“A Million Ways to Die in the West” Review

‘A Million Way to Die in the West’ is written by, directed by and starring Family Guy creator Seth MacFarlane. He chooses a decent concept for his second feature film which focuses on the nasty reality of the old west. Seth MacFarlane plays the straight man providing commentary for how this era was a terrible time for disease, corruption and violence. It’s not a bad idea for some gags, but the problem is MacFarlane grows bored of it very quickly and switches the film over to a barrage of childish gags involving bodily functions, curse words and sexual acts. But even in that arena, Seth still fails to deliver anything clever or amusing about the level of comedy. I’m trying to figure out what other project he was working on at the time that made him turn in such an uninspired script.

The story itself is nothing special. MacFarlane’s character falls for an outlaw played by Charlize Theron who helps him learn to shoot a gun so he can best a mustache salesman played by Neil Patrick Harris who is now dating his ex. And then eventually he has to face off against the ruthless traveling bad guy played by Liam Neeson. Much like the gags there is plenty of potential here that is never once tapped and he’s given nothing to work with. Much of the humor is also rather baffling and it seems like some of them may be in jokes we are not let in on.

MacFarlane even manages to find ways to completely waste cameos. Several actors reprise their roles from previous films and don’t really have anything funny to say or do. They just sort of show up to make a movie reference and then leave. Is this really what passes for comedy? I suppose it has to since the dialogue jokes meander and the physical gags are just flat. What is so funny about Neil Patrick Harris pooping in to various hats for an extended period of time? Is it the length that’s funny or the punchline where he trips over one of the hats spilling excrement all over the road?

‘A Million Ways to Die in the West’ is vulgar, low-brow and sometimes offensive as it struggles to whip up some laughs. But what’s more offensive is that this is a film that didn’t feel the need to try. It didn’t want to try to stick with the satire of the old west. Instead it just wants to make some toilet jokes and that’s supposed to be enough. The devoted followers of MacFarlane’s comedy work deserve so much more than what this film has to offer. You can live a long and healthy live if you never see this sad excuse for a Western comedy.

“A Haunted House 2” Review

‘A Haunted House 2’ is the biggest middle finger of a sequel I’ve ever seen. It refuses to take any new chances, try out new material or even write something different. The term rehash would be too kind in describing this “horror satire” which struggles more than any other film of this sub-genre for a laugh.

Marlon Wayans returns as the overly-talkative protagonist once again thrown into a creepy house where haunted hijinks ensue. The plot plays out as a direct sequel with his character dumping his previous love interest for a new white wife. I mention she’s white because his character will not shut up about how taboo it is to have an interracial relationship. Even though she tries to reassure him that it’s not a huge deal in the 21st century, he keeps harping on it. Here is a perfect opportunity missed for comedy as Wayans could’ve been seen as a backwards man alone in his misconceptions of the world he bases on stereotypes. Sadly, he is entirely justified by the usual tired and often racist depictions of different races in this picture.

The horror parodies are nothing all that special. There’s a running satire of the plot from 2012’s ‘Sinister’ with the killer from that film failing at his murders and getting assaulted by his victims. It’s mildly amusing as a sort of revenge against horror films, but then again this is nothing new for the sub-genre. The longest running joke involves the creepy doll from ‘The Conjuring’ which Wayans has a strange love affair with. This is a film where for five minutes we watch Wayans go off on an inanimate object and have sexual relations with. I never once cracked a smile during these scenes as they just never seemed to end despite the quick-cut editing style. That’s an even creepier thought to imagine there is more footage of Wayans making out with a wooden doll. This is the cry of someone who desperately needs a writer since he clearly can’t handle improv comedy.

The cherry on the top of this awful mess is the heavy racism. Wayans has written an extremely backwards world where Mexicans are gardeners, white people refuse to even acknowledge black people and African Americans are depicted either as gangsters or drug abusers. Needless to say, this is not biting or challenging comedy. Most of the film just seems to be improv from Marlon Wayans flopping around set with his loud and often annoying mannerism. The result is a film that is unfunny, tired, offensive and just not an enjoyable experience making it one of the worst films of 2014 by far.

“Blended” Review

Adam Sandler’s new romantic comedy Blended is a cliché and formulaic romp with that touch of Sandler’s juvenile wit. To his credit, this film isn’t anywhere near as offensive as his earlier works like That’s My Boy, but that’s hardly a glowing recommendation. I guess I’m just pleased that there was nothing heavily racist, sexist or foul this time around. That still doesn’t excuse the tired comedy and sitcom level writing for this feature film.

Sandler and Drew Barrymore both play single parents with multiple kids who are somehow able to have such easy jobs as being a closet designer and working at Dick’s Sporting Goods. I’d love to know which retail position there allows you to afford such a large house. Not only do they apparently have enough to support their families, but apparently enough to whisk themselves away to an African vacation for seemingly no reason! But they just happen to end up together at a couples themed family resort where the reluctant parties have to share a romantic suite. Thus begins their African adventure where Sandler and Barrymore learn to connect with the kids and each other through some painfully written resort activities intended to be romantic.

Blended was actually shot in Africa in which we are treated to some beautiful locations, but the movie fails to take full advantage of that. Why would go to all the trouble of filming in Africa with real animals when the film resorts to computer generated monkeys to play musical instruments. Come to think of it why would you even want to have computer generated monkeys playing music in the first place? I guess it’s just a-typical of Sandler’s blend with his trademark sight gags and verbal wordplay. And of course it just wouldn’t be a Sandler film without some potty jokes.

Sandler and Barrymore are decent as the cute couple we know that will end up together, but the rest of the characters are all gimmicks and cartoon characters. The kids are okay actors, but they only really serve one purpose to push to the two leads together and then just sort of disappear. Several of Sandler’s usual troupe of actors pop up as well for some moments of awkward and ineffectual bits. Terry Crews keeps popping up as the singing narrator that everybody can see and hear. The first two times it happens is mildly amusing. The fifth time it happens is tedious. After all these attempts at making the film funny, ‘Blended’ tries to turn itself around by making the relationship more emotional for the kids. But since it doesn’t play this card until the third act, you feel nothing for this new development so late in the game.

What perplexes me most about this movie is just who is its target audience. It’s far too childish for a romantic comedy and too adult to be a family comedy. I can only assume that it was intended for young adults and college kids to see on a date night. But, I don’t know, I’d like to think that those audiences are smart enough to know that this film is bland, tired and not challenging or entertaining enough for what they want out of a movie. It’s not the worst film Sandler has ever made, but it’s far, far, far, far far away from being a film I’d want to come back to again.

“Zero Charisma” Review

While shows like The Big Bang Theory seem to emphasize that geek is chic, Zero Charisma doesn’t shy away from the destructive personalities of the culture. It may seem like a dated perspective, but the truth is anyone who frequents comic & game shops is aware of this exact individual. He’s the self-righteous game master who thinks so highly of himself that a mere pebble thrown at his towering ego will unleash a storm of dork fury. We may choose not to acknowledge him in the “cool geek” crowd, but he still exists and makes for the perfect destructive character in this film.

Scott doesn’t have much to look forward to in his life. He works part-time at a Chinese take-out joint, lives with his bitter grandma and his flaky mother is attempting to sell her house to pay off her debt. The only thing Scott lives for is his original tabletop roleplaying game which he spends the majority of his time assembling each week for his gaming group. When one of his members departs due to marriage problems, he seek to bring a new player into the fold. Enter Miles, the hipster geek who happens to be an outgoing journalist and comic artist. He is charming enough to work his way into the hearts of the D&D group and begins taking the gaming group in a different direction. It isn’t long before his warm personality and talent breed jealousy within Scott turning him into his rival. And with everything else in his life going downhill, Scott’s rage boils over into insanity as he alienates and attacks everyone in his wake. He can start fights so effortlessly over the most trivial of matters. This soon turns into a battle of the casual geek versus the hardcore geek.

This film is essentially a portrait of a self-destructive individual born within the realm of basement dwelling fantasy lovers. He has become so dedicated to his craft and routine that any altercation sparks his own personal war. This makes him both frightening and hilarious. You hate to see somebody go through such anguish, but you also feel that he’s painted himself into this corner. And you just can’t help but laugh at the fact that Scott lacks the proper mentality to deal with these issues. His life is a mess and he lacks the tools to clean it up. This does, however, provide an interesting enough conclusion that doesn’t take the Taxi Driver way out. Rather, it brings an air of uncomfortable truth and resolution to social relationships in these small-knit communities. Scott is given some heart, but just enough so he doesn’t make any wild leaps in personality.

The script for this project has a biting and insightful wit as when Scott grows irritated by Miles showing him up with his geek knowledge. Scott claims that arguing over starship speeds is irrelevant, but Miles brings references and math into the equation to solve it. Scott at one point claims he was the original writer of The Matrix to which Miles buries his statement in the dirt with several sources. There’s even some strange and uncomfortable bits as when Scott attempts to pop a zit on his pal’s forehead in a rape-esque moment. Scenes like that took me out of the picture, but the hilarious dialogue that goes on at these D&D gaming sessions kept winning me back over. In its own morbid little way, Zero Charisma is a triumph of nerd depiction that I sure hope echos within the various communities to which it plays off of.

“Better Living Through Chemistry” Review

Even great actors can falter in a film if they’re not used properly. Take Sam Rockwell, a fantastic personality who can ooze charisma for any upbeat role. The only roles I could not buy him in are the sad wimp or the aggressive bully. ‘Better Living Through Chemistry’ likes to think he can fill both designations and lets the trainwreck unfold in a terribly hateable script. Sam Rockwell is a great talent, but even he can’t save a comedy so vile and unlikable that’s devoid of almost all humor.

Doug Varney (Sam Rockwell) is the meekly innocent pharmacist in a town packed with jerks. His wife is a neglectful health nut, his son is a school shooting waiting to happen and everybody he knows more or less walks all over him. It isn’t until he meets lonely housewife Elizabeth Roberts (Olivia Wilde) when he actually feels needed and appreciated. Fed up with both their lives leading nowhere with little appreciation, the two have an affair behind closed doors or in a car when presumably nobody is watching.

Then, in a strange jump, Doug decides it would also be fun to start pilfering pills from the pharmacy he runs. I guess he figured that if you’re going to be unfaithful you might as well commit felonies and get high in the process. He also uses these pills to his advantage in order to beat his wife at a bike race and then ravish like never before in the bedroom. He’s also finally able to connect with his son, but only through cussing and causing public property damage with ninja stars.

I know this whole experience should be seen as a warped way for Doug to gain some backbone, but it’s more of the makings of a villain ala Falling Down. You wish you could be happy for Doug, but it’s hard to root for him when he sinks down lower than the awful characters who spit on him. It isn’t long before Doug and Elizabeth decide to off her old man so they can runaway together. By this point you naturally don’t expect the plan to work and look forward to the inevitable downfall of the character.

But guess what? That moment never comes and were instead treated to a happy ending via left-field accidents that resolve everything. Such an ending would imply that we like the character of Doug and want to see everything work out nice for him in the end. It’s a little hard to feel that when the character is committing all these illegal and immoral acts with a devilish sensibility. You’d almost feel sorry for his dark descent if it weren’t for the fact that he got away with everything. Instead, you just end up hating Doug the same way you despise all the other characters. He sinks to their level and succeeds.

I’m still hung up on how he decided to make the massive leap from having an affair to stealing prescription drugs. Maybe if he’d actually fantasized or considered it at one point in the film it would actually make sense. Heck, the film had a perfect opportunity to use his drugged up and party-boy delivery assistant as an inspiration. It wouldn’t make Doug anymore likable with this added in, but it would at least make some sense of his actions.

There are some early moments where I was convinced that this could be an acceptable dark comedy. In a scene similar to ‘One Hour Photo’, Doug explains the various customers of the small town and the secrets he keeps on all of them. That right there would’ve been a great starting point for the story, but it’s rarely taken advantage of in the movie. We’re instead led down a not-so-likable path of drug abuse and wild sex, but not the kind where anybody gets hurt. After all, that would ruin all of Doug’s “fun”.

I know that Geoff Moore and David Posamentier were aiming for dark comedy here, but I fear they have forgotten the comedy part. Every character just ends up becoming so over-the-top in their mean-spirited nature that they all turn into cartoonish villains. These two writers just cannot conceive likable characters with a script like this.

Doug bursts into his anti-social son’s room and gets on his good side not by being a dad, but trying act cool with foul language and encouraging violence. If my dad did that to me when I was 12, I would’ve called the cops on him. Instead, Doug’s kid learns to trust his dad and confess what’s wrong at school. And all it took was some illegal acts of destruction to get on his good side.

What’s really disheartening is that all these characters are so vile that you don’t feel anything for any of them. Then when the movie actually wants you to feel some emotions when the characters are sweet or placed in jeopardy, you couldn’t care less about how things play out. Then you see how things actually play out and you’re pissed at how lazy the writers were with the conclusion. This is one of the few films with an ending so terrible you may want to bolt yourself to the couch to prevent your fist from flying through the screen.

‘Better Living Through Chemistry’ never really delivers on being either a dark comedy or an uplifting tale of gaining confidence. If it weren’t so ridiculous in its plot and motivations, it could almost pass for a drama. But the combining of the two genres for a good-pharmacist-gone-bad story just doesn’t work here. The film has about two or three decent chuckles and maybe one or two moments of satisfying revenge, but nothing more than that.

“Best Night Ever” Review

Sometimes a filmmaker can surprise you. Take the writing/directing duo Adam Seltzer and Jason Friedberg for example. Up until now, they’ve only made awful parody films such as ‘Epic Movie’, ‘Disaster Movie’ and ‘Meet the Spartans’. But their latest film, ‘Best Night Ever’, is their first original film. There are no cutaway movie references or pop culture satire gags in sight. I’m impressed as I didn’t think these two could ever conceive a film without relying on making fun of films. And guess what? They’re still the worst filmmakers ever.

Told in the popular found-footage format, ‘Best Night Ever’ follows a bachelorette party bound for Las Vegas. When they arrive, however, a case of stolen credit card info leaves the four girls without a swanky room in the city of lights. Deciding not to let this set back their partying, they check in to a low-grade motel on the bad part of town. It’s then that the movie starts struggling to find things for these characters to do by throwing them into wild scenarios.

At one point they decide to buy cocaine from a valet. The valet then robs them and the girls are forced to find money via strange acts such as mud wrestling. The mud wrestling could’ve been interesting, but it’s entirely cut as it proceeds straight to the bloody aftermath. And then it’s just one forced scene after another including taking drugs they swiped from an ambulance because they literally do not know what to do next. This is a plot so bad even the characters know it.

As for the characters, you care for none of them because they never get proper development. All the ingredients are there as you have an uptight wife with criminal tendencies and a new mom who wants to be a party girl. Those are both great foundations to work from, but they never build to anything. You don’t make us care about characters by just slapping them with traits and then never using them. Without any characters to become attached to on any level, all we’re really watching is a bunch of crazy women running around Las Vegas doing stupid and illegal acts. No story, no character, no great lines; just random acts of stupidity and vulgarity.

The one good thing I can say about the direction is that Seltzer and Friedberg are committed to the found-footage format. They make sure a character is always holding the camera at some point with no weird or out-of-place shots. Everything else is a mess.

For making so many comedy films, Seltzer and Friedberg have zero sense of timing. Towards the end of the film, the girls run afoul of a naked, obese black woman that chases them through a hotel. That type of shock humor only has a lifespan of 30 seconds max. But, no, we follow her for what seems like forever in a chase scene that will not end.

But the worst moment by far is a sequence that lasts over 10 minutes in which the girls dash around Las Vegas fulfilling the bachelorette party scavenger hunt. These scenes are not scripted nor do they have any dialogue as that would detract from the annoying overlaying music. There are some films that feel like they were made just so the celebrities involved would get a chance to travel. It’s clear that these actresses were doing this for a chance to run around Las Vegas like loons and we get to watch them have fun without any acting.

Is it really a surprise that these guys don’t know how to write either? They may have done their best to stay original with the script, but their unfunny nature and terrible ideas remain intact. There is no real story or characters present in this movie. There are components that if properly assembled could make at least a cohesive story, but why use any of that when you can just cram in as many vulgar jokes as possible. Oh, and because they’re women partying, make sure they scream and squeal as much as possible at the top of their lungs.

Also, was I supposed to laugh at the scene where they kidnap the wrong guy who ripped them off, raid his house and then urinate and defecate on his face? Is this what comedy has come to in this day and age? I know some women would like to praise this film for being a raunchy comedy with an all female cast, but do you really want to bestow that progressive title on a picture that involves pooping on people’s faces for revenge? Even ‘The Hangover’, for all its vulgarity, still had some standards. Chalk this up to Seltzer and Friedberg’s inability to write women, characters, gags and comedy movies in general.

This is ground zero for humor. It’s as if an A-bomb of awful went off in this movie leaving nothing but plot-puppet characters dancing around Las Vegas. I know I’ve said this with every film they’ve ever made, but Adam Seltzer and Jason Friedberg need to stop making movies. There is no hope for these two as they’ve been making terrible movies for years and have shown zero sign of improvement. Move over, Ed Wood and Uwe Boll. Seltzer and Friedberg have secured their spot as the worst directors of all time and this being their first original movie ensures that title.

“Jeff Dunham: Achmed Saves America” Review

Jeff Dunham’s one-note ventriloquism puppet Achmed takes a leap into the world of animation. The result of a failed suicide bomber mission, Achmed is plucked from his Middle Eastern home and transported to America. Choosing to accept his now skeletal appearance, a family takes him as they mistake Achmed for a French exchange student. Though the tiny terrorist is still hellbent on destroying the Western world, he soon comes to adore the country via friendly people and all-you-can-eat buffets. Before you know it, he’s on a mission to save his new family.

I’ll preference this review by stating that I am not a fan of Jeff Dunham’s brand of comedy. All of his puppet characters spout mostly simplistic politically incorrect statements with a subtle tone of racism. That can be funny for a few bits, but this style seems to comprise the majority of his puppets. Achmed’s angle is that he keeps shouting “Silence! I kill you!” while making stereotypical observations of Western and Middle Eastern culture. Sure enough, this animated feature does just that by featuring all aforementioned exaggerations. Some of the characters Achmed meets includes the sexually confused teenage girl, the anal-retentive liberal, the gun-toting redneck and the angry terrorist leader who rolls over easily for something as simple as frozen yogurt.

Oddly enough, this seems a little toned down for Jeff Dunham. There is nothing that risque in any of the humor. In fact, most of it feels like watered down ‘Family Guy’ jokes with the constant pop culture references and questionable observations. There are a few jabs made at both east and west, but nothing all that biting. It’s almost as if Dunham is trying to steer his act in a new direction as he paints Achmed as a more sympathetic character who learns to love. It’s a logical progression for the story, but it kind of ruins the whole point of the character.

Speaking of ‘Family Guy’, the animation designs feel very uninspired with simplistic round faces and eyes. Thankfully, the actual animation itself is impressive for the sheer timing and detail in movement. If anybody deserves praise for this special, it’s the technical team that make most of the visual gags work and take full advantage of Achmed’s skeletal form. Achmed’s jaw literally drops in shock to which he replaces as if they were his contacts. He shatters when hit by a car and struggles to put himself back together. These are all solid gags that are handled rather well by the visual team.

But, wow, the majority of the written jokes are flat. Jeff even resorts to old-as-dirt bits such as the rabbi and the priest who walk into a bar. If you’re going to dig up those corpses, you better have an original idea to dress them up in. Sadly, Jeff mostly just goes for the easy laughs. He never really shocks and he never really surprises with originality. There are some amusing bits here and there (thanks mostly to the quality animation direction), but they hardly warrant an hour-long fish-out-of-water movie. This may have worked better as a TV pilot, but it sure wears thin for its movie-style length.

“Bad Grandpa” Review

Since the release of the first Jackass movie in 2002, the stunt and shock of these good old boys have slowly been replaced by many amateur imitators on both television and YouTube. Thankfully, the elaborate team behind the Jackass trilogy has taken a slight step up by following the formula of Sacha Baron Cohen’s shock comedy. And while Bad Grandpa may not be on the same laugh level of Borat, it’s at least refreshing to see that they’re trying something more innovative than just Jackass 4. And as long as this means no Jackass 4, I’m all for it.

This time around there is actually a story and characters to go along with all the public pranks. Through an elaborate makeup process, Johnny Knoxville inhabits the role of Irving, a horny old man who is overjoyed at the recent death of his wife. He even confesses his glee to a woman sitting next to him in the waiting room. His newfound freedom is soon put on hold, however, as his witty 8-year-old grandson Billy (Jackson Nicoll) needs to be driven to his dad while his mom is in prison. The dad happens to be a deadbeat drug dealer who only accepts the child for the government paycheck, but it’s of little concern to Irving who is more interested in getting rid of Billy and chasing tail. However, after spending some time on the road having fun with Billy…well, you can see where this is going to end up. But, let’s be honest, the story isn’t what is important here. It’s just a thin narrative used as an excuse for some skits ranging from vulgar wordplay to slapstick to the gross-out.

While I didn’t exactly get a hard laugh, there were a few moments that caught me off guard. Just about every segment here is very well thought out and funny for the sheer length these two characters are willing to go. I got to give credit to both Johnny Knoxville and Jackson Nicoll for maintaining face and always delivering a great line for whoever they run into. I also think it’s worth noting how Johnny Knoxville does a great acting job with Irving not just for the crass remarks but the genuine emotion. When he confesses to a bar patron about how he feels bad about leaving Billy with his father, you really believe the sincerity in his voice. It’s not exactly a grand performance, but the believability he displays in certain scenes is impressive. Even Jackson Nicoll does a fantastic job as a slick speaking youngster that comes off more innocent than condescending.

It feels a bit odd to write this about a movie with defecation and punches to the groin, but the antics of Johnny Knoxville and company seem a little soft in comparison to their competition. The movie is still quite funny, but it never really hit that heavy laugh point I had with Borat or even the Jackass trilogy. To be honest, though, that may be a good thing. I’ve seen plenty of public prank movies/TV series and some of them end up going way too far for a joke. Maybe I’m still just fuming over how awful The Amazing Racist bits were in InAPPropriate Comedy, but Johnny Knoxville impersonating an old man with a smart-mouthed kid just came off as charming. Again, it feels a bit odd writing that about a film where the kid drinks beer and chucks his grandma’s corpse off a bridge.

The movie ends with footage of the people in public finally being informed of the joke after each segment. Everybody seemed cool with the prank and nobody was irate at being lied to from those clips. It’s a perfect cap to a film that comes off a little more good-natured than you may be expecting from Jackass. Bad Grandpa certainly has brilliant moments of the shocking and the grotesque, but it never really crossed that line of being too offensive or trying too hard for a joke. It just has that certain level of crude that never boils over into complete disgust.

I probably won’t be quoting this duo anytime in the future, but I was sufficiently entertained by their road trip excuse for some fun skits. As far as pranks go, the Jackass team prove once again that they’re still the best both for the laughs and the technique. And if they’re willing to try new ideas like wrap more narratives and characters around their comedy, the future looks bright for these old geezers. My only hope is that they retire to something less draining before Johnny Knoxville really doesn’t need makeup for this role anymore.

“About Time” Review

Time travel isn’t a science fiction element exclusive to the genre that birthed it. If I’ve learned anything from the Back to the Future trilogy, it’s that the ability to manipulate the past and future can spawn many different stories. About Time does just that: it takes a character with the ability to change the past and has him use his powers to find the perfect woman romantic comedy style.

Right off the bat, I had serious doubts about this story. I’ve been burned before with this concept as with the incredibly boring The Time Traveler’s Wife and the predictably routine Click. Luckily, this was a movie in the hands of Richard Curtis (Love Actually). And while Curtis doesn’t really think through the whole time travel angle, he does know how to craft an enjoyable rom-com.

When Nick has finally come of age to move out of his parents lush home, his dad reveals that the men of the family have the amazing ability to turn back time by simply thinking about a point in time. He tests this out by going into the closet, thinking about the New Years party he was at last night and ends up back at that very point in time. Every element recurs unless of course Nick desires to change it. This allows him to craft the perfect life where just about every mistake he makes with the girl he desires most can be averted. Every line can be a gem, every kiss can be the best and every move will be perfect. But there’s always a catch when it comes to messing with time and Nick soon learns the consequences and how he can’t exactly save everyone.

Though the film’s main goal is to present a charming romantic comedy involving time travel, it also has a lot to do with the relationship between Nick and his father. The two of them, sharing the same ability, chat a lot about what good can come of this power and how best to use it. You really get a sense of more or less the reality of these powers as Nick’s father covers what he’s spent most of his life achieving and regretting with changing time. You can use this power to read every book in the world twice or become a famous actor several times over, but none of it beats a date with your favorite girl or a game of ping pong with your dad.

As a warning, don’t go in expecting a satisfying portrayal of time travel. The whole concept of time travel itself doesn’t make much sense in cinema to begin with, but the inconsistencies are a little more visible here. The rules of Nick and has dad’s abilities are played very loose as you can apparently take others with you as you travel to the past. The implied paradoxes of adding another character for the journey not to mention that Nick at one point uses his power to travel back to his childhood would make one’s head explode. Take a cue from the Austin Powers films and don’t overanalyze it too much.

If you’re willing to go along with suspension of disbelief, About Time is a very pleasing romance romp with a unique concept. There are plenty of likable characters, genuine comedy and real emotion to fuel the entire redoing a timeline concept. As someone who wasn’t fond of the concept or romantic comedies in general, I was very surprised at how entertained I was by the whole scenario. For being Richard Curtis’ final film, he certainly turns in an astonishingly heartwarming story that touches so many bases about life, love and family. It’s not exactly a masterpiece of the genre, but the movie is irresistible enough to bring a smile to even the most jaded audience.