Tag: Comedy

NEXT FRIDAY (2000)

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Directed By: Steve Carr
Written By: Ice Cube
Based On Characters Created By: Ice Cube & DJ Pooh
Cinematography By: Christopher Baffa
Editor: Elena Maganini

CAST: Ice Cube, Mike Epps, John Witherspoon, Sticky Fingaz, Don D.C. Curry, Tamala Jones, Lisa Rodriguez, Amy Hill, Clifton Powell, Kym Whitley, Jacob Vargas, Tommy “Tiny” Lister, Michael Rappaport 

This time the film follows Craig, as he is sent to live with his uncle in the suburbs. Who has just won the lottery after his nemesis from the first film breaks out of prison to look for him. 

The problem with this film is that there seems to be a void with this film compared to the original. Half the cast is gone. The new cast seems to give it their all but comes up very short. Since most of the cast are comedians. It seems like they are improvising their routines in the context of their scenes. Where the first film had original and inspired comedic characters. This one seems to wallow in stereotypes. It is occasionally humorous but not hilarious. 

The Standout is the character of Pinky Played By Clifton Powell and the female lead Played by Lisa Rodriguez, who is so gorgeous and talented that I am shocked she never went on to bigger and better. Not even smaller roles in big films or indie films. 

 John Witherspoon seems to be being punished for being In this film as he spends most of it running around with dog shit stuck to him. Why? It’s not funny nor does it have anything to further the story along. 

 The film tries but lacks a certain energy that the first film had it tries here to replace it with enthusiasm but it doesn’t work. It was the combined talent used in the first film that made it such a winning success here. Ice Cube loses the original director and Co-star. Who obviously make the crucial difference between the two films.

This is a nice attempt but maybe Ice Cube should have refined it a little before making it. Instead of just taking a first draft and assuming the masses will take what they can get from the franchise. He was partially correct as the film was a hit. Especially with a stoner audience that doesn’t ask too much for the quality, but for regular fans that is a big problem.

The film lacks quality which makes it an empty enterprise. I just don’t find Mike Epps that engaging actor or that funny. So he is a sub-par replacement for the charismatic Chris Tucker as a Sidekick.

The film has its moments but never quite measures up and wise seems more like it is pandering. As it has a good set-up but takes the main characters and leaves them as fish out of water but also cleansing half the characters that made the original great and somewhat identifiable here the characters feel more like caricatures then anything purely there for jokes that don’t work

GRADE: D+

THE GUARD (2011)

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Written & Directed By: John Michael Mcdonagh
Cinematography: Larry Smith 
Editor: Chris Gill

Cast: Brendan Gleeson, Don Cheadle, Mark Strong, Rory Keenan, Liam Cunningham, Fionnula Flanagan 

Sergeant Gerry Boyle is a small-town Irish cop with a confrontational personality, a subversive sense of humor, a dying mother, a fondness for prostitutes, and absolutely no interest whatsoever in the international cocaine-smuggling ring that has brought straight-laced FBI agent Wendell Everett to his door.

This is a film that frankly the audience might be starved for a dialogue-driven character-driven dark comedic buddy cop film. Mismatched partners where one is by the book the other is dirty but with a set of rules all his own. Even as most of the cops he works with are dirty just as he is guilty of it himself.

Don Cheadle is perfect as the midwestern FBI agent brought into this foreign small town. Essentially playing the straight man. A fish out of water. He has a quiet dignity as a gentleman and straight arrow. Who can still kick ass if he has to.

Brendan Gleeson epitomizes the word star in this movie after years as a great character actor in such gems as GANGS OF NEW YORK he occasionally gets the lead role like in the magnificent THE GENERAL (he seems to star in movies with rank and job titles) which is the first film I noticed him in where he was phenomenal. Here he makes his acting look effortless; he fully inhabits the character. Luckily he has someone skilled to play off of.

The film is filled with quirky characters and situations like the villains who frankly are smarter than everyone around them and more dangerous.

The film treats violence like a normal everyday occurrence yet the film is not brutal.

Everyone in the cast is an essential part of the story. Praise should be given to all of them from Actress Finola Flannigan who should definitely be getting more work. She puts so much heart into all of her roles.

The film has a laid-back pace but pulls you in with excitement. As you can’t wait for the next scene or next line of dialogue. As you never know what’s going to happen.

You have philosophical drug smugglers, country-western IRA agents, dirty cops that make out morally questionable heroes look clean. As he only really starts to participate in trying to bust and break up this drug ring because he’s tried and true deputy is killed. Besides that, he pretty much makes no waves and has a standing appointment with his escorts weekly. With his bulldog glare yet puppy dog eyes he’s a Brute but a gentle one.

If you like the film IN BRUGES you will like this. It was fast-paced and action-oriented (which seems more a second thought here) but with a similar mood and style, with good reason. As the writer/director of this film is the brother of writer/director/playwright of IN BRUGES

There are very sympathetic characters in this film yet they find a way into the audience’s heart even if it is for you only a scene or two.

Grade: B+ 

DEIDRA & LANEY ROB A TRAIN (2017)

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Directed By: Sydney Freeland 
Written By: Shelby Farell 
Cinematography By: Quyen Tran 
Editor: Michael Taylor 

Cast: Ashleigh Murray, Rachel Crow, David Sullivan, Arturo Castro, Sasheer Zamata, Danielle Niccolet, Tim Blake Nelson, Sharon Lawrence, Missi Pyle 

After their mother ends up in jail, two sisters turn to train robbery in order to support their family.

This is a film that feels special. It is perfect for a younger audience whereas it might not be the most exciting it is a majorly offensive free film. Full of charm and energy that starts off low-key and slowly pulls you in.

The film is so heartwarming, it’s almost like a Disney film with more sinister material. As it tries to be more realistic rather than too fairy tale

The leads are full of charm and even though they have their flaws are impressive and identifiable. So much so that they have a certain Sweetness where you keep rooting for them.

It is also nice to see a racially diverse film that has women of color in most of the leading roles. Not to mention presenting them as smart and talented.

The film is also one of the rare films that are directed by a woman of color. The film has a light touch that feels like a world that you recognize while building it as its own.

It has a more mustache-twirling villain who comes across as more of a twerp than a menace but leaves just enough of an impression to build tension.

Though the film is predictable one of its strengths is presenting us with characters who at first seem more over the top comedic and strictly one-note then later give us a whole new impression of them by letting us see life through their eyes.

The film feels independent and tries to have more of a hangdog look at life and the rough prospects that the family faces. Though the stakes are very low and seem more projected by what if consequences more than anything.

The film just stays pure of heart and luckily stays away from being a tragedy or plain old unbelievable wish fulfillment. Though stays sweet all the way through.

Which might be it’s one problem is that the main characters and circumstances are so sweet they don’t feel real and for some. It may come off as annoying as their is no cynicism in this movie, So if looking for something lite and sweet for the family or just you. This is the film.

Grade: B-

FEAR, ANXIETY & DEPRESSION (1989)

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Written & Directed By: Todd Solondz 
Cinematography: Stefan Czapsky 
Editor: Peter Austin, Emily Paine & Barry Rubinow

Cast: Todd Solondz, Max Cantor, Alexandra Gersten, Jane Hamper, Stanley Tucci, Anne De Salvo, Jill Wisoff, Kathleen Gati

Ira is a nervous playwright waiting and hoping to succeed with his art, which he takes it very seriously. But following his dreams and ambitions isn’t something easy to do, especially when he has to consider the points of view his family, his artist friends and his girlfriend will provide to him whenever he exposes his incomprehensible works of art.

Finally got a chance to see writer/director Todd Solondz’s long-lost (for me) first film. This Great white whale of mine 

He has disavowed the film Claiming he felt like creative control was taken away from him.

One might enable to see why. Even though it isn’t a train wreck. It is actually entertaining in a goofy, surrealistic way. It still has the same themes as his later films. Exactly what the title lets you know. 

Only here he is the star as with his early Short films. It’s hard not to think that these films are autobiographical. As this ends a one of era again and he never appears in any of his films ever again.

As in future films, there seems to either be surrogates or he just writes more for ensembles and wanted to make films about characters and less making it seem about himself. 

This film obviously Comes out Indebted to Woody Allen as his character is definitely like one of Woody’s, a man who seems to be romantic and constantly Full of anxiety, nebbish, and strives for more. Who isn’t happy in his current life and then once he loses it realizes how good he had it. 

Though not as grand in scope this film reminds me of a lower-budgeted I HEART HUCKABEES more for its zany surreal comedic bits at times and its lightness and bitter comedic tone.

As most of the characters talk about being real artists but are aloof and pretentious and either needy or predatory.

Junk is the perfect femme fatale. As she lets you know what she is all about but the lead character stays enamored of her for her looks and what he eyes as tough attitude when she is just rude. Though He thinks her mysterious as she is the type of person he has never encountered. So she is all new to him. Treating him badly but he keeps coming back for more.

While he treats a woman who is head over heel for him badly the same way junk treats him.

He is a character. Struggling play-write who constantly seems to lose while those around him keep seeming to become successful. Like a high school friend who decided to write as a hobby become the toast of Broadway. While he gets a bad review in the village voice that everyone seems To read.

Or his best friend who hates his writing but encourages him. Who always seems To date or seduce whoever he seems to be interested in or pining for.

Even when junk Offers herself to him sexually he Messes it all up before he can go through with the deed. Or when he gets the girl

Of his dreams how she seems to Tolerate him but still Pine for her asshole ex. He seems to bring this misery at times upon himself.

Though no matter what it never becomes completely depressing as the film Keeps the mood and material goofy and silly. Even though it offers up a sad ending it ends with a little hope. That includes a rare happy ending.

So while a sadder woody Allen-Ish film a pleasing one and fascinating to see where his career began and see the seeds of future films and style.

The film also has a nice look at classic New York around 1989 mainly Greenwich village before it Became so gentrified 

I can identify with him and his films as I feel like what I write is similar and that most of my Early films or projects usually

Are more extensions of daydreams or exaggerated feelings and my self-consciousness put out there. Not to mention having humor about and bringing up uncomfortable subjects that are a part of life that involve characters trying to be good but are awkward in their own skin especially socially. 

As they have Consciences here everybody seems to get by seemingly normal without realizing at times how ridiculous or Cruel they are naturally

Grade: C+

SWEET LIBERTY (1986)

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Written & Directed By: Alan Alda
Cinematography: Frank Tidy
Editor: Michael Economou

Cast: Alan Alda, Michael Caine, Michelle Pfeiffer, Bob Hoskins, Saul Rubinek, Lise Hilboldt, Lillian Gish, Lois Chiles, John C. McGinley, Lynne Thigpen 

Michael has written a scholarly book on the revolutionary war. He has sold the movie rights. The arrival of the film crew seriously disrupts him as actors want to change their characters, directors want to re-stage battles, and he becomes very infatuated with Faith, who will play the female lead in the movie. At the same time, he is fighting with his crazy mother who thinks the Devil lives in her kitchen, and his girlfriend who is talking about commitment.

When it comes to Alan Alda. A little is a lot though I am still a fan of the series he starred in M.A.S.H.

He comes off too smug throughout even when trying to be earnest. As A know all. As like him, the film feels like it is speaking down to others and considers itself too intellectual.

This film comes off as Woody Allen lite. It feels too general but too sharp and kind of whitewashed.

Wonder if at the time this was seen as biting humor. Watching it now feels basic.

The film has a light touch with a little depth. Which moves along breezily. As it is full-on comedic 

Lilian Gish as Alda’s mother seems here more to work and to be a big name in the cast.  As her character is another problem for the lead character to juggle. Whose storyline goes nowhere. Not to mention makes his plights more personal. 

Michael Caine is effortlessly charming and aloof. He manages to stay in control of his growing set of affairs. Yet never breaks a sweat.

Bob Hoskins is in full New York City accent mode as a screenwriter trying to make it big. 

The film In its early scenes is more about the behind-the-scenes movie-making comedy. That feels charmed with itself. Before becoming more of an intellectual farce of sorts.

The score is kind of hammy. As this film feels more made for video. As it’s less cinematic and more small-scale simple. 

If not for some language and sexy scenes. This film is clean enough to be a TV movie with a movie star cast. 

Despite my misgivings, the film Does have its charms as a film about late to middle age angst 

This film would make a great companion piece with the film STATE AND MAIN

Grade: C+ 

WHEN THE CAT’S AWAY (aka CHACUN CHERCHE SON CHA) (1996)

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Written & Directed By: Cedric Klapisch 
Cinematography: Benoit Delhomme 
Editor: Francine Sandberg 

Cast: Garance Clavel, Zinedine Soualem, Olivier Py, Renee Le Calm, Simon Abkarian 

Chloe, a young woman, is going on holiday. She entrusts her beloved cat to Madame Renée’s care. But one day Madame Renée (an old lady of the neighborhood) can not find the cat. Chloe starts searching the neighborhood… This is the pretext for the exploration of a quarter of Paris and his inhabitants.

A French film that starts with a simple premise of a young woman looking for her missing cat. That ends up leading to a bunch of adventures and experiences that usually involve some kind of romantic entanglement

This is the first film of French writer director Cedric Klapisch that I saw that perfectly sets up his usual bohemian style. His films work more as ensemble pieces with a main character in the middle. Who this story usually either revolves around or is at the center and cause for situations

As the movie goes on this is really a film about the neighborhood and its citizens more a kind of anthropology study to a degree. As we watch how they work like a well-oiled machine. With one another. While also watching how their quirkiness helps to guide and make connections for the main female character In The middle of all of this.

The film is eclectic and colorful and mostly fun than anything else, not Too dramatic. Yet at times romantic and showcasing how easily we can read into things and believe people at their words a little too soon before they have proven themselves.

This is a French film that was perfect for the time period and comes off as a quirky French film where you want to be in the movie or move into this neighborhood. As it is a classic neighborhood with more younger people moving in and experiencing it’s the charm. So that it feels like that French getaway you might have always wanted to experience in your 20’s so you would get the modern and old school In Equal measure. as you get an insider look at all around France and the different neighborhoods or districts as they prefer to call them

Though the film doesn’t really have too much to do with the story or plot. As you more or less follow Chloe, the main character on her journey, and get to feel or at least witness her experiences. So the film is kind of free form in a way without being experimental. As for all of its freedom, there still feels like there is structure here.

If you have seen his later films THE SPANISH APARTMENT, RUSSIAN DOLLS and CHINESE PUZZLE 

This will be a little familiar but allows you to see where it all started at least In theme. Though they are constructed they manage to surprise you and add color to the films through the characters. Who we get to know a bit about and get to spend a little time with. As they only add to the enjoyment of the picture.

GRADE: B

THE TRIP (2021)

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Directed By: Tommy Wirkola
Written By: Tommy Wirkola, Nick Ball & John Niven
Cinematography: Matthew Weston
Editor: Patrick Larsgaard

Cast: Noomi Rapace, Aksel Hennie, Atle Antonsen, Christian Rubeck, Andre Eriksen, Nils Ole Oftebro, Stig Frode Henriksen

A dysfunctional couple head to a remote cabin to reconnect, but each has intentions to kill the other. Before they can carry out their plans, unexpected visitors arrive and they face a greater danger.

This works as a modern-day spin on the film WAR OF THE ROSES only not as epic and in less time. Not to mention a lot more gruesome. As it takes place generally over a weekend and in one location mainly, a cabin 

As the couple plots, the other’s demise with traps and numerous set-up’s even accomplices. Their plans are put into disarray once intruders make themselves know who has been watching their interactions. 

The film has a dark and violent sense of humor

The film stays inventive and keeps you guessing as loyalties keep changing and make you wonder if it is out of survival or is the hate truly that real.

So the film keeps shifting and you understand each of the main characters point of view. As the escaped criminals are so hateful that you can’t help but root against them.

The film stays creative by taking these tight and cramped spaces and making them seem more luxurious than they should be as they manage to shoot the scenes more vividly than expected not with crazy angles but with camerawork that feels that there is more action involved then there actually is. 

The male character goes through more physical torture throughout and breaks down quite a bit 

Noomi Rapace is perfect at playing cold one minute and caring the next. Even while managing to always have the same look on her face. 

Knowing it is a dark comedy you expect some kind of violence, but the film gets quite gruesome and gory but manages to always stay humorous and at times hilarious. As it manages to keep surprising you as an audience member. Even when scenes seem to be heading to a familiar place. 

The ending could have been a bit stronger as it plays out as some kind of satire that feels a little bit odd with what we have just watched and gone through with the characters 

Grade: C+

WINE COUNTRY (2019)

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Directed By: Amy Poehler
Written By: Liz Cackowski & Emily Spivey 
Cinematography: Tom Magill 
Editor: Julie Monroe 

Cast: Amy Poehler, Rachel Dratch, Maya Rudolph, Ana Gasteyer, Paula Pell, Tina Fey, Jason a Schwartzman, Maya Erskine, Cherry Jones, Liz Cackowski, Emily Spivey, Jay Larson, Kate Comer 

During a vacation to Napa Valley, a group of long-time friends reunite and revisit past choices in this hilarious and heartfelt comedy. 

This film had me with the cast alone. Though while entertaining I can’t say that this film has too much to feed on.

As it is a middle-life crisis movie for women. That stays hilarious throughout but it also feels very lightweight and More of a reunion for ex-female SATURDAY NIGHT LIVE cast members. Though it does allow them more of a showcase than usual.

As each major cast member gets their time to shine and a major plotline. Some are just not as serious as others. When commonly cast men Evers in other films are relegated to memorable cameos. Here they get to shine.

The film is light entertainment that feels more like fluff but stays funny and entertaining throughout.

Though even the so-called normal characters end up being zany or skewed in their own way. 

Everyone is good but Maya Rudolph is a particular delight and comes off as the MVP. Not to mention she is the only character whose story comes close to being actually dramatic.

Like the liquor, it celebrates in the title. This movie goes down like a fine one. 

The characters seem more like types or come across that way at times. Though it’s not central it feels like it is about empowerment to a certain degree and watching women who are successful in some ways fall apart in others where their personal weaknesses lie.

The film even takes a look at generational differences. All in all, it is just a fun hang-out movie without too many stakes but plenty of funny scenes and characters. Who are relatable 

The film wants the audience to watch but also take part in the fun times. Where it almost feels like a hangout movie. 

Grade: C+

POMS (2019)

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Directed By: Zara Hayes
Written By: Shane Atkinson 
Story By: Zara Hayes & Shane Atkinson 
Cinematography: Tim Orr
Editor: Annette Davey 

Cast: Diane Keaton, Jacki Weaver, Celia Weston, Alisha Roe, Charlie Tahan, Rhea Perlman, Pam Grier, Phyllis Somerville, Patrica French, Bruce McGill 

POMS is a comedy about a group of women who form a cheerleading squad at their retirement community, proving that you’re never too old to ‘bring it!’

Usually every summer there are certain types of films that come towards the end of that season. There is the urban thriller that has something to do with domestication. There is a fantasy romance that somehow involves travel or older characters or both and there is the older ensemble movie. Which usually involves a group of older female or male characters whose characters get together for a cause.

Somehow have a setback or are underestimated because of their age. Then manages to impress and show off the young people. 

The film will usually involve the character doing things you wouldn’t expect them to do at that age. Usually, the cast will be filled with recognizable actors. Who will either all get a chance to shine or two of them will be more the focus. While the others fall by the wayside (Think the movie CALENDAR GIRLS) the other way is that it is an ensemble filled with all ages whereas a group they bond and we see the individual problems of each across the ages.

This film is the one that involves an ensemble and two of the actors take the lead. As well as having older characters doing something together that is only thought to be done by younger people. Here it is cheerleading. The two main leads are Diane Keaton and Jacki Weaver 

Jacki Weaver is more the flirty and rambunctious character. Who comes across like Blanche from THE GOLDEN GIRLS. She is also more the wild child and veteran of the retirement community they are part of.

Diane Keaton is the new resident who mainly came there to be alone and dies slowly from Cancer, but as she keeps being made to socialize and brought into her neighbors schemes. She decides to do an activity as a last hurrah, also to stick it to the community board and make a mark.

We see as they recruit new members and even has a touching side story. Where an older woman has bullying kids who won’t let her do what she wants. As they think they know what they want is best.

The film Is predictable but it’s Supposed to be it’s Light and is more for an audience to enjoy, not necessarily think about and more have the film affect their feelings. Not to mention be representative of the audience they want to attract and also for the younger audience members maybe remind them of their loved ones. 

While enjoyable, one is definitely bit the audience for this one. Not to mention it all feels too familiar. There is no attempt at anything new or original. So that most of the film feels like it’s On autopilot.

So while it’s Great to see these older actresses get a project and screen time. One only wishes it was either stronger or worthy of their time and talents. Then again they can’t all get the roles Susan Sarandon and Helen Mirren seem to get that offer more versatility and flexibility.

Grade: C-

COME AS YOU ARE (2019)

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Directed, Cinematography & Editor: Richard Wong 
Written By: Erik Linthrost

Cast: Grant Rosenmeyer, Hayden Szeto, Ravi Patel, Gabourey Sidibe, Janeane Garofolo, C.S. Lee, Jennifer Jelsema

Three young men with disabilities hit the road with a jaded nurse driver to a brothel in Montreal catering to people with special needs. Remake of the acclaimed Belgian film ‘Hasta La Vista’.

First off yes this is a heartwarming film that is predictable focusing on a road trip of ill-gotten but understandable means.

This is a rare film that focuses solely on characters with disabilities that seems to only come along every so few years. Even though most of the actors aren’t disabled they sell it through their actions.

Whereas even when it comes to their parents they have to prove their gaining of independence.

While the film does the obligatory scenes of showing them as normal human beings with the same desires as most. Then have to prove to others who are prejudiced against them that they can do things like jokes. The film offers a diverse cast 

This is also a film that is a little lightweight and while it has its little adventures. The strength of this movie is the characters and their different personalities. They eventually charm you so that you are forging for them and want to see what kind of calamities they get into next. 

It’s episodic in brute but as the film goes along the characters grow on you. So that while they might begin as stereotypes. They eventually grow into well-rounded characters. Who you grow to appreciate. 

The film even has an unexpected romance. It truly is an unexpected hidden gem. That gets by More on Emotion than filmmaking.

Grade: B