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Dan the Man's Movie Reviews

All my aimless thoughts, ideas, and ramblings, all packed into one site!

Tag Archives: Dania Ramirez

Mojave (2016)

Chances are, random dudes you meet in the desert, aren’t going to be the ones to trust in actual society.

Famous Hollywood writer Thomas (Garrett Hedlund), is conflicted about his life so, one day, he decides to get up and leave his mansion, French girlfriend, and money behind, to venture out into the desert for some peace and solidarity. However, while in the desert, Thomas realizes that he may not actually be alone in this huge desert – in fact, he may actually be being followed. This is when Thomas meets Jack (Oscar Isaac), a drifter who says that he’s a director, but at the same time, doesn’t really seem all that convincing when he says that. He and Thomas, despite the obvious awkwardness of the whole situation, have a solid conversation about life, death, Jesus Christ and the devil, but it becomes all too clear that there’s something off about Jack that Thomas doesn’t want to be around. So, that’s why Thomas decides to leave the desert, as well as Jack behind; which, as a result, makes Jack very angry and forced to follow Thomas all the way to his glitzy and glamorous home life, leading to some very bloody, very violent results.

He's brooding.

He’s brooding.

William Monahan, nearly a decade ago, wrote the script for the Departed and he could have stopped right there. Already, he had given each and every person on the face of the planet something that they wanted, loved and adored, and right then and there, Monahan could have packed his things up, got all of his money together, and head for the hills, never to be heard from or bothered again, but knowing that he did something right for society. But seeing as how Monahan is, first and foremost, a creator, he decided to make Mojave which is, most definitely, a whole heck of a lot different from the Departed in many ways.

Of course, though, what Mojave does have similarly to the Departed, is that both movies feature big, rough, and tough guys being, well, big, rough, and tough.

And honestly, for the longest time of Mojave, there’s a lot to enjoy in just watching that happen, especially when the two said guys in question are Oscar Isaac and Garrett Hedlund, two young talents that are so well-deserving of every role they’re given. Seeing as how both are actual friends in real life (as well as co-starred in Inside Llewyn Davis), it makes sense that they feature wonderful chemistry together, just playing off of one another and testing each other to their limits; the same is definitely said for their characters who are, randomly, at odds with one another for reasons we never fully know or understand. However, there’s still a feeling you can get watching these two pals act alongside one another, and just knowing that they’re having a great time watching as the other works the field, so they say.

Which is why, had Mojave just been a two-hander of these two talking about whatever the hell they wanted to talk and swinging their dicks around, it probably would have been a whole lot better, tighter and enjoyable. However, because Monahan adds on so much more than just these two going to battle with one another and leaving it at that, it becomes messy and we forget what makes the movie so strong in the first place: Isaac and Hedlund. While neither loses any sense of charm or presence in the proceedings, they still get pushed too far to the back so that Monahan can run wild, say whatever he wants, and do weird things that nobody expected, but nobody really needed to see, either. Monahan gets mixed-up in his own ideas where, one side of him wants to make this mono-e-mono thriller between these two colorful characters, but on the other side, wants to talk about Hollywood and everybody in it is a terrible, mean-spirited and disgusting place that nobody should ever get caught up in.

Wow, where have I heard this before?

He's weird.

He’s weird.

Clearly, Monahan’s not working with any life-changing, ground-breaking themes or ideas and it sometimes calls into question just how odd this movie can be. Mark Wahlberg randomly shows up a coked-up, over-the-top and wild Hollywood agent who is, definitely fun, but still doesn’t add much to the whole movie; Walton Goggins shows up as a Hollywood executive who is about as dead-spirited as they come; and yeah, then there’s a whole murder investigation that never seems to escalate, but still bring these two guys closer. Monahan brings up a whole lot of stuff here, but because he’s both the writer, as well as the director, there’s no holding back in just where Mojave can, and will, go.

Still though, it’s Hedlund and Isaac who make this movie work the most and it makes sense why they’re given the most to work, for better as well as for worse. Hedlund is, once again, playing up that whole brooding-angle he always shows and does fine with it. While Thomas, the character, may be limited in how much we actually care or get to know about him, Hedlund shows that there’s something of a soul underneath it all and it makes us sympathize with him just a tad bit more, even if we don’t really care either way where the story goes, or who ends up getting the ax.

But Isaac is perhaps the one having the most fun here and it’s great to see him just live every bit of this material up. In a way, as Jack, Isaac livens this material up a whole lot more than it probably should have been, as he’s not just funny, but more thoughtful than the movie may have called for. He’s got a lot to say about faith and Hollywood, or whatever, but he’s also got something to say about Hedlund’s Thomas, and it’s these revelations that I found most telling. While Monahan has a bone to pick with Hollywood, he still has a point in saying what he says, which makes me wonder why he’s making movies as conflicted as Mojave, and isn’t giving it his all again like he did with the Departed all those years ago?

The world may never know, but we wait and wonder.

Consensus: Hedlund and Isaac are great, however, Mojave‘s odd plotting and themes don’t always come together in a cohesive manner, that gives them the movie they wholly deserve.

5.5 / 10

Together, they're the perfect couple.

Together, they’re the perfect couple.

Photos Courtesy of: Indiewire

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She Hate Me (2004)

She hate me, she hate me not.

Jack Armstrong (Anthony Mackie) is a young, brash hotshot at a large biotech company that’s on the verge of creating a vaccine for AIDS. However, a whole swirl of controversy surrounds him and the company for supposed wrongdoings, when he’s the one who blows the whistle. Obviously, Jack’s bosses aren’t too happy about him opening his mouth, so they make him the one to take the fall, which the leads the government to look further and further into Jack’s life and freezing all of his accounts. This wouldn’t be much of a problem, however, Jack leads the life of a young, New York bachelor. So now, Jack needs some way to make any bit of cash he can find – that’s why when his ex-girlfriend (Kerry Washington), comes by with her girlfriend (Dania Ramirez), in desperate need of a sperm donor, he’s more than willing to accept the offer. But because Jack is so good at what he does, word has spread about him and now, every lesbian who wants to have a baby are hitting Jack up for sex. Of course, they give him money and all that, but really, what Jack wants, is a love in his life and some meaning.

Is this love?

Is this love?

Deep down inside the dark, fiery hells of She Hate Me, lies, believe it or not, a funny movie from Spike Lee. What with all the impregnating of lesbians and such, Lee finds a certain bit of energy that he’s utilized in practically every film, but actually seems to be having fun. There are some small points he seems to make about gender-politics and homosexuality, but really, none are too preachy to where they take over what Lee’s trying to do – basically, he’s setting out to make us laugh. It’s not the kind of Spike Lee we’re used to seeing, which is why She Hate Me, for a meager amount of time, feels like Lee’s funniest flick where, he doesn’t care about preaching or yelling at the audience, but instead, having them chuckle.

Then, it’s all downhill from there.

See, while a good portion of She Hate Me is about this young guy having sex and impregnating lesbians, there’s also another good portion of the movie that concerns itself with being about AIDS, about Congress, about big, Enron-like corporations that swallow-up the middleman and don’t take the blame, about the mafia, about sexuality, about Italians, about African Americans, about Caucasians, about racism, and well, so much more. Really, She Hate Me is packed to the gills with numerous subplots, ideas, themes, statements, and viewpoints that, after awhile, it all becomes tiring.

But I sort of liked that.

Spike Lee hasn’t always been known as the easiest director to follow or like; most of his films are preachy and one-sided, but are still, for the most part, compelling to watch and be apart of. While some may not agree with his general viewpoints on certain issues like race, sex, or class, there’s no denying that his movies are entertaining and get you thinking harder than most other film-makers. So what if Spike Lee creates a mess? If the mess is, at the very least, interesting and seems to want to say something, no matter how muddled it may be, then so let it be!

That’s why, no matter where She Hate Me goes, tries to say, or ends up, I wasn’t pissed. I was confused and a little befuddled, but I was never bored and there’s something to be happy about with that. While Lee could have made a drag of a movie that goes from sexuality-to-politics at the snap of his finger and not really done much with it, he does, at the very least, push it to its extreme limits where we can see where he’s going – we may not know why he’s going there, but hey, at least he’s keeping us watching. Once again, it may just be me who feels this way about She Hate Me, but I don’t care: A mess is a mess, no matter what.

Or this?

Or this?

But sometimes, it’s all a matter of just how well you dress that mess up to appear like something extraordinary or, better yet, smart.

And in the midst of all this havoc that Lee creates, Anthony Mackie does a great job as Jack Armstrong. Now, Mackie’s a force to be reckoned with and constantly shines in everything he shows up in; however, back in 2004, he wasn’t known for much (except for getting chewed the ‘eff out by B-Rabbit), but here, for what appears the first time, he gets a chance to show his range and just how well he can handle and adapt to Lee’s idiosyncratic style. Because there’s so many different flicks going on at once during She Hate Me, Mackie has to handle each and everyone with a certain level of believeability, as if this is in fact, the same character, going through all these sorts of different transformations and situations – all of which, Mackie does quite well with and actually comes out on top. Of course, there’s a very interesting movie to be made about what Jack’s life and romance, but Lee is less concerned with that at times.

This allows for the rest of the ensemble to show up and, in some ways, light the screen up just as much as Mackie, even if it seems like they may be showing up from the sets of other flicks. Kerry Washington is sexy and dangerous, both at the same time, but also has a nice bit of chemistry with Mackie; Dania Ramirez is sympathetic as her girlfriend who, despite wanting a baby and being a lesbian, is willing to have sex with a man, even if she doesn’t really want to; Ellen Barkin and Woody Harrelson are, oddly enough, hammy and over-the-top as Jack’s former bosses who get rid of him and seem every bit as detestable as Lee wants them to appear to be; John Turturro shows up as an Italian mob boss that has an interesting scene, but once again, appears literally out of nowhere and doesn’t seem to add much to the final product; and yeah, there’s plenty more where they come from. Everybody’s fine and trying to do what they can do, but really, they’re stuck trying to work within Spike Lee’s mind.

And what a crazy, but watchable one it is.

Consensus: Jumbled, odd, sometimes confusing, and always interesting, She Hate Me is the kind of mess we expect to see from Spike Lee, even if it does occasionally lapse into being one too many films for one movie.

6.5 / 10

Oh, no. This definitely is. Thanks for the info, Spike!

Oh, no. This definitely is. Thanks for the info, Spike!

Photo’s Credit to: IMDB, AceShowbiz

25th Hour (2002)

I just hope that, in the midst of all this, Sal’s window has finally been fixed.

Within the next 24 hours, Monty Brogan (Edward Norton) will be going away to jail where he’ll most likely spend the next seven years of his life, after being caught with stashes of heroin in his couch. However, he doesn’t plan on spending the day in utter sadness, instead, he decides to spend it all with his girlfriend Naturelle (Rosario Dawson), his dad (Brian Cox), his childhood buddies who couldn’t be anymore polar opposite from him (Barry Pepper and Philip Seymour Hoffman) and his loyal pooch. While Monty still has plenty going through his mind (like who ratted him out, how he’s going to survive his time in prison, whose going to look after his family, etc.), the whole day and night is dedicated to giving Monty one last amazing night that just so happens to also take place after 9/11. Yep, can’t forget about that.

Should come as no surprise to anyone that 9/11 was a pretty hot-button to press on with the media back in 2002, and it should come as no bigger surprise to anyone that Spike Lee was, and in ways, still is a very controversial director that lets you know about his view-point on any subject right away. The combination of both seemed like it would not only offend everybody still reeling from the aftermath of this horrific event in our nation’s history, but ruin this man’s career for the rest of his life, had he not treated this subject properly and with as much respect as he possibly could. I mean, think about it: It was only a year and some odd months after the Twin Towers were blown down, and already, a movie showing sights of Ground Zero was already coming out. Too soon, ya think!?!?!

Just a man and his dog. Doesn't get anymore peaceful than that.

Just a man and his dog. Doesn’t get anymore peaceful than that.

Well, come to think of it, this was a story taking place in NYC, and though it was a city full of paranoia, fear and anger, it was still Lee’s hometown, and he was not ever going to treat it with disrespect. However, this is no love-letter to the city either, as Lee definitely paints more than a few pretty upsetting pictures of the city he oh so adores and cherishes. There are many times he’ll cut-away to the constant hypocrisies of our time where we see many racist stand-points coming from the minds of citizens, practically hating on other’s because of their skin-color, race, religion or political ideas. And yes, of course I am talking about the obscenity-laced tirade Monty has in the bathroom of the bar in the beginning that is the voice of how most people felt during this time, and still do to this day. These aspects of daily society were always and criticized, but in the post-9/11 world, it felt like a protective-reflex that some of us still use to this day. It’s what changed our lives on that fateful day; Lee knows this, and he never lets us forget it. As we never should.

That said, despite Lee painting a beautiful, if not, terribly honest portrait of NYC, post-9/11-era, there is still a story to be had here, and a pretty damn beautiful one that continues to bring out more and more emotions within me, even as the viewings rank up. Monty’s life isn’t necessarily a complex one, but rich in emotion. In fact, I’d go so far as to say it’s a pretty simple life, that gets a pretty simple movie, yet, is only more than its means because of what Lee does behind-the-camera and the type of feelings he brings out. Not just with his direction, but with his characters and how they tell you everything you need to know about them, even right away when you first meet them.

The clearest example that I hate to give right off the bat, but so be it, is the character of Frank, played to perfection by the always amazing Barry Pepper. Right when we first get a glimpse of Frank, we already know who he is as a character, but most importantly, as a human-being. We see that he’s obviously a hustling, cocky a-hole that thrives on getting as much money from Stock Market investors as he can, regardless of whom it hurts and why. All he knows is that he wants more bang for the buck, so that he can go out at night, with some fine-ass-looking clothes, his brown-dyed hair and prey on whatever piece of filling he can find that not only suits his looks, but his egotistical mind as well. Right away, we judge him because he’s a prick, the same type we would love to be, but never actually admit to, and yet, we begin to see a human deep-down underneath those good looks, clothes and bundles of cash.

Once we realize that there’s more brewing beneath the surface of this greed-fueled a-hole, then everybody else starts to make sense as well. Rather than seeing Monty as a drug-dealing, hustler-and-bustler, we see him as a guy that took whatever he hand he was dealt the easiest, and went through with it anyway he could, all before it came crashing down and ruining his life. Sure, he got the sexy girl, he got the riches, he got the fancy car and heck, he even got the dog-companion, but he still didn’t get a chance to live as free as he planned to, which makes him something of a tragic character, despite you still not feeling all that bad that he got caught in the first place. It’s a sad reality, yes, but it is still a reality that he had to knew was coming down the pipe-line, and is one that he has to live with for the rest of his life. Whether he wants to accept it or not.

Exactly who I wish would show up to my "Going Away" party. Maybe without Spike hanging out in the background, though?

Exactly who I wish would show up to my “Going Away” party. Maybe without Spike hanging out in the background, though?

And while we get that Monty and Frank are real people, we begin to see the others flesh-out as well. Jacob, rather than being the quintessentially creepy, dorky teacher these types of movies love to throw judgment on, ends up seeming like the type of guy you actually root for, even if it is just so that he can bang his student in order to gain some confidence in his life; Naturelle may be called a “money grabber” and “gold-digging bimbo”, among many names, but after awhile, starts to seem like a girl who found the right man, fell in love and doesn’t want to lose a single ounce of him for five seconds, let alone seven, whole years; and then of course, we have Monty’s father who gets the same old, tired story about how he used to be a drunk and a bit of a shitty daddy once his wife passed-on, but doesn’t ever act like he’s trying to change for the good or that he’s trying to get rid of his past, because he knows that it’s there, he knows his mistakes, and he understands that he can’t keep spending the rest of his life trying to make-up for them, he just has to accept them, move on and hope for the best.

May not sound like the most beautiful, inspiring messages to be throwing around in a post-9/11 atmosphere like the one we have here, but it’s one that Lee artistically commandeers into making us realize our faults, mistakes and issues as humans, and has us wake up and realize that it’s in our blood to do these types of bone-headed decisions, and it’s not right to continue to blame ourselves, or anybody else around us. It’s time to move past it all, face the facts and see where life can take you. Once again, may sound like the most down-beat message ever presented in a flick of this sort of nature, but Lee finds just the right amount of gritty realism and humanity, to flesh both sides out, and have them come together in a perfect mish-mash that makes you happy and hopeful for the country we live in, and the people that inhabit it.

In that general aspect, Lee’s film takes on a bigger meaning than being just a story about a guy who has 25 hours until he gets shifted-off to prison, and instead, becomes the type of slap-in-the-face most of us Americans probably needed at that time, just like we may need now. Then again though, it is STILL about a guy who has 25 hours until he gets shifted-off to prison and, in case my character-descriptions didn’t already convince you yet, well, needless to say, the performances from everybody involved are some of the best that most of them have ever given.

Which, given the heavy-duty talent involved: Does actually mean a whole lot.

Shouldn’t be a surprise to anybody by now, but, in case you needed to be reminded: Edward Norton’s a phenomenal actor and proves that, like usual, here as Monty Brogan, our troubled, yet sympathetic, former drug-dealer we spend the next two-hours-and-fifteen-minutes with (25 hours in his case, hence the title). Norton gives us a character that’s worth giving two shits about, even if we, as well as he, realizes that there were mistakes made in the past. Yet, he shows that there are signs of improvements and changes to be found, and therefore, makes him somebody that we want to see have his life turn around, but at the same time, can’t be fully convinced he deserves his “get-outta-jail-free-card” just yet. Maybe after the first two years for good behavior, maybe? Who knows where Monty would be at today. All I do hope is that he’s at least okay, wherever he may be, or whomever with.

Eventually, we all reach the conclusion in our lives where our pet becomes a better friend than actual, childhood ones.

Eventually, we all reach the conclusion in our lives where our pet becomes a better friend than actual, childhood ones.

And just like Norton, everybody else in the cast is pretty damn wonderful as well. Rosario Dawson gives Naturelle that natural, Puerto Rican-beauty every character in this movie goes on and on about, and while she does show some signs of foul-play along the lines of Monty’s journey to self-reflection, she still seems like the type of girl that loves her man, no matter who he is, what he does or wherever he is. Philip Seymour Hoffman gets a couple of sweet, awfully uncomfortable bits as Jacob, the nerdy, English teacher who obviously doesn’t keep as in touch with Monty as much as he used to, but still shows enough signs of compatibility that it’s still believable enough as it is. Brian Cox is lovable and heart-warming as Monty’s daddy with issues, but whom still loves and cares for his son no matter what pitfalls he may have went through in the past, and the ones he may be having in the future.

However, as great as these performances (and trust me, there are a few more that should be seen, rather than just told about, trust me), none of them fully lead-up to what Barry Pepper does as that despicable piece-of-flesh I was referring to earlier, Frank. Pepper, who still ranks, in my mind, as one of the most underrated actors of our time, gets every chance to show how much of a huge douche this guy can be, while at the same time, still make us see the cracks within the facade. Sure, he’s totally against the fact that Monty sold drugs for half of his life and made money off of it, but isn’t that angry to where he won’t even be in the same room as him; he goes on and on about how this wild night needs to be all dedicated to Monty and nobody else, and yet, he still spends half of the night ogling at the bartender’s, as well as Monty’s own girlfriend’s, asses; and he even gets on people’s asses for not being as up-to-date with the good looks as he is, yet, he still can’t get past the fact that he’s getting older as the days go by, and eventually, time to settle down is going to be needed eventually. To say that Pepper deserved a nomination for this thing is a frickin’ understatement! He deserved a win, dammit! He was amazing here, and showed the world that not only could he make a terrible human-being somebody to care for, but still somebody that you could see as your own pal, even if times changed for both of you. Frank may not be the most moral human-being out there in the world, but he’s still a human-being nonetheless, and they all have emotions and feelings, right?

Consensus: More of a love-

hate letter to the city that Spike Lee obviously adores, 25th Hour still comes off as beautiful, emotional, complex and painful journey into realizing who you are, what you’ve become, who the people you surround yourself with are and where your life is headed, and whether or not you can actually choose that destiny to begin with. Sometimes however, as we all witnessed on September 11th, 2001, that choice is completely out of our hands.

9.5 / 10 = Full Price!!

Not preachy. I promise.

Not preachy. I promise.

Photo’s Credit to: IMDB

Premium Rush (2012)

Delivery by car is so mainstream.

The movie stars Joseph Gordon-Levitt as Wilee, a bike messenger who sees a routine delivery turn into a life or death situation through the streets of New York City. Michael Shannon also shows up as a crooked cop who is after the content of one of the package Wilee is carrying.

Even though this one has been sitting on the back-burner for over a year now, I was still looking forward to it because it’s a new, clever-take on the whole action genre that seems to get very tired after all of the Summer blockbusters have come and gone. Yeah, urban biking may not be the most exciting thing to watch on the big-screen, but at least it’s somewhat new, and features JGL and crazy-eyed Shannon. What could possibly go wrong? Well, to answer that question, I would have to say a whole lot.

Writer/director David Koepp seems like he has his head on-straight when it comes to the whole action element of this film, but with everything else, it seems like he loses it. The biggest problem with this film is the plot. At first, the film starts off with a bit of a mystery angle where you have no idea why this one crazy asshole is chasing after this biker for one little piece of info but after awhile, we start to find out and that’s where this film really goes down the tubes. Apparently, the Chinese mob gets involved, an illegal deportation shows up, a character’s gambling problem comes out of nowhere, and then of course we have the romantic-love angle that seems more forced than ever before, and it just adds another unneeded piece of a plot for this already stacked story. Without giving too much away, certain things in the story just don’t add up and I think Koepp’s intentions were to just have us forget about it and focus on the cool action. Sadly to say, it doesn’t happen.

Then of course, there’s the parts of this movie when the characters actually talk. Woah nelly! Holy shit have I never laughed so hard like I did here before in a long, long time. The problem with this script is that every line is a total cliché and doesn’t do anything, but make this film seem more like a laughing mess than it already was. This one scene in particular where JGL is chasing after his “biking buddy” in order to get a package from him, and even though it is a thrilling scene that takes place all throughout NYC, all of the cheesy-ass lines these guys exchange with one another was enough for me to just start laughing and focus on what these guys were saying, rather than what they were doing. This isn’t the only time it happens, but this is the one time where it was freakin’ unbearable to watch or listen to and it just gets worse and worse as the story continues to develop (and make less sense).

But, what really saved this film from being a total piece of crap after all, was the action Koepp brought here. Urban biking seems like a pretty exciting activity to do, especially when you’re in the busy-ass city of New York and that’s why I like how they captured all of that into this film. There’s plenty of scenes where we follow JGL going down the streets at crazy speeds, where it almost seems like he’s going to lose his head any second, but somehow, pulls out at the last time. A lot of these scenes have tension to them, but Koepp gives them a playful style whenever he shows JGL’s mind making up what move he should pull next. It’s a pretty neat trick they pull with this film, and what’s even better is that all of the action and bike-riding throughout the streets is mostly stunt-work, which means less CGI. Such a relief to see a film focus on that aspect of an action film, without feeling the need to try and enhance the shit out of it with a computer.

Another part of this movie that sort of this saved this movie was the two fast-rising stars in the leads. After a white-hot role in The Dark Knight RisesJoseph Gordon-Levitt gets to show off his skills as an action star more, with his charm still deep in-tact. JGL definitely isn’t wasted here because he’s in plenty of shots and gets to use his likability to his advantage, but you also can’t help but feel that this flick was made a very long time before anybody thought he was going to be as big of a star as he is now, and this sort of comes off like a lame role for a guy who can’t really afford them as of right now.

The same could almost be said for Michael Shannon who has been kicking asses for the 5 years in smaller, indie-roles but now is finally getting the chance to break-through in the mainstream crowd. Sadly, this is probably not the movie to do it since the whole time, he just continued to make me laugh. The script here is so atrocious that every line of dialogue that comes out of Shannon’s mouth, just makes him seem more and more like a cartoon villain, rather than a real-guy, who could literally make your life a living hell. It’s weird too, because the guy starts out as this calm, collective villain that says things very slowly, but then changes out of nowhere and just goes haywire with his act, almost like Shannon flipped a switch off in his back right in the middle of the movie. Some may call this a fun performance where he just chews up scenery like nobody’s business, but I call it a role that starts to get way too over-the-top, way too quick and it’s hard to watch or listen to after awhile.

Basically, if this film came out about 2 years ago, which I think it was going to do, then it would have been fine because these guys weren’t as huge of names then as they are now, but since it is out when these guys are somewhat large stars, it’s a huge disappointment and shows that these guys may have to watch the next script they read. But, something does tell me that this may not happen again and it was only a coincidence that this piece of shit had to come out now.

Consensus: Premium Rush gives the audience the type of escapism fun that they need around the dog days of August, but almost ruins itself with a convoluted plot, over-the-top acting from Shannon, and a terrible script that just gets worse and worse as it goes along, almost until the point of where you just want these people to just ride their freakin’ bikes and shut the hell up!

5/10=Rental!!