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GrantKanigan
Reviews
Twisted Metal (2023)
Twisted Metal is a Clever, Original and Absolutely Unhinged Vision of the Near Future
What a delightful surprise "Twisted Metal" is. Knowing nothing about it aside from it being based on a wacky 90's video game, I expected some lowbrow jokes and gallows humour. Thankfully, it completely obliterated my expectations.
One of the show's biggest strengths is that it has some absolutely brilliant writing. I'm not surprised Sean Diston is one of the writers on the show - the film has some of his subversive style in its soul, (the podcast that he hosts with Scott Aukerman on "Scott Hasn't Seen" is a must for film and comedy lovers). And the always charismatic and exceptional Anthony Mackie, along with the chameleon-like devotion Stephanie Beatriz puts into her acting, are all stunning. The soundtrack, sound editing, even the mixing are all dynamic, booming and right on point. Every zig zag this series takes, ends up right on track.
All in all, this is a visually colourful, explosive, hilarious, surprisingly heartfelt and absolutely enjoyable action-comedy that has just the right mix of action, drama, characterization, backstory and flat out enjoyable characters. Will Arnett/Samoa Joe are a delight; going absolutely insane, in a Jack Nicholson-in-Batman type of performance. Thomas Haden Church is a devilishly cruel, memorable villain, and Mike Mitchell is, unsurprisingly, fantastic. He gives his character complexity and enough heart to make the audience truly care about who he's playing. As do the rest of the cast.
This is the rare moment when a lot of perfect elements all meet up to make something special. This is a heavy metal drenched, post apocalyptic, ridiculous, soaringly funny, video game adaptation that takes its premise and does truly inventive and interesting things with it. Not only is the season's overarching plot and writing stellar, but so is the acting, cinematography, editing and everything else.
Also, as horrifying and disturbing as this vision of the near future is - it also has moments of wholesome goodness - amongst mountains of gore. It's like a "happy horror" film. Is that a thing?
It is now.
History of the World: Part II (2023)
Mel Brooks has Still Got It
Not only does History of the World Part II feature a murderers row of comedy and improv titans, (Nick Kroll, Wanda Sykes, Ike Barinholtz, Gil Ozeri, Lisa Gilroy, JB Smoove, Danny DeVito, Pamela Adlon Jack Black, Rob Corrdry, Will Sasso, Josh Gad, Lauren Lapkus, Guy Branum, and about 30 other huge names, including a delightful Mary Magdalene played by Zazie Beetz and hilariously relaxed Jesus Christ played by Jay Ellis), but it also features Mel Brooks' signature absurdist, ridiculous style - from jokes like "have it delivered by Putz Mates" or two twins named "The Property Brothers Karamazhov"; the puns, wordplay and subtle social satire from Brooks' best work, (Blazing Saddles, History of the World Part I, Spaceballs, Young Frankenstein), is all here. At 96, Brooks is still as sharp as ever; with the help of some of the best comedians working today, History of the World Part II is a laugh a minute dive headfirst into the absurdity of the human condition, done in only the way Mel Brooks can do. For comedy, improv, and comedy writing fans, this is a master class. For everyone else? It's a riot. I've been a Brooks fan since I watched Spaceballs in grade three. That was twenty odd years ago. He's still making me laugh, and as an adult - I'm laughing even harder.
We live in a weird world that can be scary at times, especially in 2023. Yet, seeing so many people come together all in the name of being goofballs and trying to make us all laugh is a refreshing beacon of light and a breath of fresh air in a world that takes itself far too seriously. Bravo Mel; you've done it again.
She-Hulk: Attorney at Law: Just Jen (2022)
Fun, fresh and unpredictable
The freewheeling, devil may care attitude of "She-Hulk" is what makes this show so entertaining. As a self aware, fourth wall breaking series that doesn't have the absolute world ending stakes of other Marvel fare, this is somewhat of a 21st century sitcom - and I mean that as a compliment. It's fresh, funny, often absurd in the most unpredictable of ways, this is a show that shines when it lets it's weirdness fly. It's a shame some of the reviews of this series seem to be political for opaque and illogical reasons, because this is a great, funny show with a fantastic actor in Tatania Masilany at its centre. The supporting cast, Jamil, Gonzaga, Harrison, and Goldsberry are all fantastic here as well. The mix of drama, tension and a lot of humour in this episode great, and it's *different*. The meta element adding in realistic internet comments and threats is also a bold and brilliant commentary on the current North American culture and zeitgeist.
Resident Evil (2022)
A Legitimately Awful Display of Incompetence
Resident Evil has never been a highly intelligent or subversive franchise. It's mostly just an excuse for us to watch cool heroes blow zombies up in increasingly Rube Goldberg-like contraptions. The film series were hit and miss, as was the recent remake. It's a wonder why all of the film adaptations haven't been great - most of the storylines in the games themselves are great - but something is always lost in translation. Maybe the stories within Resident Evil's lore just work better in a video game. I had a blast playing "Villiage" last year, with its length and story it was able to flesh out an interesting and unique world for itself. As an immersive horror game, it was incredible. I fail to see how translating it into a film would make it any better or any more compelling. Part of what makes the Resident Evil games so fun is interacting with and playing the story. I guess that's why most of the adaptations of it feel more like I'm watching someone play a game, rather than an actual movie. So, with all of that being said; my expectations for the latest Resident Evil adaptation were rock bottom.
Do they have AI write series now? People just learning how to read and write? Did the writers understand what they were doing? The assignment? Did the cast know they were in a Resident Evil film? Did they know the cameras were on? Was the hair and makeup department's goal to make the characters look as goofy as possible? Did everyone involved in this effort catch long-Covid, and thus had "foggy-brain" for its entire production? I don't know. I don't know the answer to any of these questions - and it sure seems like none of the cast and crew did either. The one star is for Lance Reddick, who is a brilliant actor and doesn't get enough high quality, high profile roles. He's better than this, but hopefully he got a nice paycheque. He deserves it. Other than him, everything about the series is a mess.
The first episode is chaotic, nonsensical, severely unintelligent, campy, (but not in an intentional OR fun way), poorly put together and awfully written. This is one of the worst things I've ever seen on Netflix or TV in general. It's just BAD, whether you look at it from a video game adaptation standpoint, a storytelling standpoint, a filmmaking standpoint or just as testament to the creators lack of understanding of the human condition. It's not worth your time, fans of Resident Evil's time, or anyone who can see or hear's time. "Resident Evil," the series, is an absolute waste of time and embarrassment for everyone involved.
Blood Pageant (2021)
I Hope Snoop Dogg Got a Nice Paycheck
This is so absolutely inept, poorly made, amateurish and annoying that it's unfair to label it as a film. I can only imagine they spent their budget on Snoop Dogg's cameo, (or somehow 'Bowfinger-ed' him into the film), and everyone else worked for free. There's a few actors trying hard, but the direction so absent, the cinematography so stale, and a story so nonsensical - this isn't even "fun" bad... it's just bad. And kind of depressing.
And then it slowly becomes frighteningly apparent this isn't a normal horror movie - it's "faith based." It's a non-horror horror film, where any scares or laughs are lost to nonsensical monologues about the power of Jesus. It's almost as if Jesus' PR team paid for product placement throughout the film.
Not all faith based, or Christian films are bad, (The Exorcist, The Mission, Constantine are all different, unique, compelling and entertaining), but this one definitely is. For both the faithful and non-faithful this is nothing but a weird, confusing and boring exercise in formulaic filmmaking with zero creativity, intellect or sense of humour.
Comedy Bang! Bang!: Colin Hanks Wears a Denim Button Down and Black Sneakers (2015)
Non-stop funny and killer cameos
The absolutely underrated Sinbad is perfect as a gonzo version of Neil deGrasse Tyson, Colin Hanks nails deadpan absurdity, and Chelsea Peretti is, as usual, over the top hilarious. The series regulars, too, have a blast trying to avoid an alien wreaking havoc on the set, as Reggie and Scott decide to push the idea of "the show must go on" to ridiculously funny degrees. Comedy Bang Bang is always a good time, but this episode is exceptionally funny, enjoyable and memorable. An instant classic.
Ass Backwards (2013)
An unfairly maligned farce of hilarious proportions
I'm not sure why films like "Dumb and Dumber," "I Love You, Man," or "The Hangover" find heaps of praise when a film that is just as goofy, just as over the top, and just as (intentionally), stupid as "Ass Backwards" Doesn't. It's just as funny, inventive, and all out ridiculous. I worry it might have something to do with the gender of the leads. For some reason, I think women aren't "allowed" by the mainstream to be as reckless as their male counterparts. Bridesmaids did it, yes, but I still think mainstream cinema has a long way to go.
Written by the two stars, June Diane Raphael and Casey Wilson, we follow the two ridiculously stupid and blissfully ignorant Kate and Chloe - two beauty pageant rejects who have never quite gotten over their loss. When a reunion event for the pageant that ruined their childhood pops up, the two see it as a redemption for their pasts. Part road trip movie, part farce, all buddy comedy "Ass Backwards" is a primal scream of comedy that seems to state "women can be stupid too." And that's all the film wants to do - make you laugh and have a great time doing it.
If you're a fan of films like "Dumb and Dumber", "MacGruber", or "Dude, Where's My Car?" Then "Ass Backwards" will be right up your alley. However this film succeeds where those others didn't - while the main characters here may be dumb, they've also got a lot of heart, and a friendship that's deeper than family.
Here's hoping Diane-Raphael & Wilson team up again - because "Ass Backwards" is an absolute riot that got lost in the constraints of a society unwilling to let women loose to do something these two do very well - make us laugh.
Gunpowder Milkshake (2021)
A waste of an absolutely stellar cast.
This movie had so much promise - gritty thrills, a murderers row of acting giants, a likeable, talented lead and a stylized feel. One look at the trailer and you feel like it's a hyper-violent Mother/Daughter version of John Wick.
Not so. This film is an absolute mess. The dialogue sounds like someone doing a terrible knockoff of Tarantino if they only had 100 words in their vocabulary. The shots are too long - the editing is nonexistent; sometimes shots seem out of focus for artistic effect; other times it's like they forgot to edit shots out. Take out the overlong shots and slow motion and the film would likely be an hour long. The characters don't make sense, the story has no logic.
The worst part of the film is the wasted talent. Bassett, Headey, Giamatti, and Yeoh are masters of their craft, Gugino, as always, is a delight, and Gillian is an unparalleled talent - she's done great work in comedy and in some huge franchises. This is a killer cast, and they are absolutely wasted. It feels like some takes are the first and only takes, (Michelle Yeoh, who is an icon, is terrible in this and I guarantee you it's because the director had no clue on how to direct her).
On top of all of this, is a slow, plodding pace and suprisingly poor fight choreography. The greatest sin of all? It's dreadfully boring. Director Papushado should rethink his career, because this had all the makings of a hit, and turns out to be a completely inept, utter misfire, made worse by wasting the talents of its cast.
Supergirl (1984)
Not your average complete misfire, (but a misfire nonetheless).
Supergirl is BAD. The plot is nearly incoherent, the tone inconsistent, and, having come out in 1984, is quite dated. The dialogue is ridiculous, and the script is absolute nonsense, especially when it adds up to a nearly two hour film. But that doesn't mean "Supergirl" is worthless. There are flashes of creativity, some stellar performances, and the set design and cinematography are occasionally so good they make everything else look so much worse.
Beginning in a place called "Innerspace" (it's like outer-space but inner, get it? That's literally the explanation the film provides). We discover Peter O'Toole's character has created a safe haven for those left behind after Superman's original planet was vaporized. O'Toole accidentally loses his haven's power source, Supergirl, (who is Superman's cousin, I guess), decides to go find it. From here we have a collection of witches, warlocks, a tiger rug, an abandoned amusement park, and an hour long digression into High school politics when Supergirl randomly decides to become a student. Oh - and the entire film, both the protagonists and antagonists try to woo a local high school dropout and handyman - which leads to some severely uncomfortable scenes between a supposedly high school aged Supergirl and mid thirties handyman.
As a film it's an incoherent mess. That being said - I was entertained by every second of it.
From the absolutely weird choices in set design, (O'Toole's magic wand and power source contraptions look like dollar store toys, to the witch hideout inexplicably set in an abandoned theme park), to the exemplary actors giving it their all in a film about absolute nonsense, (there are three Oscar nominees as well as three other screen legends in the film), including O'Toole, Dunaway and Vaccaro absolutely crushing it, to randomly, beautifully realized cinematography and flight sequences in the film - there is so much to chew on from a critical and filmmaking perspective. One wonders if the filmmakers had been given complete creative control, what the film might have been.
On top of all of that - there are so many "huh?" Moments. From a mind numbing opening credit sequence that looks like a fifth grader's PowerPoint that inexplicably cost over one million dollars, (in 1984 - the film looks like it was shot in 1964), the 'evil-tractor' sequence... the entire film is a collective "huh?" Experience.
If you're a fan of watching bad films because they can be either entertaining, fascinating or hilarious - this is all three. If you're just interested in some escapism in the DC universe - avoid this mess at all costs.
Und morgen die ganze Welt (2020)
A film that wants to say a lot - and ends up saying nothing
Never have I seen a film come so close to making a point and then miss the mark entirely. The acting is fantastic, especially by lead Emde, the cinematography is striking, and the editing is well done. But the script reads like a first year's essay on Free Speech and Fascism that didn't bother to do any real research. For a much better version of this film, check out "The East."
Monkeybone (2001)
A poorly marketed gonzo dive into comic madness.
A goofy, super weird, off the wall comedy that is what "Cool World" tried to be. It's not for everyone, but it's gonzo, punk rock, disturbingly Freudian milieux is realized in its fantasy world.
Unfairly maligned and poorly marketed, (it was marketed as a kids film, when it probably should have been rated R), this is a masterpiece of surrealism and intentional idiocy; both satirizing and revelling in the shock-cartoon craze of the late 90's. Add in a great supporting cast, and committed performances from Fonda and especially Fraser, and you get an unforgettable, (albeit imperfect), alt-comedy film. I've never seen anything quite like it. It's not for everyone, (in fact I'd say avoid it if it looks like something you'd dislike), but cinephiles and comedy fans will find more than enough to pique their interest.
And the supporting cast is incredible - Goldberg, Foley, Church, Turturro, McGowan, Mullally, and Giancarlo Esposito before his massive "Breaking Bad" breakthrough.
It's a time capsule into the late 90's alt-comedy/animation craze that unfortunately had died out by the time Monkeybone hit theatres in 2001.
Overall - if you tire of zany antics, gross out humour and surrealism - avoid this at all costs. If you're looking for a weird, unique, occasionally off-putting but always interesting descent into a PG-13 version of hell - it's a home run.
Safe Haven (2013)
An Engaging Romantic Drama Almost Overwhelmed by Twists
Safe Haven is classic romantic fare from Nicholas Sparks - a mysterious woman with an interesting history, a lonely father with a beautiful wife he lost to cancer, a small fishing town, two plucky kids and zany locals. It's the perfect formula for a romance. Duhamel is a pro in these type of films, and Hough, in one of her first major roles, is charismatic and engaging. A lesser actress would have made it a bland performance - Hough injects life into her character. Read on, if you don't mind spoilers.
It would be nice to have an adult film about finding love amidst grief or starting anew, but it seems that having a female character who doesn't have trauma as her driving force is a rare thing these days. The "crazy-ex-husband" trope is jarring and confusing in the way it's framed, and, (aside from creating some conflict), unnecessary. Stories like that deserve to be told - but here it just seems out of touch and out of place.
Additionally, Colbie Smulders, while a great actress, is giving nothing to do here aside from being a quippy best friend. Having her be the ghost of Duhamel's dead wife is a super left of center, very odd and verisimilitude shattering choice. It takes a pretty decent romantic film and changes it into a weird PG version of "the sixth sense."
Overall, this is a watchable romantic drama, elevated by its cast, cinematography and great director. The script is too overstuffed and becomes a "Enough"/"Sixth Sense" hybrid, when it should have been just a decent romantic film. Still - it's tough to hate on a film that takes huge creative swings like "Safe Haven" does. It's weird, tonally all over the place, and can be confusing; but it's sure as hell entertaining.
The Kid Detective (2020)
A surprisingly complex cinematic treat.
A brilliant, funny premise with comedic heft, that is also a unsettling thriller. It'a due to the whole cast, whip smart direction, excellent direction and a masterful performance from Adam Brody. It's a testament to both the writing and Brody that such a weird, unique premise can ride the line between goofy satire and deadly serious themes. It's a unique, thrilling and absolutely memorable film. Where the Coen brothers seem to be more tongue in cheek or outright violent, or Guy Ritchie might stylize and use violence for jokes, this film somehow has its hilarious moments without taking away from some of its deadly serious tones. It's wonderful filmmaking, and surely would have been a hit if 2020 hadn't decimated moviegoing. Here's hoping this isn't the last we've seen from the creative duo of Morgan and Brody, and that this film finds its audience on VOD. It's destined to be a cult classic.
Stanley Tucci: Searching for Italy (2021)
An absolute delight
With Tucci's natural charisma, excellent hosting, keen interest in rediscovering Italy, and chumming with the locals in their native tongue, this is a delightfully positive, informative and absolutely enjoyable docuseries. If you love food, travel or just learning about Italian culture, this is not to be missed.
Blue Iguana (2018)
A surprisingly fresh, funny and unpredictable twist on the heist genre
Blue Iguana wears it's Guy Ritchie and Tarantino influences on it's sleeve, and, at first glance seems like it's just a rehash of those genre hits. Not so.
"Blue Iguana" has an unpredictably gonzo script that weaves in and out of violence, romance and absurdity with ease. It features a brilliant cast: Rockwell, the always hilarious Schwartz, Fox and the supporting cast; all are pitch perfect, (especially Schwartz, who's character could come off as annoying - he plays the part with just enough silliness mixed with seriousness - is instead endearing and absolutely entertaining). Hadi Hajaig, directing as well as writing, keeps everything taut, interesting and fluid. This is the rare genre pic that not only subverts the genre - but does it better. A truly unique and memorable film that's worth seeking out. Here's hoping this isn't the last we've seen of this motley crew.
The VelociPastor (2018)
Just because something is aware it's bad, doesn't make it not bad
There's horror comedies, (Cabin in the Woods), comedies with horror, (Freaks of Nature, Pirhana 3D), or there's a special breed of film, like "Birdemic" that are comedies that are supposed to be horror, and don't know that they're comedies. Like 'The Room', 'Fateful Findings' or the aforementioned 'Birdemic' what makes those films so great, is that they're not intentionally setting out to make something 'so bad it's good' - it's just a happy, miraculous accident. Films like 'Velocipastor' or 'Sharknado' seem to exist in an uncanny valley, a mirror version of the former three films. They're a cheap imitation, and don't work.
Velocipastor was made on a shoestring budget, and that can actually work to some films' benefit - Clerks, Paranormal Activity, and the Blair Witch project were made on the cheap, and they're smart, often terrifying, or in the case of Clerks, hilarious films. A good story and clever filmmaking can overcome any budget issues. Here, an explosion is shown as plain text that says "insert exploding car VFX" that elicits a minor chuckle the first time, and just annoys every time after. When you're intentionally missing cues, inserting boom mic's overhead, having 'editing' mishaps it's not funny. It's like a planned blooper. Bloopers are funny precisely because they're unplanned. Here it just makes the filmmaker look like a self-saboteur, so uninterested in their own story they're cutting corners wherever they can to be "meta", when in reality it's just laziness. There's a goofy idea here, that maybe could have worked better as a straight faced horror comedy, without the winking at the camera. The filmmakers here are in on the joke. The problem is, is that the joke just isn't funny.
That being said - the two main actors do a fine job in their ridiculous roles - and deserve some better work in the future. And the soundtrack is killer. A scene midway through the film looks like a music video, and that's maybe what this should have been - a goofy, three minute punk rock music video. At 70 or so minutes - it feels like an eternity.
Project Power (2020)
A superb sci-fi thriller elevated by dazzling cinematography
Project Power seems like something else at first glance - 'Avengers' Lite, a weird version of 'Bright' or one of those weird Suicide Squad/Batman vs. Superman flicks that look and sound like a gritty R-rated cop movie inside of a PG-13 formula. Thankfully it's anything but.
Following Art, (Jamie Foxx), and New Orleans Police Officer Frank, we see the pair individually search for the supplier of mysterious "Power": a pill that gives its user immense power for just five minutes. The only catch? You don't know what power is yours until you take it. Caught in the middle of all of this is high-schooler Robin, (Dominique Fishback), who's attention in school is spent imagining complex rhyme schemes and raps instead of memorizing algebraic equations.
What differentiates "Project Power" from its big budget counterparts is three things: an original, fun premise that is explained in just enough detail to satisfy the suspension of disbelief, absolutely breathtaking cinematography, and a exuberant cast. Dominique Fishback, especially, shines as a shy, courageous teen who has so much to say when given the chance. A lesser actor would make the character either annoying or saintly. Fishback makes Robin both likeable and realistic. It's wonderful too, to see such a young and promising actor match talents with industry veterans like Gordon-Levitt and Foxx; both of which shine in their roles. Gordon-Levitt nails his role as a tough, morally conscious cop, and Foxx plays an unusually quiet and restrained character, which goes against his more bombastic roles as of late. It's a treat to watch such good actors at work.
All in all this is a tight, exceptionally entertaining, fresh and original film featuring excellent performances and dazzling cinematography. The film has some welcome progressive themes and never loses sight of its ability to entertain its audience. This is A-Class action filmmaking, with heart, originality and charisma to boot.
Mythic Quest: Raven's Banquet: A Dark Quiet Death (2020)
A brilliant short film confusingly wedged into an unrelated series.
I watched Mythic Quest and enjoyed it quite a bit, but was confused when episode 5 began in the early 90's. Was it how MQ started? The main characters' childhoods? No, unfortunately. It turns out "A Dark, Quiet Death" is virtually unrelated, brilliant dramatic piece on art vs. Commerce.
Following Doc and Bean, (Jake Johnson and Cristin Milioti), taking their video game idea from inception to worldwide success, we witness the ups and downs of being at the reigns of a a creative empire, as well as the toll it can take on personal relationships. It's a slow-burning, moody and touching story. Honestly it could have been a pretty decent film if the characters were fleshed out a bit more, because Miliotti and Johnson especially, do some brilliant work. Johnson takes an unusually subtle approach to his role, and plays against type beautifully. It's a very well written, directed and acted episode. But it all seems so out of place.
Maybe the creators wanted to show how their show became something they didn't anticipate? I'm not sure. But it's almost a shame this episode is wedged into the series. It takes away from the low-fi comedy of the previous episodes, and also takes away the dramatic heft of this episode.
Mythic Quest: Raven's Banquet is a pretty funny, entertaining show that gives a bit of an 'inside baseball' look at the video game industry. A Dark, Quiet Death, is a moody, emotional drama about trying to balance art and commerce. Neither one fit together. But if this is the only way we get to see the McElhenny's dramatic work - I'll take it.
Fantasy Island (2020)
A Goofy B-movie Buoyed by a Talented Cast and Superb Visuals
Reading some of the reviews, it seemed more people expected "Get Out 2" than a horror remake of a 70's TV-Show. "Fantasy Island" pull no punches, and knows exactly what it is - an entertaining bit of escapism with just enough mystery and intrigue to keep the viewer engaged.
Yes, Blumhouse is fast becoming one of the most interesting and progressive studios in the buisiness. From Get Out, Happy Death Day, the Invisible Man, Upgrade and Sinister, they've been making a name for themselves as creators and producers of a new kind of 'smart' horror film that pleases critics and audiences alike. As well, they've produced some fantastic non-horror films like BlackKklansman, Whiplash and the Normal Heart. Maybe it's because Blumhouse has such excellent films in their repertoire that Fantasy Island got lumped in with them. Fantasy Island is lighter fare, and there's nothing wrong with that.
Using the premise of the original show as a jumping board into madness, the film tells the story of an ensemble of millennials, dumped onto a mysterious island to live out their fantasies. But as most stories like this go - sometimes your greatest fantasy can become your worst nightmare. This simple premise allows for entertaining wish fulfillment, a bit of goofy satire, as well as some good ol' shock and awe. When things go south, however, is when the film gets interesting.
Like a weird, semi-serious episode of 'Lost', Fantasy Island tells a compelling mystery story that coasts on the talents of its leads, especially Maggie Q, Lucy Hale, Portia Doubleday and most of all, the duo of Ryan Hansen and Jimmy Yang. Twice now, I've seen them onscreen together, and no matter the quality of the film, they always steal the show. Even though the ensemble is great here, the film would have been served much better with fewer characters and a more streamlined plot. At almost two hours long, there's a lot that could have been cut out without sacrificing the story or drama. Couple that with a weird, almost unearned ending, and the film just misses the mark. The end sometimes feels as if it was reshot to make focus groups happier. I was expecting a little more from a film that builds its mystery and suspense surprisingly well.
All in all, this isn't a perfect film, but it's sure as Hell entertaining, and there's a lot worse ways to spend a quiet night or afternoon. An enjoyable, entertaining and light bit of escapism worth watching due to the cast and cinematography raising the bar above mediocre. Solid B-Movie cheese made by A-list talent.
Becky (2020)
An Ultra-Violent Glimpse Into the Abyss of Evil
"Becky" isn't your average genre flick. Yes, it does have some occasionally over the top violent scenes, but where other films would go for either the heartstrings, terror, vengeance or justice - "Becky" goes a little further into the abyss.
Kevin James' Dominick is undoubtedly, absolutely, psychotically evil, just like the hateful rhetoric he spouts throughout the film. But the film seems to ask - how much innocence, morality and family is one willing to sacrifice in order to defeat evil? How do we, as many have said, "be careful when fighting monsters, that you do not become one yourself"?
Lulu Wilson's "Becky" is the answer to that question. When people are pushed to their limits, when their family and fibre of their very being are pushed into a corner - good people fight back.
"Becky" is a powerful, grotesque, nail-biting thriller that has an edge over a lot of other films. With a completely unsettling, unpredictable and taut script, and the juxtaposition of the characters Becky and Dominick, it has a sharper edge than similar thrillers. As well, James' chameleon like performance, (and complete 180 from his usual fare), is a tour de force of villainy. I haven't seen a character so skin-crawlingly removed from empathy in a long time, and it's a credit to his skill and the skill of the director that James' performance is pitch perfect - he's never over the top, and he's never too quiet. His performance is quietly intense and utterly disturbing. I never thought I'd mention the Oscars and Kevin James... but 2020 has proven nothing is out of the question. Wilson, too, as the eponymous Becky, is tasked with a brutal, exhausting performance that requires a lot of skill someone twice her age would have trouble with. She knocks it out of the park. The supporting cast, as well, featuring Joel McHale, Robert Mailet and rising Canadian star Amanda Brugel, help round out and give depth and humanity to a film that, while largely devoid of such things, needs them as a strong foundation.
I wouldn't recommend this film to everyone - it's grotesquely violent, utterly disturbing and shocking - but it's a worthwhile, challenging and riveting thriller, with some of the best performances of the year, and James' best of his career so far.
Joyful Noise (2012)
Two Stars in Search of a Script
Parton and Latifah are undeniable icons - and absolutely, brilliantly multitalented. It's a shame, then, that Joyful Noise is such a letdown.
A nothing story, a meandering script, (it takes detours so wide we constantly lose the plot), and co-stars who were obviously chosen for their vocal talents and not their acting abilities sink what was a promising premise.
After killing off one of the biggest stars of the film in the first scene, (why would they get rid of Kristofferson immediately?), the film decides to go for all our comedy, and whiplash into deep melodrama so much that it completely derails either from working. There's too many musical numbers that don't work, (for every Man in the Mirror or Fix Me, there's three that don't work), and for a large part of the film - the younger co-stars are the only ones on screen.
When Latifah and Parton are on screen - the results are electric. A 'fight' scene between the two is absolutely brilliant - and a lot of their lines seem ad-libbed; the ones that actually work anyways. Both Parton and Latifah are absolute professionals, and it shows, especially when they're surrounded by amateurs.
Still, if you're a fan of gospel, good musicianship, Latifah or Parton, it's worth watching on a rainy Sunday afternoon. I'd maybe just fast forward the scenes without the two stars. Otherwise, it's not so Joyful - it's just noise.
Funny Tweets (2018)
An absolute must for writers, comedy writers and comedy fans.
This quick, easily digestible documentary is like a great tweet itself; short and to the point.
Following comedy industry veterans as well as up and comers, (and almost using them as foils to help further the larger points of the film), "Funny Tweets" not only shows what's so special about comedy on the Twitter platform, but how it bridges a gap between fans and writers, and also allows voices to be heard that may not have been in the past. Societal boundaries, personal boundaries and circumstance have all been shattered by the equalizing nature of twitter. Where else can a random person insult the president and not only get a reply - but a bestselling novella out of it?!
This is a short, well researched, frequently hilarious, and most importantly - fascinating documentary. For any comedy fans, writers or even people looking for a peek behind the curtains of what makes modern comedy tick - this is a surprisingly refreshing documentary about a tool a lot of us use every day - but rarely talk about.
My only complaint? The title. For a documentary filled with so much comedy, talent and intrigue, "Funny Tweets" is a little mundane. But maybe that's akin to twitter itself - it may seem like cacophonous verbiage from the outside - but a narrow look reveals the minutia actually has a lot to say.
Brilliant, and absolutely enjoyable documentary filmmaking.
Little Women (2019)
A crushingly disappointing misfire, marred by terrible editing
Greta Gerwig is undoubtedly a brilliant filmmaker. Her directorial debut "Ladybird" was a powerhouse of emotional, intelligent and original filmmaking. It's a fantastic film that's going to last for decades.
Whether it's because Gerwig isn't directing her own material, or because of other forces, but "Little Women" is a disappointment; made all the worse by all the talent on display. Pugh, Ronan, Streep, Dern, Cooper and Watson are superb, there's a great, classic story, beautiful, sweeping cinematography and even the set design is impeccable. Alas, that is not enough to salvage what could have been a classic.
Whomever decided to edit the story into a Tarantino-esque, fragmented mess needs to retire. Taking what is a sweeping, epic and slow burning story and throwing its structure into a blender is one of the biggest filmmaking blunders I've ever witnessed. The editing has no sense to it, no structure, and is all over the place. It's like they put all of the scenes into a playlist and hit "random."
The film is all the more frustrating because of how good it could have been. A cast of talented actors, (aside from a miscast Chalamet), a great director, and a classic story all lose their lustre from some of the worst editing I have ever seen.
Here's hoping this cast and director can get together in the future for something more in tune with Gerwig's style.
The Adventures of Pinocchio (1996)
A Masterclass in Bad Filmmaking
From the minds that brought us the original Teenage Mutant Turtles, Coneheads and the sequel, (yes this film has a sequel), "the NEW Adventures of Pinocchio" comes the umpteenth adaptation of Carlo Collodi's, (Lorenzi), 1883 novel "Pinocchio." Truly, there's only been one good adaptation of the story, and that was the 1940's Walt Disney classic "Pinocchio."
Since 1940, there have been dozens of adaptations, all of them absolutely terrible, (some consider 'A.I.: Artificial Intelligence' and adaptation, and while it borrows from Collodi's novel, I wouldn't call it an adaptation, more of an homage or inspired by). From Roberto Benigni's carreer ending 2002 adaptation, (for some shocking reason, he's made another version, out in 2019), or the ridiculously titled 'Pinocchio 3000,' none of them, aside from Disney's original, have had a reason to exist. Of all of the asinine, poorly made, or stupid versions, Steve Barron's "The Adventures of Pinocchio" is the worst.
Martin Landau, in his most depressing role, plays Geppetto, as an 1800's version of an 'incel' who's obsessed with the one woman who looked his way 40 years prior. For seemingly no reason at all, he carves a puppet and it comes to life. What follows are a series of unconnected events that involve supposedly funny misunderstandings and misadventures; None of which are funny or adventurous.
As with most live-action adventures, this adaptation loses the magic and suspension of disbelief that animation offers. However, with the dead, immobile glare of Pinocchio's eyes, the turning of kids into donkeys, along the creepy men and women surrounding the titular character, the film takes an unintentional, unsettling tone.
Finally, when Pinocchio was given life in other adaptations, he's portrayed here as a robotic like, shell of a person, who has no self-awareness, doesn't understand object permanence, and would spectacularly fail the Turing Test. Other moments too, are deeply unsettling; the inside of the whale looks like the actual inside of a whale, (i.e., absolutely disgusting), and the aforementioned Donkey scene.
Everything misfires - the pacing, the terrible acting, Landau and Kerr are awful, but probably at the direction of Barron, and Rob Schneider is... well, Rob Schneider; the cinematography is nausea inducing and poorly lit, and, for such a well worn story, the way the screenwriters, (there are 4 of them), lay out the story, makes for an absolutely confusing, boring and nonsensical film.
This isn't just a bad movie, or a movie that's 'so bad it's good.' Like Pinocchio himself, the film is a gross misrepresentation of something real, a golem standing in for what should or could be an entertaining film. This is a boring, unsettling, upsetting, gross, banal and depressing film. Watch the 1940's original.
If you ever come across this version, do what Landau's character should have done to Pinocchio the moment he comes to life - throw it into fire.
The Master of Disguise (2002)
A True Chore to Sit Through
There are few great films, some good ones, a lot of mediocre ones, and then bad movies. Some of the bad ones have redeeming qualities; they're dumb, but fun, (Armageddon), or have a really cool premise that just missed the mark, (Southland Tales), or are just so silly and ridiculous they become cult classics, (Kung Pow). 'Master of Disguise' is none of those, and is not even bad - it's god awful. A film so bad it deserves it's own classification. On the level of films like 'Cats' or 'Showgirls', it's a film so bad it's a wonder how it was even green-lit in the first place. At a glacial 80 minutes, (including the beginning and end credits), it feels like 8 hours.
Starting with a weak premise, (a 'Master of Disguise', whatever that is), that's merely an excuse to get Dana Carvey to do impressions - the audience gets to experience Carvey's nonsensical training which includes; dressing up in brown-face and doing racist accents, objectifying women, (they literally ask a woman her measurements and them mock her for having a small backside), acting like a creep to kids, and an avalanche of other despicable, unfunny moments. The supporting cast, including Spiner, Brolin and Esposito all give it their best - but when a recurring fart joke is the funniest thing in your movie - you've got major problems.
Although I've never liked his comedy or skits, Carvey seems like a nice person, and is hilarious in interviews, (his series of interviews on the 'Conan Needs a Friend' podcast are a riot). Maybe Carvey should just stay in the writers room; when he's on screen, it's an absolute disaster.