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Dan the Man's Movie Reviews

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

Tag Archives: Richard Holden

99 Homes (2015)

Don’t ever trust a landlord.

As soon as the crash of 2008 occurred, everyone in the United States was left without a paddle. One such person was Dennis Nash (Andrew Garfield), a single father who, after much fighting and arguing with the court, gets evicted from his Orlando home. Seeing that he has lost his family-home, Nash sets out to do whatever he can to get it back – even if that means having to join up and work for the same man who kicked him out of his house to begin with: real estate broker Rick Carver (Michael Shannon). Carver has certain practices that aren’t what some would call “ethical”, or better yet, “legal”, but the money’s so good that Nash doesn’t care. Eventually though, Nash begins to move up the ladder, which takes him away from working on the homes, and brings him now to actually having to interact with the tenants who are in the actual homes. This mostly involves Nash posting notices on doors, warning tenants of being vacated, and, as time rolls on, even having to kick some tenants on his own. Clearly this is something that Nash doesn’t feel comfortable with, but once again, it’s all about the money and the prospect of getting his family back in order to the way they once were.

Message!

So message-y!

Have you ever been stuck in a lecture at all in your life, whether it be with your parents, a teacher, or one of those Jesus-nuts from off the street, and not want to leave? Instead, you hold on to every single word that they say, even though you know the end-point? You know that they’re not going to start off by stating something like, “Gay marriage is bad”, and then end with, “Well, you know, you can do what you want.” The lecture is, most definitely, going to start with an agenda, continue on with that agenda, and, you guessed it, end with that same agenda. And yet, something about the lecture is just keeping you on your toes and surprisingly interested.

That’s how I felt with 99 Homes – a long lecture about the housing crisis and all the evil-doers behind it, yet, I never wanted to turn away or leave.

Eventually, that time did come around, but that’s not till later, so just wait dammit! Listen to me lecture about stuff now!

For one, Ramin Bahrani seems to know what he’s talking about here. Clearly, he’s put his heart and soul into material that, for a good majority of people out there, will not find an easy way to handle. It will, most likely, hit too close to home, hard, and re-open old wounds that were probably still healing. However, Bahrani seems to be interested in what these wounds still hold. Are they sadness? Are they grief? Or, are they wishes that something better occurred?

Well, 99 Homes is, in a way, that fantasy being played-out. One thing is certain about the movie, and that’s that it’s not totally a drama. I mean, yes, it’s most definitely a drama that’s emotional, sad, and for a good portion, filled with lots of interesting talking-points, but in all honesty, is really a thriller. Once we see Garfield’s Dennis Nash start picking up work as one of Shannon’s Rick Carver’s lackeys, then it’s balls to the walls from there. This Nash fella is taking away pools, air-conditioners and handing out eviction notices to people who have no clue just what the hell kind of storm has hit them dead-on in the face. While, at the same time, he’s making all of this money and seeming to be loving it.

Sure, he’s morally-conflicted by the fact that the person he’s getting rich off of, is the very same person who got him kicked out of his house, but because the money’s continuing to come in and the dreams seem promising, he lets it all slide by. And you know what? It’s hard to watch this and not want him to, either. Dennis Nash, as he’s presented to us, is nothing more than just your average, blue-collar dude who, like many others just like him, was short-shifted when the crash of 2008 came around and had no idea of what to do next with his life, his family, or his career. All he knew was what he was good at and tried to go where the money went.

That’s why, when we see Nash get thrown out of his house, it’s disturbing and visceral. Many people had to go through the same ordeal he’s going through and it was most definitely 100% more tragic to them. And that’s why, when we see that Nash is clearly pleased with himself making all of this cash money, it’s great to see him happy and enjoying himself. After all, he’s just a normal dude who isn’t under normal circumstances, so why continue to act normal? Why not try something new and go with that from there?

"When you said, 'movie with Spider-Man,' I thought you meant Tobey Maguire! Who's this damn kid!"

“When you said, ‘movie with Spider-Man,’ I thought you meant Tobey Maguire! Who’s this damn kid!”

Clearly, Rahmin Bahrani thinks this is a bad idea. However, his movie proves otherwise.

Bahrani has crafted a nice little thriller that takes you through everything one may need to know about the housing-crash, how it was operated, who was responsible, and those who were affected the most. But at the center of it all, is probably the most realistic character of the bunch, who also seems to be the most sinister: Michael Shannon’s Rick Carver. There’s no denying the fact that Michael Shannon’s a good actor, but here, as Rick Carver, he gets to stretch his wings a whole lot more and show, that even despite his character being a pretty despicable human specimen, there’s still something we want to watch and see more of him.

We know that he’s a baddie, but we also know that he, like many others, are just trying to get by with what he knows and what he’s best at. But what’s best about Carver is that he doesn’t try to make any excuses or apologies for the way he is – he just is. For instance, there’s a scene in the middle of the film where Carver laces into this tirade about how, “America was built on winners. Not losers.” It’s not just hard to take your eyes off of him because it’s literally just a single-shot, zooming in on his face, but also, because some of what Shannon is spouting on about is true. You may not want to believe it as being such, but it is and it makes this movie feel like a smart bit of preaching, rather than just preaching for the sake of it.

And don’t let me forget Andrew Garfield, because the man is great here! What with him being forced to play Peter Parker, it’s hard to remember that, at one time, Garfield was a very promising, young, and talented actor that seemed primed and ready for some very interesting material to come his way. Now with Spidey out of his way, Garfield seems like he’s enjoying some time being able to dig deep into characters that aren’t the kind you’d expect someone of his good-looks to play; you know, such as a middle-aged, middle-class single-father.

However, as good as Garfield may be, his character sadly falls prey to an ending that, honestly, came close to ruining the movie for me.

I won’t spoil much, other than to say that it felt like Bahrani, throughout a good majority of 99 Homes, was making a movie that wasn’t going to play it nice, sweet and kind, and instead, go for the gritty-realism that’s expected of source material such as this. However, he does the bait-and-switch and decides that maybe he wants some melodrama, messages, and red herrings thrown into the mix. I’ve already said too much, but just know, when the ending comes around, it may disappoint you more than please.

That may just be me, though.

Consensus: 99 Homes is a timely-thriller that gets by on the excellent performances, however, is a bit short-shifted by a weak ending that keeps it away from being a whole lot better.

8 / 10

Big houses. Big cars. Big women. The life of a real estate agent, yo.

Big houses. Big cars. Big women. The life of a real estate agent, yo.

Photos Courtesy of: Indiewire

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Get Hard (2015)

Just watch any season of Oz and you’ll be fully prepared for all the lovely surprises prison has for you.

When wealthy businessman James King (Will Ferrell) is wrongfully convicted of tax evasion, rather than taking the plea deal that would have him serve less time, in a far more secure institution, and also have him accept the blame, James goes down the harder-route: 10 years in San Quentin State Prison. Which, for anybody who knows anything about prisons, is pretty hardcore if you’re just a simple white fella who only knows jail through episodes of Lockup. But to make sure that he survives his whole, 10-year-sentence, James calls on his car-washer, Darnell Lewis (Kevin Hart), who he thinks went to jail, only because of his skin color and not because of his actual criminal-record – which, had James read it, he would’ve realized that Darnell’s record is as clean as a whistle. Still, James makes Darnell an offer that he can’t refuse: He will pay him $30,000 if he teaches him how to be rough and tough to survive in prison. Darnell agrees, but he also knows that maybe there’s something to James that may actually be innocent in the first place, regardless of what the papers may be saying.

Get it? Because Kevin Hart is tiny.

Get it? Because Kevin Hart is tiny.

Kevin Hart and Will Ferrell are two of the most talented acts we have in comedy today, although, they still have their own brand that works. Hart is like a new-age Eddie Murphy in that he makes everything around him funny, no matter what the hell piece of crap he’s actually starring in, whereas with Ferrell, his humor tends to lean more towards the wicked side of life, with his occasional outlandishness taking center-stage. There’s no problem with either of these acts, in fact, they’re quite superb. They both make whatever it is that they’re doing better, and show that, if you give the time, they will make you laugh.

You’d think that putting them together would be an absolute home-run though, right? And not just for audiences all over the world, but each other, right?

Well, that’s the problem with Get Hard right from the get-go – while it boasts these two top-tier comedic talents, the movie saddles them with hardly anything funny to do, or say. Like, at all. Instead, we get to listen to Hart constantly yell at Ferrell for being nerdy and white, which then leads Ferrell to start crying and acting scared because his character isn’t used to this sort of thing. It sounds funny, but it isn’t, not to mention that it’s downright repetitive once you realize that practically the whole movie is just going to feature them two performing all sorts of stuff that happens in prison.

While that, on paper, sounds like absolute fun and ripe with laugh-out-loud moments, there’s something strange about Get Hard that feels like it wants to make fun of the whole prison world, yet, still not say anything about it either. Though I may be looking into this thing a bit too deeply, there’s a part of me that believes somewhere deep down inside of Get Hard, lies a flick that wants to discuss racial-roles and stereotypes, as well as those that lie within the prison-system, and how ridiculous it can sometimes get, that any typical, peaceful citizen would have to drop all senses of morality and act as violent as humanly possible. Maybe that’s all just me, but I feel like there are elements to this movie that want to shed some light on that and leave it up to the audience to make up their own decisions on it. But more or less, the movie doesn’t actually do that and relies on Hart and Ferrell’s improvs to steal the spotlight from everything else going on.

Which brings me to another problem with this movie and that’s the improv-element of this movie Hart and Ferrell were clearly told to do and have absolute free reign with, no matter where the story went. Normally, I am fine when certain comedians show up in movies to just improv and make things up as they go along; sometimes, it detracts from what’s really happening in the story, but other times, it provides plenty of wacky, wild and zany laughs that you can’t really get with when somebody’s writing it all out. Sometimes, you just have to let the performers do their stuff and if it works, then you’re golden.

Who says blacks and whites can get along? Look at that!

“Dude, what are we doing here?”

However, if it doesn’t work, then you, your cast, and your whole movie, may be screwed. Which is exactly the problem with Get Hard. Too often than not, the movie allows for Hart or Ferrell to take a crazy scene, and have it go to even crazier extremes, which should all be funny, but instead, just feel repetitive and tiresome.

Take for instance, a scene in which Hart’s character is describing to Ferrell’s about the yard in prison and how it is sometimes the most dangerous area of prison. Hart gets the chance to impersonate what seems to be a black gang-banger, a Hispanic one, and a gay prisoner, which all seems like it could be really funny, but goes on way too long and leaves Hart to just say the same thing, again and again. I’ll give it to Hart throughout this scene, as well as the rest of the movie, the dude goes for it all and lets it be known to us that he clearly wants us to laugh, but he just gets too carried away here. Maybe that has less to do with Hart, and more to do with the fact that director Etan Cohen should have known when the time was to pull the curtain and call it a wrap, but either way, it doesn’t work as well as it did in something like, I don’t know, say Ride Along.

Say what you will about that movie, but at least it had a few laughs, mostly thanks to Hart. Here, however, that hardly happens.

Which wouldn’t have been so bad to begin with, had Ferrell been there to save the day and make everything funny by just simply being there, but that doesn’t even happen. More or less, we’re treated to scenes where Ferrell acts like the typical goof-ball we normally see him as in many movies, but it’s never quite funny here. Like with Hart, his improv goes hardly anywhere fun or inspiring; it’s just him saying stupid stuff, as if he was definitely making it all up on the fly, but didn’t want the actual good bits in this movie so that he could possibly save them for another, far better movie.

And a far better movie, I hope, there is past after Get Hard. Not just for Hart or Ferrell, but for us all.

Consensus: Occasionally funny due to the talents of both Hart and Ferrell, Get Hard takes a neat premise, and hardly goes anywhere with it that’s hilarious, or even interesting. It’s just silly is all.

3 / 10 

Ah, racism. Gotta love it.

Cause Ferrell’s character wants to fit in and seem “gangster”. Get it? Ah, racism.

Photo’s Credit to: IMDB, AceShowbiz