Author: jbg

SHIRLEY (2020)

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Directed By: Josephine Decker

Written By: Sarah Gubbins & Susan Scarf Merrell

Cinematography: Sturla Brandth Grovlen Editor: David Berker

Cast: Elisabeth Moss, Logan Lerman, Michael Stahlbarg, Odessa Young, Robert Wuhl, Victoria Pedretti

As renowned for her morose nature as she is for her horror fiction, writer Shirley Jackson is crafting yet another masterpiece when the arrival of newlyweds Fred and Rose disrupt her creative process and marriage to literary critic – and philandering professor – Stanley Hyman. As Stanley spars to maintain academic dominance over his would-be protégé Fred, Rose attempts to dampen her own ambitions and adjust to married life while living under the roof of their fiery intellectual hosts with quicksilver loyalties and myriad neuroses. When the motives of Shirley’s literary muse prove elusive, Rose’s curiosity and trusting nature make her tender prey for a brilliant author whose only allegiance is to her work.

The leads can be cruel and vicious. But you still care about them.

As usual this is Elisabeth moss’s movie to rule over and blows most others off screen. So they are there to support and supply yet never makes as strong an impression on this bad journey as her. 

This is a film that is hard to describe as once you begin to watch you expect one thing and are bing lead to believe it will be and then slowly it gets you to care and invest and soo. You find yourself enchanted and before you know it you don’t knows here it has taken you but you feel uneasy yet mystified. Sort of like the Wiccan practices that are hinted at throughout but while the film Does seem to set a spell it is in the best way that enlivens the film.

It’s a drama is just turns into a thriller itself. In the beginning the film has disorienting camera angles that keeps us in the

Audience off center. As well as presenting is with a time period that might be foreign to us and a sudden sex scene that seems risqué for the period or at least surprising, it feels upfront and let’s us know to expect things like this. Though as these characters are introduced to these new surroundings and are so full of life. 

The camera is not handheld but always seems to be moving off center and going off on it’s own. Stylish one minute and abstract the next.

The film is haunting as everyone seems in on a secret or conspiring. Even everyday normal actions are scary or haunting with at atmosphere that feels strange or off. 

The film quickly becomes a disorienting mystery. As Shirley Jackson researches a true crime story to base her novel, but then adds elements of horror in the film. As it seems to add jump scares yet nothing out of the ordinary. As the film seems to cos tangly shift subtlety.

It keeps up this strange aura throughout. Including touchy feels flirtations that shirley’s husband keeps trying to have that is more like harassment. 

The men who seem to consider themselves in charge of the women in their lives and their wives. Before small supporting characters as the women grow closer, more in control and connection. In a certain madness that overtakes them. The junior professor comes off as a monster the most as he keeps trying to seem like he is this nice and caring guy but behind the scenes he is doubting, cheating and leaving her alone so that she feels alienated. 

The other wife’s husband looks up to Shirley’s husband as a mentor who can’t stand him really though allows himself to be a bad influence and follow in his philandering footsteps and arrogance.

The film ends up as a version of WHO’S AFRAID OF VIRGINIA WOLFF as it seems like the older couple is playing games and having fun with the younger couple while having a contempt for one another.

The film has plenty of sexual innuendo and behavior between the two. That seems innocent then Comes across as more powerful and manipulative.  Soon the two females find themselves In A strange cult to themselves with no name but a kind of relationship of beliefs.

She seems to be going crazy as Shirley towards the end as they seem to switch places mentally. Only Shirley is used to it and is more depressed. Where as the young wife seems to be losing her mind as to what is real and what isn’t. This is a first for her and it seems to make Shirley feel guilty as this reveal also helps explain a certain part of the beginning 

The film is an unraveling of who you don’t expect and ends up being haunted by her influence. As Shirley is unconventional and comes across as a witch which she calls herself.

You can see why Shirley is the way she is. She loves her life the way that she wants but Her husband loves off of her success and notoriety, but treats her as crazy and fragile. 

His constant cheating doesn’t help as it feeds his ego to make up that he isn’t a celebrated writer like his wife. 

Broken but knows herself and her strengths though struggles to get to the height of her talents. She feels guilty after the damage has been done. Though Her husband nothing seems to shock him. He is still there. 

It’s like a Bjork song by the end you don’t know what to make of it but you like it. It’s affected you and is like nothing else and it’s got rhythm Overall

In the end though in reviewing the book she has written it seems like they are more talking about the movie and drama we have just sat throughout what went down and what it took to get there. 

Grade: A

SEBERG (2019)

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Directed By: Benedict Andrews
Written By: Anna Whitehouse & Joe Shrapnel
Cinematography: Rachel Morrison
Editor: Pamela Martin


Cast: Kristen Stewart, Vince Vaughn, Jack O’Connell, Anthony Mackie, Zazie Beetz, Yvan Attal, Margaret Qualley, Colm Meaney, Stephen Root

Inspired by real events in the life of French New Wave icon Jean Seberg. In the late 1960s, Hoover’s FBI targeted her because of her political and romantic involvement with civil rights activist Hakim Jamal.


Kristen Stewart is the star spectacle of this movie that seems to be built like last year’s movie JUDY they won Renee Zellweger an Oscar a film meant to be a comeback of sorts and to show the movie going audience that Kristen Stewart is a strong actress by playing someone beloved from Hollywood or who is a cult star to certain audience members.


Here the film is more built around her and her character as well as performance but is given barely any room to standout or Flourish. As she never truly fully inhabits the role. As so many scenes she is in are dependent on her scene partners rather then her playing erratic and paranoid a few times.


This film is supposed to be an intimate portrait of a period in her life but barely has room To grow. Before it becomes more claustrophobic to illustrate her madness. As it more feels like a psychological thriller at certain points. Which makes the film feel more formulaic and suffers because of it.


In what should be shown in grand scale style feels independently small. Though the film is stylishly directed. Which only makes the flaws more evident. Which also reveals some of the films own clumsiness In handling some scenes and the material.


While the film shows the racist tactics used it also feels off note in it’s depiction of racism Making it feel a little prejudice itself.


The film Feels smaller scaled then it should. Can admit it helps to make the film feel more intimate and more A character study. Even as it seems to only examine one time in her life while filling. Us in other aspects. Though there even more in relaxed ways then having us know this helps paint the picture.


The film Also does itself no favors by giving us a sympathetic F.B.I. Agent as a dual protagonist. Because we are supposed to feel sorry and forgive him because he feels guilty and has a slightly bigger conscience then his partner and superiors but still can’t take back all the things he helped do. Not forced by the way but voluntarily. As he tries to act like he had nothing to do with it to a degree or he didn’t Know it would become this vicious? Though still well played earnestly by Jack O’Connell.


Putting her through all of this mainly because she supported the black panthers and helped about their cause and donations to them. As well as putting them in more of the public eye, but also making the powers that be seemingly jealous of her affair with one and spreading racist propaganda against her, him And the whole movement with glee.


Shocked to a degree that this film is so well cast for basically Non-Essential roles. Sure it adds star power to movies but they are given nothing to do. Though it might be as it gives the actors to play in something deemed at least a little more artistic then studio tent pole and franchise movies.


Which seems to be the mood here to be anti-establishment. Though even for such a tale of doom and gloom it still comes off more as a melodrama then compelling.


By the end the film feels defeated by itself.

Grade: C+

HOFFA (1992)

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Directed By: Danny DeVito

Written By: David Mamet

Cinematography: Stephen H. Burum

Editor: Lynzee Klingman & Ronald Roose Music by: David Newman

Cast: Jack Nicholson, Danny DeVito, Frank Whaley, Armand Assante, J.T. Walsh, John C. Reilly, Kevin Anderson, Robert Prosky, Cliff Gorman, Paul Guilfoyle, Karen Young, John P. Ryan

portrait of Teamsters Union leader Jimmy Hoffa, as seen through the eyes of his friend Bobby Ciaro. This film follows Hoffa’s struggle to shape America’s most influential labor union through his countless battles with the RTA. As he fights for workers’ rights, Hoffa locks horns with industry management, organized crime and Attorney General Robert Kennedy. In 1975, four years after serving his prison term, Hoffa disappears, in one of America’s most fascinating unsolved crime mysteries.

This is one of those films that should have been better. It’s built around a great performance by Jack Nicholson as usual. But that is really the only thing of note on this film other than maybe the ending.

As this should have been a slam dunk considering the casting and the behind the scenes talent. Especially a script by Noted Playwrite David Mamet. Whereas the film does have memorable lines. Just not necessarily quotable

The film was nominated for a special effects Oscar just for giving Jack Nicholson a fake nose.

At least Jack Nicholson gets to play an iconic character. While slowly becoming one himself as far as being an actor and movie star. That this film feels more like one of his lesser projects between the big noteworthy ones. The film certainly treats him As such and films him in the same way. 

Which makes the film seem more about Jack Nicholson and his iconography more than about Jimmy Hoffa who he is playing 

The film isn’t exactly a bio film, but begins from the viewpoint of a truck driver played by Danny Devito. Who also directs from his first meeting with the young Jimmy Hoffa as his fighting for union rights then follows them as he eventually becomes his bodyguard and right hand man until the end. Where we see the films conspiracy version of what happened to Jimmy Hoffa. Which is still a mystery. The film makes no judgements in fact it paints Hoffa as a hero. Even though he was corrupt and dealing with the mob.

When I was young I looked forward to seeing this movie. As I was a Danny Devito fan. As a short guy he was inspirational. As he never let his size define him and the characters he played or his talent. There were no roles earmarked for him, but he got them through talent and charisma. He even became a marquee star and a good director and businessman.

He achieves more than people give him credit for he is still someone I admire. As he still break conventions. He’s not a bad director but only a good one early in his directing career. He had success but after this film he seemed to lose his touch.

Here he has a grand operatic style with the camera. I guess to go with the epic story. He was envisioning that is well shot but in the end only comes off as ok. This film is an artistic peak for him. This is the most epic and strongest film Devito has directed. 

I like the fact that he is unpredictable in his career and always seems to choose his projects. Not based on previous expectations but breaking new ground. His Jersey films were the hot production office of hip 90’s indie film.

Grade: C+

OFFSIDE (2006)

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Directed & Edited By: Jafar Panahi
Written By: Jafar Panahi & Shadmehr Restin
Cinematography By: Yuval Berazani & Korosh Bozorgpour

Cast: Sima Mobarak-Shahi, Shayesteh Ireni, Ayda Sadeqi, Golanz Parmani, Mahnaz Zabini

 “Offside” is about a group of Iranian girls who attempts to enter Tehran’s Azadi Stadium dressed as boys in order to watch a big football match but some get caught and arrested. After the establishment of the Islamic Republic in Iran, women are not allowed to enter the stadiums. 

The women here are not very convincing dressed up as men, Some could pass. Here we follow a first-timer tries and is caught and detained with other women. We get to see their passion for the sport. The camaraderie that develops between them. The hypocrisy involved in this law prohibiting women. Which even some of the men attending the game see as stupid or don’t really care.

It’s rare the movie that can involve social commentary and still be a light-hearted comedy, But this movie succeeds and scores.

This film involves characters you grow to love and are astonished at their rebellious nature. For what can be a trivial pastime but they are willing to lay it all on the line for football or what we in America would call soccer. The beauty of this film is that even though it’s a dramedy. It feels more like a documentary due to the realness. The camera work and the fact that it was filmed during an actual world cup qualifying match.

There is nothing outrageous it is more the comedy that comes from real-life situations. I like the fact that the film doesn’t make anyone out to be evil or a villain. Even the guards who are there to reinforce the rules are three-dimensional characters. Not one-dimensional zealots, that you see a lot of times in a lot of other movies.

This is definitely a must-see. It’s not propaganda or a political film drowned in messages and symbolism. In fact if not for the politics involved this could be a nice breezy comedy. I mean it is rated PG after all.

An Addition to the home library.

GRADE: A

THE FITS (2016)

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Directed By: Anna Rose Holmer 
Story By: Saela Davis, Anna Rose Holmer & Lisa Kjerulff 
Cinematography By: Paul Yee 
Editor: Saela Davis 

Cast: Royalty Hightower, Alexis Neblett, Makyla Burnam, Da’Sean Minor, Lauren Gibson

The Fits is a psychological portrait of 11-year-old Toni-a tomboy assimilating to a tight-knit dance team in Cincinnati’s West End. Enamored by the power and confidence of this strong community of girls, Toni eagerly absorbs routines, masters drills, and even pierces her own ears to fit in. When a mysterious outbreak of fainting spells plagues the team, Toni’s desire for acceptance is twisted.

The opening images and scene immediately grabs our attention. It isn’t necessarily involve what the film is is about at first but the character is introduced to the audience in that way and she stays with us throughout.

This production of this film was entirely funded through grants.

The entire cast was given the opportunity to add, delete, or change dialogue in the script.

This one of those confusing films, that is cerebral and very open To interpretation while being relateable. The film never offers a clear definition which might keep some people from truly appreciating this film.

As the film Goes along it always grabs the audience’s attention as we are never quite sure what to expect.

The director definitely has a style that makes all of the framing and camerawork seem perfect revealing and planned out.

As the film has minimal dialogue and instead tells the story through action and defines the characters more from Moments and usually from reactions and body language of the actors. Which is no small feat considering most of the cast is made up of teenagers and children. The few adult characters are usually never given a close-up or really In focus so like they might be for children they are so defined in their roles that to children who are still children and growing and have the possibilities to change they are out of focus for them. As children focus on so many things. The cast is made up of Non-professional newcomers which gives the film a raw edge

This movie stars a real drill team and was filmed in Cincinnati, Ohio. They were given part Ownership of the film

Each of the “fits” were choreographed separately, and performed in front of the cast for the first time on the day of shooting.

What really is noteworthy is that the film has a haunting feel about it. It can at times come off as scary though remains a mystery throughout. Never quite clearly defined, yet we in the audience can be ok with that. As it still manages to tell a story.

The title rightly is what describes the phenomena that goes on with these girls as they are slowly stricken with what seems like seizures, but while scary st first come to embrace as soon it also seems like a rite of passage for the group. As noticeably none of the boys are victims of this. As the film shows our main character coming into her femininity as earlier we see her surrounded by her brother and his male friends at the boxing gym. This film could easily be a metaphor for girls turning into women and beginning their menstrual cycle. As it does require a physical change that can be quite scary and dramatic. Then after you might feel different more adult and look at those around you who haven’t experienced it as outsider, not as mature still children. Which would explain the characters sudden feelings of exclusion after slowly bonding with the group and after some got through the change she is given the cold shoulder.

Just as the characters develop their roles here and are going through a mysterious change. We see Toni’s character played by Royalty Hightower develop in her dancing skills as at first she is horrible but throughout finally begins to get her footing.

Though the film deals with the subject in a vivid way visually. It also feels kind of clinical as there are emotions involved yet the film never had a warmness. For a coming of age story it is a revelation as usually most films of the genre go for nostalgia or some kind of warmth and sweetness somewhere in the story or are hair a series of calamities and here it presents something identifiable as well as mysterious. Though still making us care about the characters.

The ending is mysterious as it can be interpreted in many different ways

The film offers shots of reality and the beauty of everyday shape the world around the lead. This is her normal but the directors still manage to make it seem new and mysterious. Like we are traveling a land we have never been accustomed to. Though also manage to make it seem otherworldly, mysterious and magical.  Which is a feat in of itself. As the movie moves along. You are always questioning as these seizures come along and surprise the characters and audience. This throws us off as to what might happen or can happen in a moments notice. Never scary but keeps things fascinating

SPOILERS

As I am not quite sure once she is supposedly struck with her seizure of it was real or was she faking it to fit in. As it seems like she is having visions of a perfect future and fitting in and floating, but her fit is remarkably different then the others as hers is more a dance. Where as the other girls always seems looks they were in the middle of a dance when struck and then a full on seizure like they were possessed. So the ending is kind of ambiguous.

SPOILERS END

The film is thought provoking and strangely short. Which is only a relief as since the films rests on only this plot thread there are only so many places to go before the film becomes repetitive and dull. As it already feels like a stretch to a degree at times.

Grade: B+

DON’T TELL MOM THE BABYSITTER’S DEAD (1991)

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Directed By: Stephen Herek
Written By: Neil Landau & Tara Ison
Cinematography By: Tim Sushrstedt
Editor: Larry Bock

Cast: Christina Applegate, Keith Coogan, Joanna Cassidy, Jayne Brook, John Getz, Josh Charles, Kimmy Robertson, Danielle Harris, David Duchovny, Concetta Tomei, Christopher Pettiet, Sarah Buxton, Michael Kopelow 

Single mother goes away for the summer. The kids are first delighted but then find that Mom has hired the sitter from hell to stay with them. When the sitter dies of a sudden coronary they deposit the body at a mortuary only to discover all their summer expense money was in her purse. The kids must find a way to survive the summer without mom or her money. This means actual work! 

The title gets to the point and pretty much summarizes the plot of the movie right away. Usually, movies Like this have a deadly fate. Look at STOP OR MY MOTHER WILL SHOOT! Which is more infamous than anything.

This is actually pretty good and memorable. Even watching it today though some of it is dated and some of the humor random. It still holds up as even though it has some harsh material mostly in the form of language and certain situations. This is more a family romp. The material makes it seem like it’s own Characters who are likable who seem tough and troubled but have good hearts. As it has an edge but plays it clean.

I will admit I have a soft spot for this film. I even saw it in theaters upon the initial release. It still is instantly rewatchable.

This was Christina Applegate’s big Hollywood starring role. She has guest-starred in other shows and had an indie film that was buried on video before this, by this was a big time and even though a modest hit. That seems to love on in airings. She never really got a chance at a big screen follow up the Leading role.

Here she plays against her usual sexy or sex pot type of roles she was getting at the time. This was more of a teenager forced to grow up to get out of a situation but still being a kid at heart. So a kind of comedic coming of age role that wasn’t too deep. This role allowed her to show range and talent. Which might be why she is discharged a consummate comedic actress now. As she grew up play around comedic productions and actors. Even though she was not the first choice for the role. As it was written for Winona Ryder and once she turned it down Justine Bateman was to take on the role but dropped out.

As we basically watch her as a teen prepare for the adult world. While being immersed in it and while making mistakes learning to form them and getting by and actually improving and helping the company and her co-workers. Which has an effect on all those around. Her and proving that karma does exist.

The film even manages to fit in a cute teenage romantic subplot that of course runs parallel to the main plot and ends up having mishaps, misunderstandings and accidents.

The film isn’t as cynical and dark as the title might suggest or that the premise might seem.

Part of what works is that even the supporting characters are fun and come off as believable and funny and get their own space and time to shine.

This was one of the last really noteworthy roles for actor Keith Coogan. Here he plays the second oldest Kenny a stoner metalhead who manages the household while his sister is away and in staying home also learns a skill that helps him to mature. After all his mistakes at home that cause only more trouble and mishaps. He nearly steals the movie though doesn’t have as much screen time. Though this is definitely a highlight of His work and one of his bigger roles. Definitely one most will remember him for other then ADVENTURES IN BABYSITTING.

Production nearly stopped towards the end of shooting due to Christopher Pettiet’s drug addiction, which was starting to get out of control. The producers cut a few of his scenes to keep the film on schedule. Which would explain why he is barely in the movie.

This could have easily been a one-joke movie but it actually has some substance to go along with the comedy it presents. It actually feels well rounded which is rare for a teen comedy. Especially at the time. –If the pace had been a bit quicker this could have been quite a slapstick comedy.

John Landis was originally approached to direct as he was the producer’s first choice. the movie but he turned it down. As did John Hughes who only directed his own scripts and was eager to step away from teen films. Also Richard Donner, Joe Dante rand Joel Schumacher turned it down. This was Director Stephen Herek’s third big-screen film production. He shines here. Which would be his style with most of his films. Which really were more family-centered films. With those other directors, the film would be more an approach of their styles which might be bigger than the actors of the film but might have allowed To be taken more seriously as a comedy. Rather than written off as a dark teen film. Even as it packs plenty of nostalgia no matter what age

GRADE: B-

JAY AND SILENT BOB REBOOT (2020)

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Written, Edited  & Directed By: Kevin Smith
Cinematography: Yaron Levy 

Cast: Jason Mewes, Kevin Smith, Fred Armisen, Jason Lee, Ben Affleck, Chris Jericho, Shannon Elizabeth, Rosario Dawson, Harley Quinn Smith, Joey Lauren Adams, Diedrich Bader, Craig Robinson, Justin Long, Donell Rawlings, Aparna Brielle, Cliff “Method Man” Smith, Johnny Bananas, Joe Manganiallo, Karruche Tran, Melissa Benoit, Jason Biggs, Adam Brody, Val Kilmer, Kate Micucci, James Van Der Beek, Redman, Joe Reitman, Alice Wan, Brian O’Halloran, Tommy Chong, Keith Coogan, Molly Shannon, Dan Folger, Ralph Garman, Chris Hemsworth, Frankie Shaw, Treshelle Edmond 

Jay and Silent Bob inadvertently sign away their names and rights to the new Bluntman and Chronic movie. Now they head to Hollywood to stop the film from being made. Along the way Jay discovers that he is a father.

The film is a road-trip comedy. Where the story is there to explain and get the audience to the journey. Yet the reasons are more ridiculous.

It’s also a movie where half the fun of it is sporting the cameos and so-called guest stars

This is a film that is hard for me to review. Because as much of a fan as I am of Kevin Smith and his movies. At this point, he truly doesn’t care about impressing anyone outside of his fan base really or necessarily making more conventional films. At this point, he has a large following film-wise of usually the same age group most of his films are aimed at. Through podcasts, comic books as well as directing television shows. So that when he makes films it is for a niche audience of loyal fans and followers. So that it shows he is thankful and appreciated their loyalty. This is why for me it usually feels like a Joy to watch any new film he has ou

As usual, one has interest though more and more it seems like a chore. 

As with many different aging comedians like Adam Sandler and to a degree Eddie Murphy. He is willing to try new things once in a while but also seems like he is going after a young audience or the same audience he has always had only the next generation of them. By making his movies more for teens and kids. As they get juvenile and raunchy humor with big words but also as they get older they will find themselves loyal and beholden to him

As they grew up with his films. Planned or not. It also helps that he comes off always like a decent regular guy. Who just happened to get his dream job.

He also has always seemed to have a self-deprecating sense of humor and as he gets older he sharpens and aims for himself more and more. 

So that if you are a fan of his films and humor. You should enjoy this film. If not it might be a little harder for you to enjoy. As the fun of this movie is having previous knowledge of the characters and situations. Catching up with a lot of them over the years.

The film feels like a gift to his audience. As it brings back his most popular characters again for their own movie. A kind of sequel to JAY & SILENT BOB STRIKE BACK. Only as it seems to be directed to serve a younger teen audience. As well as hand it off to the next generation of characters and but like his previous film this feels like a present to pass on to his daughter. Who stars in this film And is a fine presence and likable. As she has appeared in many of his films previously and starred in YOGA HOSERS. Which thankfully this film is much better then. 

The film and its humor is still profane. Yet it still satirizes the characters as well as some of the actors participating in personal triumphs and give a reunion of sorts for various view askew character to appear throughout. As it shows just an exuberance of joy and goodwill which is how he also seems to snag some big names in self-deprecating cameos. 

The film ends up being crude yet fun it stays entertaining even if it feels a bit long and excessive. Also, he seems sometimes to be too hard on himself when being self-deprecating. 

The film stays purely comedic throughout in a more silly slapstick way and offers the young female characters not only a point of view but a chance to shine. Where the film isn’t all about sex nor focused on them more as sexual objects. He actually makes the characters and more part of the action. Which shows some growth for him. Not that he was a huge misogynist before or anything but wrote what he knew and characters more like himself. 

Your knowledge of his previous films will affect your enjoyment of this one. If you are a fan this will be a slam dunk, but if you are a critic of his previous work this will not be the one to convince you otherwise. 

Grade: C

BABY DRIVER (2017)

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Written & Directed By: Edgar Wright 
Cinematography By: Bill Pope 
Editor: Jonathan Amos & Paul Machliss 

Cast: Ansel Egort, Lilly James, Jamie Foxx, Kevin Spacey, Jon Hamm, Eiza Gonzalez, Jon Bernthal, Sky Ferreira, Paul Williams, Flea, CJ Jones


After being coerced into working for a crime boss, a young getaway driver finds himself taking part in a heist doomed to fail.

I Can’t say enough good things about this movie. Apparently, I drank it’s kool-aid and found it quite refreshing.

The film surprises, Every time Edgar Wright makes a movie it feels like a gift. Usually, it seems as it takes too long to get to us. Though it is always worth it. It gives us a glimpse of his creative imagination and skill. Even with high hopes always seem to underestimate him. The movie is quite a ride. Like a roller coaster that you never want to leave. Perfect for the summer or anytime. The movie has style for days and most of all just plain fun and never in a stupid way.

The film keeps up energy that is Infectious for the audiences. It’s a film that has a fun personality and doesn’t have to do too much to charm.

The film maintains an excitement throughout which the audience feeds off of and feels a similar excitement throughout. Which are a difficult thing to do these days as in blockbusters and films things seem so routine and planned out. That the filmmakers seem to be all over the place. Here it feels like the filmmakers and cast are constantly energized by one another and even if not necessarily personal the film feels like there was a lot of passion going into it.  

It also is nice to see the film allows for homages and references to other films and pop culture. That won’t date the film necessarily but gives it more of a modern in the moment flavor.

Like how he obscures the violence while you feel the impact. Through clever framing and blocking. There are three-way chase sequences. Where the criminals are running from the cops then not trusting one another start running away from one another and trying to catch each other realizing the other has what they need

The film includes bad guys choosing to be humane, Good guys choosing to be bad. Action sequences that don’t rely so much on fighting hand to hand combat or toughness but agility and having peace of mind to figure your way out.

The film includes a love story that keeps it’s purity because the romance is never really consummated. So that it keeps an innocence but feels kind of melodramatic like a teen film from the 1950s with dreams of hitting the open road together. Maybe as the romance is so simple, sweet, and easy. Really built off of. Itching but attraction and politeness. That it feels like first love and making a connection. Something that at first is never complicated or at least it doesn’t seem that way. Though through the actions of the films proves that each of them truly rides or die for one another.

Like a comic book come to life. It knows what type of film it is and as long as you keep that in mind you should enjoy it. As it incorporates many little left turns of genre specifics into it’s crime and love story. It feels like a candy-sweet and filled with sugar that energizes you. As well as being that colorful. It Manages to keep an innocence and wonder, That keeps you caring.

The film manages to be thrilling and menacing in the right moments. So that you are on the edge of your seat wondering what will happen. So much effortless style that you can feel it but don’t realize how remarkable it is until later on thinking back about it and, you will trust me.

The movie lacks a certain depth and sustenance, but that is truly one of it’s few weaknesses overall. Which aren’t necessarily needed in this equation.

The lead played by Ansel Egort is kind of bland, but he needs to be as usually the main characters in these types of films are the strong silent type where you can easily read whatever you want into them. Here we are given more of his backstory, but the role seems to more take advantage of Ansel Egort physically as he is skinny and limber with a bay face. That is easy to mold him into whatever you need out of a leading man.

One of the reasons for the enjoyment of the film is the supporting characters who liven up the film and add flavor where the lead does not and really can’t as his character is pretty plain and simple. He is mostly driven towards newfound goals. Though there is a reason why Jon Hamm, Kevin Spacey, and Jamie Foxx are in the movie. Whereas at first they just seem to be there to be named on the posters and big names who do nothing, but as the film goes along we see why they are in the film and are more than the unassuming roles we bought at first. They each get to reveal more about them than we originally thought. Not necessarily surprises but they liven up the film. To be more than just cops and robbers.

The big-name supporting stars are a revelation as at first they seem just there to be part of the background then they come out and show what they are truly all about. I mean this is a film where you have two Best Actor Oscar winners playing supporting roles. So there must be something about the script and film that got them to sign on in a diminished capacity (Yes I know they both were in the disappointing HORRIBLE BOSSES too. though I will think of that as more paycheck roles. Not so much here)

Jamie Foxx is memorable as an over the edge criminal who is antagonistic as he trusts no one. It seems with each crew baby works with there is one. Who more or less helps with the exposition.

Jon Hamm, seems a simple happy go, lucky thug, who comes out late in the film letting his inner psychopath out in search of revenge and retribution. He also has a certain bad boy handsome here. That makes him more a dangerous lady killer than just the usual leading man

Eiza Gonzalez is more the sexy wildfire who is both sexy and deadly but carries a kind of a mystery to her and proves to be more than what she looks like or what you would expect. though not featured too much she is a. Ice price of eye candy to go with the visuals.

Even Kevin Spacey is off the charts as the mastermind. Here he is more. Noteworthy for his middle-class menace where he can compliment and threaten in one sentence but you know he is never lying. We are used to him being the smartest person in the room and acting like he is above everyone else, but the last act moment truly shines his character in a different light. His upper-crust was doesn’t seem out of place. Nor does it distract or obstruct the flow of his character or the movie. If anything it helps feed it.

What is fun is that the villains or at least the threats to our young protagonist keep changing hands. As to who he has to be afraid of or see as a major threat and maybe overcome.

Now know this film is candy-colored and visceral with it’s excitement and shots. In the texture of course it never becomes as serious or as accomplished as films like DRIVE, THE DRIVER, and BULLIT. Though it does align itself as more of a lighter-toned chase film. It does have it’s own personality and identity. Though you would also check out those films to see where Edgar Wright might have gotten his inspiration. He even gives DRIVER director Walter Hill a cameo in the film. (Among other blink and you miss them cameos from Rappers Big Boi and Killer Mike)

Edgar Wright timed the character’s movements to the beat of the film’s songs. Even in the film’s credit sequence which is done all in one continuous tracking shot and take.

The film comes off as a nice movie that offers more of a lite touch. Though with humor and adrenaline-filled action scenes. That hardcore movie fans can enjoy for it’s more technical aspects and general audience members can enjoy as a fun action film. That is many things at once. As it pays homage to many films and genres which will seem familiar for many but new for some. One of them is a Teenage 1950’s film with diners and car racing and a love story in the middle with plans of running away together.

The soundtrack is the heartbeat for the film and the characters bot only the lead using it to fuel himself up. But also keeps the film moving. Along and on best and keeping the audience energized and going with it. Filling us with excitement and energy as well as adding some songs to our repertoire or recalling ones we think we know. As the cuts here are mostly deep ones

The film is wall to wall with music on it’s soundtrack that partially powers or motivates the protagonist due to a disability but also livens up the scenes making it feel like most of us have always wanted a soundtrack to go with our lives and actions. Sometimes with a popular song but mostly with something a little less unknown and obscure but fits the mood.

The film shows us this early in an inventive credit sequence and also in introducing us to the characters and situation in the opening scene. That allows for action but also alerts us to the character’s youth and sense of play in a tight situation. Which gives us a remembrance of the possibilities of youth? When you might never have known better about the dangers and situations you were facing. Even if you knew they were serious.

The film is lighter in touch than some more harder action movies which is part of the charm and broader appeal. 

For some they might find it too lighthearted or not enough substance and a general lack of action or even gunplay which might take them out of the film or find the film feeling like it is trying to hard to be cool. 

While it is a great film. It is also a film I can see younger people loving as it moves fast and really barely has anything offensive. Anything that does is on the edges and more due to language. So this is one of those movies I believe most ages can enjoy for the most part.

Another thing to admire about the film is that in these days of films filled with special effects for the smallest things. The director revealed that there was no CGI or green screen used to film the car chase sequences. The driving is all practically done.

It’s nice to see a film that is smaller budgeted and put out by a studio that is as exciting and fulfilling as the bigger budget blockbusters

Grade: A-

OUR IDIOT BROTHER (2011)

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 Directed By: Jesse Peretz
Story By: Jesse Peretz, Evgenia Peretz & David Schisgall
Written By: Evgenia Peretz & David Schisgall
Cinematography: Yaron Orbach
Editor: Jacob Craycroft & Andrew Mondshein

Cast: Paul Rudd, Zooey Deschanel, Adam Scott, Elizabeth Banks, Rashida Jones, Emily Mortimer, Steve Coogan, Kathryn Hahn, T.J. Miller, Shirley Knight, Sterling K. Brown, Hugh Dancy, Polly Draper 

A comedy centered on an idealist who barges into the lives of his three sisters.

This film plays the middle of the road when it comes to its humor. As it never goes far enough and never gets its had dirty enough to truly express any kind of opinion or judgments.

Because if it’s cast it was marketed as this studio Comedy and has the formula of one, but at heart, it is more of an indie comedy with a heart.

The film has characters toyed and the actors fill them and make the characters feel real flaws and all.

It seems like a SATURDAY NIGHT LIVE one-joke premise movie which the title spells out. It starts off that way but creates a full-fledged character going through life and dealing with his family. Who all have their own problems And he exposes them and makes them Actually deal with the problems head-on and they, in turn, blame him for them.

Paul Rudd creates an indelible character. One just wished the film supported him with a better heartfelt story. Anytime the film should go for emotions and drama. It goes more fit gags and really doesn’t get emotional until the end of the film.

Rashida Jones is the only other actor who really stands out in the film. The lesbian character is hilarious and offers up a different look for the actress.

The film is disappointing considering the many lost opportunities it presented. Side characters are dropped very quickly before you even get to know them or realize how they fit into the film.

Some are unnecessary like Steve Coogan who so far has been wasted in most American comedies. Never truly getting a chance to show off his comedic genius that we hear about or critics are always commending him for.

It just feels like this movie was happy where it was. Having fun yet they forget about the audience’s enjoyment.

Even watching the outtakes during the credits it shows. It could have been funnier. It also seems this film was More scripted. When maybe more improv would have done the trick.

Grade: C-

AMERICAN WEDDING (2003)

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Directed By: Jesse Dylan 
Written By: Adam Herz 
Cinematography: Lloyd Ahern II
Editor: Stuart Pappe

Cast: Jason Biggs, Seann William Scott, Alyson Hannigan, Eugene Levy, Thomas Ian Nicholas, Eddie Kaye Thomas, January Jones, Molly Cheek, Fred Willard, Deborah Rush, Lawrence Pressman, Eric Allen Kramer, Nikki Ziering, John Cho, Jennifer Coolidge 

Jim Levenstein has finally found the courage to ask his girlfriend, Michelle Flaherty to marry him. She agrees to get married, but the problems don’t stop there for Jim. Now along with Paul Finch and Kevin Myers, Jim must plan the wedding. Unfortunately, Steve Stifler is in town and won’t let the wedding go past without having some fun himself, which includes setting up a secret bachelor party.

The end of the trilogy but not the end of the line for the film franchise. Though it does end a kind of era. Where the film’s humor is still mostly gross out juvenile, but here at least it tries to somewhat show some maturity.

Though the film is an ensemble and the last of an unplanned trilogy. This film allows Seann William Scott the scene-stealer from the earlier films to take center stage. As most of the scenes revolve around him. When they don’t they are on Jason Biggs and Alyson Hannigan’s characters.

Scott’s character kind of comes to the realization. That he has been less of a friend and more of a nuisance to those around him

And realizes they have all grown up and moved on. Whereas he is still kind of stuck. Here he is made to face responsibilities. 

The film Leaves most of the characters other than those mentioned high and dry or more reacting to them. As it introduces a love interest for him that he spends most of the movie trying to fool into believing he is a nice guy.  That character played by January Jones isn’t given much to do other than play pretty and an interested good girl of sorts. She doesn’t really stand out much in the role. 

All the trouble he causes leading up to Jim and Michelle’s wedding. While trying to help set it up. Is what most of the movie revolves around. Though it isn’t a one-man show of slapstick comedy it is entertaining and better than the last sequel in the series. 

Though you can appreciate this movie as we are seeing the characters mature and grow up. So that we feel a bond with them over the years and this is the culmination of them. Watching this film, It dawned on me that at this point other than stifler most of the characters here still have only been with and some still stuck On their loves from the first film. Though at the time seeming unnecessary as a plot point in the second film and trying to bleed the franchise out. 

Even as half the original cast is missing no Tara Reid, Natasha Lyonnne, Shannon Elizabeth, Chris Klein or Mena Suvari 

Here you truly notice That there never needed to be one. Though as new romances would mean giving them more screen time and from the beginning. Though an ensemble these movies have always seemed to revolve around the characters of Jim, Michele and stifled more heavily than the others. The others just happen to be characters in their world and not written as strongly Or specifically as these comedic but human creations 

GRADE: C+