappointing that the film splits up its characters for most of its running time; a lot of the Muppet magic is the result of the interactions between Kermit, Fozzie and the rest of the gang, and the film suffers when they're separated.
These grievances, however, are more than tempered by the wonderful new songs by composer Jeff Moss (including "Together Again" and "You Can't Take 'No' For an Answer), the almost exotic--and hauntingly beautiful--New York backdrop, and the sheer spirit of fun that results every time any of our felt-covered friends are onscreen. Frank Oz is surely to thank for the movie's success: not only did he direct the picture and pen the lion's share of the screenplay, Oz is generous enough with the material not to hog the limelight. Although Fozzie and Miss Piggy get their fair share of screen time, the director wisely remembers that Kermit is the real star of the show. How refreshing to see an actor/writer/director who cares more about the movie he's making than the gratification of his own ego. (I'm thinking primarily of Buffalo '66 and True Crime, two movies in which their directors starred and seemed unwilling to whittle down their screen time in the editing room.)
Although not the best film in the series by any means, The Muppets Take Manhattan's heart is in the right place: the tunes are catchy, the humor retains the zany, self-depreciating qualities of the earlier Muppet outings, and, in one of the best scenes, the origin of the popular Muppet Babies cartoon is revealed. (And if that's still not enough to pique your interest, there's always the terrific Fozzie Bear "nookie" scene.)