Category: Uncategorized

SOUND OF METAL (2020)

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Directed by: Darius Marder
Written by: Darius Marder & Abraham Marder
Story By: Darius Marder & Derek Cianfrance
Cinematography: Daniel Bouquet 
Editor: Mikkel E.G. Nielsen 

Cast: Riz Ahmed, Olivia Cooke, Paul Raci, Matthieu Amalric, Lauren Ridloff, Chelsea Lee

A heavy-metal drummer’s life is thrown into freefall when he begins to lose his hearing.

The audience experiences the fear of his hearing loss as well as his disorientation at learning how to communicate itself In The deaf and rehab community that he is part of 

This is felt so much by the end it barely feels like they are actors and what we are watching is mroe a documentary or real life 

While experiencing this it is a learning g experience for us both and once we seem to get into the groove of things. The film and the lead character shakes it up. Somewhat as a necessity as it seems that is how he lives his life. The film seems to move Ali g the same way but completely naturalistic. So that we are always thrown off also. Which keeps things interesting but never quite at peace. Even in the more tranquil scenes.

In the end he learns that what he had might. It has been worth it as once he has truly

Found a community that actually accepts him. He rejects them To a certain degree to get back his former life that was rebellious but was fitting into a certain kind of normal. So that even as a punk he kind of sells Out for normalcy and love and kind of shoots himself in the foot as the world he once knew moves on without him. 

That while he has changed for the better so had his girlfriend and what he desired to be with her ends up not totally being worth it. As coming. Back into her life kind of makes her go back to the times when she was unstable and causes relapses even though they saved one another.

Riz Ahmed totally owns this role and is or. If the better performances seen in 2020 he is strong as his character is forever unsettled. As even when he is at peace he never stops and slows down enough to appreciate it and look towards the future.

Olivera Cooke is almost unrecognizable in her supporting yet pivotal role. She serves as the light at the end of the tunnel. As in the beginning, she is his desperate half. Soon as his disability comes to the forefront it’s interesting how the roles kind of change and she has to be a caretaker as he slowly and angrily unravels. She is his peace.

The film is a tragedy as it leaves the ending ambiguous but all that he has done to survive to a certain degree isn’t worth it and he has burned too many bridges to go back 

How the film came to be was that director Derek cut originally had planned to make a docufiction film starring a real-life couple in a band going through the same situation and while the film was in post-production the film never quite hit completion to satisfaction.  Writer-director Darius was so moved by the story he was asked and given permission to work it in any way he wanted to after having worked with Derek as a screenwriter in the movie THE PLACE BEYOND THE PINES. It does have vibes of his style.

This film has a devastating and honest beauty to it. 

Grade: B+

187 (ONE EIGHT SEVEN) (1997)

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Directed By: Kevin Reynolds
Written By: Scott Yagemann
Cinematography: Ericson Core
Editor: Stephen Semel

Cast: Samuel L. Jackson, John Heard, Kelly Rowan, Clifton Collins Jr., Karina Arroyave, Tony Plana, Lobo Sebastian, Jack Kehler, Jonah Rooney, Method Man, Richard Riehle, Antwon Tanner 

15 months after being stabbed 9 times by a student at work as a high school teacher in NYC, Mr. Garfield is working in LA as a substitute teacher come full-time. He refuses to be a victim anymore.

This is the story of a man, a teacher pushed over the line. A vigilante tale that shows the bloody aftermath. Rather then it just solving everything. That revenge can make some things worse m. As there will always be someone else to take the place of the initial problem. 

It seems in the end all this was meant to teach his tormentors enemies a lesson. One way or another. To make characters who were actually willing to see past all of this and understand this is not a lifestyle.

By the end even in death, there seem to be everlasting enemies.

The film seems to want to make a point but by the end. The lesson seems kind of empty 

The film seems to have a dry and saturated style and film style. That keeps things interesting and vivid. At times it makes the look seem all the More desperate and offers a kind of stuck-in-the-dumps look for the character’s surroundings.

The film shows not all the Villains are criminals but also the so-called do-gooders. It plays it’s morality like a modern-day western. Where once the hero has let the villains get to him that he behaves like them he has been infected with their propensity towards violence and menace. While trying to show that some hope can grow in the middle of nihilism.

Though this is more of a character study with Star Samuel L. Jackson in the starring role. One of his first. It also is a character study of two characters bound to clash. As each raises the stakes against one another.

This also allows him to be an orator and raise his voice which is one of his strengths as an actor.

Though the film is filmed and treated more as a thriller. Most of the time it speaks more through emotions and moods rather than physical. 

This is one of the first movies where Samuel L. Jackson is in the leading roles. Which was one of the reasons at the time that inspired me to see it In Theaters on opening weekend. Where I ended up loving the style of the film but by the end felt mildly disappointed.

Here his character is ambivalent about the danger he faces from his students before he is actually attacked by one. He decides to relocate to what looks like another rundown urban school. Where things are on at first and even has a kind of blossoming friendship/romance until she sees his scars so that rejection eats at him couples with threatening and menaces at school all over again. Triggers him and when the principal is more screwed of being sued then protecting his staff. He feels that he so left with only one other option. 

The film also offers Karina Arroyave one of the biggest roles of her career. As most do her career before this film she had been playing small roles in these types of films where an educator makes a difference. (LEAN ON ME, STAND AND DELIVER) in smaller roles. Here she gets a string vulnerable role where she gets to make a mark as one of the mroe innocent characters. Where her character is treated mroe like property of the gang in a more sexual way. (This might be why as she in real life is older than her character but still looks young. Why she got the role instead of someone who might have been age-appropriate.)  In this battle fo wills between the teacher and Clifton Collins Jr. (in only the second I had seen him in a film) 

I remember him from his first role in THE STONED AGE and then an about-face in this film.  so just him  showing range in his first roles so early was impressive. As soon he would be all over the place in different roles though usually Criminals. Though none ever felt the same as the last. 

He has had a long career, sometimes he can be bland as in light it up where you expect him to do more as it I was one fo the roles he can do easily and bring Charisma maybe not his fault maybe the script or director’s fault 

One of the big calling cards of the movie’s promotion was the casting of rapper Method Man in the film. At the time he was the hot new rapper part of the Wu-Tang Clan at the time. Here he has a small cameo role in the film. The same thing happened when he was cast in the film COPLAND.

The last act of the film that is based around the movie THE DEER HUNTER. Is truly bonkers even as it tries to be run of the mill.

As this is a film that you can easily write off as simplistic or one-note as just another Vigilante thriller but the film is much more interested in the characters, motivations, guilt, and morality behind their actions and decisions.

This was also director Kevin Reynolds follow-up film to WATERWORLD. Where obviously he was trying to make a much smaller and more dramatic film. 

In The end, this comes off as the Los Angeles version of a street movie and a skewered look at the teacher who makes a difference genre. Showing more the dangers they face in the day today. 

Grade: C+

THE OFFENCE (1973)

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Directed By: Sidney Lumet
Written By: John Hopkins
Based on the play “THE STORY OF YOURS” by: John Hopkins
Cinematography: Gerry Fisher
Editor: John Victor Smith

Cast: Sean Connery, Trevor Howard, Vivien Merchant, Ian Bannen, Derek Newark, Ronald Radd

A burnt-out British police detective finally snaps whilst interrogating a suspected child molester.

This is obviously based on a stage play as a good portion of Sidney Lumet films are. He finds interesting ways to open the play up for the film. Making the Non-Dialogue scenes just as enriching as the dialogue-filled ones. 

The film is a tight expenditure that lets you come up for breath at first but as it goes along it begins to pull you under 

As usual Sean Connery does best when working with director Sidney Lumet and some of the few times he ever lets himself be vulnerable on screen. Here he is just filled with raw emotions spilling out all over the place. 

This feels more natural for all involved next to the movie THE HILL. Though less tortuous.

How he goes from Being the investigator and soon the roles are reversed after an act of violence due to suppressed anger finally exploding out 

Watching basically a man have a mental breakdown throughout the film. This is the case that breaks him and learns of what the job has done to his psyche the things he has seen and witnessed. It keeps the film riveting. 

While he takes out all of his rage and anger but under a moral code. Where at his breaking point his mind might be just as warped as those who he investigates. As after all these years being witness to the aftermath of crimes and having to psychologically get into the heads of the criminals and suspects, has taken its toll. 

The third act fills in the puzzle where the confrontation actually happened and we only saw the aftermath, after a while, it keeps us on our toes as to whether it is justice or if it is going. Where we suspect especially due to the outrage and constant flashback of thoughts.

The film becomes claustrophobic as it goes along and the noose seems to tighten around the main characters.

Grade: B

WHITEOUT (2009)

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Directed By: Dominic Sena 
Written By: Eric Hobber, Jon Hobber & Chad Hayes, Carey Hayes 
Based on the Graphic Novel By: Greg Rucka & Steve Lieber 
Cinematography By: Christopher Soos 
Editor: Martin Hunter 

 Cast: Kate Beckinsale, Columbus Short, Tom Skeritt, Alex O’Loughlan

U.S. Marshal Carrie Stetko tracks a killer in Antarctica, as the sun is about to set for six months.

Based on the Graphic Novel of the same name. This film is good as a basic thriller. That seems to be the major problem of the film. You have seen all of this before the basic storyline with its twists and turns only this time the deadline is set to solve it because there is a winter storm approaching. Also, it’s setting in freezing Antarctica as it’s location set’s it apart. Those are really the only things that set the film apart from the many thrillers you have seen by now that start and begin the same way. It’s no one in particular fault.


The director knows what he is doing in fact I actually like his other films KALIFORNIA and SWORDFISH (Yes I like SWORDFISH I’m not ashamed)


I think one of the things I find amazing is that it took 4 Screenwriters to write this. It seems like a film made by a committee. Like the film could have been original but it seems like anything that strayed too far was cut out. It feels like this film was made to appeal to any market without being offensive.


Kate Beckinsle is good though she is so beautiful it is hard to take your eyes off of her. It is a quality that makes it hard for her in films as you suspend disbelief at her playing non-glamorous roles. Originally Reese Witherspoon was first attached to the role when it was being planned but dropped out and producer Joel Silver originally wanted Kate Beckinsale. So when Resse Dropped out he got who he wanted to.


I never read the graphic novel so I don’t know how faithful it stays to the source material. I hope it is better than what appears here. I had some hopes for the film as a film where a female is a protagonist in a thriller and the authority figure. Where the subject matter has nothing really to do with putting her in sexual situations as many thrillers do.


The film just seems like a wasted opportunity. No wonder the studio kept it on a shelf for two years then barely released it. As even after watching it. It feels easily forgettable.

GRADE C-

BELLY (1998)

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Written & Directed By: Hype Williams 
Story By: Nas, Hype Williams & Anthony Bodden 
Director Of Photography: Malik Hassan Sayeed 
Edited By: David Leonard 

Cast: Nas, DMX, T-Boz, Method Man, Power, Tyrin Turner, Taral Hicks, Frank Vincent, Kurt Loder

Tommy Brown and his friend Sincere are gangsters who have learned how to make a good living by dealing drugs and pulling armed robberies. Tommy and Sincere have been able to move out of the ghetto in Queens where they were raised and relocate to an upscale section of Manhattan; they would seem to have it made, but both realize that their lives are headed toward a dead end. Sincere begins getting in touch with his African roots and tries to convince his girlfriend Tionne that they should emigrate to the Motherland, while Tommy has a religious awakening and joins the Nation of Islam. 

The film seems to have a grand vision, but a small story and limited budget. The film feels like essentially a ninety-minute rap music video. A bad one. This might have been the film that started the saying “all style no substance”. Whereas there is no denying hype Williams has tremendous talent as a director. He has unbelievably rich saturated visuals inventive angles and shots. but as a writer, he leaves a lot to be desired. 

If that wasn’t bad enough it is hard to believe it took three people to come up with the barely-there story line. Were they just sitting around playing video games together and in between the levels they wrote down a idea. After three days this is what they came up with. After all, while watching this film I got confused by the plot, some characters, and their motivations that just either disappear or make no sense at all. Like a pop-art film or a 90’s version of an Andy Warhol film. It looks beautiful the visuals are rich and eye-popping, but everything else is bad. It’s like a supermodel great to look at, but not very deep or much to say. 

The film seems to glamorize all things notorious If this film is remembered at all is that it is a nostalgic look at a time in hip hop. One of the few that actually made it into theaters. It involves many popular rappers at the time starring in the film together. It can be seen as a 90’s blaxploitation hood movie as it more exploits stereotypes, violence, and the nihilism of the street-life. While at the end tries to go out on a redemptive positive note. This film is just depressing to experience no real positivity at all when there is some or at least some type of message. It is soon given short shrift and forgotten by the next scene. 

You can see the director’s ideas but while having crystal clear clarity with his visuals. He seems not to know entirely how to express his thoughts in the story. The most inventive thing in this movie was having frank Vincent. a man who usually plays mobsters or villains here is playing a government agent his appearance in this film is always incomprehensible. You never get a good look at him but you recognize the voice. So you know he is there. While director Hype Williams lives up to his first name with this film proves to be a visual stylist coming from the music video world he seems to need to learn how a story works for longer than five minutes and maintain themes, motivation, and story. He is a director I would have liked to see given another chance make a film all the wiser and see the results as I believe he could do it. There are rich colors off-kilter but defining looks and styles for each character. The ever-present fish-eyed lens camera shots a favorite of the director. 

The plot is two friends who are drug dealers come up with a major supplier but they trespass on another dealer’s property. DMX Then has to do an assassination for the supplier, for his protection. But the man DMX kills is a protected made man. So they come after all of them. Their supplier is killed first in a scene ripped off from most rappers’ favorite film: Scarface. DMX makes a deal with the government to stay out of jail and to protect him. But he must kill a powerful black minister. Meanwhile, Nas tries to survive the streets while planning to run away with his share of the money to the safe motherland that is modern-day Africa. Exactly!!! 

DMX plays his role believably so much that he got more acting work after this. He stays memorable in the role. He truly inhabits his character with a menacing viciousness. While Nas gives a horrible performance. He seems not to be able to really act. It seems that the same thing that works for Nas as a rapper. His image as a thug prophet works with his monotone delivery showing no emotion because nothing can affect him works against him as an actor. When everything is about emotion and reaction. 

The actresses in this film are integral to the story but are barely given any real characters to play or many scenes to be in. Along the way, there is one subject that is touched upon that I found interesting. DMX’s girlfriend is a gold-digger who he openly cheats on but she is happy as long as she has the finer things in life. Then the cops raid the place she lives while hiding the drugs at her place. So she gets locked up for possession and doesn’t rat on him taking the rap for her man. Who she knows doesn’t love her nor makes any attempt to get her out. Maybe if that was explored a little more it could have been interesting. Then a little less of the gun battles and flossing of expensive things. This film would have been better more intriguing than a wannabe gangster epic of minuscule proportions which if they would have done their homework they would have noticed do have gun battles and flashy things but are also well-plotted and very dialogue-driven things again this movie seriously lacks. 

At the very least. we could have seen Nas in Africa (Which is an interesting movie title) so we can see Mr. Williams illuminate it. I have to say the acting runs from horrible to passable no good or outstanding performances. 

The ladies can act, so can method man DMX is sort of playing a version of himself and Nas just looks like he couldn’t have been bothered to put up an effort. to show the logic of this film. In one scene a guy from the criminal crew is beaten by DMX and he swears his revenge on Nas. Even though he had nothing to do with him being beat. 

GRADE: D+

THE WHISTLERS (2019)

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Written & Directed By: Corneliu Porumboiu
Cinematography: Tudor Mircea
Editor: Roxana Szel

Cast: Vlad Ivanov, Catrinel Martin, Rodica Lazar, Augustif Villaronga, Sabin Tembrea, Istvan Teglas, Cristobel Pinto, Antonio Buil 

Not everything is as it seems for Cristi, a policeman who plays both sides of the law. Embarking with the beautiful Gilda on a high-stakes heist, both will have to navigate the twists and turns of corruption, treachery, and deception.

A calm and composed film noir that is a slow burn throughout. That involves quite a bit of players even though it starts out more intimate. It grows with each new detail.

It’s a neo-noir that is not as comedic as presented within the trailers. While it has dark humor it is more a thriller. 

The film plays out non-linear at first but is presented and put together with different timelines as we flash forward, back, and then sometimes current time. Told lien this for the audience to get more intrigued and keep the story moving forward in a way that adheres to what the audience is familiar with. 

The film comes alive in the third act with twists and turns that allow for some surprises, but still never quite speeds along or leaves details by the wayside.

The film does offer a femme fatale abs one hell of a seduction scene. Even though other than that scene. It never quite explains why the two characters bond enough to overly look out for one another, especially her considering her position. 

The film offers more of a character study of sorts. Even though with so many characters it offers quirk in the language being studied abs used for this caper. Though seems more there to explore the situation and relationships more than being integral to the plot overall.

Though at first the film might be light shearers but have a tough attitude. It soon shows itself to be violent and dangerous also. Where no one Is truly safe or can be completely trusted.

As everyone has their own agenda here including the so-called good guys. While the film offers style it also seems at times to be overly artistic for such a simple premise.

Though we never quite get any answers for why the lead is so tightly wound or got so involved in the first place. As for its many introductions, the film seems only interested in the lead mostly. Who only really changes more out of circumstances. Not organically or emotionally compelled to.

The film is a great jaw-dropping modern interpretation of femme fatale in the form of actress Catrinel Martin still some questions or connection and plans of characters.

She has a great and strong entrance. Where she is illustrious and iconic, but through the rest of the film, he becomes more of a background character losing the Great strength she was shown as having only to become revitalized by the end. 

Definitely an inspired film. Not the action Oriented kind. Yet it keeps you invested.

Grade: B

SIDE EFFECTS (2013)

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Directed By: Steven Soderbergh 
Written By: Scott Z. Burns
Cinematography: Steven Soderbergh (As Peter Andrews) 
Editor: Steven Soderbergh (As Mary Ann Bernard)

Cast: Jude Law, Rooney Mara, Catherine Zeta-Jones, Channing Tatum, Vinessa Shaw, Polly Draper, Ann Dowd, Laila Robins, Mamie Gummer, Elizabeth Rodriguez, Marin Ireland 

A young woman’s world unravels when a drug prescribed by her psychiatrist has unexpected side effects.

Following up his pandemic movie CONTAGION that was a bigger offering with a smaller tale might seem like a step-down but it’s a movie that packs a wallop even though you don’t expect it. Unfortunately by the end, you don’t feel anything. It’s certainly entertaining but it comes off more as a smart artistic popcorn movie. It does its job but at this point movie, fans might be expecting more or stronger From director Soderbergh from his journeyman auteur reputation. This might be what the film suffers from the most

It’s a movie where things happen but you never quite feel anything it is quite clinical to watch and experience. Even as the twists happen you should care somewhat 

It’s a claustrophobic tale of what happens in all Those high-rise apartments of the haves. As most of the characters come from money and are privileged. Though Channing Tatum heavily billed again he is in the movie very little. 

It feels like it should be bigger even though it focuses more on a singular story 

Each character is smart except for the early victim. So that is refreshing as the film comes more alive when Jude law’s character is more or less fighting for professional and personal survival and all the twists are coming to light, Just as the third act is his plan taking place 

It’s a tale you would expect to be told bigger and more extravagant but with Soderbergh’s style, it focuses more singularly on the plot dynamics allowing room for the character but more or less being to the point and less indulgent. While the film. Still has style and is more technical 

It’s a bigger film from him but still a smaller story though this film feels less experimental than some of his others. This one doesn’t call attention to itself as much and has a stronger script and story than usual.

It allows the mystery of Rooney Mara’s character vacant looks and silence to shape her character and situations. As again when a character uses it to her advantage what people believe about her by her silence and looks. What identity and beliefs they put onto her that might be totally opposite from who she is. They put a character onto her when she is an actual person. She ends up Being the ultimate muse in an unartistic story. One that is mroe made up of successful characters in the medical profession. An unexpected feels Fatale if sorts 

Showing how easy it is for even the most rational of us to fall into a belief of certain fantasies that take the form of supposed responsible thought. Though managed to do it without making it a tale of the weakness of falling into temptation and paying the price for it.

The film seems more like it will be a psychological drama. When actually it will be more of a character-based thriller. This works for this film as it is unexpected and you don’t see it coming. Just as the film involves sex it isn’t very erotic or sexy. 

This is one of the more commercial and straightforward films of Steven Soderbergh. As this one whole cerebral and technical doesn’t feel like an experiment it seems like a smaller project for him that is almost like a short story for him instead of a novel. Which is how full his films can sometimes be. Either with a story or the number of stars usually, cast. 

This is the most likable performance I have found so far of Jude Law’s career. Where he gets to be innocent yet shrewd and the only way out for him is through his Intelligence. Not his looks, wit, or tortured soul. What also helps is that here the performance is mroe natural and effortless. No baggage. As here he plays more of a person, not a character or type. No different look or wardrobe to hide behind. Here he and his performance are stripped down. 

You go into this movie looking for a twist or expecting a thriller and that is what you get but the film plays the more technical side than the emotional. Though it is shockingly mean-spirited and more psychologically ruthless than expected. 

It also shows the passing of time as in the past Catherine Zeta-Jones would be the seducer and audiences would have loved to see her in a same-sex relationship and love scenes. Here as she plays just another victim. It might remind some audience members of the passage of time. Times have certainly changed.

In the end, this is a film that seems simple but then grabs you and takes you through a maze. That is stronger than it appears to be. A throwback to films aimed at adults that wants you to think and figure them out. 

Grade: B- 

KISS OF DEATH (1995)

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Directed By: Barbet Schroeder
Written By: Richard Price
Based on the Original Screenplay “KISS OF DEATH” By: Ben Hecht & Charles Lederer
Based on a story By Eleazar Lipsky
Cinematography: Luciano Tovolli
Editor: Lee Percy

Cast: David Caruso, Nicolas Cage, Samuel L. Jackson, Ving Rhames, Stanley Tucci, Helen Hunt, Michael Rapaport, Kathryn Erbe, Jay O. Sanders, Hope Davis, Anthony Heald, Philip Baker Hall, Paul Calderon, Anne Meara, John Costelloe 

A reformed convict goes undercover with the help of an angry detective to ensnare a psychotic mobster.

When I saw the trailer I knew I had to see this film as soon as possible. I had seen it on the show COMING ATTRACTIONS on the E! Channel when it used to be more devoted to film and film lovers. Not so much gossip. This trailer had me hypnotized so much I taped it and would watch it over and over again. Keep in mind this was before the internet. 

One of my favorite trailers at the time. The cast was seductive so I ended up watching it on opening weekend. 

I know this is a remake but i haven’t seen the original. Which unknown was noteworthy for Richard Widmark’s giggling hitman. There are no signs of that here. Even though Nicolas Cage steals the show as the villain here. Though that might be due to the script trying to make him come off as memorable as Richard Widmark.

This film is supposed to be a thriller though most of the time plays like a dark comedy. One that is central To New York’s character types. Even as it has More thriller elements and framework. 

Everybody seems to speak way too loudly throughout and every sentence or word seems to end and be with an exclamation point. 

This is a modern remake for the 1990’s with what would end up being an all-star cast in the middle of their careers and some just been naming their hot streaks. 

The film seems to borrow part of the cast of PULP FICTION. As the dialogue also tries to be loose and have criminals have odd yet funny conversations emblematic of that  film. It even has a few actors from that movie in it’s cast but it has an overall style of cool. A violent cool with bits of dark comedy thrown in. Where it again always feels like the characters are playing types more than real human beings for the most part.

This movie was supposed to help make a movie star out of David Caruso after being a lifelong character actor and being on a hit Television show. Which pulled him to fame and leaving that show after two seasons to be a movie star. Here is a role he was used to just not being at the center of attention.

Nicolas Cage here is off-kilter as always. Muscle bound and hilarious. As he plays an over the top mobster’s son who Caruso is trying to take down or more like the cops are forcing him to. He is murderous yet childlike at instances 

In the end the most despicable character and true villain of the film is Michael Rappaport who causes all this trouble and is taken down early and quickly.

While the film tries to feel realistic. You are always aware that it is a production. As it even feels thoroughly always like cinema. Never like any kind of reality or relatable. 

For all the violence and tough talk by the end it seems a little too cut and dry. Where it ends up feeling lightweight by the end. No matter how far it has taken us. 

GRADE: B- 

DESPERADOS (2020)

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Directed By: LP
Written By: Ellen Rapoport 
Cinematography: Tim Orr
Editor: Christian Hoffman 

Cast: Nasim Pedrad, Anna Camp, Sarah Burns, Lamorne Morris, Robbie Amell, Heather Graham, Jessica Chaffin, Jessica Lowe

A panicked young woman, with her reluctant friends in tow, rushes to Mexico to try and delete a ranting email she sent to her new boyfriend.

It’s Nice to see Nasim Pedrad in the lead. Even if from the beginning we notice her character is disturbed and throughout the movie seems to get worse and more desperate. That it is hard at times to have any sympathy for her. 

But just as she really barely had time to make her mark on Saturday night love this film doesn’t seem to be the best material for her it gives her more to do but nothing really to do to make a mark. She is attractive and entertaining. Though just as the film

Focuses on later. It’s hard to age. Any sympathy for her and you wonder why her friends do either.

As they have real problems but while having humorous scenes. They barely have anything to do but sit back and watch her and at times get pulled into the ridiculousness.

At times the film gets a little raunchy but it more stays ridiculous than gross

As the script isn’t really that great it seems like a script talking down to the audience as even the premise seems strange for a feature that just like the main character reeks of desperation. 

Maybe as it comes off more like a stereotype a more male one about how they truly believe women view relationships basically needy 

That seems like a female version of the movie OVERNIGHT DELIVERY. Whereas this film has more the feel of early Netflix premiere movies. This film Works but strangely feels haphazardly put together. 

Which makes sense as this was originally meant to be made in 2009 with Isla Fisher starring. As the material does feel dated. 

Even if it is refreshing To see a female character be quite messy as the lead and having the male love interest more, have it altogether more and love her for being herself and be there to try and keep everything on the straight and narrow. Even if he has a minor problem But is willing. To get over it for her

In the end, the film shows that there is somebody for everybody. Even those who you might not expect. Unfortunately, I doubt that the same can be said when it comes to this movie and an audience.

Grade: D+ 

GOING TO BRAZIL (2016)

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Directed By: Patrick Mille
Written By: Patrick Mille, Julien Lambroschini & Sabrina Amara
Cinematography: Andre Szenkowski
Editor: Samuel Dansei

Cast: Vanessa Guide, Alison Wheeler, Margot Bancilhon, Philippine Stindel, Patrick Mille, Christine Citti, Susana Pires, Chico Diaz, Joseph Makebra 

Four childhood friends reunite for a wedding in Rio, only to find themselves on the run through the Brazilian countryside after accidentally killing someone at a drug-fueled party.

The film feels very 1980s inspired. As the plot feels high concept and simple. As it takes a GIRL’S NIGHT type story and takes it further and more action-oriented.

It even feels directed like an interaction action film from the 1980s. So that you always feel a bit of nostalgia. If you are a fan of films from the decade. 

The film offers a kind of girl’s gone wild scenario. As the characters deal with being on vacation in Brazil for a friend’s wedding and their lives not going too well. So they decide to show e fun no wild out. Which eventually leads to trouble. The film presents deals with them trying to stay out of trouble as more complications are presented.

Even though the film sounds like it would more be  T & A fest. It is more for female viewers. As most of the male characters are stupid, evil and manipulative.

The film sets up an older male villain. Whose motives are understandable partially. As he is only reacting to the death of a loved one. One who ended up being reprehensible. Showing that the Apple doesn’t fall far from The tree.

The film plays so broad but then reins in some scenes that want to be more dramatic or character building. 

The film certainly switches tones as it begins like a screwball comedy and then becomes more hardcore at first serious then action but tries to keep a sense of humor through it all. Leaving the film to be inventive and thankfully fast-paced.

In trying to stay out of trouble they are lead into all sorts of criminal activity and hijinks that eventually allows them to have a full-fledged adventure. That stays on the move and exposes a silly and unexpected side. 

Even if the last-minute hardcore action seems a bit much. 

The four leads all play types more than characters but all are needed for their particular skills that help along the way and they all have their own appeal. 

The more darker-skinned characters are shown more as villains, tough and dangerous. It doesn’t seem intended that way but still comes off that way and noticeable. 

The film offers an interesting tale of a girl’s vacation in its own way.

The film unfortunately might be entertaining as you watch it but by the end feels forgettable. 

GRADE: C-