Director Nicholas Stoller's Forgetting Sarah Marshall is a happy movie about misery, but during its first half hour or so, the film's rhythms are so unusual that you might not be sure what it is.
Memories of the meandering, tiresome, and ceaselessly smug Ocean's Twelve - Steven Soderbergh's first sequel to his 2001 heist flick Ocean's Eleven - were enough to make me leery about Ocean's Thirteen, and during the film's first reel, that feeling rarely subsided; it, too, seemed both simplistic and maddeningly convoluted, and inordinately pleased with itself from the get-go.
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