The return for the raunchy highway patrolmen that functioned more like a fraternity doesn’t come roaring back with a timely new story to tell. It doesn’t even return with an original premise, adopting the same simple staging of a drug conspiracy to keep the boys busy. Clearly, the Broken Lizard troupe wanted to return to their most notable theatrical comedy because they had a new batch of Canadian and sex jokes they wanted to sling on the big screen. Despite a handful of duds, there’s some clever comedy of mustaches and Canadians that hits high enough to improve the troupe’s laugh average.
Continue reading ““Super Troopers 2” Review”
It’s refreshing to see Wes Anderson bring his dark, dry, and gorgeous gift for comedy to the realm of animation. In a medium that seems to favor the two tones of family-friendly romps and festival-friendly art pieces, Isle of Dogs finds that sweet spot in the middle of the fantastical and the absurd. It’s a parable strong enough to sell its lore and weirdness of a dog-centric adventure in the retro-future, but not above having a laugh with the very concept itself. The consistent surrealness places it alongside the likes of Watership Down and Plague Dogs, films that may leave you baffled at how they were approved, but all the more pleased that they were.
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I know the story of Peter Rabbit, the blue-jacket wearing rabbit that didn’t listen to his mother and was almost killed by Mr. McGregor for entering his garden. Ah, but this isn’t that same Beatrix Potter tale. Some executive or producer thought that classic book was too old and lame to be hip with today’s kids. Today’s Peter Rabbit needs to be a character that is rude, crude, and condescendingly snarky with his slapstick battles against McGregor set to the tune of today’s top radio music. Also, he kills people.
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Tommy Wiseau is a fascinating director. The Disaster Artist begins with interviews of real celebrities talking about him and his film The Room as if he was a genius that had created a masterpiece. This includes actors such as Adam Scott, wishing he could go back in time to be on that set, and directors J. J. Abrams and Kevin Smith who applaud Wiseau. Were they joking or were they serious? Or both? For the knowing crowd at the screening who had all seen The Room, myself included, we started laughing quite early at these statements. This is a film which presents an intoxication of bad filmmaking that is so potent it’s easy to get lost in the ridiculous haze of the enigma that is Tommy.
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What an astounding recovery for Adam Sandler. His contract with Netflix has led him from making Sandy Wexler, one of 2017’s worst films, to The Meyerowitz Stories, one of the year’s best. I suppose if director Todd McCarthy can go from directing the worst movie of 2015 (the Adam Sandler starring The Cobbler) to the Academy Award winner of 2015 (Spotlight) anything is possible. Yes, Virginia, there is a brilliant Adam Sandler starring movie.
Continue reading ““The Meyerowitz Stories” Review”
McG’s wild stab at a dark horror comedy continuously misses the mark, struggling to land a laugh like a lousy comedian flopping about a stage slippery with blood. Not only does it fail to garner a giggle, but also becomes embarrassing for how hip this script tries to be, slinging out geeky and topical talk like a grandpa drawing inspiration from a few threads he read online. This is almost like McG’s midlife crisis of a horror film, trying to prove that he’s still the fun director with his fingers on the pulse of today’s youth. His attempt comes off with more cringe than cool, akin to your dad dusting off his bellbottoms and throwing on some Ray Jay Johnson to impress your friends.
Continue reading ““The Babysitter” Review”
Tom Hanks is such a likable guy that something as sappy and sweet as Larry Crowne is sure to cause a cavity. But unlike his stronger fables of Forrest Gump and The Terminal, this Hanks-directed affair seems strangely light. Perhaps I just can’t buy him so easily as the everyman at this stage in his life. It’s this distance with his charm that makes him hard to buy and forces a lot of comedy that doesn’t suit him well.
Continue reading ““Larry Crowne” Review”
Baywatch was the most trashy of 1990s television that started out as a suggestive lifeguard drama and spun itself into the craziest of spin-offs where characters solved ghost mysteries at night. No, seriously, look up Baywatch Nights – it’s real. The show at least started off knowing what it wanted to be with daring rescue drama and plenty of slow-motion shots of Pamela Anderson’s boobs bouncing and David Hasselhoff’s hairy chest glistening. That’s more than I can say for this big screen adaptation that can’t decide what movie it wants to be. Is it an R-rated puke-fest of a comedy or a hard-nosed adventure of daring feats? Is it an intense story of water rescues or a silly caper of foiling a drug scheme? It is all these and none of them – the jack of all cliches and fool of them all.
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This is the black hole of cliche comedy that every road trip movie swirls around but rarely dares to enter. Diary of a Wimpy Kid: The Long Haul doesn’t just kamikaze into this abyss of laziness; it does so with almost suicidal tendencies. There is no desire here to be original or clever, relying more on the gross humor and slapstick gags that should have been retired decades ago. I can only fathom the filmmakers figured that today’s kids would be too young to have seen the old pee-in-the-bottle gag from Dumb and Dumber and too simple to not find anything foul about poop, vomit, and urine.
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I suppose I should be grateful that the third film of Adam Sandler’s Netflix contract was not as terrible as it could have been. He disgusted me to no end with cringe-worthy Native Americans satire and scatological scenes of horse droppings in The Ridiculous Six. He shocked me with how sexist, homophobic and downright mean he could be in The Do-Over, in addition to nearly making me vomit from the grossest three-way I’ve ever witnessed on film. The best I can say about Sandy Wexler is that it didn’t make me recoil from being grossed out or feeling uncomfortable. It did give me a massive headache for Sandler’s ear-splitting titular character though. Progress?
Actually, calling Sandy Wexler a character might not be accurate. To embody the role of a consistent liar of a talent agent, Sandler throws on dorky clothes and speaks in his most nasally of Jewish stereotype voices. It’s that familiar nails-on-the-chalkboard voice that veteran movie critics know quite well of Sandler’s work. Surprisingly, he doesn’t say anything that offensive about his religion or others. There’s also no scene where we get to hear him wail while he has violent diarrhea or an awkward orgasm. The lack of crudeness and offensiveness allows the audience to appreciate just how unbearable this character is even when trying to be a nice guy.
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