Tag: Comedy

BAD MANNERS (1984)

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Directed By: Robert Houston 

Written By: Robert Houston and Joseph Kwong 

Cinematography: Jan De Bont

Editor: Barry Zetlin

Cast: Pamela Segall, Joey Coleman, George Olden, Michael Hentz, Christopher Brown, Anne DeSalvo, Martin Mull, Karen Black, Kimmy Robertson, Susan Ruttan, Edy Williams, Stephen Stucker

Four teens on the run from an orphanage spring a fellow orphan recently adopted by a rich family, then trash the whole house.

This is a film I remember watching and liking quite a bit when I was a kid probably around eight years old, which is what strikes at the heart of this film who is this film really marketed towards it is too adult to truly be for children and to juvenile to really be for adults 18 even though most of the characters look to be just entering their teens and the material throughout is way too adult. In fact, it’s a rated R film.

This is a long way of saying they wouldn’t make a film like this today. The film is just trashy, sleazy, gross, and in very bad taste, but strangely it has charm.

At the heart of it, it’s very punk rock as it showcases, a rebellious youthful spirit against the more selfish superficial, and exploitation of adults. Not to mention everything moving along into chaos.

The film shows some adults in particular at the orphanage have a psychotherapist, who only wants to talk about sex to the young children there and seems to be very into bondage

The orphanage rundown prison or who uses a cattle pro and all of the teachers seem to be nuns

The film has two nude scenes. unnecessary, but we’re kind of in at the time and probably helped get more eyes on the film of whichever audience. They intended the teens and the adults giving them a reason to watch it as I might have done the research and saw in the rating it’s rated R for you know, graphic violence, nudity sexual situations, and language only here with more nudity and language

It doesn’t really have any sex in it luckily but there is just a certain vibe to it. That feels like anything taboo will be at least hint or watching it now it’s amazed that it even got made.

as I will admit at the time, one of the reasons, I probably became a fan of this film was Pamela Segall who knows who now goes by Pamela Adlon, who is in a bunch of movies I saw on cable GREASE 2 is where I first saw her and then this film and then the movie SOMETHING SPECIAL a more teenage appropriate movie. Though not as wild. Even later in her career, playing the tough gal usually but one who is down to earth and could definitely hang with the men on equal footing while also being noticeably attractive. Which has made me a lifelong fan of hers.

One of the problems of the movies is that you hate most of the characters or dislike them, as even the kids aren’t exactly likable. They all seem very troubled and while you want them to win, you probably wouldn’t want to take care of any of them or be in charge of any of them, but as the movie tries to keep us, and if they wanna act like they are adults

As the kids are just unruly and seem to want to always break the rules and cause trouble, and they all have different character types not clearly defined, but rambunctious

It just makes me wonder what there was as a respectable cast of Martin Mull, Anne DeSalvo and Karen Black in it, apparently, all are here cashing checks, but they still give their all in their performances. 

I will admit Martin Mull  is also another big pole for me to watch a film even when I was a kid I was fascinated by him or the characters he played.

The film was even shot by renowned future cinematographer and filmmaker Jan De Bont (SPEED) 

None of the actors who played the main gang of kids really appeared in too many future film or television roles. Though Joey Coleman, who played Whitey was in the documentary and open secret about child abuse, and pedophilia in Hollywood.

It is also one of the rare roles of Stephen Stucker outside of the AIRPLANE spoof movies. Playing a similar over the top comedic role. 

on the one hand, I admire that this film got made at all as it just shows how wild the 1980s were when it came to so-called teen or youth oriented films. The film certainly isn’t well but it is a fascinating watch for what they did and get away with at the time.

as a childhood memory of entertainment, I am shocked that my parents let me watch this many times, but also it kind of has a special place in my heart. I know it’s nostalgia isn’t always the greatest especially when it comes to something that might be an inferior product, but this stays with me, I wouldn’t necessarily recommend it but for those who look for more trashy Cinema, I would say give it a chance or give it a look

Grade: C 

KIND OF KINDNESS (2024)

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Directed By: Yorgos Lanthimos 

Written By: Yorgos Lanthinos and Effhimis Filippou 

Cinematography: Robbie Ryan 

Editor: Yorgos Mavropsaridis 

Cast: Jesse Plenmons, Emma Stone, Hong Chau, Willem Dafoe, Margaret Qualley, Hunter Schaffer, Mamoudou Athie, Joe Alwyn, Yorgos Stefanakos 

a triptych fable, following a man without choice who tries to take control of his own life; a policeman who is alarmed that his wife who was missing at sea has returned and seems a different person; and a woman determined to find a specific someone with a special ability, who is destined to become a prodigious spiritual leader.

Fresh off the heels of his critically acclaimed Hollywood films director Yorgos Lanthimos seems to be Going back to his more experimental type of films bringing with him acclaimed actors.

On the one hand, I applaud him as he exposes more general audiences to experimental films and brings them a little more into the norm. As much as he can. Where he not only actually challenges audiences and their expectations. As well as providing material that is deeper and more thought-provoking than most. Letting them make their own minds on the stories and not hand-holding them throughout.

One only wishes that one could say it feels worth it. While one can enjoy the dynamic aspects and camerawork of his filmmaking. Though have never been the biggest fan of his early experimental work. There always seems to be a challenging renegade spirit to his work. 

Here he presents three different tales that have not only the same cast but the character of RMF to connect them. Essentially a minor character but revolving around various characters. Each tale has a theme, but all seem to include toxicity and love of some kind 

The first story revolves around a character 

Reliant on a boss so much in aspects of their life. What happens when true freedom is offered to them and not know how to survive because we have become so dependent on them. Some might say this story is an analogy of capitalism.

The second story involves a cop whose wife has gone missing at sea and he is not taking it well. Once his wife is back he is overjoyed but becomes convinced something is off and that she is an imposter. We see him seemingly break down as he tries to convince others she is not who she says she is. This story like the one before it revolves around control how comfortable one might be with it and what happens when they are not in control. It also shows how relationships can work and break once your partner makes their own decisions and doesn’t fit the ideal anymore of their partner and how people will stay in an Avis or relationship in hopes of things going back to the way they used to be and are willing to practically sacrifice themselves to make the other happy. 

The third take involves a cult. The members believe in two leaders. Who they can only have sex with. Who are in search of a young woman who can bring the dead back to life. While one of the members keeps running into their ex-husband and daughter. Eventually kicked out one member believes they have found the miracle and then plays like a tragic comedy.

This one shows our reliance on others to make us feel whole and keep us safe give us some kind of meaning and how those who love us can easily break us or betray us for their own comfort and happiness. 

Throughout all do these tales the ensemble cast plays different characters. Some of the biggest names in the cast might be the star of one tale and then a minor character in another.

The title gives away the themes, of how there are different kinds of kindness and how they can be used for good and how some use them to hurt others or have power.

As a whole, these short films coming together make an alright feature. Though separately they might not be as strong or powerful and might either come off as pretentious or offer ideas the audience already knows.

The cast is clearly having fun and in their element throughout. One only wishes it was mutual for the audience. As the film goes along the shocking moments become defining and also expected. It finds the director and cast more at play than offering anything truly strong or solid. It doesn’t seem wasteful, though it doesn’t come off as anything more than a healthy budgeted experiment.

I seemed to have not enjoyed it as much as others, especially critics.

Grade: B- 

THE COFFEE TABLE (2023)

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Directed & Edited By: Caye Cesas

Written By: Caye Cesas And Cristina Borobia

Cinematography: Alberto Morago

Cast: David Pareja, Estafina De Los Santos,  Josep Maria Riera, Claudia Riera, Eduardo Antuna, Gala Flores, Cristina Dilla, Aitzair Castro

Jesus and Maria are a couple going through a difficult time in their relationship. Nevertheless, they have just become parents. To shape their new life, they decide to buy a new coffee table. A decision that will change their existence.

before I even start trying to write about this film. please know that this is a very heavy spoiler written review because it’s very hard to talk about this film without spoiling it. Don’t watch the trailer. Don’t read about it to truly experience the film. It is best to go in blind that is first.

So now here we go Secondary this film is very disturbing so if you have a light sensibility and can’t handle dark material, it is highly suggested you stay away from this movie. Especially if you are a parent.

HEAVY SPOILERS 

So now here we go

The film begins like a truly dark black bleak comedy, and it gets right to the point at first I thought it was going to play out as a bunch of just bad luck and circumstances of the purchase of this coffee table. I didn’t think it would start off so quickly with the dilemma

throughout the film, there is humor and a bit of the absurd, but I think what is generally disturbing about the film is that it also plays so real. It feels like the actual reactions of a person who is in that circumstance and then panicking and figuring out how they’re going to relieve the dilemma, and also having to deal with all these characters around them.

Considering the film takes place in one location it also almost feels like this could’ve easily been a play a stage show. Throughout plays, even the minor supplies seem to be more about character than pieces or funny material.

it’s partially a character piece as we do get to know bits and pieces about the characters and their past and their relationships and really the film depends on them and their believability and emotions. while it has a sense of dread and a cloud of despair hanging through it

Luckily, the film doesn’t go for too much shock value, or show you violence or being exploitative about the situation. The filmmaking is it distracting it’s more of the dramatics of the situation and the believability of the characters that come through the most in this film. As it stays shocking yet always believable.

what I believe makes this film feel so heavy at the end is that there doesn’t seem to be any release or Relief and even with its dark humor there’s no punchline. It’s an all-out tragedy.

As there are no true villains in this film only victims. As it plays It just seems cruel to a certain extent not that it wants to be, but you do wonder why these characters have to be caught up in this and suffer. If not at the time you know it’s coming. The only question is how and why. This is a film that you can just sit back and watch you’re going to find yourself involved somehow even if it’s just in your reactions which will most likely be loud.

By the end, you’re even wondering why this film was made it’s just so heavy and sad that this is the type of film where afterward you’re gonna need something to definitely try to cheer you up whatever you can find as it leaves you in a dark place. as this is one nasty experience that you can’t help but feel something while watching.

this is one of those films that just stays with you even if you don’t like the film or aren’t impressed by the film or its filmmaking. Though I will admit with this kind of imagination, I am interested to see what the Director comes up with next.

Grade: B 

KILLER BODY COUNT (2024)

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Directed By: Dansihka Esterhazy 

Written By: Jessica Landry 

Cinematography: Manoel C. Ferreira

Editor: Lee Walker 

Cast: Cassiel Eatock-Winnick, Savana Tardieu, N’Kone Mametta, Khoshi Ngama, Bjorn Steinbach, Jessie Diepeveem, Ethan Saunders, Jason K. Ralph 

Mistaken for a sex addict by her devout father, Cami is sent to an isolated rehab center. But when a killer begins to hunt the teens, Cami realizes that her survival and her independence are intertwined in ways she could never imagine.

Considering the subject matter this film could have been a lot worse, bordering on pornographic or even exploitive. 

The cast is mainly made up of new faces for the most part and they do what is required, but don’t necessarily make too much of an impact. Except for Alex McGregor, who seems to be one of the more acting veterans of the cast who plays one of the brothers and sisters who run this camp.

A Horror film that revels in its exploitation that could’ve had a real message about conversion therapy and religious hypocrisy not to mention, power dynamics, and even the way sex is handled or dealt with between the sexes

Instead, it goes with the easy route of being an 80 slasher film being awkward and hokey humor makes it perfectly disposable and entertaining while you watch, but won’t gather too many thoughts or memories after 

It’s possible and a little more lighthearted, despite its violence like the director’s previous film banana splits the movie only here it doesn’t seem to celebrate or find fun in it in this film is more about presenting and hoping it’s shocking 

As each death scene seems to go a little further and its violence is almost like the film itself following the baseball euphemism when it comes to the sex of first base second base, and third base each goes a little further 

The film comes across as a nice attempt, but it’s never quite engaging nor do any of the characters stay particularly memorable. What would you expect when we’re not really ever given anything to really remember them by other than names and looks there’s nothing particularly memorable about them as even their personalities almost seem similar 

so that you care truly about them except for maybe the lead and that is because we’re supposed to as she is our introduction into the story, even as the action takes place a little bit before we meet her

There is a budding lesbian relationship, which might be why the lead character can’t seem to get an orgasm, which seems to be a major plot point of the film female characters consistently the lead characters are a little different than any other lady with those same byproducts.

Though truthfully you know what you are getting into and what type of film this is, as it goes for the easiest way out and tries to be more humorous at times.

The third act tries to surprise itself by piling on the surprises. as even the audience will be left, guessing and having their own theories until all is revealed. That eventually might make some in the audience’s eye roll. Though at least is trying for maximum entertainment. 

Grade: C- 

DRIVE-AWAY-DOLLS (2024)

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Directed By: Ethan Coen

Written By: Ethan Coen And Tricia Cooke

Cinematography: Ari Wegner

Editor: Tricia Cooke

Cast: Margaret Qualley, Geraldine Viswanathan, Joey Slotnick, C.J. Wilson, Bill Camp, Beanie Fieldstein, Annie Gonzalez, Colman Domingo, Pedro Pascal, Matt Damon 

The film follows Jamie, an uninhibited free spirit bemoaning yet another breakup with a girlfriend, and her demure friend Marian who desperately needs to loosen up. In search of a fresh start, the two embark on an impromptu road trip to Tallahassee, but things quickly go awry when they cross paths with a group of inept criminals along the way.

This film is a strange hybrid of a lesbian romantic comedy. Also having a conspiracy crime story.  That mixes competently enough but still feels like a strange mix.

The humor works in both storylines, but they both need a little bit more to be fully realized as they both feel like they could be short stories but need the other to make a full feature.

unfortunately, the film also comes off as a farce as most of the characters aren’t exactly 100% believable and we never really get enough information to really care for them or really get to know them. We know their character types but rarely get a glimpse truly inside of them.

This could’ve been an informative romantic comedy that involved lesbians but the crime story feels like it was needed to fill it out whereas the crime story feels like an idea that was never quite fully realized.

The film takes place in 1999, though the film barely acknowledges it until late, and you begin to realize that most of these misunderstandings and confusions could’ve been solved with cell phones, which is why it seems the main reason that this film takes place in the past. it seems like a lot of films will explain or keep their narrative going.

as often the editing seems abrupt and the timing seems a little off, and it keeps going into these psychedelic dreamscapes and montages that for a movie under 90 minutes quickly become very annoying, especially the volume of them. Which comes across as a throwback and an experimental device for a film that doesn’t seem encouraging to be under the influence watching.

The cameos throughout the film of favors and wanting to be associated with 1/2 of the famed Coen brothers filmmaking team. Here Ethan Coen directs and co-wrote the screenplay. The problem is that this film feels more full of comedy than any true relatability. even while we root for the main characters, they never become full-blooded, though they are likable

While the film is certainly entertaining and comes up with plenty of memorable side characters and situations. especially Margaret Qualley’s character, who you wish had a film all to herself it comes off as a bunch of great ideas that luckily work into a narrative, but are very loose.

The actors all seem to be having fun in their roles and as usual Geraldine Viswanathan. Deserves and needs more leading roles as she is just a captivating actress who ends up getting stuck at times in one-note roles luckily reveals herself to be more than meets the eye her character can change from the beginning to the end and stay believable..

This isn’t a bad movie or a terrible movie. It just feels and its own way nourished like it’s missing certain things that would make it more worthwhile. 

Grade: C 

DOWN LOW (2023)

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Directed By: Rightor Doyle

Written By: Phoebe Fisher and Lukas Gage

Cinematography: Nate Hurtsellers

Editor: David Moritz and Mike S. Smith 

Cast: Zachary Quinto, Lukas Gage, Simon Rex Judith Light, Audra McDonald, Sebastian Arroyo, Christopher Reed Brown, Dominique Lawson, Joseph Bessette 

A deeply repressed man, the uninhibited young man that gives him a happy ending, and all the lives they ruin along the way.

This is a single-location comedy feature around a premise that is a few scenes in a movie like Goodfellas with having to get rid of a body.

Only here more LGBTQ plus things less gangster world related.  As they both involved getting rid of a dead body, someone might or might not be the reason for this unfortunate accident.

Luckily, for the audience, this film ends up being a witty, screwball comedy, essentially about acceptance and being comfortable in your own skin.

It’s nice to see Zachary Quinto cut loose throughout his career, especially in the beginning, he always played a villain in the show, heroes, and other rules he has always looked or acted so deadly, serious, dramatic, and imposing. That here it’s nice to see him play in a comedy. He still repressed, but allows himself to let loose in character and is clearly having fun. Pardon the pun of the street man throughout this film who is gay.

The film does stereotypes, or at least cliché, likely terminally ill gay man, but it takes a sharp and offers a more than one-dimensional portrait. I’m not only that character of other characters that afford more than just the main characters in its own way. It feels universal no one is left as a caricature and still manages to surprise. 

The film is refreshing as it manages to be emotional, but still allows for it to be dark.

Co-written and co-starring  Lukas Gage, in the more flamboyant, outrageous, and physical comedic masseuse. 

As Lukas Gage definitely has drawn, not only a showpiece for himself, but one that allows everyone else to have their moments as what could’ve easily become a farce gets into some real emotional territory.

Simon Rex makes a smash as he plays a nightmare version of what you can find on the dark web, but still manages to be funny, and  Judith Light comes in as a character who could’ve been purely used for comedic relief but gives the film a poignant moment and character.

It’s not vivid, nor is it really that big or too visual but it’s fun. Want to stick around and be with these characters and route for them throughout 

Grade: B

A FAMILY AFFAIR (2024)

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Directed By: Richard LaGravenese

Written By: Carrie Solomon

Cinematography: Don Burgess 

Editor: Melissa Bretherton 

Cast: Nicole Kidman, Zac Efron, Joey King, Kathy Bates, Sherry Cola, Liza Koshy, Sarah Baskin, Olivia Macklin, Wes Jetton, Ian Gregg 

An unexpected romance triggers comic consequences for a young woman, her mother, and her boss, grappling with the complications of love, sex, and identity.

I won’t lie if this had made it to a movie theater it probably would’ve turned a decent profit as it is intriguing enough. Even if it’s a basic Hallmark type of story. It has the element of a younger man, falling for an older woman, and both of them are ridiculously successful and good-looking. So of course, this movie is obviously identifiable for the audience, with its feel-good ending.

Neither the film nor the filmmakers really add anything to set it apart, other than having two big stars in the lead recognizable actors throughout the film. 

Joey gives her all and she saves this film overall with her energy and comedic timing.

Everything else throughout this film is predictable and basic, not even in a quirky to present things differently.

Even the supporting characters aren’t really characters they’re just standings for the leads to either talk to or complain to, and then at some point or given a little bit of in her life when it’s time for the characters to realize that other things are more important in the world.

It’s hard to really get into a film that is just out-and-out pure Hollywood where everyone is pretty successful and even the people in their 20s who should be struggling seem not that battle and everyone is picture perfect pretty or attractive and there’s no real heavy drama I understand it’s meant to be a romantic fantasy feel-good comedy and if you are in the audience and want This film will be good for you.

It just seems like the typical Netflix movie where they are more concerned with getting star names in the project and then seem to worry about the script if at all later and when it comes, you’re probably not going to get any good quality, but if you’re comfortable with the Hollywood films of yesteryear you’ll get it here but not with any flex of imagination.

As there are no surprises and even the hint that there will be sex and or nudity in the trailer is quickly flirted with an abandoned. By the end of the film, this is not believable, but a perfect fantasy for some audiences to get lost in.

Now one will admit this is my type of film and the only thing that made me want to watch it. It was again the comedic antics it seemed of Joey King in the trailer.

The biggest shock came when noted Screenwriter Richard LaGravenese directed this film though did not write it. He has written and definitely directed better films than this. Even if romantic comedy and drama do usually fall into his wheelhouse.

Grade: D+

ANYONE BUT YOU (2023)

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Directed By: Will Gluck 

Written By: Will Gluck and Ilana Wolpert 

Story By: Ilana Wolpert 

Cinematography: Danny Ruhlmann

Editor: Kim Boritz-Brehm and Tia Nolan

Cast: Sydney Sweeney, Glenn Powell, Gata, Alexandra Shipp, Charlee Fraser, Bryan Brown, Dermont Mulroney, Rachel Griffiths, Hadley Robinson, Michelle Hurd, Joe Davidson, Darren Barnet 

After an amazing first date, Bea and Ben’s fiery attraction turns ice-cold–until they find themselves unexpectedly reunited at a wedding in Australia. So they do what any two mature adults would do: pretend to be a couple.

A sexier romantic comedy that plays like a sex comedy. Only lacking any truly carnal action, but flirts around with it, In a more innocent manner.

The whole movie is of course a will they or won’t they. Where they feel like they are fooling their friends and their friends feel like they have the upper hand over them.

The film tries to breathe life into a tired staple or genre. The results aren’t terrible. As the film stays entertaining fluff. That you will forget about soon after watching. 

It is a bunch of beautiful people in impossibly lush locations and privilege-loving fantasy lives. So it plays like a fantasy for the audience. 

the film keeps trying to make Sydney Sweeney into a more physical comedian and less an object of desire but never goes fully into quite embarrassing humor or anything truly juvenile. 

Luckily the movie focuses more on the comedy and less on the romance until it is needed. 

Hollywood keeps moving Glen Powell into being a star for good reason. As he is a movie star handsome and charming. Though you might find yourself obsessing about his hair throughout as it is usually perfect and never movies but doesn’t look stiff. 

It’s an across-the-board film as it is diverse and includes every kind of demographic a mainstream film could aim for. 

It’s nice to see Bryan Brown and Rachel Griffiths on the screen again and clearly having fun Even if the movie casting seems all over the place. Though definitely filming in Australia as most of the supporting cast seem to be natives and we see all the popular sights. 

Not to mention while you can understand Powell’s character being tempted by his ex. Played by Charlee Fraser, As she is gorgeous and it’s flattering she needed such a good-looking guy to replace him and get over him. Sydney Sweeney’s ex in the film played by Darren Barnet is there in appearance but gets nothing to do or any real character Arc. Really he’s the only character who really has nothing to do but is just there. 

This seems like the movie the Justin Timberlake movie FRIENDS WITH BENEFITS was supposed to be, only here the leads are likable and insistent like it is chasing any trends or trying to be cool. Instead, this movie just remembers to be sexy. 

This seems a starter movie for both the stars here, trying to see how much box office power they have with them as the main stars.

Grade: C

THE SWEET EAST (2023)

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Cinematography & Directed By: Sean Price Williams

Written By: Nick Pinkerton 

Editor: Stephen Gurewitz 

Cast: Talia Ryder, Simon Rex, Jacob Elordi, Ayo Edibiri, Jeremy O. Harris, Andy Milonakis, Keith Poulson, Rish Shah, Mazin Akar, Gibby Haynes, Mimi Ryder, Jack Irv, Ella Rubin, Betsey Brown, Earl Cave

A picaresque journey through the cities and woods of the Eastern seaboard of the U.S. undertaken by Lillian, a high school senior from South Carolina. She gets her first glimpse of the wider world on a class trip to Washington, D.C.

The film has an Alice in Wonderland quality. they coming of age tale. where we follow this girl who right after losing her virginity goes on a school field trip to Washington DC gets mad wanders off and kind of gets involved in all these kinds of extreme groups and gets involved with these characters who have such great passion for their beliefs that she seems to put up with as long as she can, and they take care of her, but then soon grows of them and moves on, especially leaving them and ruin when she does

as it seems like all of those, she gets involved with seem to put their ideals dreams, and wishes upon her as some kind of fantasy is going to help them or save them or make them successful and she’s quite the opposite as she is just a schoolgirl trying to survive and trying to have fun

I think this film might’ve been a little stronger been directed and written by a female because as it plays, which might actually work and its favor seems more to go throughout this film as a kind of young female seen through the male gaze so she’s constantly made into a fantasy. it is directed by noted cinematographer Sean Price Williams.

The film doesn’t make her a victim, though it shows that she’s not that innocent and that she kind of enjoys the power that she gets from all these experiences as these types of scenarios and with the female being victimized, it’s kind of refreshing to see a film, where the female is the one who realized that she has the power and takes control, even though she doesn’t know how deep or dangerous the waters she’s stepping into truly 

The film is very experimental as it even has a musical sequence early in the film and seems to be mostly handheld gorilla style though has some beautiful shots the film does keep a sense of humor, but also has a kind of shock value that it produces every now and then just to make sure you’re paying attention 

as in one section of the film, she ends up staying with a white supremacist who is more of an intellectual than an actual member of the KKK who he spoils like she’s a pet, but never touches, though she keeps offering peaks and glances. He never makes a move, though he wants to and generally respects her, which makes her quite fast

she goes from there to African-American filmmakers who keep talking about being revolutionaries and even dress the part in 1970s wardrobe, but then when we actually see that the film they are making it some kind of merchant ivory-type production that is more about Caucasian characters in the pet in the past which proves to be one of the most, but also shocking sequences in the film

those throughout there are no real consequences for her character and the film tries to throw the audience off just as when she ends up secretly staying with what seems to be a Muslim paramilitary group. They are more of a music group dance and very secretive. so this film keeps to survive.

no, by the end, it doesn’t really seem to have all that much to say and still feels like the musings of a middle-aged Caucasian man declaring his thoughts on modern-day subcultures but putting it through a young female point of view, making it seem more open and not so fitting closed off.

In the end, it’s not quite an adventure. I’m sure most audiences will want to make but if they do, they might find something that captures their interest throughout. As the character travels through the eastern seaboard.

That is a great showcase for young actress Talia Ryder. as she constantly plays the main character, but also that character has to play the role that she is given by all these different people she comes across and even using other stories as her own to get more sympathy

in the end, it kind of amounts to a movie that seems like it was a hip hang-out for most of the cast that was made up as it went along to touch on certain subjects and meanings

Grade: C 

MR. NICE GUY (1994)

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Directed By: Samo Hung 

Written By: Fibe Ma and Edward Tang 

Cinematography: Raymond Lam

Editor: Peter Cheung and Chi-Wai Yau

Cast: Jackie Chan, Richard Norton, Gabrielle Fitzpatrick, Miki Le, Karen McLymont, Vince Poleto, Barry Otto, Sammo Hung, Peter Houghton, David No

A Chinese chef accidentally gets involved with a news reporter who filmed a drug bust that went awry, and is now being chased by gangs who are trying to get the videotape.

Jackie Chan usually defends himself in fights. That leads to death-defying stunts and he seems so acrobat. As he is, the initial attacker is never malicious or aggressive. 

Why he comes across so bad when he does. He seems up or had enough of it and he’s not using so much as truly fighting for a reason. Still the reluctant hero.

This is also why usually his films are more noteworthy for their action sequences than the plot as the story is the connective tissue that holds it all together and leads us to these scenes. There isn’t truly any just the cosmetics that help everything else cook.

This film is set up in Australia, and not starring most of his usual costars. Except for Richard Norton playing the villain. 

Thankfully, this is not another body-action comedy. This film also isn’t as sanitized as his usual more English language films, which sometimes end up being more for families and kids. There is more action with comedic scenes sprinkled throughout. But still, it’s an action film throwing through one just wishes the film could’ve been better overall.

That piece of work, though not as fun, loving, or inspiring as his non-English language films. The film becomes over-the-top ridiculous especially with it’s at least giving him a challenge. The henchman outfits are definitely 1990’s garb.

Directed by fellow kung fu legend, Sammo Hung. Who is more known for comedy and directing and acting with fight scenes and kung fu sprinkled it. 

It gets a little racy, but nothing too offensive. That is an ending that offers pure destruction. 

This ends up being a noteworthy film of his overture.

Grade: B-