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Dan the Man's Movie Reviews

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

Tag Archives: Poppy Delevingne

Kingsman: The Golden Circle (2017)

Well, maybe Bond is a lot cooler.

It’s been a year since we last caught up with Eggsy (Taron Egerton) and well, let’s just say, things are still kind of the same. Baddies still want to kill him and he’s still got to find ways on how to not only kill them, but save those lives around him. And while he’s definitely looking forward to living a life on the straight-and-narrow, he’s pulled back in when a new threat arises in Poppy Adams (Julianne Moore), a dangerous, but very light and happy drug-dealer who’s trying to end this war on drugs as we know it. Back with his usual band of misfits, like Merlin (Mark Strong), Eggsy is ready to stop Poppy once and for all, but this time, with the help of another spy company, Statesman. And if that wasn’t enough for Eggsy, it turns out that his mentor Harry (Colin Firth), who he had long thought was dead, is still alive and trying to get his skills back. But that’s obviously going to be a lot harder than he expects, especially what with this mission continuing to threaten more and more lives.

Somehow, it works.

The first Kingsman, while definitely in poor-taste, was no doubt a Matthew Vaughn film, for better and for worse. It was stupid, loud, dirty, dark, violent, and oh yeah, pretty fun. It’s the kind of movie that didn’t really know if it wanted to be smart, or just plainly dumb, but either way, it was fun and got by mostly on the charm of its game-cast, as well as Vaughn himself who takes this kind of material, makes it his own, and doesn’t allow for us to forget about that. There’s something actually kind of awesome and relatively brave about that, because while so many people will get on his case for his mistreatment of women and other issues within society, he still doesn’t care; he takes it in stride, moves on, and continues to make some fun movies.

That’s why the Golden Circle is a bit of a disappointment, especially coming from his side.

For one, it’s a sequel which, already, causes some problems. Meaning, it’s louder, more over-the-top, longer, and densely packed with so much stuff, it’s almost overkill. I get Vaughn’s enthusiasm for having the opportunity to hang with these characters again and in a way, it makes it feel like less of a hack, studio-job, and much more of a passion-project, but there’s so much going on here, it can’t help but feel stuffing. At nearly two-and-a-half-hours, Vaughn may have a lot to say and a lot to do, but in all ends up jumbling together, making the first one seeming like a tight, well-paced adventure.

This new one, unfortunately, takes too many weird side-roads to get where it needs to go, especially since the script isn’t nearly as smart as it may think it is. The first one ran into that same kind of a problem, where it’s almost like it thought it had something neat and smarmy to say about intelligence movies of its nature, but really, just wanted to shoot people and objectify women. Once again, if that’s your bag and you can pull that off, then good for you,

Hey, everyone. See this? It’s Julianne Moore having fun. Let her have more of that!

The first one could and did. This one? Maybe not so much.

Still, every opportunity I get to think of the problems I had with this movie, in terms of its story and jam-packed story-line, I still remember that there’s a lot of fun to be had with it, too, in particular with the action-sequences that Vaughn has no problem with making so absolutely insane and crazy, it’s hard to expect it anywhere else. There’s just a certain bit of flair and energy to these sequences that aren’t found much elsewhere, and it’s hard not to get swept-up in it all, even if you know that when they’re done, it’s time for 20-25 minutes of more random bits of dialogue.

But hey, the ensemble seems to be having fun with it, so is that entirely a problem? Well, not really. Taron Egerton fits this role of Eggsy like a glove; Firth shows back up and gives us a bit more depth to a character that I think we already had enough of; Strong comes back and brings some heart and fun to a character that deserved more depth and, finally, got it this time around; Julianne Moore gets the opportunity to vamp and have fun here as Poppy Adams, and yes, makes every moment worth it; Pedro Pascal proves to be a bad-ass as another secret-agent, Jack Daniels; Channing Tatum, Jeff Bridges, and Halle Berry, despite a whole lot of promise by the ads, aren’t in this whole lot, although they make the best with what they can; and oh yeah, there’s a secret musical-guest that’s a pretty nice addition and a whole lot of fun. Don’t know if it’s a spoiler or not so I’ll just shut up and say that this person, along with everyone else, made the experience a little bit better.

Not a whole lot, but a little bit. And that’s all that really matters.

Consensus: Bloated and overly ambitious, the Secret Circle, unfortunately, suffers from a great deal of sequelitis, but due to Vaughn’s knack for exciting action and a fun cast, it still works.

6 / 10

Somehow, skiing just got pretty bad-ass.

Photos Courtesy of: Aceshowbiz

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She’s Funny That Way (2015)

Thought that call-girls and Broadway went perfect together.

Izzy (Imogen Poots) is a middle-class call-girl who dreams of, hopefully, making it big one day. And living in the Big Apple, that definitely seems like a possibility, as far-fetched as it may originally seem. But the opportunity presents itself even clearer once Izzy meets Broadway director Arnold Albertson (Owen Wilson), on what some may refer to as “a date”. Arnold instantly falls for Izzy, but knows that it cannot go any further due to the fact that he’s currently married to the talented and passionate Delta (Kathryn Hahn). With Arnold’s latest play coming up, it’s around that time where casting decisions are made, people get together, and everything has to come into play to ensure that all else goes smoothly with this one production. However, when Izzy comes into a casting-call for Arnold’s play, everything goes South, real quick. Soon, the co-writer of the play (Will Forte) falls for Izzy, even though he’s with Jane (Jennifer Aniston), which makes Arnold quite jealous. This then leads to a lot of neglect on his part of his wife, who then begins to crush a bit heavily on Seth (Rhys Ifans) – someone Arnold already feuds with enough as is.

Let's get these two together!

Let’s get these two together!

After nearly a decade away from doing whatever the hell he felt like doing, Peter Bogdanovich is finally back to making narrative-films once again and this time, it sort of makes me wonder just why he came back at all. Don’t get me wrong, it’s lovely to have such a legendary talent like Bogdanovich still around, making movies and using his input to hopefully remind those of his influence back in the 70’s, but if he’s going to be doing all of that with She’s Funny That Way, then honestly, I think I’m fine with him staying away a little while longer.

Sounds harsh, I know, but come on!

One of the main problems early on is that Bogdanovich seems to be going for something of a retro, screwball comedy aspect that’s reminiscent of those sorts of films from the 20’s and so on and so forth, but it never quite gels together well. It’s fine to use that brand of humor, find a way to place it in a modern-setting, and see how it all works out, but Bogdanovich leaves a little too much of that up to chance. Rather than actually finding a way to make his homage work better as a modern-day comedy, it feels more like a tribute that never makes it relevancy known; almost as if Bogdanovich himself just wanted to make this so he could show the world that he too loves these sorts of classic films.

And this is all to state the fact that the screenplay, co-written by both Bogdanovich and ex-wife Louise Stratten, is a mess; it’s an unfunny one, for sure, but it’s also one that can never make up its own mind. For one, it treats each and everyone of its characters like little jokes written out on a cue-card, so that we can all wait for the punch-line to drop. Once the punch-line does in fact, drop, the movie then decides it’s time to make us feel sorry and sad for these poor souls of characters, if only as a way to make up for the fact that it couldn’t help but be pointing the finger at them for the past hour-and-a-half. This all happens, coincidentally, around the same time that it’s about time to wrap everything all up, which makes the final-product itself, rushed, and above all else, strung-together by tape.

Which, in case you didn’t get my meaning, is saying that it’s not good.

This is all the more disappointing considering the fact that the cast seems able and ready to service whatever Bogdanovich has them all do, but they never get compensated for it. Surely, they made plenty of cash-money off of this movie, but what good is it when you have the one chance of a lifetime to work with a silver-screen legend like Bogdanovich, and you’re left with nothing more than jokes about sex, therapists, and Broadway. None of which are actually funny, nor insightful, but seem to come so swiftly that they must have to be jokes nonetheless, regardless of if they’re actually effective.

Or, hey! What about these two?!?

Or, hey! What about these two?!?

Owen Wilson, despite seeming like a perfect fit for Arnold, really seems to be sleep-walking his way through his time here. This, I understand, would have been very unsurprising had this movie came out a little over a year ago, but in the past year or so, we’ve gotten a chance to see Wilson stretch his wings out a little more like he once did back in the early days with films like Inherent Vice, the Grand Budapest Hotel, and even Midnight in Paris, highlighting certain strengths that he can play to, if given the opportunity to do so. But that doesn’t happen here and it’s only a shame since Wilson can work well with this sort of material, regardless of if it actually sucks or not.

Then, there’s Imogen Poots who has to put on a Brooklyn-accent of sorts and despite doing well with it, never really makes sense as the main protagonist. In a see of wild and crazy characters, she gets lost in the fray and makes it understandable as to why Brie Larson left it in the first place. Hahn shows up as Arnold’s wife and seems like she’s down to play, but honestly, the writing just isn’t there for her. It’s uninteresting enough as is and it’s a shame because we know that Hahn can do so much better, no matter what it is that you throw at her.

Hell, look at Happyish!

And of course, there’s the likes of Rhys Ifans and Will Forte who show up, do their thing, collect the paycheck and then leave, but in all honesty, they aren’t worth talking about here. The real one is Jennifer Aniston as Jane, the therapist who is constantly pissed-off and tired of everyone around her’s bullshit. Though we’ve seen Aniston play against type in both of the Horrible Bosses movies, here, she really gets a chance to let loose on her comedic-timing and it shows that, while some may not want to look at her in an anti-Rachel light, they may have to get used to it. Because if the rom-com roles begin to dry-up anytime soon, then we know that for certain, given the chance to do so, Aniston can change her act up and while not being as lovely as before, can still make people laugh and want to see more of her.

Consensus: Despite the key talent both in front of, as well as behind the camera, She’s Funny That Way still never comes together as a funny, nor interesting homage to the lovely screwball films of yesteryear, despite clearly seeming to aim for that target.

3 / 10

Or, just get these two together and make something interesting. ANYTHING!

Or, just get these two together and make something interesting. ANYTHING!

Photo’s Credit to: IMDB, AceShowbiz