Tag Archives: movie

‘American Ultra’ is Ultra Stupid

Leave a reply

American_Ultra_posterWell, the dream eventually had to die. After a surprisingly solid start to August (“The Gift” and “Straight Outta Compton” rank among the year’s best films), we are back to the regular dumping of dumpster movies in the dog days of summer.

“American Ultra” stars Jesse Eisenberg as a stoner who is actually a sleeper agent for the CIA. After being targeted for death, he is activated and alongside his stoner-in-crime girlfriend (Kristen Stewart) must stop the CIA agents (led by Topher Grace) who want him gone. Connie Britton and John Leguizamo also star as Nima Nourizadeh (or as I like to call him, “Nima Nour—yeah, that guy”) directs.

Stoner comedies are a fickle bunch. Some transcend expectations and work as a plain comedy for the sober, like “Harold and Kumar” or “Pineapple Express.” Others are just plain stupid and aren’t fun for anyone, like “Your Highness.” And then there are the stoner comedies that are probably wonderfully trippy when you’re high, but aren’t great if you watch it while not on drugs (*clears throat* which should be all the time, because drugs are bad and illegal!). “American Ultra” falls into that third category.

I will give credit where credit is due: “American Ultra” knows it is a stupid stoner comedy, and very rarely tries to be anything more. The action is enjoyably and mostly chaotic, which Nourizadeh proved he is capable of capturing in his only other directorial project, “Project X,” and all the actors seem to be dedicated to having a good time. For what it’s worth, “American Ultra” is a relatively well-made movie; it’s just a shame it is a relatively not good one.

As I said above, “American Ultra” is probably a very good time if watched under proper circumstances, but a stoner comedy, in my opinion, shouldn’t pander just to that demo. Films like “Pineapple” or “Harold and Kumar” are great because they know not all of their audience will be high while watching, so low-barrel humor and trippy black light sequences aren’t the only source of entertainment they strive to provide. “Ultra” doesn’t have very many well-written jokes, so unless Topher Grace saying the f-bomb several times during a temper tantrum is your kind of humor, then there isn’t much in the film to laugh at.

One other thing that annoyed me was a character played by Walton Goggins. This is the most minor of spoilers but it isn’t going to ruin the movie and to be honest, you shouldn’t care. It is revealed early in the film that Grace’s character has been training mentally insane people to be CIA agents; however the film treats Goggins’ character as if he is mentally challenged. He acts like a young child and even though the film tries to justify his and its actions by saying “they messed with his head,” I found it in poor taste and just plain grating.

Look, I know “American Ultra” wasn’t trying to be a smart, sophisticated comedy, but if it featured more than three laughs I would have appreciated the effort. This is exactly the kind of movie you will find playing on Comedy Central at 3pm on a Saturday, and maybe as background noise it works. But I didn’t find it all too entertaining, despite the cast’s admirable efforts and the crew’s impressive production work. Go rewatch “Pineapple Express” instead of watching this; better yet, go see “Straight Outta Compton.” Your brain and your wallet will thank you.

Critics Rating: 4/10

Variety

Variety

‘Man from U.N.C.L.E.’ Convoluted But Cool

imageSomewhere between the style of “Mission: Impossible” and the wit of James Bond lies “The Man from U.N.C.L.E.”

Based on the ’60s TV show of the same name, “The Man from U.N.C.L.E.” stars Henry Cavill as CIA agent Napoleon Solo and Armie Hammer as KBG agent Illya Kuryakin. Against each of their wills, the two must team up to stop an organization from building a nuclear bomb. Guy Richie directs and co-writes as Alicia Vikander and Hugh Grant also star.

This film was originally supposed to come out this past January, but it was pushed back until August. Neither month usually indicates studios having faith in the films that are released during them, so the fact that “The Man from U.N.C.L.E.” is not a complete train wreck should be a victory within itself. What’s more, is the film is a fun, light-hearted take on the early spy films, with just enough style to overcome its lack of substance.

One of my biggest gripes about Henry Cavill in “Man of Steel” was his American accent. It never felt authentic, as if the British native read “How Americans Talk for Dummies” and just walked on set. In “U.N.C.L.E.” (boy, that is getting annoying to keep typing), Cavill is able to give an almost satirical spin on the classy, suave American secret agents, and it works to his benefit. If you’ve ever watched “Archer” (which if you haven’t, I highly recommend you do), Cavill’s Solo is pretty much a real-life version of the show’s titular character: a smooth-talking womanizer who almost always has a Scotch in hand.

Paired with Cavill is Armie Hammer, using a somewhat awkward Russian accent. I like Armie in most everything he does (we’re on a first name basis because we’re good friends), but I have to wonder the logic behind the casting here. British actors portraying American characters is nothing new (see: this film), but whenever Americans, or most any nationalities, really, use Russian accents it is almost always mocked. Hammer and Cavill have passable chemistry, but they never mesh the way the film wants them to.

Director Guy Richie has always been known for style-over-substance, and he makes no effort to change his ways here. The film looks great and features quick dialogue with editing to match, but those things come at the expense of a wooden, recycled plot. It’s a tale you’ve seen a hundred times: two feuding people must put aside their differences in order to defeat a common enemy. It’s nothing new and the film never tries to throw any twists in the formula.

Most of the action is shot very well, including a fantastically entertaining (if not a bit misleading) opening car chase sequence. Richie knows where to put a camera, and Cavill and Hammer are able to sell their stunts.

How much fun and enjoyment you get out of “The Man from U.N.C.L.E.” really depends on your ability to overlook simplicity. Cavill gives a charming and humorous performance and the set pieces of 1963 Rome and Berlin provide eye candy, but some of the other performances are over-the-top and the plot is cliché cardboard. In mid-August you can’t expect much from movies, but if you are just looking for a good, simple time at the cinema, then “U.N.C.L.E.’s” your uncle.

Critics Rating: 6/10

image

Go Straight to the Theater to Check Out ‘Compton’

Straight_Outta_Compton_posterWell aside from that sad excuse for a Fantastic Four reboot, August has been uncharacteristically good to us so far this year.

“Straight Outta Compton” tells the real-life tale of the Dr. Dre (Corey Hawkins), Ice Cube (O’Shea Jackson, Jr.) and Eazy E (Jason Mitchell), and the rise and fall of their 1980’s rap group, N.W.A. Paul Giamatti also stars as F. Gary Gray directs.

I have been excited for this film ever since I saw the trailer in February (I don’t think saying I’ve watched it over 30 times since would be an exaggeration). It gave me the chills seeing rap legends’ names on screen, while at the same time getting me pumped up hearing all of N.W.A’s classic songs. So needless to say, I had high hopes for this movie, and it met if not exceeded near every one of them.

Right off the bat, “Compton” got its casting perfectly. I don’t think a casting director has ever gotten a shout-out in a movie review, but here’s giving one Cindy Tolan props, because she nailed it. Every actor in this film, most of them making their starring role debuts, looks like, sounds like, and full on becomes the real-life person they’re portraying. O’Shea Jackson, Jr. is Ice Cube’s son in real life, so saying this was the role he was born to play may be a bit of an understatement. Jason Mitchell also kills it as Eazy E, and carries two of the film’s most emotional scenes.

The first half of this film is some of the most fun I’ve had at the movies all year. It is filled with such energy, and following the group around in their early stages is both engaging and interesting. There are several concert scenes that you almost have to restrain yourself from standing up and joining in on the mosh pit of people swaying along to Ice Cube singing “F tha Police.”

Which brings me to my next point: much like “Selma,” this film, despite being set in the past, is very relevant to today. What N.W.A started from was the desire to voice their frustration about police brutality against minorities, and while the film certainly has its viewpoint on the subject from 20 years ago, it gives just enough food-for-thought about today’s society.

Side-compliment: I know only film junkies like me may care about this, but there is one scene inside a hotel room that is entertaining in its own right (including a hilarious one-liner upon its conclusion), but after the scene was over I noticed that it was all one take. So major kudos to director F. Gary Gray and cinematographer Matthew Libatique for pulling that off, I loved it.

The biggest flaws that “Straight Outta Compton” have are that of almost every musical biopic, but they’re less glaring here than in other pictures. While the rise and even the fall of the group is a fun ride, we then follow one artist in particular, and that is nowhere near as entertaining as when the band’s all together (think “Jersey Boys” only less love songs, more gangs). Also there are a few plot points that go completely untouched, such as Dr. Dre saying he needs to provide for his girlfriend and baby, and then we never see or hear about them after the 20-minute mark.

I really liked “Straight Outta Compton.” Like kind of a lot. The first half is darn near perfect filmmaking, and while the second half stops to take a few breaths (which is understandable, given the brisk pace of the first act) it never drags until the very last minutes. I think there is something in this movie for almost everyone, and if you don’t go out and see it you are honestly missing out. “Straight Outta Compton” is not just one of the best movies of the summer; it’s one of the best films of the year.

Critics Rating: 8/10

Variety

Variety

‘The Gift’ an Effective and Well-Acted Thriller

The_Gift_2015_Film_Poster1This was an interesting weekend at the movies. We got an awful film (“Fantastic Four”) and an OK one (“Ricki and the Flash”), so I guess it makes sense than we are rewarded with our perseverance with an actual good movie.

“The Gift” is a psychological thriller written, directed, and starring Joel Edgerton, and follows a couple (Jason Bateman and Rebecca Hall) that has recently moved from Chicago to the Los Angeles suburbs. When Gordo (Edgerton), an old classmate from school, begins to continuously stop by their house and leave them gifts (I know, right? The title makes sense now!), they realize the past may be catching up to them.

I have to be honest: when I saw this trailer, cast and release date, I thought this film was going to be a train wreck. It looked massively conventional, and no offense to Bateman but I couldn’t see him carrying a dark, non-comedic film like this. Plus it’s no secret that August is one of Hollywood’s two dumping grounds for subpar films (see: “Fantastic Four”), so I was just ready for a stupid summer “horror” film. But I was pretty wrong, because “The Gift” is a well-executed and smart psycho-thriller, and I have to give both Edgerton and Bateman props: they turn in killer performances.

I like Jason Bateman, I’m a big fan of his deadpan comedy, but like I said, I was shocked how good he is in this film. He completely surprised me here playing a man who is harboring secrets and emotions, and while he has one or two moments of straight-faced delivery that produced a chuckle, he fully dedicates himself to the role of a broken man.

Meanwhile Joel Edgerton, who we last saw putting audiences to sleep while wearing mascara in “Exodus: Gods and Kings,” excels in every part of the film he had a part in. Whether it is his chilling performance as Gordo, his steady work behind the camera, or his smart script, Edgerton’s passion project really makes you feel awkward and uncomfortable while watching, which is exactly what it is going for. You don’t know if you can believe what Gordo tells Bateman and Hall, nor what his motivations are or the extents he is willing to go.

The film features several twists, none of which really floored me (some are foreshadowed, others are easily guessable based on the genre), but the film’s sense of tension and the uneasy feeling it gives both you and the characters is near masterful.

There are some slow parts that never really lead to a payoff, and then once the film reaches its climax it kind of just ends, but just like with “Foxcatcher” I wasn’t too bothered by these things because the performances and the feeling that we’re building towards an explosion had me too invested to care.

“The Gift” is a very well-acted and well-directed film, and it may make you start to question your relationships with the people around you now, as well as those from your past. It isn’t anything revolutionary, but in a summer of big-budget sequels and animated creatures, it is nice to see something be small and effective. I guess you could say “The Gift” is a real, come on and say it with me, effective and rewarding thriller.

Critics Rating: 7/10

the-gift_new

Variety

Streep Makes ‘Ricki’ Watchable

Ricki_and_the_Flash_posterWell, I’ll give Meryl Streep credit: she is definitely incapable of phoning in a bad performance.

“Ricki and the Flash” [insert long sigh at that title] stars Streep as an aging rock star who goes back home and try and make things right with her estranged family. Kevin Kline and Streep’s real-life daughter Mamie Gummer also star, as Jonathan Demme directs and Diablo Cody writes.

The trailer for this film made me roll my eyes every time I saw it (which, based on my addiction to movie theaters, means I saw it at least four times). It seemed sappy and standard and above all else cliché, but I still ended up seeing it. If you’re wondering why I saw it, it’s a combination of the aforementioned addiction and my friend and I honestly saying to one another, “hey, wouldn’t it be hilarious if we saw a 10am Friday showing of that new Meryl Streep movie? Like, as an ironic statement? Ha!” (I’m pretty sure it was a game of chicken that both of us just didn’t call the other’s bluff on). Anyways, getting off track, where was I?

Oh, right. “Ricki and the Flash” [sigh]. After seeing the film, I can confirm that it is sappy and standard and naturally clichéd, but darn it does Meryl Streep make it mostly watchable.

It is a lazy and obvious statement, but just in case you’ve lived under a rock the past 50 years: Meryl Streep is very good at acting. Had she never gotten her big break in movies, she could have become a very successful lawyer, or quarterback of the New England Patriots (Brady zing). And here she plays a role we have seen a hundred times in movies yet her dedication to the character is admirable. Ricki is the typical free spirit, “I live for rock and roll!” American gal, and while you understand her kids’ resentment towards her for never being there for them, you also empathize with her because she was doing following what she considered her dream, and only now is realizing she made the wrong decision.

If all you wanted to see from this movie was some family drama and Meryl Streep sing some cover songs, then you can stop reading now because you’ll get exactly what you desired from this experience. Anyone else, continue on with me. The biggest problem I have with “Ricki” is that almost none of the conflicts in the film are resolved, and the ones that are are done so quickly without any true effort that it is almost annoying.

The trailer paints the plot as Ricki needing to go home because her daughter’s husband left her, and that is the case; for about 40 minutes. Then Ricki leaves and goes back to LA where she has a “will they-won’t they” (they will) relationship with her band’s guitarist (Rick Springfield). I just never bought how she could constantly emasculate him on stage in front of their 12 adoring bar fans and yet he still would want her (I may have oversold how big a deal Ricki and the Flash are; they play at a bar in front of the same dozen people every night. It’s not like she left her family and sold her soul for fortune and fame).

Demme, known for other small musical comedies like “Silence of the Lambs” and “Rachel Getting Married,” sometimes makes the musical performances distracting, but overall the film is shot nice and tight and he gives the actors plenty of room to breathe and move around.

Look, my friend and I were the only people in the theater without AARP cards, so clearly this film was not made with me in mind. If you love Streep, 70’s music, and all the conflict of feuding families without any of the rewarding resolutions, then “Ricki and the Flash” (seriously, they couldn’t think of a better title?) is the film for you. Streep will get her Golden Globe nomination and the film will be forgotten by the time the leaves begin to turn orange. Everyone can go home happy.

Critics Rating: 5/10

Meryl Streep

Variety

‘Rogue Nation’ a Mission Worth Accepting

Mission_Impossible_Rogue_Nation_posterMuch like the Fast and Furious films or a fine wine, the Mission: Impossible movies only seem to be getting better as time goes on.

“Mission: Impossible – Rogue Nation” is the fifth film of the franchise, which is now 19(!) years old. Tom Cruise returns to possibly his most famous (and certainly his most bankable) role of secret agent Ethan Hunt, who this time around must prove that a secret organization known as the Syndicate is real. Jeremy Renner, Simon Pegg, and Ving Rhames all reprise their roles from the previous films while Rebecca Ferguson and Alec Baldwin join the cast. Christopher McQuarrie writes and directs.

At this point, you know what you’re getting with a Mission: Impossible film and “Rogue Nation” quite literally follows the checklist from the other films on how to be a summer tentpole action film (well, except “Ghost Protocol,” which was a Christmas tentpole). The film features gorgeous set pieces, well-choreographed action sequences and one of the biggest movie stars of all-time in Tommy Boy, and while the film still suffers from similar narrative flaws of its predecessors, that doesn’t mean it isn’t a fun time.

I think because we see him so often on screen we take it for granted, but Tom Cruise is in incredibly good shape. It’s not an industry secret that he does his own stunts, like getting hitched to the side of a plane and actually holding onto it as it takes off like he did for this film, but, like, he’s 53 and looks better than most 20-year-olds. Cruise again sells every action scene he is in, and it seems we will continue to see Ethan Hunt fighting terrorists until Cruise is in his 70’s.

Like “Ghost Protocol,” “Rogue Nation” features more scenes in beautiful locations, including Vienna and London. Director McQuarrie and cinematographer Robert Elswit make sure to showcase the cities, but never sacrifice the action for the sake of it like some other filmmakers do. One of the best sequences in the film is a motorcycle chase along a Moroccan highway, and the aforementioned Cruise-on-a-plane stunt, which has been the centerpiece of every commercial and poster for the film, is used as the film’s opening. I appreciated the filmmakers using that as the appetizer, as all too often film’s put their climatic stunts in the trailers, ruining the surprise or build-up to them.

That being said, the biggest positives of “Rogue Nation”, its action sequences, may also play into its biggest flaws. After the impressive plane opening, and then a highly entertaining and well shot action sequence in a Vienna opera house, the film’s stunts and action pieces lose a little bit of flare and energy as each one comes and goes. That’s not to say they’re not impressive or entertaining nonetheless, but the first few set the bar so high that it just wasn’t possible or reasonable to ask the second half of the film to compete.

With the exception of Philip Seymour Hoffman in the third installment, the Mission: Impossible films have never had a strong villain or overly-engaging plot, and here is no exception. Sean Harris comes across as chilling as the main bad guy, but his motivations are not fully explained and he is never as threatening as the movie wants us to think he is.

The first half of “Mission: Impossible – Rogue Nation” is fantastic, and while the second half loses steam and at times drags, it still has its bits of entertainment. The climax of the film was a little underwhelming, but seeing Tom Cruise at his Tom Cruise-iest is always welcome, Jeremy Renner and Simon Pegg provide some comedic relief, and the film looks beautiful. It isn’t quite on “Jurassic World’s” level of summer blockbuster entertainment, but “Rogue Nation” subscribes to the notion that if it ain’t broke, don’t fix it, and five films in, this franchise shows little signs of breaking.

Critics Rating: 7/10

Variety

Variety

‘Vacation’ Is Bumpy but Often Funny Road Trip

Vacation_posterEvery summer there is a comedy that is underappreciated by critics but is actually pretty funny. 2013 had “We’re the Millers,” last year featured “Let’s Be Cops,” and now we have “Vacation.”

“Vacation” is the latest film in the National Lampoon franchise of the same name. The film follows Rusty Griswold (Ed Helms) who takes his family on a cross-country road trip to Walley World, the same theme park that he went to as a child. Christina Applegate plays Helms’ wife, as John Francis Daley and Jonathan Goldstein write and make their directorial debuts.

I am a fan of Francis Daley and Goldstein’s writing. “Horrible Bosses” is one of my favorite comedies of all-time, and “The Incredible Burt Wonderstone” has more than its fair share of laughs. So maybe I’m biased when I say it, but “Vacation” is a very amusing time at the movies, even though it’s not without its share of flaws.

In case people like Adam Sander have forgotten, the first and foremost thing a comedy should do is produce laughs, and “Vacation” does that in large quantities. There is one scene in the film where I was actually rolling in my seat holding back tears I was laughing so hard, and that does not happen with me very often. Many of the jokes in the film are based off of awkward interactions and uncomfortable pauses, and directors Francis Daley and Goldstein do a good job knowing how long to hold the camera on an actor to get the proper reaction shot.

By and far the best part of the film is the younger son, played by Steele Stebbins. He curses, he verbally and physically abuses his older brother and he has wisecracking responses to most anything people say. His character may come off as too mean-spirited for some, but I bought it and thought he made the film.

A scene-stealing performance, however, comes from Charlie Day, who plays a white water rafting instructor. Day infuses some energy into the film just as it was starting to sag, and he produces several hardy laughs.

The film isn’t necessarily *good* like “Trainwreck” or “Spy,” and the plot is pretty thin. You get you standard road trip comedy hijinks, like crazy truck drivers and the car breaking down, so don’t go in expecting the re-invention of the wheel. You know how the film is going to play out, and at some parts that does make some scenes feel like byproducts of the sake of a single joke.

Some characters also are almost unbelievably stupid and naive, and even as someone who is forgiving of many things in dumb comedies, even I sometimes grew annoyed by their ignorance to certain situations.

I can best compare “Vacation” to “We’re the Millers,” in that if you are willing to overlook the implausible and cliché plot and just enjoy the film for being funny, then you’ll have a good time. I personally found the film an amusing way to enjoy two hours of my life, and compared to some of the other “comedies” from this summer like “Entourage” and “Pixels,” this is comic gold.

Critics Rating: 6/10

Variety

Variety

‘Pixels’ Another Lazy Sandler Shtick

PixelsOfficialPosterIt’s that magical time of the year again! The sun is warm, the AC is blasting, and we are all enjoying our summer at the movies; so naturally Adam Sandler has to come and ruin things with another one of his films.

“Pixels” stars Sandler, Josh Gad, Peter Dinklage and Kevin James as former childhood arcade protégés who are the last line of defense when aliens send real-life 1980’s video games to destroy Earth. Chris Columbus directs.

“Pixels” had a few things going for it. Yes it starred the dynamic duo of Sandler and James, but it also featured Josh Gad and Peter Dinklage, who have the power to bring smiles to the screen. It also was from director Chris Columbus, who has given us such gems as “Mrs. Doubtfire” and the first two Harry Potter films, and isn’t one of Sandler’s normal cronies, Dennis Dugan or Frank Coraci. And unlike normal Sandler films, this one featured an actual interesting plot.

So where did it all go wrong? Well my money is when the Happy Madison banner appeared on screen.

“Pixels” looked different than your typical Sandler film, but the end product is your typical Sandler film. Sandler gets a girl who is out of his league, Kevin James trips over things (“and it’s funny because he’s fat!”) and you get more product placement than the Super Bowl. And yet again Sandler laughs and skips his way to the bank after hanging out with his friends on a movie set in an exotic location (it’s a good gig if you can get it).

I’ll get the positives for this film out now, because I feel if I delay any longer anything commendable about “Pixels” will flee from my mind. Josh Gad has a few funny one-liners, some of the video games attacking famous monuments are cool, and the film is far from Sandler’s worst. Ok [cracks knuckles] let’s do this.

All you need to know about how serious this film wants you to take it is that Kevin James is the President of the United States. [long pause] Yeah, I know. And his wife is Jane Krakowski (who has one line of dialogue in the film, by the way). Yeah. I know. By the time I accepted these facts, the film was half over.

Speaking of being half over, this film is paced horribly. Well, I shouldn’t say that. The first 30 minutes are swift; it’s the next 75 that are numbingly slow. There’s a point where Sandler and Co. are partying and drinking and having a merry-ole-time (odds are they didn’t even know they were filming the movie, they were just celebrating taking more money from hardworking American’s pockets). I felt like that scene had to be somewhere near the end of the film, however much to my dismay there was still the overlong, over-CGI stuffed finale to endure.

I’m also having a hard time figuring out the desired demographic for this movie. It is based around 80’s games (and songs) like Pac-Man and Centipede, so you would think middle-aged adults, right? But wait, there’s lots of sex and fart jokes, so must be teenage boys. But hold up, there’s little talking Q*bert (if you don’t know what that is then my point is proven) that wets itself when nervous. So clearly this is aimed at little kids. I don’t know, man…

I officially gave up on Adam Sandler back in 2013 with “Grown Ups 2” but deep down I had hope “Pixels” may finally be him turning a leaf and actually trying. I was wrong; he is still putting in the bare-minimum effort. “If it ain’t broke, don’t fix it”, they say. Well Adam Sandler has clearly never heard that saying because his formula is long broken but he doesn’t fix it, because that would require effort, something he hasn’t put into one of his Happy Madison films since 2005’s “Longest Yard.”

I don’t hate “Pixels,” despite what all the above implies, but it isn’t a good movie, and you don’t need to see it. Go watch the three minute short that the film is based off if you want to see video games attack a city. Peter Dinklage couldn’t save this movie, Chris Columbus couldn’t save this movie, heck, I doubt Mariano Rivera could save this trash.

Critics Rating: 3/10

Variety

Variety

‘Southpaw’ Packs Too Weak a Punch

imageJake Gyllenhaal has quickly become one of Hollywood’s next great actors, mixing Christian Bale’s rapid weight change with Leonardo DiCaprio’s ability to get overlooked by major award circuits.

After losing 20 pounds to play the psychotic Lou in “Nightcrawler,” Gyllenhaal bulks up to play boxer Billy Hope (subtle) in “Southpaw”. After tragedy strikes, Hope is separated from his daughter and must put his life back together, and he turns to an aging trainer (Forest Whitaker) to get him back in the ring. Antoine Fuqua directs.

Just as he has done in his recent films like “Prisoners” and the aforementioned “Nightcrawler,” Gyllenhaal again dominates the screen with his method-acting presence. It may not be his strongest performance, and it almost certainly won’t win him any awards, but his Billy Hope is a heart-wrenching, torn character that Gyllenhaal dives into. It’s unfortunate that the rest of the movie doesn’t pack the same punch (boxing puns).

Most of the film is done so heavy-handed and in such workmanlike style that it doesn’t add anything new or fresh to the genre. Director Fuqua (known best recently for action films “Olympus Has Fallen” and “The Equalizer”) continues to go for style over substance in his films. In “Southpaw,” he never misses a chance to shove a visual metaphor down the audience’s throat, such as Gyllenhaal standing at the bottom of a dark staircase looking up (get it? Because he’s got to climb his way back up out of the darkness to the top!). Fuqua also feels the need to put the camera close to the actors, in an effort to force us to feel their pain (this is a pretty bleak film), instead of letting the actors do what they’re paid to do and convey the emotions naturally.

Speaking of said actors, every one of them brings their A-game; “Southpaw” would be nothing without its leading cast of Gyllenhaal, Whitaker and Rachel McAdams. Gyllenhaal and Whitaker have believable albeit not too moving chemistry as boxer-and-trainer, and McAdams crushes every scene she is in as Billy’s wife. The daughter in the film (Oona Laurence) gives one of the better performances by a kid actor that I’ve seen in a while, having to portray a young girl who has lost contact with her father and is confused and angry with the world around her.

Unfortunately, everything comes back to the standard narrative in “Southpaw.” The cliché story of redemption can be expected, but on numerous occasions plot points are dropped or overcome far too easily. For example, Forest Whitaker’s character says he doesn’t drink, yet a few scenes later we see him drunk in a bar, with the only excuse being, “what, a guy can’t pick up a new habit?” There is also a shooting in the film, and in several instances the film mentions how they still don’t have a suspect. Spoiler alert: that case is never brought to resolution, it kind of just fades away. Which is lazy for the plot, but also frustrating because you are genuinely interested in who pulled the trigger, as it isn’t clear in the scene.

For those who demand very basic storytelling and just want to see tales of redemption of broken men, “Southpaw” may work. But I found that the great acting and admittedly moving finale were not enough to overcome the film’s familiarities and slack storytelling, which is a disappointment because Gyllenhaal deserves better than to be stuck in an average film. All these actors deserve better (well, except maybe 50 Cent).

Critics Rating: 5/10
 
Variety

Variety

‘Trainwreck’ a Dramedy That’s Right On Track

Leave a reply

Trainwreck_posterI found it funny that Paul Rudd and Judd Apatow used to make movies together all the time, and now each of them had their own movie come out in the same weekend. Anyone else chuckle? Nope, just me? Alright, well…onto the review.

“Trainwreck” is the latest film from director Judd Apatow, and is the first film he directed that isn’t written by him. Stepping in the writer’s shoes is Amy Schumer, who also stars. When a commitment-phobic working woman (Schumer) meets a sports doctor (Bill Hader), she begins to wonder if she has been living her life wrong. I know that plot sounds like near every rom-com ever, but as you’ll find out (by reading!), the film overcomes that. OK, moving on.

I’m a middling fan of Judd Apatow’s work. I enjoy all of his films about the same, but while they all often scratch greatness, they fail to reach their full potential. “Trainwreck” isn’t going to be a film I remember and reference for years to come, however it may be Apatow’s best film to date.

As I said above, the story of the film is pretty cliché; everything you think is going to happen will happen. So for the movie to succeed, it needed to be able to provide something extra, and “Trainwreck” does just that by having relatable moments, self-deprecation and a surprising amount of dramatic heft.

Amy Schumer, who has been on fire as of late and is being touted as a trailblazer for women in comedy, is very good in her first starring film role. She essentially is playing the version of herself that she jokes about in her standup, being the heavy drinker who goes home with any guy from the bar that she wants. She does a surprisingly tender work in some of the film’s more dramatic scenes, too, and until she becomes Melissa McCarthy and beats us over the head with her presence, I welcome more Amy Schumer in my life.

Doing fine work in supporting roles are Bill Hader (who I always forget how charming his is) and LeBron James, who plays a fictionalized version of himself. Hader does his normal deadpan nice guy routine, and LeBron makes a lot of references to Cleveland and the NBA, which I’m sure were entered specifically for the guys who are dragged to this by their girlfriends and wives (not to say the movie as a whole isn’t full of jokes for everyone).

The biggest problems with the film are the issues found in all Apatow films, in that there are plenty of scenes that exist for the sake of one joke, and if cut wouldn’t change the plot at all. And even though the runtime is two hours, just like with every one of his films you walk out feeling like the film lasted much longer than it actually did. The climax somewhat drags before suddenly ending, but it doesn’t derail the film (ha! “Derailed”! I didn’t even try and make that train wreck reference! I’m hilarious even when I don’t even mean to be…).

I enjoyed a lot about “Trainwreck,” and even if the plot is cliché and the narrative a bit rough around the edges, those flaws are mostly redeemed by charming actors and a smart script. How much fun you get out of the film really depends on how many raunchy jokes you can handle, but seeing as this is Apatow’s fifth directorial effort, you should know what to expect by now.

Critics Rating: 8/10

Variety

Variety