Jamie Foxx stars as the titular character named Django, who is an escaped slave who teams up with bounty hunter Dr. King Schultz (Christoph Waltz) to rescue his wife (Kerry Washington) from sadistic plantation owner Calvin Candie (Leonardo DiCaprio).
Let’s just get it all out in the open and out of the way for everybody to see and understand before I jump any further into this review: this was my most anticipated flick of the year. Obviously, I’m not much different from others out there in the movie-world, and it’s probably no shock to any of you out there who know that Quentin Tarantino is one, if not my favorite writers/directors working today. This has been a passion-project of his since day 1 and it only seems right that after knocking-out homers left-and-right over the past 20 years, that he finally get to do, what he does best: showing us a little piece of his sick, but original mind.
Everything you see in this flick is exactly what you would expect from a Tarantino flick: crazy characters, wacky dialogue, oodles of violence, ironic use of pop-music, homages to classic flicks that only he and about 5 others actually “get”, and a huge deal of suspense, that almost seems to come out of nowhere. These are the staples of Tarantino’s flicks and as much as they have came-out to be nothing short of expected by now, that still is in no way, shape or form an insult or negative about Tarantino and this movie, because it’s still freakin’ awesome and probably the most original flick I’ve seen all year.
The topic of racism is what really stands in the front of the line with this movie and even though the flick basically takes place during 1858, in the South where slavery runs high and mighty amongst rich, white men, the topic is never used to be thoughtful, or even used as a metaphor for the world we are in now. It’s basically used as another tool for Tarantino to show loads and loads of gruesome/graphic violence and actually give it meaning, rather than throw it at the screen and hoping that it will make sense in the grander scheme of things. Nope, Tarantino’s not all about that and anybody who complained about Inglorious Basterds not being the action-packed, gore-ride they were expecting from QT, then he will definitely shut you up with this one because every piece of violence here, is bloody, gory, and ever so stylized, as we can always expect from Tarantino. Sometimes it’s almost too vicious to watch but hey, that’s not a bad thing considering this is coming from a movie who’s director had 15-minutes of a movie dedicated to a chick hacking-up people, all-over-the-place, with a samurai sword, of all weapons to choose.
The violence in this movie definitely stands-out among the rest of what Tarantino uses here, but the script is even better and is classic-Tarantino, at it’s finest. As usual, we get a lot of the witty, catchy-banter between characters that seems almost too energetic to be true, but Tarantino really works himself hard as a writer, especially with this movie, because he actually goes somewhere we never really expected him to in the first-place: comedy. Yeah, it may seem like a bit of a head scratcher that I would talk about how much comedy Tarantino uses and how it surprised the hell out of me because with the flicks that he’s done over the years, it would seem like he’s been doing comedy forever. To be honest, Tarantino has always had a knack for incorporating a great-deal of humor into his scripts, but not as obvious and not as important as it is used here. There are so many scenes here that just had me laughing, not just because Tarantino is doing something that only I, as a movie-geek, actually get, but more or less because he is actually trying to make me laugh and it worked so, so very well.
However, as much as he may put the emphasis on comedy this time-around, Tarantino still never forgets to switch things up and make it more dark and serious, and the tonal-changes are swift, unnoticeable, and always deserved. You know once Tarantino gets into his “serious mode”, then all of the violence and, in a way, more comedy actually comes about since this is the type of material that Tarantino strives for and always seems to have a blast with. Certain scenes would really catch me off-guard because here I would be expecting it to be a scene where a couple of people are sittin’ around, shootin’ the shit, and basically being a bunch of goof balls, but then would all of a sudden change into this very dark and tense scene, where all hell is about to break-loose and anybody you actually care about in this movie, could be gone as quick as you can say the word, “dead”. Seriously, just that snap of a finger, and all of a sudden a scene does a total 180 where we don’t even know what to expect. That sure unpredictability is exactly what I come to expect from Tarantino and it’s put to good-use here, so many damn times that I was literally sweating with tension at-times. The idea of not knowing where a film is going to land next, is always my favorite-aspect of a movie and here, it’s only better because it’s Tarantino and this guy always seems to have a blast with just fucking around with the audience, their minds, and their moods. That damn Tarantino! He’s always so snarky.
Even if Tarantino seems to be having a ball with this movie, he’s not having the most fun. Actually, that utter sense of joy and pleasure goes right to the ensemble cast, who are all amazing, well-picked, and having the time of their lives just doing what they do best: act their asses off. When I first heard about Jamie Foxx’s casting as Django, I thought it was a tad unoriginal, and just another-way for Foxx to go around, acting all cool and jive, while wearing a cowboy hat. You know, in an ironic-way. I wasn’t really-looking forward to seeing him play this role, but you know what? Foxx kicks-ass in it and it’s a huge wonder as to why I ever doubted the dude in the first-place. Foxx isn’t as front-and-center with this story as you may think, but whenever he does get the time to shine and do his own thing, he owns it, and doesn’t even have to say anything. Sometimes the emotions on his face tell it all and as easy it is to make us feel something for a slave that wants to be free and get his wife back, it’s even easier to make us feel something for a character that we know can fight his own battles and not ask for sympathy. Django, in terms of the actual-character, is the perfect, Spaghetti Western cowboy, because he’s soft-spoken, cool, but always has something witty to say on his mind. And Foxx owns that role to a T.
In the past 3 years, ever since Basterds hit the theaters and made Christoph Waltz a bona-fide star, it seems like Hollywood has never been able to capitalize on the guy’s real talents as a serious and dramatic actor. However, Tarantino knows how to use the guy best and shows that with every-line of dialogue that comes out of this man’s mouth. Waltz plays Dr. King Schultz, the nicer-version of Hans Landa, but still is just as sadistic and smart. What makes Schultz such a great character is that the guy is always one-step ahead of everybody else around him. He always knows to act in every situation, he always knows the right things to say, he always knows how to keep his cool, when shit starts to get heavy, but the most-important factor of his character out of all, is that he always knows how to kill anybody that stands in his way. He’s a violent bastard that seems like the type of guy you want to be bounty hunters with, but as time goes on and he starts to have heavier obstacles thrown in his way, Schultz starts to fold under pressure and show how sometimes, Django is better-suited for certain situations. It’s a great dynamic the two characters have, and it’s heightened even more, mainly because of the pitch-perfect chemistry between the two that always seems to feature the best lines in the whole movie.
I was mainly looking forward to this movie for many, many reasons, but I think the most, out of all, surprisingly, was the fact that this was Leonardo DiCaprio’s first, main-role as a villain in lord only knows how long, here as Calvin Candie. I’ve always been a huge fan of Leo and all that he’s been able to do in the past decade or so, but even I will admit, his act seemed to get a little stiff by the 10th time he played a confused, and troubled victim of something bad being played against him. It was the same-old routine in almost every movie he seemed to sign-up for and even though the guy did awesome with that routine, it started to become glaringly old, and a role as a campy, over-the-top slave owner, in a QT film, sounded like the perfect-way to spice things up in the dude’s career. And damn, was I ever so happy that I was right about that sweet, soothing sound.
DiCaprio is, well, how should I put it? Perfect in a role like this. Calvin Candie is cunning, funny, campy, and very, very sly in his way of handling himself through every situation he’s put into but you can always tell that there’s something darker lying beneath the surface and the way DiCaprio handles all of that, is probably the best-acting he’s done in awhile. DiCaprio doesn’t just explode with anger, rage, and energy whenever the camera’s on him. No, he just lets it sit there, watching him, letting us know his character, all that he is, all that he does, and all that he can be, if he has to turn the other-cheek and be an evil asshole like we all expect him to be. Eventually, Candie does turn into that evil asshole we expected to see from him right-away, but DiCaprio is so good and so masterful at portraying it, that you really cannot take your eyes off of him. No matter how hard anybody else around him actually tries, DiCaprio is the one that steals the spotlight in every scene he has, and it’s just perfect to watch, especially coming from a guy who’s been wanting a role like this for Leo, for the longest-time. When he loses his shit, he loses it in the most-hardcore way of all and demands your attention, rather than simply asking for it, in the kind-way, Candie likes to fool people with. I really don’t think I can hit the head on the nail as much as I have already, but I’m just going to leave my whole two, orgasm paragraphs on Leo by saying this: that motherfucker deserves the Oscar this year. I’m done, I’ve said it, and yet, I still feel like I haven’t said enough! Aaaaahhhh! Leonardo DiCaprio is perfect. End. Of. Story.
Now that that is over with, let me move onto everybody else that deserves a bit of a shine from the spotlight as well. Samuel L. Jackson seems to be another-one in this cast that’s having a ball as the head house slave Stephen, a total Uncle Tom from head-to-toe in terms of appearance, and mental-state also. From the first-shot of the guy, Samuel L. is almost unrecognizable as Stephen, but as time goes on, you get it in your head that it is Samuel L., doing his funny-as-hell, loud yelling and screaming that we always expect from the guy and it’s just so great to watch, especially since it seems like Samuel L. in his comfort-zone. I don’t know if the guy ever left to begin-with, but watching him just have a blast with a role and take over the screen like he does, is always a joy to watch in my book.
Kerry Washington was a bit of a disappointment to watch as Django’s baby girl, Broomhilda Von Shaft (trust me, see the movie and you’ll understand), not just because she isn’t featured in the movie a lot, but mainly because she doesn’t have as much of a screen-presence as everybody else in this flick seems to have. And that’s especially weird to have coming out of my fingertips, considering this is a QT movie and the guy always has kick-ass, female characters to show off. Don’t get me wrong, Washington is still good with her role but doesn’t really get much to do other than cry, yell, and looked terrified the whole-time. There’s so many more faces and stars in this cast that are worth mentioning and bringing to your attention but seriously, just go see the movie for yourself and realize that Tarantino is not only perfect when it comes to writing and directing, but also casting. The guy’s just got it all and all of these rumors of a possible, early-retirement has me scared shitless. Oh well, let’s just hope he keeps on churning out movies until he can’t no mo.
Consensus: Some trimming of the fat needed to be done here and there with Django Unchained, but for a movie that is 2 hours and 40 minutes and is never, for a second, ever boring or uninteresting, I have to say that’s pretty damn a-okay with me, especially if it’s a Tarantino movie, where fun, violence, comedy, cheekiness, homages, and pop-culture references all come together, in one beautiful, original blender of ideas.
Merry Christmas to all! Enjoy it and enjoy the presents you may or may not get from Santa!
These aliens probably came right down to Earth looking for Judd Apatow, and found these guys. I actually feel bad for the aliens on this situation.
The film revolves around four everyday suburban friends (Ben Stiller, Vince Vaughn, Jonah Hill and Richard Ayoade) who team up to form a neighborhood watch group so they can escape their dull family lives one night a week. But when they accidentally discover that their town has become overrun with aliens posing as ordinary suburbanites, they have no choice but to save their neighborhood — and the world — from total extermination.
The alien-invasion premise isn’t anything new or original by any means, but when you have a cast like this and a bunch of writers that know they can knock it out of the park when it comes to comedy, you should be expecting something a whole lot better than your ordinary, average fare. Sadly, it’s the exact opposite.
I have no clue who this cat Akiva Schaffer is but what I can tell, just by watching this flick is that it seems like he was really depending on the efforts of Seth Rogen, Evan Goldberg, and Jared Stern’s script to make this flick work more than it should have, which in a way, it kind of does. This is, once again, your piece of R-rated comedy that has a lot of cussing, a lot of dirty stuff being thrown around, and just a whole bunch of moments that can be considered “raunchy”, even though the film never fully explores that territory. For the most part, this film can be pretty funny and you can that there is a lot of Judd Apatow-influences going on here with the whole “conversational humor” aspect of this flick, but the problem is that it doesn’t really work all that well, except with some exceptions.
The one comedy, that is sort of like this one, that I remember seeing was Horrible Bosses, which was a very funny movie but also tried a bit too hard to fall-back on that whole “conversational humor” aspect, that Apatow has pretty much nailed now. It didn’t really work there because it tried too hard to make that there only source of comedy, but here, that seems like that’s all they can do with a couple of extra dick and sex jokes added to the mix as well. The film tries so hard to be funny by having these guys say ridiculous and vulgar things, but the problem is, that they just aren’t as funny as you feel like they could be if they were in a different movie and maybe had different people delivering the lines. A couple of times I did catch myself laughing, and laughing pretty loud I may add, but this material never seemed to go anywhere beyond that. This is also one of those disappointing cases where the funniest lines are in either the trailers or TV spots, that we’ve all seen about 10,000 times.
Another aspect of this film that I noticed was how it seemed like it could have had a lot more fun with its premise than it really had. There were a couple of times where the film seemed like it was going to go down that road of pure insanity, which would have easily bumped this up a hell of a lot more, but instead, it just sort of lulled its way onto the next scene without anything really exciting going on. The one character in this flick, played by Vaughn, just wants to hang out with the guys, shoot the shit, talk about girls, get shit-faced, and have a good time. If the film honestly followed that character’s intentions, it would have been so much more entertaining and funny. However, it just stayed somewhat boring and it only got worse once that lame-o third-act came around.
If there is anything that really saves this film from being total crapola, it’s the impressive cast here that seems to make everything they say funny, except I still feel like they should have been a lot funnier. Ben Stiller is, once again, playing up that nervous, jittery shtick that seems to work in some spots but in others, just seems annoying and unneeded when you have a plot that could just get really freakin’ crazy at any second. Vince Vaughn is around here playing up his fast-talking, crazy shtick that always seems to work but it also feels like it was forced in a way and was used in a lot better in flicks when he was trying to pick up gals or be the coolest mothertrucker at the party. Maybe, dare I say it, he’s getting too old for it now! Nooooo!
Jonah Hill, God bless him, is probably the saving grace to this cast and to the whole movie as he shows that he still has the near-perfect comedic timing that can work with any character he plays, no matter how bizarre or weird they may be. It’s crazy to say this, but I think Hill may be the next best thing when it comes to comedy, because not only can he show how hilarious he can get no matter who he works with, but he also shows a lot of versatility when he has to approach these dramatic, softer roles as well. Guy keeps getting better and better, and it only seems to go up-Hill for him in the future. See what I did there? Seeing Richard Ayoade being on the top-billing for the promotion, I was expecting him to possibly steal the show and give a little taste of his weird, British sense of comedy. It works here, but only when the film allows him to and it’s a real shame because I actually did think that this was going to be the break-through performance this guy needed to fully break into the Hollywood mainstream like he deserves to. Oh well, maybe next year.
Consensus: Even though there are some bright and funny moments here and there in The Watch, they are also very few and far between one another and for some reason, don’t really work because the script feels like they need to be funny with unoriginal dick, sex, and fart jokes that are as old as Ben Stiller and Vince Vaughn are getting. Trust me, that’s old, too.
High school sucks.
Jonah Hill and Channing Tatum star as young and clueless police officers who go undercover at a high school to investigate a drug ring, effectively giving them the opportunity to relive their student lives all over again.
The idea of remaking an old TV show as a movie doesn’t seem too promising. However, all of those problems were gone as soon as I saw the hilarious Red-Band trailer for this one and then I got to see the actual film itself and it was so much better than I expected.
The whole structure of this flick is pretty simple: put two bros in uncomfortable situations, have them run into a problem, and then have a nice, but action-packed resolution. However, that structure doesn’t go down so easily here considering it doesn’t go for the cheap laughs and isn’t afraid to poke a little fun at itself in the meantime. This is one of the funnier flicks that I have seen in recent time because it has raunch that is deserved, jokes that hit the mark just about every time, and a bit of satire about how high school really is in today’s world which definitely hit a lot closer to home for me and seemed so true. Everything is so much different today from what it used to be and instead of the philosophical, softer kids being the ones you shoved in lockers, they are now all of a sudden the cool kids that find their ways as being hailed at the end of the year as “the one most likely to succeed and be uber cool”. It’s something I see in school today and even though I’m not really trying to complain about it, I just still find it funny that a film that takes place in high school is able to hit the mark so perfectly.
What’s really strange about this flick is that it’s actually from the directing duo of Christopher Miller and Phil Lord, aka the guys behind the animated hit ‘Cloudy with a Chance of Meatballs’. It’s definitely a strange pick-up for these guys to go from kiddie flick about obesity to an R-rated comedy but they somehow are able to make transition work with their strange ideas to keep this flick moving. The film isn’t unpredictable by any means but there is so much here that seems so funny and original, that you wonder exactly why none of this hasn’t been done before and just why it’s so easy for these two dudes to do it and comedy director veterans still can’t hit the right marks. One funny example from this flick is the drug-montage scene they have here. Every flick that has to do with drugs in one way or another all have a weird montage, but this film takes that one step further and makes it so much more funnier than it had any right to be and that’s just one scene. There are so many more like them that made me laugh like crazy.
However (yes, there is always a however), as fresh as this flick may be, it does start to falter by the end as it dives more towards action and loses a bit of its comedic edge. I didn’t mind this as much considering the action is surprisingly very good but everything ends so predictably that it’s a shame considering this flick really had me thinking I was about to see a new and original twist on this type of formula, only I never got that. It also seemed a little strange that Hill’s character starts to get more and more attracted to Brie Larson’s high school character even though she’s a little too young for him. Then again, it could happen so don’t mind me.
The main reason why I was looking forward to this flick in the first place was because of the strange pairing of Jonah Hill and Channing Tatum, and they both deliver in their own little ways. Hill is once again hilarious here (in a slightly less fatter way) and makes it seem like comedy can come to him so easily no matter what the script demands. Then again, a lot of it does start to seem like it’s just improv, which is definitely a lot better for Hill considering he owns that. I was also incredibly happy to see my main man Channing, finally get a role that suited him with his action and comedic skills. Tatum was hilarious in the strange flick, ‘The Dilemma’, and it was great to see him show his comedic skills once again, this time playing up his meat-head look for laughs. Both of these guys play-off of each other perfectly every time they are on-screen together and it was such a blast to see these guys having a blast that I wanted more of them on-screen. So glad these guys were able to nail these roles considering Hollywood has been really finding it hard where to put them lately.
The supporting cast is also great and all play up their own comedic skills to add more to the flick. Ice Cube is funny as the predictable, angry black chief that always seems to be yelling and dropping the F-bomb every time the film focuses on him but he plays that up perfectly and hopefully this will get him back in doing better comedies than ‘Are We There Yet?’; Dave Franco has a funny performance here as the wise-ass high school kid, Eric, and reminded me so much of James Franco that it was too funny to be true; and Rob Riggle has his hilarious moments as the creepy gym teacher that always seems to be effing around with these kids. There’s also a totally memorable cameo at the end of the flick that’s perfect but I don’t want to give anything away because it is definitely something has to be seen to be believed.
Consensus: 21 Jump Street isn’t really doing anything to re-invent the buddy-action comedy wheel, but the chemistry between Hill and Tatum, the rapid fire humor, and the fresh and brutally realistic look at the present-day high school make this a comedy that actually will make you laugh consistently.
A big-blue testicle vs. Brad Pitt.
A big-brained and blue super-villain named Megamind (Will Ferrell) finally beats his big-time rival, Metro Man (Brad Pitt). He soon then faces an existential crisis of sorts after he finds out that having no superhero at all to stop him from evil-wrong doings, is actually pretty boring. So, he creates a new enemy (Jonah Hill) who seeks to destroy the world, forcing Megamind to play the hero role for once in his life.
After checking out ‘Despicable Me’ for the first time earlier this year, basically everybody started comparing that to this film, making me want to see it even more. So now that I’ve seen it, all yo guys can shut yo mouths!
What really works with this film is that it touches just about every single plot-line, cliche, and convention that comes with a superhero comic-book story. You got everything from the smart villain, to the goofy-looking costumes, and whole lot more other elements that are not left untouched and that’s where the real fun of this film comes from. The film sort of pokes fun at everything we know of these superhero stories and twist them around in their own cool and original ways to be their own story.
The film is funny, but not in the way that you would expect from an animated-flick rated PG, it’s actually pretty adult-like. The humor is pretty witty with a lot of in-jokes, pop cultural references, but even enough jokes for kids that they will understand and laugh at but not as much as the parents. I actually found myself laughing quite a bit with this flick because the whole idea was cool right from the beginning, but how the film itself just tops on that with constant references, originality, and adult-like humor is what really made it work.
There is also a lot to look at here because the flick is beautiful and gets even better when the action is there too. The colors are very bright and vibrant but how colors will come and go in the middle of one action sequence is pretty cool. The music here is also pretty fun with a lot of old-school classics from AC/DC, ELO, Guns N Roses, Michael Jackson, and whole lot more to give this film the extra kick of fun it has.
My problem with this film is that the story is sort of what we always see in any superhero film, but when the film itself starts to dive right into those conventions it’s a little bit more disappointing. This film practically makes fun of these conventions so much that when it starts to hit into them by the end, it kind of left me bummed. The laughs also started to come less and less which had me bummed even more.
Will Ferrell is a lot of fun as Megamind because his character is not just evil, but he’s also very sensitive and likable which this film really worked well on with that character; Tina Fey is smart, funny, feisty, and a little sexy as Roxanne Ritchi, aka Lois Lane; David Cross is also very funny as Minion, Megamind’s second-man/thing-in-command; and Brad Pitt is awesome as Metro Man, who is the perfect combination of Elvis, Jesus, and Superman all rolled up into one hunk.
Jonah Hill is also pretty fun as Tighten but the problem with this character is that he is almost exactly like Syndrome from ‘The Incredibles’. Think about it for a second: both used to be good guys, they were both twisted into being villains by the good guys, and they both go insane-o in the end. You don’t realize this right from the get-go but once you start to think about it because it’s all the same disappointing as the ending itself.
Consensus: It may lose some steam by the end but Megamind is still a whole lot of fun due to its humor that pokes fun at all of the conventions of the superhero genre, it’s voices that are obviously having a ball, and the constant energy that this film keeps throughout the whole flick.
Who doesn’t love their mommy?
John C. Reilly plays a divorced man who thinks he’s found just the right woman (Marisa Tomei) to help him recover and move on. Unfortunately, the woman’s son, played by Jonah Hill, has no interest in allowing another man into their lives — a stance he proceeds to demonstrate in a variety of obnoxious ways.
I had no interest in this film when it first came out since its done by Jay and Mark Duplass, aka the guys who started this whole “mumble core” movement, so therefore I had no real interest. Then of course HBO had to come on by and I couldn’t help myself.
The Duplass Brothers do a pretty good job with this film because they know how to balance out humor, heart, and romance together all well. There are funny moments in this film but there more about being all cringe-inducing and awkward, which didn’t bother me because it made it all feel realistic. I mean when a kid says “don’t fuck my mom” at the first din-din, that’s just a little weird, especially if you keep calling your mom by her fist name.
The problem I had with this film was that I did feel like I was going to throw-up by how much the Duplass Brothers’ moved their camera around all over the place. It constantly zooms in and out, and even gets out-of-focus at times too and feels like it’s trying too hard to be realistic and just be a straight-up indie film with it’s hand-held camera. I felt like I was watching Tony Scott going indie for a second, until I realized that this film is about a guy and his girl’s son having a feud, not a train–on-the-run or any high concept like that.
Another problem I had with this film was that I felt like a little bit of it meanders right in the middle for no reason and kind of loses focus with its weird pace. The film is constantly building and building until Cyrus is gone for about 15 minutes, and they we focus on this relationship and it just feels a tad off. I don’t know what it was but the middle part of this film just seemed oddly misplaced and could have done better.
I don’t know if this film really had a script by any chance, because it more or less just feels like The Duplass Brothers just got the whole cast together, told them where the film was going to go, and they just let everybody do their own thang, which I think worked. There are a lot of moments in this film that just had me laughing by how goofy and weird this plot could get and honestly I wouldn’t have been surprised if there was some crazy incest angle in it here either. The film isn’t afraid to express its weirdness, which is something you don’t see in many films nowadays, especially with big-names like this one. It’s weird but not too weird for anybody just to watch and enjoy.
John C. Reilly is great as the perfectly named, John, because he plays this sweet, tormented, and overall likable dude so well that he doesn’t seem like he’s doing the same ridiculous act over again, it’s more or less just him being the nicest guy you could ever see in a film. Jonah Hill is the freakin’ man as Cyrus, because he’s playing a lot more of a subtle role than we’re usually used to him playing but I have to say that it was great to see him play silent and weird, and still be very funny. Both are great together because they create this little feud that starts off small with a pair of John’s shoes getting taken but then spills out into them just about beating each other. Just the scenes of them two staring at each other and practically try to win over the same woman’s heart, definitely had me laughing and entertained by these two.
As for the ladies here, Marisa Tomei is very good as Molly. Tomei has been in the game for awhile and it never feels like she’s doing the same role all the time and she plays Molly with that certain type of broken, but accessible beauty character very well to the point of where you believe that her character could really feel this much for her son and her boy-toy. Catherine Keener isn’t really doing much as John’s ex-wife, Jamie but she’s fine with what she’s given. I kind of thought how weird it was that John and Jamie were still good pals even though she left him or something and I don’t know I feel like once you’re done, it’s done. No best friends thing.
Consensus: Cyrus suffers from some annoying indie problems, but it features a simple story with heart, awkward humor, and performances from the whole cast that feel genuine and perfectly picked for each of their characters.
At least we now know where Fantasy Leagues came from.
This is about the true story Billy Beane, a former jock turned general manager who uses unconventional methods to bring the best players to the Oakland A’s, a major league baseball team struggling against financial hardship.
I watch baseball from time to time and being from Philadelphia, I have been apart of a couple of heart-breaks before, but I’m sure as hell glad we weren’t this bad. But I do wish Charlie Manual looked like Brad.
Director Bennett Miller takes the average and cliched sports movies, and turns it into something that actually does something not many have been able to do: makes whatever sport their talking about, entertaining to watch for those who don’t know anything about it.
Miller has many moments of inspired direction with just focusing on how the team is built up with lots and lots of talking, with barely any of the actual game of baseball being played. I mean you of course get the usual sports montages and inspirational moments, but the film is more about the numbers and how to run a successful baseball team with such a slight budget. You also get the feeling that Billy Beane and his team actually changed the way we look at players and baseball, but they don’t try to hit you over the head with that point too much which I was very glad for.
The talking in this film is what also kept me entertained because I never actually knew just how Beane’s way of team-building changed the way we look at sports nowadays. Steven Zaillian and Aaron Sorkin both wrote this script and you can tell that they had a lot of fun with this because there are some great moments of hilarity but also plenty of insight and human emotion into these character’s lives that we actually do start to care for. Sorkin brings that constant hammering of words back-and-forth in the script and works here the most, especially when the film is just flying numbers that we have no idea about, right at us.
My problem with this film is that as much as the emotional aspect for this film may have worked, at the same time it kind of took away from the film too. The film shows Billy Beane and how he deals with all of this failure with his baseball team as well as his failure to live up to his expectations as an actual baseball player. This part of the story worked but the film didn’t focus on just that, they also brought in his daughter that really is in the film for about 3 scenes but the film tries so hard to make it seem like she has such an impact on the story that it really seems forced. They try to make Billy’s family “issues” (if there are any) more important than the actual team itself and even that song his daughter writes for him seems something that no 12-year old ever would write. I’m talking about you too Justin Beiber!
The film also tends to run on too long which sometimes isn’t as much of a problem if the film keeps you going, but the pace itself keeps stopping and going to the point of when I didn’t know when it was going to end, nor did I have a feeling they were going to choose a good ending. It’s about a 2 hour and 12 minute movie, which for some is way too long and especially too long for the people around me as everybody I looked at seemed to be moving around a lot after about the 2 hour mark.
I came to see this film for one reason and one main reason only and that was Brad Pitt, who plays A’s manager, Billy Beane. This is a great performance from Pitt as usual because he really gets to challenge the depth of his acting skills with this character. It’s so easy to sympathize with this guy because he seems like such a nice and cool dude who’s caught in a total rutt and wants nothing more to actually win some games and keep this franchise alive. Just by looking at his face, I already felt the emotions that he was feeling and that’s what Pitt does best here. He also gets to show a lot of that great charm that he always has in any film and whether he’s just talking to player, spouting out numbers, or walking around always so cool like he always does, Pitt just shows that he can hit every chord with the audience that needs to be hit with one character.
Jonah Hill is also great in this very tied-down role as Peter Brand, our numbers man. Hill (who was fat still) brings a lot of funny moments to the film and actually makes you believe him as this total number-nerd that builds this great friendship with Beane. Hill and Pitt are probably the most unlikely buddies in any film, but they make it work every chance they get and their scenes just really had me involved almost every time. It’s cool that two totally different actors like Hill and Pitt can actually come together for one film and make it seem believable, rather than just something that Hollywood executives needed for money. Philip Seymour Hoffman gets the top-billing for this film as well but he’s rarely in this but plays the best to his advantage as Art Howe, Beane’s biggest problem when it comes to staff.
Consensus: Moneyball doesn’t fully hit it out of the park (cliche, I know) but does however give us a great look at a system in baseball that changed the game forever, as well as being well-acted, funny, and still touching somewhere in between all the numbers.
Really makes me wanna get it on! Any takers?
Andy Stitzer (Steve Carell) has a pleasant life with a nice apartment and a job stamping invoices at an electronics store. But at age 40, there’s one thing Andy hasn’t done, and it’s really bothering his sex-obsessed male co-workers: Andy is still a virgin. Determined to help Andy get laid, the guys make it their mission to de-virginize him. But it all seems hopeless until Andy meets small business owner Trish (Catherine Keener), a single mom.
This was the directorial debut for the man we now call, Judd Apatow. The guy went on to direct Knocked Up and Funny People. Even though this isn’t as good as them both, it still is frickin’ hilarious.
My favorite aspect to this film is that it’s script is basically just one running gag for about two hours, but somehow Apatow and company make it work. The humor here is gross-out, disgusting, sexxed up, but sometimes insightful, and always hilarious. There are plenty of one-liners that you’ll find here, as well as some funny little hits on Michael McDonald, horse shows, hood rats, and the movie Gandhi that are all funny as hell, and although they may not always hit the mark you still find yourself cracking up at everything these people say. This could have easily gone the wrong way, and just have been one bad sex joke, after another, but it never seems to get old.
However, there’s more to this film than just a bunch of dick and sex jokes. There’s actually more of a sweet tone to this film that works out for this film because in between all the raunchiness, there is actually a caring, little love story here. It’s not just about this dude trying to bag a bitch, but more about him actually having a meaningful relationship with somebody and falling in love. It all sounds pretty corny, but just to watch how Apatow pulls all this off is something great to see.
My only problem with this film is that it does run on for a bit too long. The version I watched was 2 hours and 13 minutes, which made some conversations run on longer than others, and by the end you feel like this runs on about 10 minutes too long. Speaking of the end, what the hell was up with that ending? I didn’t really get the whole “Age of Aquarius” song number at the end, and to be truly honest, I don’t think anybody else watching this did either.
Not only did Apatow become a star after this so did the whole cast. Steve Carell makes his first star turn as the geeky, but lovable Andy Stitzer, and makes all the scenes with him hilarious. Nowadays, it’s almost hard to see him as anything other than Michael Scott, but no matter what he is in, he is an absolute riot to have up there, and this first big role for him proves it. Catherine Keener is good as the main romantic interest, Trish, but my only problem with her is that I feel that her character was a little too sweet for this type of movie, but despite that Keener is always a delight to have. This film also put so many other talents on the map such as Paul Rudd, Seth Rogen, Romany Malco, Jane Lynch, Kat Dennings, Leslie Mann, Elizabeth Banks, and a little cameo from a very young Jonah Hill. All do great jobs with the material their given, and thanks to this film, are all getting big-time paychecks from so many other films.
Consensus: Some of it may run on too long, but The 40-Year-Old Virgin has a great combo of a hilarious script filled with raunch and vulgarity, and a sweet story at the bottom of it all, with plenty of great moments with this funny cast.
If I was able to chill with Russel Brand, I know it would probably be better than this movie.
Ambitious young record company intern Aaron Green (Jonah Hill) will let nothing get in the way of his planned rise to the top in the music business — not even the unruly rock star (Russell Brand) he must escort to Los Angeles for the start of his anniversary concert. Doing whatever it takes to get the rocker from Point A to Point B, Aaron encounters all manners of mishaps.
So for anybody who saw Forgetting Sarah Marshall may remember Russell Brand as Aldous Snow totally stealing the show. Well this one is a spin-off with the same guy here, the only problem is that I wish it was as funny as that one.
The script had me chuckling here and there, because the jokes have some good wit and work with the situations that this film places them in. However, the only problem that the jokes are way too raunchy, and not the good raunchy either. A lot of this film’s humor is just random, immature potty jokes that don’t work. I don’t mind a good raunchy joke here and there, but once it starts to become the only thing the film seems like it’s shooting for, it just starts to become an annoyance and do nothing for me. I laughed every once and awhile, but not enough as I was expecting.
The main problem with this film is that by the end the film starts to get a little bit more sweet than I expected as well. There is this little romantic sub-plot that really brings down this film. I get that they were trying to bring more heart to this film rather than a penis, which is where half of the film’s jokes were coming from, but the tone just seems to be uneven by the end. The things that happen in this film are a little bit too unbelievable to actually take into account of some reality, because the way these people act in just seems put on, and made for the next dumb scenario to happen.
I had a great time with these performances which actually helped me through some of the more annoying scenes. As always, steals the show by doing his usual charming, raunchy character as Aldous Snow, and it all feels genuine. Every time this guys on screen, you don’t see him as that crazy guy that did a weird hosting job of the MTV Video Music Awards a couple of years back, you see him as this nutty, drug-addicted rocker and it works. I’m glad to see that Russell BrandJonah Hill is at least still getting big roles that he deserves because this man is just funny in almost anything he does. It’s not just because he’s fat like many people think, it’s because that comedic timing Hill has is perfect. My favorite element of this film had to be Sean “P. Diddy” Combs playing the record producer, Sergio. He does to this film what Tom Cruise did in Tropic Thunder, and that’s basically just play himself, and curse all the time, thus providing many belly laughs. I found myself laughing at his parts the most out of the film, and I’m glad that Diddy at least doesn’t have that much of a huge ego, to take roles like this. There is also some nice little supporting jobs from the likes such as Rose Byrne, Colm Meaney, Elizabeth Moss, and randomly Lars Ulrich.
Consensus: There are some laughs here, much ado to the amazing cast here, but there is too much random raunch that seems put there to make crazy situations, seem even crazier, and the sweetness by the end doesn’t seem real.
Now instead of a dog and a cat that I have, I want a dragon.
As the son of a Viking leader on the cusp of manhood, shy Hiccup Horrendous Haddock III faces a rite of passage: He must kill a dragon to prove his warrior mettle. But after downing a feared dragon, he realizes that he no longer wants to destroy it. So, he befriends the beast — which he names Toothless much to the chagrin of his warrior father.
This film was probably one of the biggest surprises of last year. Jeez, now I can say last year, whenever I talk about 2010. Anywho, this film grossed about half a billion dollars at the box office, and was one of the best-reviewed films of the year. Never would have I expected that from an animated film starring Gerard Butler, and Jay Baruchel.
The screenplay is what took me by surprise with this film as it has a decent amount of good comedy, but the dramatic depth is what really takes you over. There is a montage in this film that is used with no dialogue, and it really does tug at your heart. Showing you that sometimes no words spoken at all, can sometimes be the most effective. The film has a message about being pro-animal and how we should treat all species with respect, but they don’t hammer us with that message, and it feels fresh.
However, it’s the visuals that take over this film. There are plenty of flying scenes that will strike you in awe, as you are taken on this beautiful, fun ride, and the visuals are just breath-taking. It looks pretty, but it also has the action to back it up, and keep you watching, and sit in amazement.
The only problem I had with this film was that it just wasn’t as memorable as I was expecting it to be. Yeah it’s got a good story, and awesome visuals, but will I be buying this for my kids 20 years from now, telling them about my experience with this movie as a kid? No, and it is very good, just compared to other DreamWorks animation films it’s not as good.
Jay Baruchel‘s nerdy, awkward-voiced way of delivery actually is works here, and his character is a your typical softy, but a lot of the timing from his delivery, brings out a likability within his character. Gerard Butler is actually in a film that doesn’t blow! He plays the viking father, with his native Scottish accent, and does a good job for once. Wish I got to see more of this, but something tells me I shouldn’t get my hopes up. America Ferrera doesn’t really have that many lines in this film, but her character is strong, and we think shes actually pretty cool. Others in this film are Craig Ferguson, Jonah Hill, Kristin Wiig, and McLovin.
Consensus: Although not as memorable as other animated films that have came out in the past couple of years, How To Train Your Dragon still impresses with its great story, that has effective emotional depth, and enchanting visuals, that keep you watching.
Downright raunchy as hell, but I love it!
“Superbad” revolves around two co-dependent high school seniors (Hill and Cera) who set out to score alcohol for a party, believing that girls will then hook up with them and they will be ready for college. But as the night grows more chaotic, overcoming their separation anxiety becomes a greater challenge than getting the girls.
When I first saw this film back in 8th grade, with my mom, sister, and my sister’s friend, all on opening night, I was not expecting to be clinching my ribs the whole throughout this movie. And not much has changed 3 years later, now that I’m a big boy.
The one thing that separates Superbad from so many other comedies in today’s world, is that it literally is, funny from beginning to end. Yes, film’s like The Hangover, or Pineapple Express, they are all funny, but their never from beginning to end hilarious, this film is. The screenplay was written from Seth Rogen & Evan Goldberg, and they started writing it when they were like 12, so it gives you the perfect realism, of how teenagers actually talk, and that’s the one thing I liked. I’m not the dirtiest mofo, but I can at least say that I have had conversations with my boys, like these three are having about sex, women, and everything else in between. But it’s not just the humor that get’s you, and it will, but there is a certain amount of heart, deep within all the sex jokes. The film gives us a nice refreshing look at friendship, and somehow the nerdiest bunch of dudes, can somehow be the coolest guys you would never ever know, and no matter, they always stay friends. This film makes me really want to go out to everyone in my huge school and get to know them all.
It is a teen comedy, but it doesn’t mean it’s not smart. There are so many crude, and rude sex jokes, as well as plenty of disgusting gags (who can forget the blood?), but everybody just loves having a good time like your back in high school. I’m not done high school, and got plenty of parties coming up, but the way this whole film revolves around one crazy night is perfect, because your along for the ride, and feel like your apart of something special, that you haven’t felt in awhile since you left high school. For some reason, I do love “one night” films, but this one has the most fun with its happenings, jokes, and overall everything else.
The one thing that makes everything click in this film, is it’s characters that never stop being great. Jonah Hill and Michael Cera, became house-hold names after this, and play the roles now, that they did then, but they are just so damn lovable. Watching these two on-screen now is great, because they both seem like friends and real life, which shows through their chemistry with one another on-screen. They are a great duo for comedies, and I would love to see them in other stuff hopefully. Christopher Mintz-Plasse will always be remembered as McLovin, but it’s not a terrible act to be known for, since he’s the greatest nerd in cinema history. And I will always stand by that. I absolutely loved Seth Rogen and Bill Hader as the two cool cops in this film, every scene they have is just great, and their comedic timing between both is just perfect.
Consensus: Superbad may be lean, mean, and without a doubt sick, and dirty as hell, but it’s hilarious, with a heart in the middle, and a perfect casting job, that will lead you on quoting this film for year’s to come.
I could only wish that everybody was as funny as the title says.
When famous comedian George Simmons (Adam Sandler) is given a second chance at a new beginning, he and his assistant, a struggling comedian, Ira (Seth Rogen), return to the places and people that matter most…including the stand-up spots that gave him his start and the girl that got away (Leslie Mann).
With Judd Apatow’s last two at bats (40 Year Old Virgin, Knocked Up) he has shown that he can make hilarious comedies, with heart-felt messages somewhere in between. This is no different, except it kind of is.
Apatow as the writer is perfect. He always fines a perfect balance of heart and hilarity, and this is no exception. The jokes as usual, are hilarious, if you like a lot of boner jokes, and it almost never slows down. The stand-up seems just wreak with hilarity and a lot of originality. When Simmons gets cancer, you would think that the most would slow down, and get very very serious, however, Apatow changes that and never stops bringing out the jokes, and surprisingly a lot of them had me laughing-out-loud. You can tell that he has matured, and his writing makes you have more hope for him in the future.
Although, Apatow as the director, now that’s a stretch. He overuses the slow-zoom to show his characters being emotionally effected by something, it’s almost too obvious at times. Also, the first act between Rogen and Sandler works so well, it was this close to getting a 10/10, then came the next story with Sandler and Mann, then it just kind of lost me. It’s less of a buy-one-get-one-free deal, and more a but-one-and-get-one you really didn’t ask for deal. Both stories just don’t seem connected, and although the jokes kept up during the last act, I still didn’t find a reason for it. Oh, and the film is about 2 hours and 30 minutes, so be ready to be looking at your watch many times.
Apatow does a great job of blurring the line of fiction and non-fiction to create compelling, realistic performances from the cast. George Simmons is sort of the dream role for Adam Sandler. Mainly because Simmons is a goofy comedian, Sandler gets to indulge in that goofy side, we all know and love him for, but he gets to show the characters darker parts, and does a fantastic job at it. Although, I think the film could have done a better chance of showing Simmons in a more positive way sometimes. Simmons is a dick, especially towards the end, but we never get to see him come out of that dark shell, and understand who he has come to be.
The rest of the cast is perfect too. Seth Rogen (who is looking very, very slim) plays probably the least Seth Rogen he has ever played, because he doesn’t do that famous “Rogen chuckle“, and instead he does a character with nervous twitches, and mega-awkwardness. Leslie Mann is funny, but more serious than her usual character, and seems a lot more genuine during the last act, than she has, in a long time (yes, I’m talking about you George of the Jungle). There are other little characters that will make you laugh such as Jonah Hill, Jason Schwartzman, Aubrey Plaza, RZA, Aziz Ansari, but the most surprisingly funny one was…………….Eric Bana! He comes in the film and you expect him to play this really deuchy character, cause the whole film they talk about him so badly, then you meet him, and he’s downright lovable. He’s hilarious, sweet, and really cool. Kind of makes me forget about The Hulk.
The film probably should get an Oscar for the film with most cameos, if there ever was one. I mean you got Dave Attell, Sarah Silverman, Andy Dick, James Taylor, even Tom from MySpace (I don’t know how that guy still has a career). But the funniest one is between Eminem and Ray Romano, that will just have you cracking up, although it does seem really random. Better yet, you never know, Eminem probably wasn’t acting.
Consensus: Funny People is consistently funny, as well as being heart-felt, with great performances from the whole cast, even though the last act may take some away, and not very inspired direction.
Why it’s better to be safe then sorry. Always wear a condom.
A one-night stand results in an unexpected pregnancy for entertainment reporter Alison (Katherine Heigl), who vows to be a good mom and keep her career on track by trying to make things work with the slacker (Seth Rogen) who knocked her up. It’s anything but smooth sailing as the odd couple gets acquainted, but Alison finds there’s more to her baby’s daddy than she originally thought.
Judd Apatow is most known for making raunchy as hell scripts, with even dirtier stories that eventually take place. However, when he takes a slight serious look, its somewhat refreshing.
There is still a lot of Apatow’s signature comedic screenplay. There is a lot of raunch in this film, as you would expect, but the whole film isn’t just about the raunch, and the hilarity, there is some seriousness. Most of the film walks a fine line between romantic comedy and relationship drama, and all of it balances out well. We never get too much of everything, and the sentimental moments hit real well.
The film is however around 2 hours and 13 minutes, which leaves plenty of time for drag time. I think the film could have been cut down to maybe under an hour, cause some scenes didn’t feel like they had any meaning and were put in just to be raunchy. Most people will be put off by the last act probably, cause there is a lot of “here come’s the baby” stuff, but some material does drag, while as others do not.
Probably the best thing about this film that wins everybody over, is the characters themselves. Seth Rogen is once again great here, playing that awkwardly funny dude, that you just want to chill with, and make constant movie references with. However, you see a transformation in his character by the end of the film, and it all seems realistic. Katherine Heigl also probably compared to the crap she’s done in the past couple of years, gives off her best performance here, and the chemistry these two create just feels real. They start off as not knowing anything about each other, and probably not liking each other, then they try to get to know each other, but you still can see that there are moments and touches of awkwardness between the two. There are plenty of other other great comedic characters in this film like Leslie Mann, Paul Rudd, Jonah Hill, Jay Baruchel, Jason Segel, and plenty of more, that are just comedic gold, and add a lot of flavor to the film, even when it’s in its dramatic stages.
Consensus: Knocked Up may drag on, especially during its last act, but still gives a refreshing, if not raunchy, and hilarious look at child-bearing, and parenthood. But it all feels real, with realistic performances, and screenplay.