by Steve Habrat
Director John Lee Hancock is no stranger to crafting crowd-pleasing dramas. He’s the man responsible for such films as Dennis Quaid’s 2002 sports drama The Rookie and Sandra Bullock’s unstoppable 2009 hit The Blind Side. When it came to telling the enchanting story of how Walt Disney managed to get the rights to P.L. Travers’ book Mary Poppins, Hancock was certainly the man for the job. Hancock’s Saving Mr. Banks is certainly a well-oiled piece of period filmmaking with several performances that certainly scream for Oscar. It’s a mushy tale about how much the character of Mary Poppins meant to Travers, served up in a candy shell that audiences are guaranteed to savor. Both Hancock and Disney Studios are playing to our hearts with the emotional script from Kelly Marcel and Sue Smith, but the magic of Saving Mr. Banks really comes alive through the performances from its spread of A-list celebrities. This is Emma Thompson’s show, but Tom Hanks, who is still hot off the success of Captain Phillips, warmly beams his way through his performance as the ultimate dreamer, Walt Disney. And then there is the sweet performance from Paul Giamatti and a particularly touching turn from Colin Farrell, who becomes the film’s beating heart and soaring soul.
Saving Mr. Banks picks up in 1961, with Mary Poppins author Pamela P.L. Travers (played by Emma Thompson) tight on money and low on options. Through her agent, Diarmuid Russell (played by Ronan Vibert), Pamela receives an offer from Walt Disney (played by Tom Hanks) for the rights to her beloved story so that he can make it into a movie. At first, Pamela refuses to sign over the rights to Disney, who she believes will ruin her very personal story, but her reluctance to right another novel to bring in more money puts her in a difficult spot. With no other alternatives, Pamela travels to Los Angeles to meet with Walt to discuss the project. Upon her arrival, Walt goes above and beyond to charm the scowling Pamela, but each one of his attempts bounces right off her thick skin. Pamela soon begins meeting with scriptwriter Don DaGradi (played by Bradley Whitford) and composer/lyricist brothers Richard and Robert Sherman (played by Jason Schwartzman and B.J. Novak) to pour over every single detail of the script, storyboards, and musical numbers—all of which she finds fault with. As the exasperated Disney crewmembers try to please Pamela, she strikes up a friendship with her kindly driver, Ralph (played by Paul Giamatti), and begins flashing back to her dysfunctional childhood in Queensland, Australia, with her alcoholic father, Travers Robert Goff (played by Colin Farrell), who instilled a vivid imagination inside the young Pamela.
Saving Mr. Banks juggles two storylines, one which flashes back to Australia, 1906, which gives us a glimpse inside Pamela’s upbringing at the hands of her drunken but loving father and her wounded, soft-spoken mother (played by Ruth Wilson). The scenes set in Australia are given a fairy tale glow, romanticized and shimmering in true Disney fashion. The dramatic outback flashbacks are met by the scenes set in 1961, which posses a more humorous side as Pamela grapples with her idiosyncrasies with her beloved character. Thompson plays Pamela as a porcupine of a woman, a prissy control freak who never passes up a chance to put old Walt Disney in his place. When she isn’t complaining that Los Angeles smells like sweat and chlorine, she ripping into ol’ Walt for anything and everything. Initially, she appears to be immune to Walt’s charms and she scowls every time she lays eyes on a familiar mouse that we have all come to adore. When she meets with DaGradi and the Sherman brothers, she stomps her feet and demands that all of their meeting are recorded. She especially detests the songs like “Supercalifragilisticexpialidocious,” and she groans over the mustache added to the character of Mr. Banks, an addition that Walt has personally requested. For as cold and heartless as she seems to be, Thompson molds the character into a sympathetic soul who wrestles with painful memories that she feels doesn’t deserve the pixie-dust whimsy that she is convinced Walt will give her story.
As far as the rest of the performances go, Hanks beams his way through his performance as Walt Disney, a happy-go-lucky businessman who is absolutely perplexed by the whirlwind that is Pamela. Watching his reactions to feisty writer is a treat, especially when she recoils in horror at his suggestion of taking a trip to Disneyland. As his battle to make the movie culminates, he tells a personal story that reveals his understanding over how much the character of Mary Poppins means to Pamela. Then there is Giamatti, who gives one of the most sensitive performances of his career as Ralph, Pamela’s gee-whiz limo driver who makes every effort imaginable to get to know this rigid sourpuss. Watching Ralph develop his friendship with Pamela is hilarious and near the end, it takes an emotional turn that will make your heart swell. Whitford nabs several chuckles as DaGradi, the cautious scriptwriter tasked with battling with Travers on a day-to-day basis. Schwarztman and Novak are a terrific tag team as the Shermans, the composers who just can’t seem to come up with a tune that gets Travers tapping her toes. Then there is Farrell, who just leaps across the screen on the wings of imagination. Behind closed doors, he is a withering heap of a man consumed by alcoholic demons and an illness that threatens to take his life. However, when he is facing the young Pamela in the sun, he is a dancing court jester, her encouragement to never stop dreaming or chasing imagination. Trust me when I say that this role is one of Farrell’s finest hours.
Considering that Saving Mr. Banks is a Disney production, the film’s sets and cinematography look like a million bucks. While there was no filming in Australia, Hancock does a marvelous job transforming various locations around California into the dusty Australian Outback. It should also be noted that there isn’t a single shot in the entire picture that isn’t crisp, clean, and gorgeous, always eager to show off the fantastic period clothing and set design. Hancock and his screenwriters also do a marvelous job with revealing little secrets about Pamela’s past to the viewer, whether it is her dislike for pears or her fury over Mr. Banks having a mustache on screen. Every little reveal is balanced throughout the picture, one being just slightly more emotional than the last one. Overall, while there is no doubt in anyone’s mind that Disney studios has sweetened this story up in places, Saving Mr. Banks is still a wholesome little movie that touches on the importance of imagination and pleas with each and every one of us to never loose our child-like sense of wonder. Thompson and Farrell are Oscar worthy in their respective roles, Giamatti’s Ralph is unforgettable, and Hanks is clearly having a grand old time slipping into the skin of Walt Disney, a role he was born to play.
by Steve Habrat
I wish that Martin McDonagh would direct more movies. We haven’t seen much of the Irish screenwriter and director since his small but darkly hilarious 2008 film In Bruges, the scrappy hit-men-on-holiday thriller that brought out the funnyman in Colin Farrell and Brendan Gleeson. In Bruges turned out to be one of the strongest films of 2008 but it was sorely overlooked when the “Best of the Year” lists were published. After a lengthy wait, we finally have Seven Psychopaths, the equally hilarious and shockingly gruesome send up of the gangster genre and Hollywood action vehicles. With the tongue and jaw of Quentin Tarantino and enough gore to make any member of the splat pack blush, Seven Psychopaths is a minor effort, one destined for cult popularity and late night viewings with your friends. To be fair, there is nothing wrong with its instant cult status but it certainly makes the film a bit alienating to the casual viewer. While there is plenty to love in Seven Psychopaths, there are a few little annoyances with the script that prevent it from achieving the greatness of In Bruges, but the star power is McDonagh’s greatest strength here and he more than allows Farrell, Sam Rockwell, Christopher Walken, Woody Harrelson, and Tom Waits to unleash their inner freaks.
Seven Psychopaths introduces us to Marty (Played by Farrell), a struggling screenwriter with a massive drinking problem. He spends his days in sunny Los Angeles with his buddy Billy (Played by Rockwell), an unemployed actor who kidnaps dogs with Hans (Played by Walken), a seemingly mild mannered man with a violent past. Hans and Billy then return the stolen pups to their owners and claim the rewards. After Hans and Billy kidnap a Shih Tzu that belongs to unhinged gangster Charlie (Played by Harrelson), Billy, Hans, and Marty go on the run from the ruthless gangster who will do anything to get his dog back. Meanwhile, Marty is scraping for ideas for a screenplay he is writing called “Seven Psychopaths” and seeking out individuals who consider themselves “psychos.” Along the way, he encounters Zachariah Rigby (Played by Waits), who traveled around with his wife killing serial killers and a masked vigilante who targets high-ranking members of the mob. As all of their paths cross, the bullets begin to fly and dead bodies stack up.
While the script is packed with plenty of comedic banter between all these wackos, Seven Psychopath hits a snag in the way it chooses to handle some of the characters. Olga Kurylenko shows up briefly as Charlie’s girlfriend Angela and Abbie Cornish is the in the mix as Marty’s fed up galpal Kaya but neither are given very much to do. While the death of one of these female characters is used to comment on the way that women are handled in action movies (it is hilariously dissected), I would have really loved to see one of them get down and bloody with the boys but that never happens. There is also another main character that I think was grossly mishandled and should have played a bigger part in the film, especially after the taste that we get of him. It is tough to discuss these flaws because Seven Psychopaths is just loaded with twists and turns that add to the fun, especially with its characters. I also think that when the characters step out of the sunny Los Angeles streets, things don’t run as smoothly as McDonagh thinks they do. There is still something to be said about the way that McDonagh spirals towards the ending, teasing us with ideas of a grand gunfight and characters dying in a slow-motion hail of gunfire, all while doing it behind a never-ending sea of hysterical one liners to keep things playful.
Seven Psychopaths is never ashamed to be a bloody character piece, one that has plenty of emotion weight behind each character. Marty wins us over almost instantly as a scribe perpetually recovering from the night before, shaking himself out of a hangover with a freshly cracked beer. He is basically the only (semi) normal one of the bunch and his reactions to the sudden violence thrown into his world are insanely realistic and knee slapping. Rockwell continues to prove why he is a talent to be reckoned with as mile-a-minute Billy, the eager chum who wants so desperately to help with Marty’s new screenplay. McDonagh hands him all the best lines of the film and he’s the one who gets to rant and rave about how he wants their situation to end. Walken is his usual self as Hans, a crafty old bat who just wants to take care of his sick wife. At times, Walken seems to be playing a cartoonish version of himself but he has never been as bad ass as he is at the end of this film (his reaction to someone aiming a gun at him is classic). Harrelson is a welcome presence as lunatic gangster Charlie, who will do ANYTHING to get his beloved dog back. He flits between menacing and hilarious in the blink of an eye, bring that demented gleam in his eye that we saw in Natural Born Killers. Rounding out the main characters in Waits as Zachariah Rigby, who gets probably the most shocking sequence of the entire movie. His character is as inspired as they come and the way that McDonagh weaves history into his character is downright brilliant.
While In Bruges certainly had its fair share of blood, Seven Psychopaths brings the blood, the guts, and splattered brains. There are jolting fits of violence and sudden confrontations that would make Tarantino and Robert Rodriguez as giddy as as schoolgirls. The way that the film introduces us to each “psychopath” is also pretty inspired, some of them emerging from Marty’s own screenplay while others joining the “real world” madness. It may be gratuitous and it may be gonzo but Seven Psychopaths can catch you off guard with its serious moments, a trick that allows the film to linger a little longer than you may anticipate. Be prepared to be knocked down a peg here or there and be even more prepared to actually feel it. Overall, it may get a bit jumbled from time to time and you may need a second viewing just to put it all together (there are a lot of characters and stories here), but Seven Psychopaths is a witty and left-of-center comedic satire that, once again, leaves me wanting more from Mr. McDonagh. I just hope we don’t have to wait another four years for him to grace us with his presence. That is just too long to make us wait!
by Steve Habrat
Have you ever watched someone play a video game? It’s fun for about ten minutes and then it just becomes mind numbing, filling you with the urge to snatch the controller out of player one’s hands just so you can keep from nodding off. That is how I felt while watching Len Wiseman’s Total Recall, the CGI heavy remake of director Paul Verhoeven’s 1990 original of the same name. Wiseman’s Total Recall is the type of action film that I thought Hollywood had given up on. It is spectacularly stupid and composed of never-ending action scenes that all begin to run together after about twenty minutes. I kept expecting to see someone like Dolph Lundgren or Jean-Cluade Van Damme swoop in for a cameo and maybe throw a punch or two Colin Farrell’s way. It is clear that video game style action took top priority in Total Recall and it doesn’t appear that Wiseman has any shame over it. Yes, Total Recall is the worst movie of the summer and I hardly think that anything will top it (well, except maybe The Expendables 2 but even the first one had the sense to stop and wink at itself). The major victim here is the plotline, which is subjected to one explosion, punch, kick, bullet, and knife after another. By the time we reach the overblown climax, the storyline is in ruin with no hope of putting itself back together. It may be pretty rank on the big screen, but if Total Recall were converted into an XBOX 360 or PS3 game, I think this would run off with game of the year.
Total Recall begins by explaining that a good majority of Earth has been wiped out by chemical warfare. The planet has been divided into two superpowers: The United Federation of Britain and The Colony. “The Fall”, a gigantic gravity elevator that rockets through the Earth’s core, connects the two superpowers and allows the survivors to travel back and forth. Factory worker Douglas Quaid (Played by Colin Farrell) shacks up in The Colony with his lovely wife Lori (Played by Kate Beckinsale), the two living a relatively normal life. It turns out that Doug has been suffering from a recurring nightmare every single night, a nightmare that is causing him to loose sleep. Fed up with this strange dream, Doug seeks out Rekall, a swanky lounge in a sketchy part of town that implants artificial memories. Shortly after the procedure begins, a SWAT team storms Rekall, guns down all the employees, and attempts to arrest Doug. To his surprise, Doug is able to fight off the SWAT team and finds himself on the run from Lori, who now claims to be an undercover UFB agent who has been pretending to be his wife. Desperate to figure out why Lori and the police are after him, Doug begins trying to figure out if all of this is real or if it is Rekall. His desperate search connects him to a mysterious resistance fighter named Melina (Played by Jessica Biel), the resistance leader Matthias (Played by Billy Nighy), and the sinister UFB Chancellor Vilos Cohaagen (Played by Bryan Cranston).
Don’t be fooled by the lengthy plot description, as Total Recall is mostly compiled of one long chase scene with countless gunfights thrown in to switch things up. When the film isn’t providing computerized eye candy, it is giving us flesh and blood eye candy in its three main leads. Total Recall exists to look good and nothing more and that is precisely its crime against cinema. There is not rhyme or reason why this film even exists other than to act as an exercise for the special effects department. To make things worse, screenwriters Kurt Wimmer and Mark Bomback throw characters into the action that are there simply to act as checkpoints within the story. Farrell’s Quaid bumps into them, they explain what the hell is going on, and then they get killed. Their death gets Quaid all frazzled, a fight scene erupts between robot police officers and Quaid, and Quaid escapes with a minor scratch on his face. This is the formula that Total Recall uses and it doesn’t break from it once. And while the action is all perfectly executed, coherent, and spiffy, that still doesn’t hide the fact that it is reckless, monotonous, and nonsensical. If half the action scenes were trimmed from the film, I swear that this thing would only be about twenty minutes long. I kid you not.
Then we have all the pretty faces that populate Total Recall. Farrell is the only one who shows up to do any real acting and it is a shame because this is a total waste of his time. The script asks him to look confused as he maneuvers through nonstop explosions and gunfire that practically shatters your eardrums. Anytime he tries to add something resembling depth to his character (believe me, he IS capable of it), Wiseman pulls the camera away and aims it at Beckinsale, who also happens to be his wife. Beckinsale is basically asked to walk fast towards Farrell, who scampers away and then fights a few police officers. She basically made millions to walk fast and look good doing it (seriously). Her character is a gigantic joke, a nuisance to instigate one destructive action sequence after another. Rounding out this smoking hot trio is Biel as Melina, a character that really serves no purpose other than to explain the plot to us. Half the time, I forgot she was even there because she adds nothing substantial to this mess of a movie. Hey, at least she looks good holding a machine gun and that has to count for something.
Then we have the supporting players, who all seem to have showed up for the paycheck and then mentally checked out. Cranston is familiar evil as Cohaagen, the real bad guy who is looking to expand his empire in the most brutal way possible. Cranston may be a badass on television’s Breaking Bad but I hardly see him holding his own in a fistfight with the muscular Farrell, who manhandles man and robot alike. He hams it up next to Nighy, who seems downright embarrassed to be seen in this shitstorm. He is probably extremely grateful that we hear about his character more than we actually see him. Harold & Kumar’s John Cho drops by to play the blonde haired Bob McClane, a rep for Rekall that doesn’t last ten minutes once the bullets tear through the place. Bokeem Woodbine is present to deliver cringe-inducing dialogue as Harry, Quaid’s best buddy who strictly warns him to stay far away from Rekall. If I were Woodbine, I would have fired my agent once I saw the finished product. And what would Total Recall be without that famous three-breasted prostitute who directs Doug to that mysterious Rekall place. Oh yes, she is here and played by the lovely Kaitlyn Leeb, who grins through her whole scene. You know things are bad when Leeb only delivers three lines but manages to steal any entire movie. She is the most interesting character here.
You’d think that there would be at least one scene in Total Recall that would have justified the ten bucks that I spent on it but I honestly can’t think of one aspect I enjoyed. I guess if I had to pick something, I’d say that the special effects were pretty impressive and I got a good laugh out of the three-breasted prostitute but that still doesn’t quite make up for it. Other than that, I fought through yawns and a mild headache as things went from pretty bad to extremely awful. I also felt bad for Farrell, who I’m sure has to be kicking himself right now for agreeing to do this. Take it from me, folks, if your friends, boyfriend, girlfriend, mom, dad, sister, brother, aunt, uncle, cousin, or whoever else you see movies with suggests seeing Total Recall, calmly say that you aren’t interested in it and suggest going to see The Amazing Spider-Man or The Dark Knight Rises again. You’ll thank me later. No one should have to endure the disaster that is Total Recall.
by Steve Habrat
Since its release in 2003, Marvel’s big screen adaptation of the lesser-known Daredevil has gained the reputation of being a downright stinker of a movie with a cringe-inducing Ben Affleck as the blind crime fighter. Daredevil isn’t nearly as bad as it has been made out to be. It is merely a decent movie that does have its fair share of flaws. Reeking of Matrix-esque fight sequences with a hints of Spider-Man and Batman thrown in, Daredevil is a clunky film set to awful wannabe grunge rock that was all the rage in 2003, but there are still a number of aspects to admire. Affleck molds the blind lawyer Matt Murdock into a captivating character who is more interesting during the day when he is fighting crime in the courtroom than when he is prowling the streets as the teeth-gnashing vigilante dressed up in red leather. Capitalizing on the popularity of 2002’s Spider-Man, director Mark Steven Johnson works hard to make something that is faithful to the comic lore (many shots are taken directly from the comics) but he trims his origin story down to a brief hour and forty minutes, too in a rush to get to the action and leaving several major characters and a romance underdeveloped.
Daredevil begins by flashing back to the troubled childhood of Matt Murdock (Played by Scott Terra), a nerdy kid from New York City’s Hell’s Kitchen. Much like Spider-Man, Murdock is the target of neighborhood bullies who like to toss him around like a ragdoll. At home, his father is a washed-up boxer named Jack “The Devil” Murdock (Played by David Keith), who relives his glory days by guzzling countless bottles of beer and drunkenly rambling to Matt about fights he won and why it is important to get an education. Matt suspects his dad is working as an enforcer for a local mobster and his suspicions are confirmed when he bumps into his dad roughing up a local hood in an alley. Fleeing in horror, Matt stumbles into a construction yard and proceeds to be blinded by toxic waste in a freak accident. Matt’s father blames himself for the accident and the two make a silent promise to each other to never give up and better themselves. Shortly after the accident, Matt begins to discover that his other four senses are operating at superhuman strength and give him a radar-like sight, which he uses to stand up to neighborhood bullies. Matt’s father begins boxing again but he finds that he is unable to walk cleanly away from the mob. After Jack refuses to throw a fight, he is beaten to death in an alley by a towering enforcer who likes to leave roses on the bodies of his victims. The devastated Matt silently vows to find the people responsible for the death of his father and he assumes the identity of Daredevil, the man without fear.
Part Spider-Man and part Batman, Daredevil doesn’t really have any superpowers to speak of. He uses sound waves to create a radar sight to help him locate and knock out bad guys throwing punches his way. He leaps around the rooftops dressed in a goofy red getup that does have a slight DIY feel to it despite its silliness. Matt doesn’t stop fighting crime when the sun comes up. By day, he paces a courtroom as a lousy attorney who shouts, “Justice is blind!” When Affleck doesn’t have a mask pulled over his face, he is fascinating to watch as a blind man. We watch him perform daily rituals that help him get around the bustling New York City streets. He folds his money in different ways to help him figure out if he is reaching for a ten or a five and crams prescription painkillers into his mouth to help ease the pain of injuries that he suffers at night. You will genuinely like him as Matt Murdock and you will relish the moments he shares with Franklin “Foggy” Nelson (Played by Jon Favreau), his chatty partner who likes to get drunk with Matt and describe beautiful women they encounter on the street. Together they are the saviors of Daredevil with their chuckle-worthy conversations and pranks they pull on each other.
Naturally, Daredevil has a love interest by the name of Elektra Natchios (Played by Jennifer Garner), a stunning Greek beauty that can hold her own in a schoolyard brawl. Daredevil does hint at a substantial romance between Murdock and Elektra but it doesn’t hold together once Elektra’s father is slain by the Irish hitman Bullseye (Played by Colin Farrell). Bullseye is hired by the hulking mobster William Fisk/The Kingpin (Played by Michael Clarke Duncan), a ruthless gangster who oversees organized crime in New York City and may be responsible for Jack Murdock’s death. In a rage, Elektra almost instantly morphs into a superhero herself and then disappears from the film like she was never there to begin with. Bullseye is easily the coolest character in the film, a resourceful bad boy who likes Guinness, has a nasty brand on his forehead, and can turn anything he touches into a deadly weapon. Farrell’s enthusiasm for the role is contagious as he slinks around hissing at our horned hero. The Kingpin is supposed to be the main villain of Daredevil but we hear about him more than we actually see him. He is probably on the screen a total of twenty minutes, making him more of a gigantic disappointment.
At its core, Daredevil is a gritty tale that is loaded with untapped potential. The opening flashback of the film is thrown off by lame acting from the child actors, removing us from the moment entirely. I am also bothered by the wiry action sequences, where the actors go spinning effortlessly through the air with no explanation at all. It is painfully obvious they are dangling from wires and it is sloppily executed. Daredevil could have also used more of The Kingpin, a mildly frightening villain who could have been even more menacing had we gotten to know him a little bit better. We have to take into consideration that Daredevil was made in a time where the superhero genre was experiencing some growing pains, many filmmakers viewing them as mere escapist thrill rides that were heavy with wild action scenes and perfect CGI. To be fair, Daredevil attempts to put more emphasis into the characters when they don’t have their masks on and I will give it credit for that but we still have to like the costumed hero and I can honestly say Affleck lost it for me when he was wearing the horns. Overall, it was a step in the dark direction for superhero films and it does feature some fine performances, but the skimpy runtime prevents Daredevil from having the depth it is so convinced it has.
by Steve Habrat
Let’s be honest, the premise of Horrible Bosses, a revenge-fantasy comedy that places three Average Joes at the center of an intricate plot to off their bosses a la Alfred Hitchcock’s Stranger’s on a Train could strike a chord with many casual moviegoers. Why? Because who HASN’T had a boss that has made their lives a living hell! It’s an amusing “What if?” that provides some minor laughs in the dead heat of the summer and a surprisingly small picture going toe to toe with films like Transformers, Harry Potter, and Captain America. But the film has a charming underdog persona that many can’t quite ignore (It also happens to feature an all-star cast!) and leaves you hoping it will be remembered once it’s long gone from theaters. I say this because the film walks the fine line between classic dark comedy and comedy-no-one-will-remember-in-a-year territory. I consider it a blue-collar comedy that pours it’s blood, sweat, and tears into all the shenanigans to make you laugh but sometimes it comes up a bit short. It’s a shame it might get lost in shuffle.
Every summer has a sleeper hit that audiences pass on via word of mouth. It ends up making a boatload of money and it usually turns out to be a comedy. We’ve already had a 50/50 summer when it comes to comedy and, frankly, comedy has been very uninteresting for quite a while. We had Bridesmaids which was a surprise smash and was a breath of fresh air. Two weeks later, the guys of the Hangover crashed the party and left everyone with a bad taste in their mouths. We’ve also seen Bad Teacher, one that was heavily hyped but largely written off by many and Zookeeper, another dud chucked out by Happy Madison. Now we have the often witty, sometimes disappointing Horrible Bosses, in which three nice guys decide they’ve had enough of their tyrannical bosses and decide to off them for each other. By killing each other’s, they are spared a suspected motive by the police and they end getting off punishment free. It’s a bit of a tired premise and really isn’t that inspired of an idea, but it will resonate! Especially if you take the dry asides of Jason Bateman (Arrested Development), the screeching insanity of Charlie Day (It’s Always Sunny in Philadelphia) and smart-ass narcissism of Jason Sudeikis (SNL) and pair them up against the sadistic Kevin Spacey, man-eating Jennifer Aniston, and the under-used coke addict Colin Farrell.
The three amigos, Nick (Bateman), Dale (Day), and Kurt (Sudeikis) enlist the help of a professional killer in Mother Fucker Jones, played by the dead-pan Jamie Foxx. They slam their heads together and they embark on a bumbling journey to expel their demonoid bosses from planet earth. The usually sticky situations follow and they are mostly all amusing. They sneak around their intended victims homes, accidentally get high on cocaine, stupidly leave their DNA everywhere, and drool over a lingerie clad Aniston as she deep throats a popsicle, a banana, and a hot dog. It’s good to see a fresh line-up of comedians like we have here, but they seem a bit new to the scene, in all honesty. They try to ad-lib with the best of them but sometimes it’s a bit forced and amateur, especially from Day who relies on his bat-shit crazy persona he crafted for his character on It’s Always Sunny in Philadelphia. He rattles off some winners and delivers some stink bombs that are intended to shock the audience into belly laughs. The most laughs come from Bateman, who delivers some zingers (One about fleeing to Canada will have you in stitches), Foxx who demonstrates extraordinary comedic timing (His explanation of how he got the name Mother Fucker will have you covering your mouth), and the largely ignored Colin Farrell, who delivers countless one liners that will leave you quoting for weeks (Wait until you see his outtakes!). Sudeikis fails to grab many of the chuckles and he passes himself off as a second rate Nick Swardson, who is funnier anyway. The casting could have been a bit stronger without his character. Spacey is clearly having fun but his character descends too far into downright evil territory. I know we are supposed to hate him but c’mon!! Aniston has some eyebrow-raising moments, mostly when she shows up almost nude in one particular scene and fires off more racy innuendos than any character in a Judd Apatow picture. She surprisingly churns out one of her better performances since Office Space. Julie Bowen (Modern Family) also shows up as Spacey’s wife but she is basically ignored in all the chaos.
There isn’t much to say in the way of Horrible Bosses. It’s charming even if it’s consistently raunchy and it’s hard to dislike it. There are clever gags and the film does not overstay it’s welcome by any stretch. It was a nice breather from all the explosions and superheroes that have been zipping around theaters. But I think that filmmakers could have poured a bit more time into this film. It’s a bit rough around the edges and appears rushed at times. You are left feeling that all the events that took place in the film were minor and insignificant. You want to rally behind it but sometimes it’s impossible to do just that. When all is said and done, it never really feels like these horrible bosses have had it stuck to them. Further, it falls short of the sleeper status that I thought would surely follow in its wake. Overall, it grasps at comedy greatness but comes up with comedy goodness. Don’t worry though; it will still have you chuckling to yourself as you punch the clock the next morning.
Horrible Bosses is now available on Blu-ray and DVD.
by Steve Habrat
To all the horror fans out there, you can all breathe a collective sigh of relief. The remake of Fright Night restores honor to the vampire genre and shifts it from the teenybopper chick flicks back to a jugular ripping good time. Granted, some of the weightiness that is associated with the genre is stripped away but the film packs enough blood, guts, and thrills to make up for all three of the Twilight abominations (and that Priest movie). I’ll forgive you if you had some doubts about this film. The original 1985 Fright Night is not the most well known fright flick in the genre but it does have a minor level of notoriety. Made during the surge of special effects, the film is now showing its 80’s crow feet and the remake is well aware of it. The original Fright Night is steeped in 80s pop culture and it’s only fitting that the amped up remake is a product of these times. Yes, the protagonists listen to Kid Cudi and Foster the People, wear throwback high-tops and skinny jeans, Peter Vincent Vampire Hunter is a Vegas magician act that is eerily similar to Criss Angel, and Jerry, the famous vamp, looks like he stepped out of the latest Diesel Jeans ad. Perhaps the filmmakers want this film to act as a relic in twenty-five years just as the original does today.
This spunky, vamp-com ranks among the recent remake movement as one of the best that I have seen so far. It sits nicely with 2004’s Dawn of the Dead, 2006’s The Hills Have Eyes, and last year’s The Crazies and Let Me In. It pays a nice tribute to the original film while also setting itself a part for these ADD-plagued audiences. Charlie Brewster (Played by baby faced Charlie Bartlett himself, Anton Yelchin) has it all: popular friends, a smoking hot girlfriend Amy (Played by the smoking hot Imogen Poots), and a warm, loving mother (Played by the underused Toni Collette). His popularity is increasing at his local high school and he is leaving his nerdy past, along with his nerdy best friend Ed (Played by McLovin himself, Christopher Mintz-Plasse) eating his cocky dust. After one of Charlie and Ed’s best friends disappears, the two take it upon themselves to play detective and investigate. They make a shocking discovery that Charlie’s charming new neighbor Jerry (Played by a never better Colin Farrell) is really a vampire who is chomping through their town’s citizens.
If you haven’t been floored by the recent parade of sappy vampire books, tacky television shows, and subpar movies (except that chilling Swedish film Let the Right One In and the American companion Let Me In), Fright Night may be a bit of a tough sell. Yet the film breathes new life into the genre that Stephanie Myer drove a stake through with her creation of Edward Cullen. Sure, there is a romance here that will quench the thirst of the squealing teenage girls that will certainly flock to see this (the whole film is loaded with current pop culture nods), but this is actually an adult vampire vehicle with an effectively calm Farrell behind the wheel. I personally don’t think he’s had more fun playing a role in his entire career. He struts into scene and utters a breathy “Hey guy” which reduces Charlie to jelly. You chuckle every time he pops in but your chuckles are quickly silenced by the unpredictability that radiates out of him. Romanticized vampire he ain’t, especially when he rips a gas line out of Charlie’s back yard and sends a flame through it to blow up his house. He doesn’t even break a sweat when he walks to up to the burning house and coolly tells Charlie “I don’t need to be invited in if there is no house.” Let me tell you folks, it doesn’t get any better than that in a vampire romp. I wanted to let out a cheer.
Fright Night is a relentless fun house that is marred by a weak introduction. I found the awkward, cliché heavy chitchat at the beginning rather indolent. What smoothes these few waves over is the presence of such dedicated actors, all who appear to be confidently invested in their characters. I rooted for Charlie and I found myself hypnotized by the nerdy Ed. Amy is a character that could have been reduced to gratuitous sex appeal but Poots plays her with some assured, playful depth. I certainly can’t write this review without mention of David Tennant’s flamboyant Peter Vincent. He vamps it up quite nicely himself and almost gives Farrell a run for his money. The film certainly packs the gore, which will please the fans hungry for some wildly imaginative vampire slayings. Plus, it’s all in eyeball aching 3D. This was another downfall of the movie—the 3D does strain your peepers and I had to lift up my glasses to let my eyes readjust before putting them back on.
Fright Night is not an exceptionally scary movie going experience. You will not be left cowering in terror or enduring many sleepless nights. You will, however, have a blast watching this candy colored rollercoaster ride. If you are a diehard fan of the original, you should be left satisfied. Farrell deserves some recognition for his dedication to Jerry. I honestly would happily see it again just for his performance alone. Fright Night is not a great film but just a really good, really fun monster movie. You’ll overlook its flaws, especially if you are over the age of twenty and Edward Cullen is not your idea of a compelling bloodsucker. This film deserves three cheers for its savage gut punch to those pretty boys. Grade: B+