Where The Wild Things Are, of course, is based on the beloved children's book by Maurice Sendak, which presented a challenge for director Spike Jonze, who also wrote the screenplay with Dave Eggers. (The story only contains 10 sentences.) To turn the book into a full-length feature, Jonze and Eggers don't reinterpret it but expand on it, showing what prompts Max (Max Records) to misbehave and get sent to his room with no supper in the first place. In the film, which opens today, Max gets upset when his teenage sister Claire (Pepita Emmerichs) and her friends destroy his snow fort and his single mother (Catherine Keener) pays more attention to work and her new boyfriend (Mark Ruffalo) than him. Max acts out and then runs away from home in his wolf costume. In his imagination, he travels by boat to an island where he befriends giant creatures who make him their king. The creatures (voiced by James Gandolfini, Paul Dano, Lauren Ambrose, Chris Cooper, and Forest Whitaker) embody Max's various emotional issues from feeling abandoned, bossy, needy, or too wild.

Many critics call the film one of the year's best, both for honoring Sendak's book and accomplishing Jonze's goal of capturing "the feeling of what it is to be 9." Other reviewers aren't as enchanted, saying it is less representative of what children are actually like, and more about adults wistfully longing for their own childhoods. While many parents are worried the "Wild Things" will scare children, the critics say they're more likely to be bored by the creatures' neurotic problems. As for adults, while many scenes of Max's "wild rumpus" provide an "undeniable rush of pleasure," their enjoyment of the film may rest on their willingness to ponder the emotional world of children while listening to an indie rock soundtrack.

Entertainment Weekly

Sendak's great gift to readers, old as well as young, is the seriousness with which he presents even the wildest mayhem, the deepest contradictions in human (and Wild Thing) behavior; the author empathizes with fantasists but has no time for cuteness. In his transcendent movie adaptation of Where the Wild Things Are, Spike Jonze not only respects the original text but also honors movie lovers with the same clarity of vision. This is one of the year's best. To paraphrase the Wild Thing named KW, I could eat it up, I love it so.

The Wall Street Journal

The filmmaker, Mr. Jonze, has done only two features until now, Being John Malkovich and Adaptation. Both were strikingly original, marvelously intricate and notably erratic in their plot and structure. They made him an exciting choice to direct this one, though also a risky choice, since the Sendak book is essentially plotless. (Boy misbehaves, boy's unseen mother sends him to bed without supper, boy's room becomes a forest populated by bizarre creatures who make him king and do his bidding until he feels hungry for love and heads back home.) Happily-and improbably, given the potential for outraging whole generations of readers-the risks have been managed by taking greater risks, and some brave ones. This adaptation, by the director and his celebrated co-writer, Dave Eggers, makes Max a somewhat older (maybe 8 or 9) and much angrier child than the original-all that wildness doesn't come from nowhere-as well as a wrenchingly vulnerable child whose adventures are elaborately rooted in his everyday life. His mother is not only seen but powerfully felt: Catherine Keener, an actress of unforced warmth and uncommon humor, has never been so affecting, even when this loving mom vents ample anger in her turn. (Mark Ruffalo appears briefly as her boyfriend.)

The New York Times

Much is left unexplained in Mr. Jonze's adaptation, including Max's melancholia, which hangs over him, his family and his wild things like a gathering storm. But childhood has its secrets, mysteries, small and large terrors. When a hilariously bungling teacher explains, rather too casually, that the sun is going to die, the flash of horror on Max's face indicates that he understands that the sun won't be the only one to go. There are other reasons, perhaps, an absent father, a distracted mother. (And when a frightened Max listens to an argument between Carol and K W, you hear the echoes of parental discord.) But such analysis is for therapy, not art, and one of the film's pleasures is its refusal of banal explanation.

The Washington Post

Viewers expecting a consoling, soft-focus version of an anodyne children's story should be forewarned: Jonze takes the story to the dark and edgy place where devotion slips into aggression, where loneliness and fear are indistinguishable from liberation and desire. This isn't to say that Where the Wild Things Are isn't suitable for children; it's just that it will probably be most enjoyable to children with a working knowledge of Bruno Bettelheim's "The Uses of Enchantment" and psychoanalytic theory.

The A.V. Club

Though little happens, it doesn't much need to. Max gets to know the wild things in ways that simply ring true, and that's story enough. He favors Gandolfini, all but ignores the timid goat-beast voiced by Paul Dano, tries to impress big-sister figure Lauren Ambrose, and bosses around Chris Cooper's bird-man. And in a subtle, daring, but thoroughly effective move, Jonze has Max fearfully avoid the nameless, near-silent bull, who often appears alone and in the distance, unremarked upon. Whether the action is grand and exciting, as when Jonze brings to life a massive fortress made of twigs, or simple and human, as in touching one-on-ones that Max has with Ambrose, Dano, and Gandolfini, it all feels genuine to the actual experience of childhood in ways that children's movies generally don't. Max learns about himself, to be sure, but Jonze never considers making the sort of broad-stroke, "Here's what everybody learned!" gestures that attempt to stand in for actual emotion. Instead, he lets a little kid loose to explore the terrain of his own mind, which turns out to be an amazing place.

USA Today

Eggers has said he and Jonze wanted to avoid depicting Max as so many movie kids are shown: "de-fanged." Max certainly has fangs - and he's not afraid to use them. The uneven pacing and tone are stirring, blending melancholy with boisterous fun. When you think about it, those polarities best capture the most indelible images of anyone's childhood - those which hurt or frighten, and those which thrill... Where the Wild Things Are is a fiercely innovative film with surprising texture and nuance. It captures the joy and exuberance of childhood without shying away from its very real pains and woes.

New York Magazine

Jonze and Eggers's most agreeable innovation is turning Sendak's rather anonymous beasts into complex, conflicted personalities. They sit around quarreling, smashing things, making holes in trees, staring into space, and wishing for a leader. They're like a counterculture commune after all the hippies and their woks have left, after the drugs have stopped working so well. And then comes little Max, who proclaims himself a king to keep them from devouring him. Max Records (I still can't get over that name) has a mop of dark hair and a sweet face, but his Max is petulant and edgy. It's a wonderful performance; you'd never know he was acting opposite nine-foot puppets.

The Chicago Sun-Times

The movie felt long to me, and there were some stretches during which I was less than riveted. Is it possible that there wasn't enough Sendak story to justify a feature-length film? In a way I suppose the book tells a feature-length story just in Sendak's drawings, and Jonze and Eggers have taken those for their inspiration. All the same, the film will play better for older audiences remembering a much-loved book from childhood, and not as well with kids who have been trained on slam-bam action animation.

Reel Views

The only actor with significant screen time is relative newcomer Max Records, whose only previous feature credit is a small part in The Brothers Bloom (he played Stephen as a boy). Records' greatest strength is his incredibly expressive face. He conveys emotions through his expressions; his delivery of dialogue is less certain. It remains to be seen whether his career trajectory will lead him to become the next "big" child actor or whether he'll perform on the periphery until puberty hits. Catherine Keener has a small role as Max's mom, and her confident presence in her few scenes makes us wish Jonze had found a way to expand her screen time. The vocal casting is perfect: James Gandolfini as Carol, Lauren Ambrose as KW, Paul Dano as the goat Alexander; Catherine O'Hara as the perpetually negative Judith; Forest Whitaker as Judith's sadsack companion, Ira; Chris Cooper as Douglas, this film's Big Bird; and Michael Berry Jr. as the taciturn Bull. Only Gandolfini's voice is immediately recognizable; everyone else blends anonymously into their parts, and the Tony Soprano connection serves only to invest Carol with an extra edge.

The Boston Globe

While this much-awaited, long-in-the-works film has more than its share of wild rumpuses, its big, shaggy heart is in what happens after the rumpus dies down: insecurities, misunderstandings, fears. Where the Wild Things Are isn't for little kids so much as it's about them, and parents and tykes expecting the next Shrek or even a seamless work of Pixar genius will be sorely disappointed if not a little freaked out. The movie is a wild thing, and that's not such a bad thing at all.

The Hollywood Reporter

The film does surmount one of its two difficult challenges: Through puppetry and computer animation, the filmmaking teams have successfully put a world of childhood imagination on the screen. Where the film falters is Jonze and novelist Dave Eggers' adaptation, which fails to invest this world with strong emotions. Children might enjoy the goofy monsters and their fights and squabbles, but adults likely are to grow weary of the repetitiveness. In the end, the book probably was too slender to support a 102-minute movie. Without a quest to propel the story, such as Dorothy's journey in The Wizard of Oz, the movie turns into an afternoon-special with an easily digested moral that fails to grab youngsters by the collar and shake them up with an exciting adventure.

Variety

The wild things move around pretty well and interact with Max in a credible way that fully justifies the no doubt difficult decision not to use CGI all the way. All the more ironic, then, that the film's biggest problem is not the look of the creatures but the manner in which they speak. That said, the thesps provide low-key, nuanced readings, with Gandolfini and Lauren Ambrose particularly distinguishing themselves with dialogue that often seems odd coming from the toothsome mouths seen onscreen. Excellent production values stress the relative realness of what's on view compared to the digital worlds of most kidpics these days. The alt-rock tenor of the music scoring is refreshing at first, but the predictability of the music cues proves increasingly wearisome.

The Village Voice

What's best about Jonze's movie is its kinetic feel for physical play-herky-jerky camera as Max and the WTs zip and bounce through the forest-not surprising from a former skateboard punk like Spike. What's weakest is its blandness, the sense memory of a child raised on Sesame Street. The psychic environment is less King Kong's Skull Island than Fred Rogers' neighborhood: Where the Wild Things Aren't. Wild Things isn't overlong, but it is underwhelming. Who is the audience? Children brought to see it might find it a downer-a case of what the New York Times has called "misery for art's sake." Triumph or travesty, this movie is more likely something for Jonze's generational cohorts to love or loathe. (How many suburban garage bands had the name Wild Rumpus?) For me, it seemed like group therapy with the muppets.

The New Yorker

Jonze and Eggers have spoken of their desire to keep the film close to a child's needs, but have they done that? Kids like danger, followed by a release from danger and a return to safety, yet the only danger posed by these creatures is that they will turn Max into someone as messed-up as they are. The filmmakers may have wanted to link Max's anger to the creatures' wounds, but the connection is fuzzy-Max isn't the one who hurt them. I have a vision of eight-year-olds leaving the movie in bewilderment. Why are the creatures so unhappy? That question doesn't return a child to safety or anywhere else. Of one thing I am sure: children will be relieved when Max gets away from this anxious crew.

Slate

When the wild things race through the forest to the sound of a Yeah Yeah Yeahs song or leap atop Max and one another in a great, snuggly pile, there's an undeniable rush of pleasure. (You can get it in its purest form by watching the trailer.) But in between these hits of energy are long swaths of desultory narrative about the relationships among the wild things themselves: Judith is jealous of Carol because of his special closeness to Max. Carol is bummed that K.W. has made friends outside the wild-thing community. Alexander struggles with the self-esteem issues you might expect from a puny, introverted goat. Essentially, the entire middle section could be summed up as follows: Fuzzy guys build a stick fort, sit inside it, and mope. If I avoid taking my 3-and-a-half-year-old daughter to this movie, it won't be because the wild things would scare her. (They might frighten some children, but I live with a miniature adrenaline junkie.) It'll be because their endless therapeutic workshopping would bore her stiff.

The Los Angeles Times

The problem with this cast of characters is not so much their personalities but the way screenwriters Jonze and Eggers have turned them into neurotic adults with dysfunctional relationships. To hear them talk among themselves is to feel like you've stumbled onto a group therapy session involving unfunny refugees from an alternate universe Woody Allen movie. It's not a good feeling. Max does utter the book's signature line, "Let the wild rumpus start," but he spends a lot of his time not really being sure what he's doing. When Jonze told the New York Times Magazine, "Everything we did, all the decisions we made, were to try to capture the feeling of what it is to be 9," he's telling the truth. Unfortunately, in this case, that's not a very interesting place to be.

Salon

That right there is enough to make me urge any filmmaker to stick to his vision. It isn't, unfortunately, enough to make me like his movie. Where the Wild Things Are may be a childlike picture, but it isn't an innocent one. The movie is so loaded with adult ideas about childhood — as opposed to things that might delight or engage an actual child — that it comes off as a calculated, petulant shout, the kind of trick kids play to guilt-trip their parents into paying attention to them. It appears to be a movie made by, and for, members of a generation who feel it's unfair to have to grow up. Jonze isn't channeling the feelings of 9-year-olds so much as he's obsessively fingering his own, like the silky edge of a blanket. "Who cares about the children?" is Jonze's sulky rhetorical question. "What about me?"

• This rather banal anecdote about Michael Kors being mistaken for Marc Jacobs is enlivened by an adorable photo of the two from when Jacobs was pale and long-haired and still had those clear-framed glasses that are so totally hot. [FWD]

• Kors designed the dress for his mother's second wedding. "Who in their right mind would actually listen to their five-year-old? Though the marriage didn't last, the pictures are timeless." When pressed on his status as a top or a bottom, Kors replied, "Well, I love eveningwear and I love sportswear." [VF]
• Karlie Kloss — who just turned 17 and celebrated at Disney World — booked the fall Alexander McQueen campaign. She looks ethereal and a little frightening — perfect for McQueen's aesthetic. [Fashionologie]
• Eva Mendes does what Eva Mendes does best for Calvin Klein, with Jamie Dornan. [Sun]
• An object lesson in what happens when you refuse a reporter's questions at a press event: they get snippy! Kanye West was described as "skittish" and "visibly withdrawn" as he "avoided all questions" at an event for Casio G Shock. Even though the rapper didn't clam up entirely — he praised Amber Rose, and said she'd just done her first modeling shoot — the interaction motivated WWD to note, "When he later took to the stage, 90 minutes behind schedule, West interrupted his set with a spontaneous, free-style rant against the press, with such lines as 'I'm sorry I broke your arm/I meant to break your camera' and 'I could kill a man/I am a man/Don't forget I could kill a man' regarding his fury at the invasive nature of today's media. As he stirred the audience into a frenzy, the bevy of invited reporters and photographers at the event (marketed by Casio as a press conference accompanied by a concert), were left to fidget uncomfortably with their press passes." [WWD]
• Kanye didn't mention it, but Elle's Joe Zee pointed out that the rapper recently styled a shoot for the magazine. Could Amber possibly have been the model? [FWD]
• Fifteen-year-old Christine Staub, the eldest daughter of Danielle Staub from the Real Housewives of New Jersey, has been signed by the modeling agency IMG. [Fashionista]
• Christian Siriano is looking forward to the advent of marriage equality so that he can marry his long-time partner, photographer Brad Walsh. "Maybe we'll buy a farm or something," explains the Project Runway designer. "I want to raise alpaca or something. You know, make my own alpaca coating." [E!]
• Sarah Jessica Parker is suing a Long Island perfume distributor for allegedly selling bottles of her "Lovely" fragrance without the quality-assurance marks. Her company is accusing the distributor of selling counterfeit or stolen product. [P6]
• Padma Lakshmi had Steven Meisel shoot the fall ads for her jewelry line, and the results are lovely, if a little overly Photoshopped. [WWD]
• Banana Republic's fall campaign is modeled by — wait for it! — actors and actresses. Krysten Ritter, who used to be a working model but would almost certainly never have booked such a gig before becoming an actress, must have had a tremendous case of déjà vu. Joining her in the shots are Lauren Ambrose, Chris Messina, Scott Speedman, Florence Faivre, Nicole Fiscella and Juan Diego Botto. [WWD]
• Residents of SoHo are reportedly unhappy with the new Hollister store downtown. One building is even flying a "Go Home Hollister" banner off a balcony. [Curbed]
• Retail rents are falling all through Manhattan, but the most drastic drop is along the Manhattan shopping corridor of Madison Avenue. With many prominent brands moving out of their former flagships on the Avenue, rents there have sunk from $1,100/sq. ft. to around $500/sq. ft. [Crain's]
• Company earnings for K Swiss fell 62% in the first six months of this year, off the back of a 29% decline in sales, and the company reported a net loss of $11.5 million. [WWD]

• Being on vacation with Amy Winehouse must be relentlessly entertaining:

She was apparently told she couldn't sunbathe au naturale, so she whipped off her bikini top and streaked through the resort in St. Lucia, waving her arms in the air. She told you she was trouble! [Daily Mail]

• The family of Mercy James, the Malawian child Madonna would like to adopt, are on Madonna's side. Mercy's uncle says the guy who claims to be Mercy's biological dad "didn't care about his girlfriend, Mercy's mother, when she needed him most. He didn't even come to see his baby." [The Sun]
• Madonna was overheard telling people: I can't believe I'm leaving my beautiful baby behind. It's not right. I love that baby girl. She's my little girl - she needs to be with me." A judge disagrees, your Madgesty! [MSNBC]
• Chris Brown was in court yesterday, and he pleaded not guilty to two felony counts. His next court date is a preliminary hearing on April 29. [Rolling Stone]
• Some are "surprised" that Chris Brown pleaded not guilty? Really? [MSNBC Scoop]
• Rihanna was not in court, but her lawyer was, and he said her feelings about the case are that she would be happy if "it were over quickly." [TMZ]
• The latest on Lindsay Lohan and Samantha Ronson, according to LL: "We are taking a brief break so I can focus on myself." But, uh, she banned you from her party and changed the locks, right? [E!]
• Sam Ronson's family is hoping that Sam will not get back together with Lindsay. Ouch! [People]
• Courtney Love is about to sue a whole mess of people: She finally realized that whomever had been handling Kurt Cobain's estate lost millions of dollars. It's not her fault she didn't look into this sooner, she was high, okay? [Page Six]
• Cops in Costa Rica are investigating the security team hired by Tom Brady and Gisele Bundchen since they, you know, open fired on photographers, which doesn't seem very legal. [NY Post]
• Gisele wore Galliano, by the by. [People]
• Howard K. Stern will not cut a deal with the D.A. in the Anna Nicole Smith drug case and is expected to plead not guilty. He'll be in court today. [TMZ]
• Do what you must to prepare yourself: Britney Spears might take her Circus tour to Australia. [E!]
• Of the items being moved out of Gwyneth Paltrow and Chris Martin's London home, the mattress is not surprising; the dinosaur, the large horse and surfboard are. Gwynnie's moving to NYC; Chris is going on tour. [Daily Mail]
• Speaking of Chris Martin, Coldplay is denying that it copied Joe Satriani's music for "Viva La Vida." [Breitbart]
• Oh dear: Scarlett Johansson has reportedly been working out with Gwyneth's trainer, Tracy Anderson. She's already lost 14 pounds and now she's off carbs. Is she prepping for Iron Man 2 or just joining the brigade of stick thin stars? [The Sun]
• Did a reporter set up a fake charity and trick Heather Mills into dishing dirt on Paul McCartney? [ABC News]
• Zac Efron's mom stuffed hi stocking with condoms last Christmas and his dad gave him some speech about protection at some point so maybe the point is you won't see Zac as a young baby daddy any day soon. [E!]
• The woman who was saved from committing suicide by Demi Moore and "the Twitter community" says "I'm eternally grateful to her for helping me." [RadarOnline]
• Why aren't people donating to Prince Harry's African charity? Donations have dropped a whopping 84%. [Telegraph]
• Jennifer Garner will star in Butter, a flick that's a political satire set in the small-town world of competitive butter-sculpting. Yeah. Butter. [The Hollywood Reporter]
• Ru-roh: Pamela Anderson's boyfriend was in a kite-surfing accident in Hawaii. Luckily, he escaped serious injury and didn't need C.J. to run into the water with a red floaty thing. [Daily Express]
• Kylie Minogue took her new man to meet her parents and they found him to be "charming and witty." Good sign. [Daily Express]
• Buddhist and friend of the Dalai Lama Richard Gere attended a "Mind and Life" conference in Dharamsala, India on Monday. [Hindustan Times]
• Dennis Rodman was thrown out of a West Hollywood hotel after "slapping and groping" female guests. He needs to learn how to ask nicely when he wants to borrow a dress. [TMZ]
• The Juvenile Diabetes Research Foundation received a gift from the estate of the late Luther Vandross; the amount of the gift was not disclosed. [UPI]
• Blind item! "Which Grammy-winning rapper can't get enough weed? She orders from a NYC delivery service non-stop, then tries to sweet-talk the courier into giving her free bags of ganja." [Gatecrasher]
• "He's certainly not the buffoon he looks like. This is the most amazing thing I found out about him. I was once staying at a hotel, and I was in the room directly under his. He is an amazing fuck — and you can quote me on this. The screams coming from the woman were some of the purest sounds of pleasure I'd ever heard." — Rupert Everett on Vanity Fair editor Graydon Carter. [Page Six via The Daily Beast]
• "Casey grew up in one of the richest families in New York, and she grew up without any responsibilities or any boundaries. And so, for her, it was very important to do something where there were laws and where your morals counted. I was very much into the idea of doing something I hadn't done before. This is a show about cops. Our show is very grounded in the sense of the crappy things that happen to you are funny. That's how you deal with them and get through life." — Amber Tamblyn, on her character in new show The Unusuals. [USA Today]
• "I don't know Ethan Hawke. Ethan Hawke wanted to do some kind of superficial Rolling Stone article. And he did everything he could to make his story the greatest story ever in Rolling Stone. And it was a fictitious (expletive) lie. O.K? He didn't even call me by my name. ... He called Norah Jones, Ray Charles, everybody else by name. Willie (Nelson), Kris (Kristofferson). Why didn't he call my name? Why didn't he say Toby Keith walked through and said this (expletive)? Right? You know why. You know why. You know as good as anybody why. He didn't want to (expletive) deal with the aftermath." — Toby Keith. [Yahoo News via AP]
• "The pilot script showed up, and I stalked [producer Alan Ball] until he said yes. The morning I showed up for work after going blonde, everyone was very relieved." — Anna Paquin on playing Sookie Stackhouse in True Blood. [Vanity Fair]
• "We were on the set, and the two firefighters that work here, I overheard them talking about, 'Yeah, you know, if I'd known I could measure from the pubic bone… And they were talking about a cock-measuring contest.' And I go, 'That's going in the show.'" — Denis Leary on Rescue Me. [The Daily Beast]
• "I'm crying for two and a half hours straight. And then you leave the stage door and people are like, 'Can we take your picture?' And I'm thinking, 'I've never looked worse.' I need a lot of eye cream." — Lauren Ambrose, on her role in the play Exit The King. [WWD]
• "Combs have been on the scene ever since humans had hair on his head. which is quite sometime? The date perhaps goes beyond the time of the old stone age. Man being man and not a lion would
  not be content to let his mane run wild and free. So he had to find some ways to tame it. First on the list of combing operations must have been the use of fingers. So in a way the fingers are the first combs of history. Today, combs are universal and no corner of the globe is without it." — Your friend Kanye West. [Jossip]

[New York, November 11. Image via Bauer-Griffin]

Though there is some truth to what Garr says, she did manage to work with the best directors in film history: Coppola, Scorsese, Sydney Pollack among them, and she got props from Tina Fey, who said earlier this year, "There was a time when Teri Garr was in everything. She was adorable, but also completely real — her body was real, her teeth were real, you felt like she'd be your friend.''

Though there is a notable lack of "Teri Garr" types in today's cinema, there are still some actresses who fit the bill: funny, smart, real women with whom you'd totally want to drink margs and make filthy jokes. Here are five of them!

Judy Greer: our girl Judy has the same quirky look and comedic chops as Garr, and her star has been on the rise for several years now. She's played second banana to the best of them including Jennifer Garner in 13 Going on 30 and Katherine Heigl in 27 Dresses, but she holds a permanent place in my heart for her role as wonky boob-job recipient Kitty in Arrested Development.

Lauren Ambrose: I have loved Lauren Ambrose since she played the disgruntled teen who gets it on with Seth Green in Can't Hardly Wait. Of course she was the awesome in Six Feet Under, and we'll try to look past the Jezebel James incident.

Emma Stone: Emma Stone is more of a proto-Garr. She's only 20 and though she stars in the upcoming House Bunny which looks like an insult to womanity, Stone was so effortlessly cool and fun as Jonah Hill's love interest in Superbad that she gets to be included on this list. Don't let us down, little missy!

Kat Dennings: She played Catherine Keener's daughter in the 40 Year Old Virginand she's going to co-star in Nick and Norah's Infinite Playlist with Michael Cera. From reading the synopsis, Nick and Norah might be the best comedy of 2008 (you heard it here first people!). In addition, Kat has an amazing blog that you must start reading forthwith and a fucking sweet YouTube channel.

Mindy Kaling: Another 40 Year Old Virgin alum with a blog that I love, Mindy is a triple threat: Writer, Actress, Bff-material. Her character on The Office, Kelly Kapoor, is a parody of all those lady-mag loving bitches we love to gently mock, and even so we still want to go shopping with her fictional self and gab about Justin Timberlake.

Random Roles: Teri Garr [AV Club]
Kat Dennings [Official Website]
Things I Bought That I Love [Mindy Kaling Blog]

Earlier: Tina Fey: Comedienne, Cover Girl, And Great Role Model For Women

Los Angeles Times:

...Upon viewing the pilot and an early episode, it is impossible not to feel a little ripped off. Like getting the Tiffany box, with the white satin bow, and opening it to find... a Starbucks gift card. For 10 bucks. There are worse gifts you could get, sure, and there are worse shows than Jezebel James... The problem is that from these folks you expect a fascinating female lead, but you get instead every uptight, cellphone-clenching, relationship-avoiding, food-issue-riven working woman you've ever seen (and never met).

Among the disillusioning aspects of the new comedy The Return of Jezebel James is the presence of a laugh track, there as if it were a spoonful of peanut butter on a pizza. What business does it have? The question arises because Jezebel is the creation of Amy Sherman-Palladino, a writer who has set her own standards far above convention. On her previous venture, the great, departed Gilmore Girls, the funny lines — about Norman Mailer, Noam Chomsky, Christiane Amanpour, well-known newspaper editors, op-ed columnists, old movies, Susan Faludi — came with such velocity that no laugh track would ever have been able to keep up.

There is too little Ambrose/Posey interaction in the pilot, but in the second episode — when Coco moves in and the two start haggling over the surrogacy contract — Sherman-Palladino's knack for chick dialogue shows some of its old promise. Alas...stories from the just-had-a-baby/about-to-have-a-baby dynamic are rarely as funny as Sex and the City. Or even Friends (remember: Rachel essentially had to put baby Emma in the closet with her purse collection to keep that show going a few more seasons)... Will Jezebel last long enough for the little rugrat to get born?

Perhaps because of the need to establish the premise, Sherman-Palladino doesn't allow Sarah to become anything approaching a flesh-and-blood character, racing from set-up to punchline without much emotion, disappointment or anything else that might humanize her. Nor does Coco fare especially well in the pilot, and a second half-hour (the two are airing together to create a one-hour premiere) proves equally irritating, as they squabble through a meeting to hash out their surrogacy agreement.

Shows like [Gilmore Girls] are something rare, as Fox's The Return of Jezebel James amply demonstrates. In this new sitcom, the stories are exaggerated, the premise is incredible and the chemistry is almost nonexistent.

Although Jezebel is packed with Sherman-Palladino's trademark snappy banter, it's a cold, brittle misfire. Fast-paced, tart dialogue isn't enough to sustain a show if the people reeling it off aren't worth spending time with.

Sherman-Palladino forces the sisters on each other out of an almost crippling sense of joint self-interest that's as painful as it is illogical. Supposedly, the two bond when Sarah tells Coco the name of her new book series: Jezebel James, after Coco's childhood imaginary friend. It's weak grounds for motherhood, and even weaker for comedy.

Earlier: The Return Of Jezebel James: Possibly Disappointing

The main problem with what we're seeing so far is that damn laugh track. Shows like 30 Rock, The Office and Scrubs manage to be funny without canned laughter; Fox should tune in to NBC and take note. Judge for yourself: There's the clip above and another below.

Earlier: Psst!

[New York, June 20. Image via Bauer-Griffin]