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In the same vein as writer-director Ramin Bahrani's previous motion pictures (Chop Shop, Man Push Cart), 99 Homes is a hard-hitting drama which comments on the difficulties of surviving in today's economically unstable world. More specifically, 99 Homes is about the events which took place during the recent housing crisis in the United States, when many helpless families were evicted from their residences. It's fertile territory, serving as something of a companion piece to the likes of 2011's Margin Call and Adam McKay's 2015 Oscar contender The Big Short. But while it's concerned with lofty subject matter, 99 Homes does not play out like a stuffy lecture - rather, it's a powerful human drama with things to say about contemporary capitalism, showing how good people can be swallowed up by greed.
A construction worker in Florida, Dennis Nash (Andrew Garfield) struggles to find stable work and cover his debts, trying his hardest to retain his family home where he lives with son Connor (Noah Lomax) and mother Lynn (Laura Dern). Despite Nash's best efforts, the bank forecloses on his home, and he faces the cold-blooded wrath of opportunistic real estate agent Rick Carver (Michael Shannon), who makes a lot of money from collecting properties. Heartbroken, Nash takes his family to live in a dingy motel to join others in similar circumstances, hoping to one day win back his former home. Desperate for work, Nash receives an unexpected job offer from Carver, who's in need of people to do manual labour on foreclosed homes. The deal is too good to pass up, with Nash earning stacks of money by evicting helpless families and exploiting the government system, but his conscience begins to trouble him as he's drawn deeper in Carver's dark empire built out of other people's misfortune.
What ensues is very reminiscent of Oliver Stone's Wall Street, with Nash being drawn into an immoral world for the sake of riches, questioning his integrity at every step. The key difference between the two films, however, is that Nash operates for survival, rather than pure greed. The brilliance of Bahrani's approach to the story is that he examines both sides of the coin, shining a light on the plight of the hardworking individuals struggling to keep a roof over their heads, as well as Carver, the numbed real estate agent who warns against the perils of debt. 99 Homes is most fascinating when it concentrates on Carver in action and shows his process, but the movie is less successful when it's about specific individuals. Bahrani keeps the movie afloat with his focused storytelling, but a climactic standoff is a bit much, and sometimes the script feels a bit too pat for a subject matter as utterly dense as this.
99 Homes may be 110 minutes, but it moves at an exceptionally brisk speed, thanks in no small part to the raw handheld cinematography, expert framing, and the pounding original soundtrack by Antony Partos and Matteo Zingales. The craftsmanship on display is simply superb, doing justice to this thematically dense drama. Of particular note is the truly bravura scene of Dennis and his family being evicted by Carver and his hired police officers, who are cold to their pleas of mercy. It's a heart-wrenching, riveting sequence which effectively conveys the shame, horror and emotion of an eviction, and it generates a real sense of loss as the powerless residents are forced to vacate their long-time home.
At the centre of this story is an exceptional cast, with Bahrani extracting focused performances from the entire ensemble. Coming off his limited run as Spider-Man, Garfield shows himself to be a talented thespian worthy of Oscar consideration, placing forth his most nuanced work to date as Nash. It's a tricky role to play, but Garfield does it justice, managing to keep us on his side despite what he's forced to do, showing that he has a conscience and simply wants to keep his family afloat. Powerful moments abound, including a number of heartbreaking scenes in which Nash is forced to evict helpless people but finds himself dangerously unconfident. But it's Shannon who walks away with the entire movie as the emotionless Rick Carver, who puts aside all sentimentality as he carries out his dire duty. Shannon is commanding and enthralling, but never showy, managing to carve out a villainous character that's not just one-note. Superb support is also provided by Dern, who plays very well alongside Garfield.
Smartly, Bahrani does not concern himself with the convoluted intricacies of the stock market or real estate loans, which would have more than likely murdered the strong pacing. 99 Homes instead concentrates on how the end result affects families while certain individuals continue to get rich, making for a fascinating examination of a world that we rarely get to see in motion pictures. Even though it does fall short of perfection, it's a timely and important fictional drama with real-life underpinnings, and it absolutely must be seen.
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Filmmaker Michael Dougherty made quite an impact with his anthology horror movie Trick 'r' Treat all the way back in 2007, but the writer-director seemingly disappeared after the release of that cult gem, despite showing tremendous genre talents. 2015's Krampus is Dougherty's long overdue follow-up endeavour, and it combines the dysfunctional family antics of National Lampoon's Christmas Vacation with the horror film sensibilities of Joe Dante's Gremlins and the Euro eccentricity of Rare Exports: A Christmas Tale. Comparisons to Gremlins are inevitable, as Dougherty establishes a distinct throwback vibe, relying on practical effects as much as possible, making smart use of the modest budget at his disposal. Krampus may be PG-13, but don't let the docile rating fool you - Dougherty delivers the freaky goods with reassuring confidence.
December 25 is approaching in suburbia, and pre-teen Max (Emjay Anthony) is finding it hard to maintain his Christmas spirit. His father Tom (Adam Scott) is a workaholic, while his mother Sarah (Toni Collette) is anal retentive as she prepares for the arrival of their extended family. Stomping into the house are Linda (Allison Tolman), her husband Howard (David Koechner), and their bratty kids, on top of the horrendously rude Aunt Dorothy (Conchata Ferrell). When Max's cousins find his good-hearted letter to Santa Claus and openly mock him for it, Max rips up the note in a moment of frustration and tosses it out into the snowy night. However, this act inadvertently summons Krampus, a demonic figure of Alpine folklore whom Max's immigrant grandmother Omi (Krista Stadler) is all too familiar with. As a colossal blizzard moves in, the family become trapped inside the house as they're gradually picked off by Krampus and his ghoulish minions.
Instantly announcing itself as the antithesis of standard Hollywood Christmas movies, Krampus opens with an inspired montage showing the madness that occurs when holiday shoppers rush into department stores on Black Friday. Unfolding entirely in slow motion, Dougherty focuses on the frantic customers who get into fights with one another and trample on the fallen, driven by rampant consumerism. It's a brilliantly provocative opening scene, even playing out to the tune of Andy Williams' "It's the Most Wonderful Time of the Year," and it underscores that Christmas cheer is perhaps not quite what it used to be once upon a time. If there's a flaw with Dougherty's storytelling, it's that the movie does drag during its opening act, with the material involving the extended family never quite gaining much comedic traction. And when Krampus does come out to play, the moments of respite are overly hit and miss, with uneven pacing.
In its second half, Krampus transitions into a home invasion tale, and the ensuing attack scenes are consistently thrilling, establishing a Gremlins-esque tone of comedic mayhem. There's an underlying streak of dark humour which saves the flick from abject bleakness, and - much like with Trick 'r' Treat - Dougherty exhibits firm command of the screen, aided to no small degree by cinematographer Jules O'Loughlin. Krampus embraces practical effects as well, giving vivid life to the hair-raising creatures through elaborate costumes and puppetry, affording an '80s horror flick feel and adding a sense of tangibility to the nightmare. The digital gingerbread men aren't quite convincing, and do look slightly out of place, but the rest of the titular demon's minions are thankfully more tactile. And just to reinforce the throwback feel, there's a flashback sequence told using Rankin and Bass-style stop-motion animation in which Omi reveals her childhood experience with Krampus in Germany. It's a nice touch indeed. Krampus is more unnerving than outright terrifying, but it's a skilful ride all the same.
Performances are suitably convincing right down the line, especially with the likes of Scott and Collette who are watchable in anything, while Koechner makes a positive impression playing a redneck stereotype. The chaos eventually culminates for a shrewd ending that rejects many of the more obvious story resolutions, and even leaves things open for interpretation. Not everything works in Krampus, but it does breathe fresh cinematic life into a creepy Christmas legend. It might become a new annual film-watching tradition at Christmas for the same folks who enjoy the more unorthodox holiday movies like Bad Santa and Die Hard.
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The latest feature to be written and directed by the filmmaking team of Anna Boden and Ryan Fleck (Half Nelson), 2015's Mississippi Grind is old-fashioned all the way through to its core, evoking motion pictures from the '60s and '70s with its unhurried pacing and beautifully filmic cinematography. Taking notable inspiration from the likes of Five Easy Pieces and 1974's The Gambler, this is a motion picture about gambling, but it's not concerned with the usual glamour associated with Las Vegas or Atlantic City. Instead, Mississippi Grind is more dramatic, providing an unusually solemn, incisive examination of a potentially destructive hobby. The film's appeal is not derived from casino action, but rather from the interplay of the two fascinating central characters.
In Iowa, self-destructive gambling addict Gerry (Ben Mendelsohn) is stuck in a serious rut. Due to his addiction, Gerry has lost his wife and child, while a loan shark also threatens violence if he doesn't pay his debts. By chance, he meets fast-talking drifter Curtis (Ryan Reynolds) during a game of poker, and the two strangers find themselves drawn together by their shared hunger for gambling in all its forms. Becoming fast friends, Gerry and Curtis look to score big, deciding on an impromptu trip down to New Orleans for a high-stakes poker tournament. Hitting the road, the pair bond as they gamble at every turn, but Curtis gradually begins to understand the depths of Gerry's personal problems.
Mississippi Grind delves into the serious ramifications of a gambling addiction, serving as an effective character study of Gerry, who continually yearns for the thrill of watching a dog race or rolling a dice, counting down the seconds until he gets to leave his menial job and return to a casino. In the very first scene of the movie, Gerry is seen listening to a CD about observations on human behaviour, educating himself on how to tell if a person is bluffing at the poker table. Mississippi Grind is episodic in its road trip structure, but there's a proper narrative through-line and all the vignettes come together in a cohesive fashion. If there's an issue from a storytelling perspective, it's that the ending doesn't quite mesh with the rest of the movie, as the script begins to veer more into wish-fulfilment territory, clashing with the otherwise realistic tone.
The decision to shoot on 35mm film stock enhances both the sense of atmosphere and the old-fashioned vibe, and it makes the movie look more expensive than a digital production. The non-flashy cinematography (by Andrij Parekh) is effectively vérité at times, too, especially when Gerry and Curtis hit the liquor, and the visuals are supplemented by a pleasant soundtrack of rhythm and blues tunes. But it's the strong performances and astute characterisations that keep Mississippi Grind compulsively watchable from start to end. Accomplished character actor Mendelsohn is note-perfect as Gerry, masking his natural Australian accent to espouse a wholly convincing American drawl that feels entirely lived-in. Alongside him, Reynolds (in a role meant for Jake Gyllenhaal) is enormously charismatic and energetic, displaying his strong dramatic chops that we rarely get to see. He's nicely subdued as well, never coming across as showy, and even though this isn't a comedy, there are some moments of tender humour which make Curtis seem more innately human. Mendelsohn and Reynolds are so great together, registering plenty of bromantic chemistry. Appealing support is also provided by Sienna Miller as Simone, a caring prostitute who touches Curtis' heart, while Analeigh Tipton shares a few sweet moments opposite Mendelsohn as Simone's friend Vanessa. There are a lot of really nice scenes peppered throughout the movie, especially when the two boys find themselves in the company of their female companions.
Mississippi Grind doesn't snowball into anything revolutionary and it's hard to walk away truly loving it, but it's nevertheless a competent motion picture bolstered by strong performances and focused filmmaking, and that's good enough to warrant a recommendation. The pacing is leisurely, and it does require patience, but there are plenty of pleasures to extract from this involving drama if you choose to give it a shot.
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Sleeping with Other People is a contemporary version of the When Harry Met Sally premise, as it explores similar themes and ideas to the landmark 1989 romantic comedy, but is far raunchier and edgier. It's probably the best of its kind since 2011's Friends with Benefits, and it helps that the central characters do seem like real human beings with shortcomings and feelings. Laughs may be spotty, but the actors remain on point all the way through, and pacing is constantly agreeable. It's never a chore to sit through.
Randomly meeting in college, Lainey (Alison Brie) and Jake (Jason Sudeikis) bond as they talk about sex, and wind up losing their virginities to one another, but they fail to stay in touch after their sexual encounter. Over a decade later, Jake has developed into a sex addict and a serial cheater, unable to find a woman with whom he wants to have a proper relationship. Lainey, meanwhile, is obsessed with college buddy Matthew (Adam Scott), an engaged doctor who sleeps with her but has no interest in a relationship. Running into each other at a support group meeting for love addicts, Lainey and Jake reconnect and immediately hit it off, but mutually agree to remain platonic friends since both of them have sabotaged every romantic relationship they've ever been in. It's a well-intentioned prospect at the outset, with the two happily spending time together and discussing each others' love interests and sexual trysts, but they begin to develop an undeniable bond.
Headland does borrow liberally from When Harry Met Sally, right down to lines like "men and women can't be friends," and even observing Lainey and Jake texting each other in bed, an apparent update of the phone conversations shared by the two leads in Rob Reiner's rom-com. But Headland goes a step further, rooting the central story in the serious issue of love and sex addiction, which gives the story a fresh perspective. Naturally, Sleeping with Other People is not as smart or as incisive as When Harry Met Sally, but Headland's script does manage to provide some amusing observations about relationships, sex and love. The big problem, though, is that although it does try to avoid many of the hoariest chestnuts of the rom-com genre, the story's outcome and many of the primary plot points are predictable. And since Headland does strive for candidness, this does seem to clash with her intentions.
Even though the narrative is very middle-of-the-road, Sleeping with Other People does provide a few moments of definite inspiration and comedic brilliance. One notable non-sequitur sees Jake and Lainey dropping ecstasy at a kids' birthday party and dancing with children to the tune of David Bowie's "Modern Love." And in another scene clearly inspired by Meg Ryan's restaurant orgasm, Jake teaches Lainey how to effectively masturbate, demonstrating on a juice bottle. For the most part, though, Headland relies on mild wit as opposed to juvenile antics in order to score laughs, keeping at least one foot planted in reality. Indeed, even in spite of the R rating, it doesn't feel like a mean-spirited Judd Apatow or Seth Rogen flick.
Although not as conventionally attractive as the likes of Zac Efron or Justin Timberlake, Sudeikis is a wonderfully endearing comedic lead, and he's versatile to boot, delivering vicious sarcasm and blasé snark whilst always coming across as warm and genial. And when the script calls for drama, Sudeikis handles it with assurance. Best of all, however, he shares wonderful chemistry with Brie, who's adorably perfect as Lainey. She's disarming whenever she's on-screen, and she manages to make her character seem genuine. It's so delightful to watch Brie and Sudeikis share the screen that the movie comparatively drags whenever they're apart. These two seriously need to take more roles like this. In the supporting cast, Jason Mantzoukas makes a positive impression as Jake's best friend Xander, while Adam Scott is fairly muted (by design) in a minor role as Lainey's object of infatuation.
It doesn't touch the dizzying heights of When Harry Met Sally (what movie can?), but Sleeping with Other People is a pleasant enough rom-com distraction, even if it is wholly predictable at the end of the day. Besides, it does have a heart-warming message in that some people do find others who "get" them, and those are the ones to embrace in whatever capacity that works. Sweet and often candid, Sleeping with Other People is one of the more enjoyable entries in this genre for some time.
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Adult Christmas movies are few and far between, as the majority of Hollywood's festive output is aimed at the younger demographic. With the controversy of 2014's The Interview now in the past, filmmaking duo Seth Rogen and Evan Goldberg turn their attention to the holiday season for The Night Before, collaborating with 50/50 director Jonathan Levine for a rowdy, R-rated stoner comedy that also finds time for meaning and drama. Although amusing at times, it falls short of its potential, with the monkey business too often interrupted by half-hearted attempts at sincerity that lack genuine impact. It's certainly a far cry from the unorthodox brilliance of Bad Santa, though it's not entirely without merit.
As a young man, Ethan (Joseph Gordon-Levitt) lost his parents in a tragic car accident, leaving him without a family on Christmas. However, friends Isaac (Seth Rogen) and Chris (Anthony Mackie) come to the rescue, establishing a new tradition to come together every Christmas Eve to party. But with the trio all now in their thirties and ready to get serious about family and career, they decide that this year's night of drunken debauchery will be their last. Hoping to go out on a high note, Ethan manages to steal tickets to the biggest, most exclusive party in New York City: the elusive Nutcracker Ball. But not everything is working in the trio's favour, especially with Isaac consuming far too many drugs from a gift box that was given to him by his pregnant wife Betsy (Jillian Bell), while Ethan pines for beloved ex-girlfriend Diana (Lizzy Caplan).
It's a standard set-up which suggests a simplistic string of comic set-pieces, but Levine and co-writers Goldberg, Kyle Hunter and Ariel Shaffir search for meaning in each of the three leads, creating emotional arcs in amid all the drugs and booze. On top of Ethan's depression relating to the loss of his parents and the break-up with Diana, Isaac freaks out over the notion of being a parent, and Chris starts using steroids to improve his NFL performance. It's laudable that The Night Before has ambitions beyond straight-up partying, but Levine has trouble negotiating the tricky tonal changes for this dramedy, and it feels laboured as a result when it should be breezy. Worse, a number of the jokes are on the pedestrian side, with Rogen simply overacting as per usual while the script mostly relies on improvisation to get laughs. Unfortunately, it's hard to recall any particularly witty quotes, and it should be a lot funnier.
However, The Night Before is not a complete travesty. There are scenes and moments that do work, while cinematographer Brandon Trost (The Interview) beautifully sets the Christmas mood with proficient lighting techniques and framing, dovetailed by an array of recognisable festive songs. The movie even opens with an amusing rhyme to make the story seem more like an old-fashioned Christmas tale, energetically delivered by none other than Tracy Morgan who serves as the movie's narrator. But the ace in the hole here is Michael Shannon (Man of Steel) as a zen-like drug dealer whose special brand of weed opens up portals to the past and future. Shannon is able to effortlessly achieve laughs by being so subdued in comparison to rest of the cast, and you're ultimately left wishing that he had a bigger role. Meanwhile, Gordon-Levitt and Mackie are appealing, Bell gets a few moments to shine, and Caplan is disarming as always.
The Night Before simply cannot figure out if it wants to be a sweet dramedy like the excellent 50/50, or a straight-up stoner comedy like This is the End or Pineapple Express. It's disjointed as a result, but it does provide some fun throughout its 100-minute runtime, especially when the action shifts to the Nutcracker Ball where some famous faces show up (including Miley Cyrus, who runs with the opportunity to play a comically unhinged version of herself). It may not become a widespread new annual Christmas-watching tradition, but The Night Before certainly shouldn't wind up being listed as one of the worst Yuletide movies in existence.
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The Mothman Prophecies more or less plays out like a feature-length episode of The X-Files, as it's concerned with an urban legend that's based in reality. Adapted from the 1975 book of the same name by John Keel, this supernatural thriller was directed by Mark Pellington, late of 1999's Arlington Road. The Mothman Prophecies is old-fashioned all the way through to its core, relying more on atmosphere and subtle chills than violence, and it does work to a certain extent. However, since the film was inspired by an unsolved supernatural case, it brings up far more questions than it can answer, and it both meanders and confuses due to the ostensibly random nature of many of its narrative threads. While there is intrigue here, the movie cannot quite come together well enough as a cohesive whole.
Even though the story purports to be based on true events that occurred in the late 1960s, the setting is updated to present-day, and follows (fictitious) Washington Post journalist John Klein (Richard Gere). John loses his beloved wife Mary (Debra Messing) to a brain tumor which is discovered after a sudden car accident, and John finds that his wife has been drawing a moth-like creature that she claims she saw on the night of the accident. Two years after Mary's death, John intends to drive down to Richmond one night, but inexplicably winds up in the sleepy town of Point Pleasant, having somehow travelled 400 miles in under two hours with no memory of what happened. Meeting local cop Connie Parker (Laura Linney), John is drawn into the town, where citizens are reporting strange happenings as well as sightings of a tall "mothman" creature that's very similar to Mary's drawings.
It would be best to approach The Mothman Prophecies as a piece of fiction that's loosely based on true events, as the script by Richard Hatem is a largely fabricated construction that weaves in a few factual events and as many creepy set-pieces as possible. (Whether by design or not, a number of "facts" stated by the movie are actually inaccurate.) However, the screenplay refuses to properly connect many of the plot points, and as a result, the film feels all over the place. It seems that it uses the unsolved nature of Mothman as an excuse to avoid answering everything, throwing out random horror conventions with mixed effectiveness. There are serious pacing issues as a result of the movie's haphazard structure, though it does improve to a degree with repeat viewings.
To Pellington's credit, he generates an unnerving atmosphere throughout the picture, especially with the competent cinematography and his expert use of shadows and sounds, amplified by a terrific soundtrack by tomandandy. The titular Mothman is only really glimpsed subliminally, and the bitterly cold setting helps to build a sense of gloom. The Mothman Prophecies is more of a mood piece than a scare-fest, rendering it a fascinating instance of restrained horror filmmaking. The movie's centrepiece is a stunning disaster climax which recreates the real-life collapse of the Silver Bridge, an event that supposedly brought an end to the strange occurrences in Point Pleasant. It does seem out of place since the rest of the proceedings are so low-key in comparison, but it does well to pull the rug out from underneath us, and it helps that the sequence is so gut-wrenching and riveting, not to mention competent from a technical perspective. A fair chunk of the $32 million budget likely went towards the climax, and the result is wholly worthwhile.
Even though Gere is a veteran performer who looks suitably focused here, his John Klein is too much of a blank slate, which is a problem. One cannot help but wonder how much more engaging the film might have been if it was more like The X-Files from a character perspective, and starred endearing actors like David Duchovny or Gillian Anderson who could have injected the story with some humanity. Ultimately, The Mothman Prophecies does have enough merit to make it worth watching, and Pellington's command of the screen is remarkable, but the material fails to properly serve the filmmaker.
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It's difficult to defend 2016's Grimsby as a legitimate motion picture, as it's moronic and gross in equal measure, but this is entirely by design. As a piece of brainless entertainment, Grimsby delivers with assurance, though it caters to a specific niche audience. It's very much in line with the previous works of the rambunctious Sacha Baron Cohen, retaining the vulgar, disgusting, politically incorrect tone previously beheld in Ali G Indahouse, Borat, Brüno and The Dictator. Indeed, anybody expecting a tasteful comedy has come to the wrong place. But even though Grimsby is silly, it's also a very, very funny movie which will prove to be enormously entertaining for those in the right mindset. And in an age where ballsy R-rated comedies are a rare commodity, it's relieving to witness a movie as uproarious and gleefully bold as this.
Separated as kids following the death of their parents, brothers Nobby (Cohen) and Sebastian (Mark Strong) follow decidedly different life paths in subsequent years. Nobby is a dim football hooligan with a lusty girlfriend (Rebel Wilson) and eleven children, living in the working-class town of Grimsby in Northern England. In stark contrast, Sebastian is a suave and accomplished spy for MI6. After 28 years apart, Nobby learns of Sebastian's whereabouts, and inadvertently interrupts his brother as he tries to thwart an assassination attempt on philanthropist Rhonda George (Penélope Cruz). Sebastian is targeted for capture and wants nothing to do with Nobby, but has no choice but to return to Grimsby with his deadbeat brother to try and evade both the authorities and various assassins. In over their heads, Sebastian teams up with Nobby to stop a devastating terrorist attack, while Nobby tries his hardest to build a proper relationship with his brother.
Grimsby plays out like a Jason Bourne or James Bond adventure, complete with espionage and globe-trotting, but just so happens to feature Cohen as a bumbling football hooligan in addition to a more seriously-minded spy character. To punch up the visual style and properly handle the movie's non-comedic elements, Cohen brought in French action director Louis Leterrier (Now You See Me, Transporter 2), who bestows the material with his agreeable brand of energy and panache. Action scenes are thrilling and well-choreographed, and the picture moves at a breathless pace - it's consistently watchable and never boring. It's certainly the most technically accomplished of all Cohen's comedies to date. It's enjoyably brisk at around 80 minutes, closing before outstaying its welcome.
Naturally, your mileage may vary for a flick like Grimsby, since it relies on gross-out moments and offensive jokes for the majority of its belly-laughs, and concepts like good taste are tossed out the window. This isn't an especially witty comedy per se, and it is largely forgettable on the whole (save for a few repugnant sequences that may haunt you), but the jokes come thick and fast, and the hit-to-miss ratio is astonishingly high. On top of the many puerile set-pieces (one of which involves a lot of elephant ejaculate), there are plenty of pop culture jokes to keep things topical, including sly digs against FIFA and the Fast and Furious franchise, and a gag at Bill Cosby's expense. Offensive material is also thrown in for good measure, with jokes about AIDS and leukaemia, and other politically incorrect material which had this reviewer howling with laughter.
Cohen again shows that he knows no boundaries, carving out yet another distinctive comedic persona and absolutely going for broke. He's well-matched with Strong, who's a terrific pick for the straight man of the show. Despite looking so serious, Strong is game for anything, no matter how utterly infantile the material may be. And especially because of Strong's prior movies, it's all the more hilarious to see him doing comedy like this. Aussie actress Rebel Wilson also makes a positive impression, while Gabourey Sidibe manages to get a few extra laughs. Even action star Scott Adkins gets a small look-in here as a terrorist, which is an inspired choice, though Cohen's wife Isla Fisher seems barely conscious whenever she's on-screen as one of Sebastian's colleagues.
For all intents and purposes, I should probably hate Grimsby. Critics were very unkind to the film during its theatrical run, dismissing it as infantile and offensive, but I cannot deny that it quite simply worked for me. It may be low-brow, but I still laughed, and it has strong replay value since it's easy to miss jokes the first time around due to the speed at which some of the gags are tossed out. Conservative viewers, or the easily offended, should most definitely steer clear of Grimsby, but if you generally enjoy Cohen's at times repugnant brand of humour, this is a movie for you. Be sure to stick around throughout the credits; there are mid-credits and post-credits scenes.
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Even though 2013's Olympus Has Fallen did not exactly set the box office on fire, it performed respectably against its modest budget, and money is money in the filmmaking industry. Not to mention, Olympus prevailed as the more successful “Die Hard in the White House” production, grossing more than Roland Emmerich's White House Down. Ditching director Antoine Fuqua in favour of lesser-known filmmaker Babak Najafi, but retaining much of the original cast, 2016's London Has Fallen stands as a worthy follow-up that should effortlessly entertain those who enjoy these types of blockbusters. It's a visceral, hard-edged action flick which preserves its predecessor's R rating, allowing for salty one-liners and brutal violence. North Koreans were the villains in the first film due to political conflicts at the time, but with the world now under threat from ISIL, Islamic terrorist bad guys were the obvious, timely choice here.
Two years after saving the life of President Asher (Aaron Eckhart), Secret Service Agent Mike Banning (Gerard Butler) is expecting a baby, and considers resigning in order to live peacefully with his wife Leah (Radha Mitchell). When the British Prime Minister suddenly dies, world leaders beginning converging on London for the funeral, with Banning assigned to watch over Asher during the trip. However, an Islamic terrorist cell overseen by Kamran Barkawi (Waleed Zuaiter) take the opportunity to strike, launching a terror attack in the middle of London with the ultimate goal in mind of broadcasting the beheading of President Asher on the internet. But Banning has other plans, seeking to safely escort Asher out of the city and overthrow Kamran's forces while endeavouring to contact Vice President Trumbull (Morgan Freeman), who's watching over the situation in Washington with his excitable staff (including Jackie Earle Haley and Robert Forster).
London Has Fallen has stirred up controversy online, with some calling the movie insensitive in the wake of horrific terrorist activities in recent years (specifically the 2016 Paris shootings), while others have dismissed the actioner as pure American propaganda. Yeah, it's silly, and its gung-ho attitude won't sit right with everybody, but I'll be damned if it doesn't work. London brings back Olympus scribes Creighton Rothenberger and Katrin Benedikt, while the script is also credited to Christian Gudegast and Chad St. John, though it's difficult to ascertain exactly why it took four people to write a feature as simple as this.
Once the threat is established and the initial strike has taken place, London transforms into a chase movie, following Banning and Asher as they traverse the perilous London streets, trying to survive as they encounter scores of nameless bad guys. Whereas Olympus was all about Banning rescuing the President from a hostage situation, this follow-up is more of a buddy movie, with Asher remaining at his protector's side for the majority of the runtime. It's a lean actioner at around 95 minutes in length, and it really moves, breathlessly transitioning from one conflict to the next, pausing for just enough chatter to keep the story comprehensible. Dialogue is standard-order and often tin-eared, though Banning does disperse a number of amusing John McClane-esque one-liners. If you can overlook the rampant ridiculousness of the enterprise, there’s plenty to enjoy here.
Taken as a simple, fictitious action flick, London Has Fallen works extremely well, playing out with the same zeal and spirit as a 1980s Cannon Films production. Rather than superhero antics or over-the-top mayhem, the movie favours good old-fashioned shootouts, car chases and fisticuffs, and it sports stronger production values than a typical straight-to-video outing (the actors actually shoot real blanks, and practical blood squibs are used, which is miraculous). Happily, the chaos is captured with lucid camerawork, allowing us to watch and enjoy it. Yeah, the cinematography is shaky to an extent, but the camerawork is never distracting, and it adds to the feeling of excitement. There's even an adrenaline-pumping shootout in a dark alley which unfolds in a bravura single shot for some welcome variety. The only real downside to London is the shoddy CGI, which often looks incredibly phoney and instantly takes you out of the movie. Mercifully, however, the fake digital mayhem is not constant, limited to only a few moments during the initial assault, so it doesn't constantly sour the experience.
Butler is an appealing, macho leading man, espousing the same type of attitude that was so prevalent in '80s action heroes. It would be easy to imagine Butler doing more action movies in this vein, joining the still-tiny list of modern actors capable of playing these sorts of roles. Just like John McClane in the Die Hard series, Banning approaches each conflict with a nonchalant attitude, and he always finds time for quips (he tells Asher that he was made out of “bourbon and poor choices”). Several other veteran thespians also appear here; Eckhart is an amiable President, and it's always nice to see Morgan Freeman. Other names include Angela Bassett, Melissa Leo and Jackie Earle Haley, all of whom seem to be having a good time.
It's hard to defend London Has Fallen beyond the level of guilty pleasure, since it is absurd and chock full of action movie clichés. In short, it's tailor-made for viewers who get a kick out of this brand of old-fashioned ludicrousness, and it was not intended for the more serious or stuffy class of movie-watcher. It's not exactly polished, but its rough-around-the-edges sensibilities do contribute to the charm to a certain extent. If you enjoyed Olympus Has Fallen, there's a good chance you'll have a fun time with this one.
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The Goosebumps brand was tremendously popular in the 1990s, with a string of horror novels by author R.L. Stine that terrified an entire generation of children. There was even a TV show adaptation and a number of computer games, but 2015's Goosebumps denotes the first time that the brand has extended to the big screen, seeking to appeal to a whole new generation of viewers (whose parents likely grew up with the books). Rather than an omnibus picture or a simple adaptation of a single Stine chiller, the screenplay (by Darren Lemke, based on a story by Scott Alexander and Larry Karaszewski) is set in the "real" world and features as many monsters and creatures as possible, within a narrative reminiscent of Jumanji and, to some extent, the recent Pixels. Even though it is slightly skewiff around the edges, Goosebumps is downright enjoyable and often charming, which is probably more than most movie-goers were expecting.
After the death of his father, Zach (Dylan Minnette) moves from New York to a small town in Delaware for a fresh start with mother Gale (Amy Ryan). Zach almost instantly takes a shining to Hannah (Odeya Rush), the cute girl living next door, but a friendship between the pair is strictly forbidden by her reclusive father, R.L. Stine (Jack Black), who goes by the fake name of "Mr. Shivers." Suspecting that Hannah may be the victim of domestic abuse, Zach and new friend Champ (Ryan Lee) break into Stine's house where they discover a library of locked "Goosebumps" manuscripts. Before Hannah or Stine have the chance to stop them, the two open one of the manuscripts, unleashing the manifestation of the monster contained within the pages. In the ensuing scuffle, all of Stine's titles are opened, giving life to dozens of ghoulish creations. To save the town, Zach, Champ, Stine and Hannah work to track down the author’s original typewriter, which is the only thing capable of writing an end to the chaos.
Tim Burton was slated to produce a Goosebumps feature in the 1990s, following in the shadow of the TV show, but it never came to fruition. Reportedly, many of the narrative broad strokes from Burton's planned iteration were carried over to this version, which feels more in line with something like Night at the Museum as opposed to Stine's original works. There are plenty of references to the novels, though, following the heroes as they encounter the Werewolf of Fever Swamp, the Abominable Snowman and the Giant Praying Mantis, but the de facto antagonist of the movie is Slappy (voiced by Black), the evil ventriloquist dummy that may unnerve smaller children. This is a fantasy chase picture at heart, and it does contain some amusing scenes and moments, including a shrewd discussion of Stephen King and mentions of Stine’s sales figures.
Goosebumps does admittedly suffer from hammy dialogue, some sitcom-worthy gags and a smattering of obvious clichés, not to mention the material is often played quite broadly, lacking in truly meaty scares. This is a PG endeavour which remains suitable for the younger demographic, eschewing any content that's horrific or shocking, instead leaning on the campy monsters to provide a few mild chills without giving anybody nightmares. Surprisingly, despite being such a high-profile release, digital effects are noticeably below-par, which serves to break the sense of immersion. With the exception of Slappy (who was achieved through clever puppetry), most of the primary monsters were brought to life via some absurdly unconvincing CGI, bringing attention to the tight budget (a mere $58 million) at the least opportune time. Still, director Rob Letterman (2011's Gulliver's Travels) otherwise exudes confidence over the material, channelling an old-fashioned matinee vibe and maintaining a taut pace from start to end. Added to this, composer Danny Elfman provides a playful, flavoursome original score that delivers everything we have come to expect from the regular Tim Burton collaborator.
Black settles on an agreeable tone as Stine, scoring laughs with relative ease. Even better is Jillian Bell (22 Jump Street), a scene-stealer as Zach’s bedazzle-crazy Aunt Lorraine. The film definitely could have used more of the agreeably daffy Bell, who delivers her limited dialogue with plenty of spunk. The younger actors are not quite on the same level as their seasoned co-stars, though, with Ryan Lee in particular growing a tad irksome as the over-the-top Champ. Luckily, Minnette and Rush fare better, and share a sweet on-screen relationship. Flaws notwithstanding, Goosebumps gets more right than wrong. It's an entertaining, PG-rated fantasy adventure that's by no means a chore to sit through, and in an age where kids movies are oftentimes unwatchable, this is good enough. The fact that it does have real charm and laughs, and it's possible to care about the characters on some level, counts for something.
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