Does this count as Sunday Mass?
Flik (Jules Brown) is 13-year-old, spoiled-brat who is forced to live with his grand-daddy (Clarke Peters) for a whole Summer. However, Flik isn’t doing exactly what he dreamed of this Summer when he’s with his Grandfather Enoch, who just so happens to be a pastor and trying to get Flik back in the eyes of God.
After giving us two, relatitvely-solid mainstream movies (Inside Man, Miracle at St. Anna), Spike Lee finally returns to his roots, in more ways than one. Firstly, he’s going back to indie-filmmaking which he seems to have abandoned for the longest time, and secondly, he’s back to filming in his native Brooklyn, where it just so happens that Mookie is still delivering pizza’s for Sal. However, cool your jets while you still can, people, because even though Mookie is in this flick and shows-up for about 3 minutes, this is nowhere near a Do the Right Thing sequel, or even a Do the Right Thing-caliber movie. Heck, it’s not even a Spike Lee-caliber movie, if we’re not including She Hate Me.
In the past, Lee has been attacked for being too self-indulgent with his material and not knowing how to separate style from substance, and in the past, I have stood-up for him and said, “nay”, to those attackers but here, he makes me look like a fool. The usual trademarks that we see with a Lee flick are here, however, there’s no driving-narrative to really help it out. Instead, there’s just a bunch of scenes where kids are being kids, and a crap-load of sermons about God. And for all of you people out there who were pissed about Michael Parks’ over-long sermon in Red State, don’t worry, it’s even worse here as I would say about 30 minutes of this flick is probably dedicated to these preaches about everything from God, technology, being black, being poor, being white, Obama, and so on and so forth.
As usual, the points that Lee bring are up are reasonable and very smart, considering that this is a guy who has a big brain and a very big mouth, but they aren’t done well-enough here to be considered in your mind. Instead, all of the smart views, points, general ideas Lee has in his head and tries to get out on-screen for all of us to see and get into our minds, just fall-flat on the ground as if somewhere after the 4-year hiatus from filmmaking Lee has taken, he lost his sense of telling an important issue, with an important story. In ways, this doesn’t really feel like a Lee flick because it’s almost as if the guy just lost his skill and if that is the case, then damn. It’s disappointing to see a filmmaker of these heights just get so high up there, in terms of knowing what he’s doing, how to do it, and master his craft, to just fall-apart right in front of our eyes. You can talk as much shite on Tarantino as much as you’d like to, Spike, but the fact is: he’s making better films than yo ass.
The film runs a very long 130 minutes (that actually feels twice as long) and for about the hour-and-45-minutes, I was bored stiff-less. However, the last 20 minutes or so of the flick came-around and automatically, I found myself alive and interested in what Lee was bringing to the table. Without giving too much away, there’s a curve-ball that Lee throws at us that shows us more about Enoch than we originally thought and really livens up the story and gives us a new-perspective on all that we see. Yeah, it could be viewed at as a cheap-way for Lee to make a conventional-story, seem less conventional and more thought-provoking, but at the same time, it didn’t matter to me because it kept my interest, almost all the way until the ending, and then everything fell apart once again. But hey, those 20 minutes still kept me watching and that’s a hell of a lot more than I can say about the rest of the flick.
Everything in this flick may suffer, big-time, but the only person who really gives it his all and actually comes out on-top is Clarke Peters as Da Good Bishop Enoch. There is a lot about this character that could be terribly annoying and terribly one-sided, as he spends almost half-of-the-film just constantly yelling and preaching to people about how they need to get “the big man” in their lives, but Peters shows more effort than that. Peters makes this guy seem very nice, very comforting, and like a relatively normal guy that just so happens to be so high-strung on the G-O-D, that is is a rather off-putting, to say the least. Still, once this twist by the end is actually shown to us and comes into our minds, Peters handles the material very-well and gives us a glimpse at a real man, with real problems, and real, deep, dark secrets that can come out at any time. Peters is definitely the flame that keeps this fire moving and without this dude, doing his own thing, the flick would have definitely been a lot worse and painful to watch.
The reason I say that, is because when the flick isn’t focusing on Peters and all of his sermons, it’s about the forming of love between the two kids in this movie, played by youngsters Toni Lysaith and Jlues Brown. Now, as much as I hate to get on kids’ case about how they can’t and handle the material that’s thrown at them, I still can’t get past the fact that in this movie, where half of the film/story revolves around them, Lee actually gave the “okay” on some of these final-cuts, because being a director that knows how to direct actors and give some of the best performances of their careers, this is almost an embarrassment Seriously, these kids are drop-dead terrible and the stuff they say to each other not only doesn’t feel genuine, but seems like Lee has lost his touch and should have just stuck with Nate Parker and the gang of Bloods that he lead. To be honest, and I hate to say this, but his performance, his character, and his gang, would have probably been a lot more of an interesting story to focus on, and probably a better-road for Lee to go down considering the guy is one of the best at writing stories for them. However, when it comes to kids, I think he’s got to stay away, as dirty as that may sound.
Consensus: It’s great to see Spike Lee finally back in-front of and behind-the-camera, but Red Hook Summer is not the type of flick that I was imagining all that glee coming from. It’s long, poorly-scripted, boring, and to be honest, only good and worth a recommendation for the last 20 minutes where a phenomenal performance from Clarke Peters, gets better and better by each scene.
If only Clint Eastwood was Jesse James, then I think the story would have been different.
As the charismatic and unpredictable Jesse James (Brad Pitt) plans his next great robbery, he wages war on his enemies, who are trying to collect the reward money – and the glory – riding on his capture. However, his plans are all interrupted once he becomes entangled in a friendship with his admirer Robert Ford (Casey Affleck).
It’s very bold to have the climax of your film in the title, no matter how true it is, but I was still so surprised to see that James does in-fact actually die in the end. Maybe, just maybe I didn’t pay enough attention in history class, but for some reason, I didn’t believe that he was going to get killed at the end. Oh, I guess that was a spoiler.
This was the second flick from Australian filmmaker Andrew Dominik and it’s pretty obvious where he gets his inspiration of movie-making from, and that is Mr. Terrence Malick. Honestly, if I had no idea who the director was before-hand, I would have easily gone with Malick because every single little detail about this film is so perfect and beautiful that you really can’t take your eyes off of it one bit and I know that’s said about a lot of films but that is really meant here. Dominik focuses the camera on these long, sweeping shots of beautiful farmland where it almost feels like you’re there in the 1880′s with Jesse James and Robert Ford. Every shot is handled carefully, with just the right amount light and color added to it, to get you involved with the stark wilderness that these characters surround themselves with. There is just so much to look at here that you almost forget to pay attention to the story that’s at-hand, which is a total bummer, because this story can really grab you if you give it the attention that it deserves.
What I liked about Dominik, was that aside from his beautiful art direction, he was able to make a genuinely tense and unpredictable story out of a fact-based history lesson, and always being able to surprise us. Not everything about this story that Dominik tells us is true and he probably takes some liberties here and there, I definitely know that, but everything before the actual “assassination” itself, kept me on the edge of my seat and I like how Dominik was able to do that with his deliberate slow pacing. Yeah, this film is one hell of a slow-burner for sure, but it works as it develops each and every character in this story more and more, and also keeps you guessing just when the hell Jesse James is going to show-up, or better yet, when the hell he is going to get killed. May sound like a complaint but it’s not, mainly because Dominik is able to take his time with the story.
Anybody expecting a Sergio Leone-type Western, where it’s just constant gun-battles, witty one-lines, and a whole bunch of spaghetti style art thrown at the wall here, are really going to be in for a big surprise with this film, but have no fear, it still does have enough violence to hold anyone over. Actually, whenever the violence did rarely show-up on the screen, it felt deserved and made sense to the story but also felt realistic in a way that these people are actually dying from real-life bullets and whatnot. I don’t want to dive any farther into the violence and murders that go down in this flick, but I just want to say that they feel realistic and are handled well without being over-exploitative of it’s dark, violent side.
If there was a certain aspect to this flick that seemed to have bothered me the most here, was that it was over 2 hours and 40 minutes and it didn’t need to be that way. See, the first and last act are all dedicated to just James and Ford being around one another but in between all of that is a whole bunch of other characters that were apart of James’ gang that don’t really seem all that needed for this story to work, but are left in there just to add some character development. Usually, I would give some points to any director who can do this and do it as well as Dominik is able to do here, but it takes away from the story and really had me annoyed since those scenes with Ford and James can get so damn tense. Most of the characters were interesting enough to hold my interest, but I just sort of wanted to get down to the real business at-hand here.
Brad Pitt as Jesse James is a perfect bit of casting because Pitt is able to play up all of the sides of him that he has as the iconic figure. Every time James shows up in the story, whether or not to start some trouble or “go on a walk”, it’s always tense and unpredictable to the point of where you don’t know what this character is going to do next. From everything I heard and read about, James was one violent son of a bitch and one that couldn’t be contained because of his wits and determination for violence when needed. This is an idea that Pitt plays up perfectly, giving us a very iconic figure to begin with but also show something else that lies deep down inside of him. We get to see a lot of scenes where James lays out all of his emotions and how painful he feels with the life that he’s living and it’s not only an easy way to get us to care about him even though he’s killed over 17 people in his life, but also a great way to show some insight into an iconic figure that so many people feel like they know.
Pitt’s great, but Casey Affleck is just about as perfect playing opposite of him, as Robert Ford. Affleck plays the little boy-version of Jesse James, as he is constantly made fun of by his family and treated like he doesn’t know shit about shooting guns and robbing banks/trains. Eventually, this guy starts to show more emotions rather than this very shy and awkward young kid that just wants to be “one of the guys”, and the way Affleck plays it all up works perfectly for this very easy, yet hard to sympathize with character.
You also begin to realize that Ford is a character that seems like he tries so hard to want to be like James, that in the end, even when he has done all of the dirty work he could do to get rid of him, he still can’t reach the type of fame that his predecessor once, and still has. It’s a sad idea that makes you think more about Ford and realize just how strong of an actor Affleck is. This character is complex and Affleck shows that and when it’s just him on-screen, he’s amazing but when it’s just him and James messing around with one another, then it just gets even better. Surprised that this Ford dude didn’t end up killing everybody in sight by how much he got picked on. Poor Affleck. At least you got the Oscar nomination over Pitt. Suck on that Jesse!
As for the rest of the star-studded cast, they’re all pretty good too even though a lot of their roles/characters are featured more than they needed to be. Jeremy Renner is vicious and unforgiving as Wood Hite, the cousin to Jesse James; Paul Schneider is awesome as the womanizing crook that every lady seems to fall for; Sam Rockwell has a lot of fun as Ford’s big bro, Charley, but also shows a dark side to him as well by the end; and Sam Shepard is pretty freakin’ awesome as Frank James, and does an outstanding job with the short amount of time he actually gets on-screen. The ladies in this flick are sort of put on the back-burner but both Mary-Louise Parker and Zooey Deschanel do splendid jobs with their roles, even though I felt like they could have had more input into this story. Then again, I just wanted to see a mono-e-mono battle between Ford and James.
Consensus: The Assassination of Jesse James by the Coward Robert Ford may run on very, very long but features some of the most beautiful images caught on film with its detailed direction from Andrew Dominik, insightful story about these larger-than-life iconic figures, and a bunch of superb performances from everybody involved, especially Casey Affleck in a way you have never seen him before.
See, Star Wars really did save people’s lives.
The movie is on the true story of a secret 1979 CIA mission during the Iran Hostage crisis in which six diplomats are rescued through a bizarre extraction plan involving a fake Hollywood film crew scouting locations for a sci-fi film named “Argo.” Ben Affleck stars as Tony Mendez, the real-life CIA exfiltration expert who came up with the idea in the first-place and has to find the strength and courage to go through with it.
Believe it or not, that silly-ass plot synopsis up there is a real-life account on a secret CIA mission that took place during 1979 to 1980 and may have you think, “just how the hell did the government trust Hollywood with saving the lives of six people?” Well, the truth is that Hollywood is good for many things, and not only is saving the lives of six people one of them, but reviving Mr. Ben Affleck’s career as well.
As director, Ben Affleck is basically three-for-three (Gone Baby Gone and The Town are his two other flicks), but this one is slightly different from those other ones as he is actually stepping out of his friendly-streets of Bawhstan, and upping his game by focusing on something bigger, and a lot larger-scale than from what we usually expect from this guy. The look and feel of this movie just put me right into a late 70′s/early 80′s vibe that not only set me in the right-mood, but never rang a single false-note to me whatsoever, even with all of the goofy mustaches, cars, and hair-do’s running around all-over-the-place.
But what really came as a total shock to me is how Affleck was not only make me feel like I was exactly right there with him in America during this time-period, but also made me feel like in the chaotic shit-hole of Iran during this time as well, and damn, was it freakin’ scary. Right from the start, we are put in this area of Iran that is just full of chaos and on the verge of collapsing, and Affleck shows this perfectly by splicing together his footage, with actual-footage taken at this time to create a realistic, if even scarier view-point of the setting where our main-story takes place in. It’s not only great in it’s realistic/very detailed look, but also how we are able to draw the similarities between the Middle East and the West’s relationship with one another, to then, and how almost nothing has changed whatsoever in the thirty-plus years since this whole “Argo” mission went down.
However, it’s not all about making a point and showing off the politics with Affleck, it’s more about the whole mission itself and that’s where most of the fun of this movie came from. The first hour or so where we are left following Affleck as he tries his damn near hardest to make this fake-movie every bit of legit as he can, is the most entertaining aspect of this whole movie, not just because it takes a lighter, and slightly, more humorous approach than the rest of the film, but because it shows you just how hard it is to actually get something made in Hollywood, regardless of whether it’s the next masterpiece or not. But, all of the hootin’ and holler soon starts to go away once the real plot of this movie kicks in, and that’s where I really started to feel the tension go up my spine and get the goosebumps working. This is where Affleck shines the most, by showing how capable he is of making you sweat your ass off, with every single, tense second that goes by. It’s worked in his other two films, and it sure as hell works here but not as perfectly.
The reason why the whole suspension of this film doesn’t work as well as Affleck’s last, two movies, is because we already know the story going on and if you haven’t already known, chances are, you’re going to be able to tell how it ends. Then again, that’s sort of the basis for all movies out there but when you have a movie that puts the whole aspect of itself, on the fact that you have to feel all tense and worked-up to really enjoy the whole movie, then you kind of have to wonder just when this movie’s time is up. I don’t know want to say that it got to that point for me, but there was a very heart-breaking point where I realized that, “okay, I already know what’s going to happen, so why the hell is Affleck wasting my time with all of these slow scenes and epic score bits?” But, I don’t want to give anything else away and trust me, if you don’t know the story going in, be ready, cause you may already know it from start-to-finish about half-way through. I did, and I think that’s where this film sort of failed in captivating me as much as I would have liked it to.
Then, it seems to get worse for Affleck as the guy doesn’t really stand-out as much with his performance as Tony Mendez. The problem with Mendez isn’t Affleck’s acting, in-fact, the guy’s pretty good when it comes to him showing his near-perfect comedic timing, as well as showing us a character that’s easy to root for, even when the odds are stacked up in his defense, more of the problem is that this character just doesn’t have much going for him that’s interesting or worth really standing behind in the first-place. Yeah, the guy singlehandedly comes up with this plan and is brave enough to go out there and finish it off himself, but he doesn’t really have much of anything else going for the guy. This is fairly evident when the film tries to shoe-horn the whole angle with him and how he misses his son and wife, even though they touch on it for about 6 minutes throughout the whole film, and then at the end, is supposed to have some big, emotional impact on us as we walk out the door. No, no, mister Ben. Not falling for it this time.
Then again, you have to give Affleck more credit because this even and plain performance, almost allows him to take a side-step to the left for the rest of his ensemble to show off and do their own thang unlike anybody else. Bryan Cranston shows up in his 100,000th movie role this whole year as Tony’s boss, and nails all of the snappy dialogue they give him, and his angry soul. I was hearing a lot of Oscar buzz surrounding Cranston and his role here and as good as the guy may be, I don’t really see it all that much since he’s not really stretching his skills as an actor by just yelling and looking mad all of the time. Still, it’s an act that I have yet to be tired of. Alan Arkin is also another guy that’s been getting a lot of buzz for his role here as big-shot, Hollywood producer, Lester Siegel. This buzz is deserved but I don’t really see Arkin getting a nomination, mainly because the guy doesn’t do anything else other than yell, scream, holler, and rant like the old man we all know and hopefully, love him for. Then, there’s John Goodman as real-life make-up artist John Chambers, who also seems to be having a lot of fun with his role and steals a lot of the scenes he’s in. However, the rest of the supporting cast is just filled, and filled, and filled to the brim with actors/actresses that you have most likely seen in about 1,000 other movies and when you see their faces pop-up here, you’re going to be going right up next to your buddies ear and say, “Hey, isn’t that the guy from that so-and-so movie?” Trust me, I did that plenty of times with my sister and I probably missed a hundred more because my mind would still be in heavy thought and not focused on who’s familiar face was going to show up next.
Consensus: Though it’s not as tense or electrifying as Affleck’s last two directorial efforts, Argo still works as a smart, funny, and entertaining thriller that covers a mission that not many people ever knew about, but was also a very important one by how it showed certain sides of the U.S. government working hand-in-hand with Hollywood in a slightly surreal, yet smart way.
Why isn’t there blood spewing out of these people?!? Better yet, why isn’t there that many people getting hacked off?!?
After having killed the first two on her death list, The Bride (Uma Thurman) continues in her journey of vengeance to hunt down and kill the remaining victims, Elle Driver (Daryl Hannah), Budd (Michael Madsen) and ultimately, Bill (David Carradine).
Basically in a nut-shell, Kill Bill: Vol. 1 kicked ass and I was so hyped up to see this one after that. However, if you go into this one expecting that one all over again, check again bitches. Hell, I wish I actually checked again.
Without a doubt, you have to see the first one before seeing this because it will make you understand the story so much better and even the little things that popped up in the first one, will still somehow find their way back into this one so just be ready for that. What sets this film apart from the first flick though is that it’s not an insane, fast-paced action flick with people getting chopped up by samurai swords everywhere. Instead, this is a lot more of a character/plot-driven flick that depends a lot on Quentin Tarantino’s writing to create a mood and a certain amount of suspense. This guy is perfect for that and he does a great job with that here because the scenes of dialogue may go on longer than you may expect at first, they still feel relevant to the story and it’s just so damn hard to be bored of a Tarantino flick, especially when somebody in one of his films are talking.
Another element that separates this flick from the first is that there isn’t many homages to a lot of what Tarantino loves as much as there was in the last one. I liked how he was able to incorporate everything he knew, saw, and loved about movies and could put them all up into one flick but barely any of that is here, which sort of relies on him to use his also perfect directing skills. Tarantino doesn’t disappoint and there are of course some funny little nods to the kung-fu movies and spaghetti westerns but I was kind of disappointed by the lack of homages and tributes from Tarantino’s fan boy self.
The main complaint that I had mostly with this flick was that I honestly was just totally bummed by how much action there wasn’t, which may sound dumb but they honestly feel like two different movies, which I know they are, but I was just let down totally. I was expecting crazy action left-and-right like the first but what I got was just a bunch of slow and tense conversations which did work but I honestly couldn’t go from one to the other in such a different style. It may sound like a bit of a dumb complaint but I just was expecting something a hell of a lot more insane, which I think is to expected coming from Tarantino.
Don’t get me wrong though peeps, there is action here and when it does go down, it’s pretty freakin’ awesome. There’s also plenty of times where Tarantino plays with our natural fears such as being buried alive, being bitten by a snake, getting our eyeballs taken out, getting shot with a dart, and plenty of other crazy and effed up shit that will make you squirm but also feel cool about because Tarantino does it in such a creative way that it’s hard not to feel a little smile on your face about. That damn Tarantino always gets me right when I think I’m lost.
The acting is definitely a lot better this time around since we get to see these characters a lot more than we did in the first. Uma Thurman is great once again as “The Bride”, but this time she gets to show a lot more to her character rather than just slashing Japanese effers up. There’s a lot of emotions she has to show here such as anger, terror, happiness, sadness, and enterprisingly even love. Thurman does a perfect job with this role here where she actually feels like a real human with emotions even though she could kick my ass in any second.
As for the other two villains in this flick, they are pretty fine too. Michael Madsen plays Budd, Bill’s washed up brother, and brings that charming evilness to his character that he always seems to do so well and his scenes are all pretty good. Daryl Hannah is pretty bizarre again as Elle Driver, and gets to use a lot of her key bitchiness to her aide this time because her character is just a chick that you want dead right away but she always seems to be one step ahead.
Oh shit, I almost forgot to mention the man villain of them all, Bill himself. David Carradine is great as Bill because he is everything that a great villain needs: he’s charming, funny, likable, creepy, and always scary with every scene he has. There’s just this certain atmosphere Carradine brings out every time he is on-screen like I felt like this guy would just snap crazy in one second and wouldn’t give a single shit who he killed. It also helps that he has some of the best lines in this flick as well and the one that always sit in my mind at the end is the one he makes about Superman. I won’t spoil it here but it’s pretty smart and may actually think a little bit, which is definitely a total surprise considering it’s a Tarantino flick where it doesn’t matter what themes or morals he may be throwing out there, it’s still a flick about bad people doing bad things. Get used to it peeps.
Consensus: Kill Bill: Vol. 2 is not exactly like the first installment but that’s not all of a bad thing: there’s plenty of action, well-written scenes of tension done by the master himself, and it’s definitely a great way to close off this two-parter even though I don’t think Quentin is all that done here.
It’s like ‘Dogma’, with a lot of guns.
Three horny teens go off for a one-night stand with a chick (Melissa Leo) that they think will get it on with them all at the same time. However, they end up being kidnapped into a little freak-show for these crazy Jesus-people that don’t like gay people. The teens soon try to find a way out of the church as the local police force comes in to also raise some hell.
Kevin Smith is a favorite of mine and almost all of his films, except ‘Cop Out‘, all have made me happy and enjoy the hell out of myself. I know a lot of people out there in the world hate this dude but for some reason, he always strikes a cord with me. That’s why I’m so glad to see it when he does something that is totally different from anything else he usually does and at least tries to branch out a bit more than what we have seen from him.
The premise for this film is awesome because it’s a horror film about things that are out there, rather than just ghosts caught on film, or dudes named Freddy, Michael Myers, and Jason running around killing teens. The film is obviously based on the crazy Westboro Baptist Church people, lead by Fred Phelps, who the people that follow this church actually look up to him as if he was the big G.O.D. himself. I like this concept because I hate these people and anytime somebody wants to show them in a bad light and practically get effed up every second, is something I want to see and stand behind. Hey, I know it sounds vicious but just type these people up on YouTube and you’ll see what assholes they really are.
What Smith does here, unlike any other film he’s done, is add an extra-layer of detail to not only his script but also his direction. Seeing that his only action film is actually the crap I mentioned early, it’s highly impressive how he is able to bring a lot of tension and grittiness to the screen to give you this feel of just terrible things are going to and will happen. This is in-your-face gritty with plenty of people getting shot, and sometimes you don’t know who will so you have that whole unpredictability to it as well that Smith is able to bring out well.
When it comes to his script, this is obviously a Smith film but it still has many different elements that can make a lot of people have their heads scratching by the end of the film, when they actually see who wrote and directed this. There is a real dark and sinister side to this film with barely any comedy or toilet humor, which is what I usually love about Smith films but here it was a pretty good way of focusing on actually creating tension and an atmosphere.
However, I do think that this film had its fair share of problems that took away from my overall experience. I feel like Smith does a lot of preaching here that at first seems legit, then it just becomes something of an annoyance where I actually wanted the story to move forward rather than just showing me all of these crazy Jesus people freaks, preaching and hollering about the same old shit every time. I get the fact that Smith is trying to get his point across, but when you have a speech that lasts about 13 minutes talking just to get a point across, it’s not just torture for the people in the film but for those who are actually watching it as well.
In terms of the horror department, I also felt like something was missing from it to actually make it scary. Take it for granted though, this is not your typical horror film so obviously we aren’t going to be getting jump-scares every five seconds, but too much of it felt like people just shooting each other without any real scares or horror to back it up. Don’t get me wrong, I like it when people that I actually dislike so much before I even get to know them get shot up left-and-right, but there were times when even that was gone and there was nothing to really keep it compelling.
Also, why the hell did that random-ass timestamp come up out of nowhere, for no reason whatsoever, and then never come back again? Maybe it was just another one of Smith’s crazy and weird things he just wanted to do for fun.
The cast is pretty impressive considering Smith doesn’t use anybody from any of his previous films, even though I wouldn’t have minded seeing Jason Mewes or even Jason Lee for that matter. John Goodman is good and pretty aggressive as Joseph Kennan, the police dude in charge who has a very good scene by the end of the film; Melissa Leo is one-note as Sara Cooper, but she’s still an easily-hated character from the start; and Michael Parks is very evil and devilish as Abin Cooper, the man behind this church. Everybody’s good here but it’s just one of those cases where it’s more of the director’s show than the people themselves.
Consensus: Red State has a great premise to work off of, a good direction from Smith, and a script that is more than just dirty jokes that he usually has in all of his films, but there are many times where it loses its compelling feel and goes on and on and on about the same point till where it overstays its welcome by a long-shot.