It's films like this that make me appreciate how little you need in terms of sets and how simple a story can be to make something truly great. "The Overnight" is a movie with a mostly recognizable cast, including the likes of Adam Scott from "Parks and Recreation" and Taylor Schilling from "Orange Is The New Black," and takes place over the course of a single night in the lives of two couples. Both couples have young sons who quickly become friends after meeting at the park, but it's when they're tucked away for bed when the party really begins in this strange little movie. To call this a "raunchy sex comedy" in my eyes is kind of demeaning to the film, because it's a lot more than that. Sure there's crude language, explicit sexual talk, and some full frontal nudity, but this is a lot sweeter and a lot more realistic than it would look on the outside. Ok it's not 100% realistic, but it's an incredibly sweet film. This is a movie about self-discovery, living life to the fullest, and blossoming out of your comfort zone, which is something I think a lot of people can relate to.
We all sometimes feel confined in our own little worlds and are afraid to break out of our shells, and to me this film is a perfect representation of that. The four leads in this film, them being Scott, Schilling, Jason Schwartzman, and Judith Godrèche, all have charming and secretive sides to one another that make them feel like real people and not just characters from the mind of a writer. Schwartzman in particular is a radiant ball of sunshine in this, bringing the laughs, sweetness, heart, and drama to his character every step of the way. Clocking in at a short 80 minutes, this movie never dragged or felt too fast. Nothing felt over the top, too raunchy, or too strange. This is as perfect a comedy as we're going to get all year, and I honestly haven't been able to stop thinking about it since I saw it. Writer/director Patrick Brice has created an honest, hilarious, weird, and consistently entertaining little comedy that may go down as one of 2015's shiniest gems. If "The Overnight" is playing near you, don't hesitate and go see it. If it isn't, wait for it on DVD and watch it then. Either way, please just see this movie.
RELEASE
June 17, 2015 (NY/LA)
Expanding To Select Theaters
Throughout 2015
DIRECTOR
Myroslav Slaboshpytskiy
STUDIO
Drafthouse Films
RUNNING TIME
2 hours 9 minutes
STARS
***1/2
REVIEW:
The idea of a filmmaker making a film with an entirely deaf cast on its own is quite a challenge. It's even more of a challenge for an audience member, however, to watch a film with an entirely deaf cast without the use of a score, subtitles, voiceover, or any way of understanding what's going on other than watching what's presented. Ukranian director Myroslav Slaboshpytskiy did all of this, and the product of his efforts is called "The Tribe." The film tells a story of a young man who attends a school for the Deaf and ends up in a world of drugs and prostitution, finding love along the crazy way. If you're intrigued by the idea of an dialogue-free movie, then I think you may be interested in this. Even if you understand sign language, you have to understand Ukranian sign language to know what the characters are saying. Luckily, this is a movie where you don't need to understand sign language, you just have to focus on everything that's going on screen.
It might drag at times and the fact there's no music does get a little irritating, but it's hard to deny how ambitious this movie is at the end of the day. The actors are all solid, the story is fascinating, and director Slaboshpytskiy doesn't hold back on showing things in a very raw and gritty way that, at moments, are very hard to watch. The movie also doesn't have many cuts, with most scenes being done in one take. This allows the story to be more intimate and a lot more in-your-face than it would have been with a series of constant takes. "The Tribe" isn't a movie for the weak of stomach or the softest of hearts, but if you can deal with an entirely silent (except for ambient noise) movie without the ability to understand any dialogue, as well as be patient and be completely focused on what's being presented on screen, then I definitely recommend seeking this one out and seeing why this is getting so much praise.
Seth MacFarlane's "Ted," like "This is the End" and "Spring Breakers," is one of those films that gets better upon multiple viewings. The film had jokes that got stronger and sharper upon revisiting them, and I happily watch it now whenever it's on TV and I have nothing else to do. Having said this, I wasn't clamoring for a "Ted 2" as the original was fine on its own. The fact that Mila Kunis was announced to not be returning for the sequel also lowered my expectations for this. Of course I wanted to go see it, but I didn't think it could actually live up to the first one's already high standards. So what did I think of "Ted 2?" Well I will admit that it's not as strong a film as the first "Ted" was, as this one had weaker jokes, dragged a bit, and had the same villain from the first movie for no apparent reason other than to have a subplot. What this movie did a whole lot better on the other hand was feature a strong female character in the form of Amanda Seyfried's Sam Jackson, a more interesting storyline, and a better romantic subplot between Mark Wahlberg and Seyfried. Overall this isn't as funny or as raunchy as the first "Ted," but it's the positives mentioned before, as well as some hilarious cameos, that make "Ted 2" worth watching at least once.
Let me ask you a question: Did you want to see a sequel to "Paul Blart: Mall Cop?" Even if you enjoyed the film, did you actually want to see what this character did after the events of the first film? Well I didn't, and I enjoyed the 2009 original! Alas, Kevin James wanted a paycheck and his buddy Adam Sandler wanted to make a quick buck with his Happy Madison company, so now we have "Paul Blart: Mall Cop 2." After his wife divorces him after six days of marriage and his mother gets killed by a milk truck, and yes this is LITERALLY how the movie starts off, Paul Blart is depressed and is clinging onto his daughter Maya for dear life. Things start to look up for Paul when he's invited to a mall cop convention in Las Vegas, so he and Maya head to Vegas for a fun and relaxing trailer. Obviously, though, things aren't fun for the two as at the same exact time a bunch of criminals are trying to steal paintings from the hotel.
For all of the hate that Adam Sandler and his ensemble of friends get, I still believe they are talented and can be really good in films. Unfortunately, they keep making these utterly stupid and pointless comedies that consist of predictable plots, bathroom humor, and fat jokes galore. What makes this movie even more upsetting, aside from the fact that it merely exists, is that it throws out two of the previous film's central characters with cheap jokes, not to mention that Blart is a despicable and pompous human being here compared to the humble and loving version of this character we saw six years ago. I would have really hated this film had it not been for a few moments that were so unbelievably stupid that I laughed, as well as this random character who sleeps a lot and has some of the strangest and yet most brilliant timing I've seen in a recent Sandler production.
It might have been that everything else was so bad that these minor bits of humor made me laugh more than I should have, but who knows. I'm never going to watch this again, nor should you even try to watch it a single time. Even if you enjoyed the first "Paul Blart," this isn't worth your time or hard-earned money whatsoever despite a couple of humorous moments. Kevin James, you're better than this. Adam Sandler, you're better than this. Everyone involved with this movie, you're better than this. Please stop making mindless crap for an easy paycheck. Do the world this favor and I promise you we will forget that you guys played friends pretending to be a gay couple. Well except for the people who really love "I Now Pronounce You Chuck and Larry," which is totally ok.
Will Ferrell and Kristen Wiig are incredibly gifted comedic actors, which made the announcement that they were to star in a Lifetime drama all the more hilarious. Many, myself included, expected these two to make a self-aware and overly dramatic parody that never took itself seriously in the slightest. What we got when "A Deadly Adoption" premiered was, well, a Lifetime movie. I think the best word to describe this film is "odd." This was a very serious melodrama thriller that, while it did have solid acting from its leads and some pretty interesting twists, felt forced at times and felt like it would have been the perfect idea for an over the top version of a Lifetime movie. Ferrell and Wiig shine here and prove that they are more than capable of doing serious work if they tried. The main villain of the film, who looks like Megan Fox but acts better, is fine, but she gets pretty campy at times. Considering this movie was meant to be taken seriously, the very last scene of the film felt out of place, making me wonder whether this actually was supposed to be a parody or not. I was never bored watching "A Deadly Adoption," but considering the talent both in front of and behind the camera, this could have and should have been better than the average Lifetime movie.
When I was growing up, there were two prominent things that came to mind when I heard the name "The Beach Boys:" the song "Surfin' USA" and their guest appearances on "Full House." Of course I knew songs like "I Get Around," "Be True To Your School," and "Kokomo," but it was those two things that I always associated with the popular band group. Before anyone says anything about the song "Forever," that song will always be one by Jesse and the Rippers, thank you very much. Anyway, from how cheery and fun their songs were, I never would have guessed that there would have been anything really dark and traumatic in any of the band member's lives, let alone the guy who thought of the music and lyrics to most of their hit songs. Sure enough though, the life of Brian Wilson is a sad and gloomy one, filled with drugs, paranoia, reclusion, and paranoid schizophrenia. In the biopic "Love & Mercy," Wilson's life story is told in two different time periods by two different actors playing him. Paul Dano plays Wilson in the 1960s just as he was working on the albums "Pet Sounds" and the unreleased "SMiLE," and John Cusack plays Wilson in the 1980s when he was under the intense and unorthodox care of Dr. Eugene Landy.
The sides of Wilson's life portrayed on screen may be different, but at the same time really compliment one another. Both Cusack and Dano give spectacular performances as Wilson, both showing complex and damaged yet utterly fascinating portraits of one of the most gifted musicians of the 60s. Bill Pohland shows that he has a grasp on the material provided by screenwriter Oren Moverman and, while dragging at times, really makes a compelling and engaging biopic. Aside from Paul Giamatti going a little over the top at times, not enough of Paul Dano's storyline, and the previously mentioned fact that it drags a tad, I don't have any problems with "Love & Mercy." It is an entertaining and sometimes heartbreaking film that is elevated thanks to its fascinating story and two lead actors giving incredible performances as the same person.
When it comes to being an intelligent and thought-provoking summer blockbuster, "Jurassic World" is the farthest thing from it. From an unnecessary subplot involving the nephews of Bryce Dallas Howard's character to Vincent D'onofrio playing the cliched "corrupt businessman" who becomes the main human antagonist, this movie is as silly and as ridiculous as one may expect in this day and age. Having said that, I enjoyed every little second of its ridiculousness and overall found myself oozing of joy in how over the top and fun this film is. This is Hollywood's answer to "Can summer movies embrace their stupidity and have fun with it?" for 2015. Chris Pratt and Dallas Howard are so entertaining here, the action is a lot of fun to watch, and the designs of the dinosaurs and the park, while obviously made by a visual effects department, are pretty solid to say the least. There are so many intelligent summer films out there, including "Inside Out" and "Avengers: Age of Ultron," that it's nice to be able to shut the brain off for a solid two hours. "Jurassic World" is a bonafide popcorn film that is a boat load of fun to watch in a theater with a bunch of friends around you.
I love 2012's "Magic Mike." No, seriously, I legitimately love that movie. It's not because of the fact that it has Matthew McConaughey and Channing Tatum stripping to their skivvies, but rather the fact that it has a well-structured story, likable characters, solid direction, and amazing dancing/music choices. It's honestly one of the best films of 2012 that I didn't get to see in theaters. Being a fan of that film, I was really excited for "Magic Mike XXL" despite Steven Soderbergh not returning to the director's chair for this one. In his place, however, is Gregory Jacobs, who happens to have been the assistant director on many of Soderbergh's previous films, including "Magic Mike." With the writer of the original, Reid Carolin, returning as well, this looked to be a fun and entertaining sequel to an invigorating movie about self discovery. Unsurprisingly, though, this is a vastly inferior film to its predecessor.
Several ladies came out of my screening, after they wouldn't stop cheering, commentating, and singing throughout the 115 minute duration of the film, calling it the "best movie ever." I asked why, and they replied with something along the lines of "Um, did you SEE Channing's abs?!" Of course, being me, I don't judge a film solely on whether or not somebody looks good shirtless or not. If that were the case, then "The Wolf of Wall Street" would be my favorite film. However I can't see a film that way, and to be honest, I had problems with "XXL" overall. I will admit that the movie was fun to watch and had solid elements to it, but it lacked the charisma and deep character development that made me love the first movie so much. I guess the best word to describe this movie is "serviceable." It doesn't have as much about the first one that made it awesome, but it does have more male stripping, so women at least will be pleased.
CAST
Shameik Moore, Tony Revolori,
Kiersey Clemons
RATING
R
RELEASE
June 19, 2015
DIRECTOR
Rick Famuyiwa
STUDIO
Open Road Films
RUNNING TIME
1 hour 55 minutes
STARS
****
REVIEW:
Who would have known that a film that made itself out to be an R rated Tyler Perry film set in the ghetto in the trailers would be so smart and funny? Well I didn't think that at all until my eyes feasted upon the new film "Dope." Written and directed by Rick Famuyiwa, the film stars Shameik Moore in his breakout role as Malcolm, a straight-A student living in the ghetto town of Inglewood, CA, where drugs and crime reign supreme. What makes Malcolm and his friends, played by "The Grand Budapest Hotel's" Tony Revolori and TV actress Kiersey Clemons, different from other typical movie nerds is their love for 90s hip-hop music. Life starts getting out of control for Malcolm and his friends when he, after being invited to a drug dealer's birthday party, ends up with an illegal and expensive responsibility on his hands. Oh, and did I mention that he's pursuing an acceptance to the pristine Harvard University all at the same time? It's tough to be a geek in the ghetto, now isn't it?
Aside from making a huge splash at this year's Sundance Film Festival, "Dope" also managed to get its way into the Director's Fortnight selections at the Cannes Film Festival. Judging solely from the trailers, it may be hard to see why considering how it doesn't seem like the type of movie that would play at a festival that mostly plays prestigious and artsy films from high profile directors. Past all of the n-words, heavy drug use, and sexual content, however, is an intelligent and hilarious film that deserves every single little bit of praise it's gotten thus far. This movie is consistently funny, filled with great acting and superb writing, and overall is a relatable, surprisingly poignant, and extremely entertaining and fun movie that I cannot wait to see again. If "Dope" wasn't on your radar before, I'd suggest getting it high up on there immediately. The film is called "Dope" for a reason, that reason being that it really is a "dope" movie.
The loss of Robin Williams still has me in a state of disbelief whenever I think about it. There truly was no other actor like him, and I don't think there ever will be someone as unique, witty, and amazing as he was for a very long time, if not ever. Outside of his comedies like "Mrs. Doubtfire" and "Good Morning, Vietnam," Williams explored his dramatic side with films like "One Hour Photo" and "Good Will Hunting," the latter of which he won an Academy Award for. In a way it's incredibly fitting to have his final on-screen performance be in the form of Nolan Mack in the new indie "Boulevard" because past all of the comedy, he really was one of the best dramatic actors out there. Williams' Mack is a man who's had the same job for nearly three decades and has an odd relationship with his wife Joy. One night he comes across a young male prostitute named Leo, whom he takes a liking to. It's this meeting that sets Nolan's life into a chaotic frenzy that forces him to confront reality and accept who he really is: a homosexual man.
I'm not going to lie; I got a little emotional seeing Williams on screen, realizing this would be the last time I'd see him in something new. Most people who were huge fans of him probably will too. Having said that, I feel like this was something of a final gift he wanted to give to the world before he left us considering the day and age we're in. This movie isn't just a story about Robin Williams being a closeted gay man. This film is about self discovery; it's about someone who feels like it's time to show the world who he really is, regardless of the consequences he'll face. And for all of the cliches and familiar story arcs shown here, there's a beautiful narrative being told with a fierce and emotional leading performance at the helm of it and a solid ensemble accompanying it. Dito Moriel's "Boulevard" may not be up there with some of his best movies, but I'm glad Robin Williams was able to give us one more dramatic performance before he left us, and as a whole it is heartfelt, soulful, and overall a solid watch for anyone who wants to do something different in their life and come out of their comfort zone.
For the past twenty years, Pixar Animation Studios has delivered on some of the wittiest, coolest, and most original films in recent memory. These animation magicians have managed to make us laugh at bugs, seek thrill with an old man in a flying house, and cry at the end of a movie about talking toys. It's as if they know exactly how to get into our minds and tinker with our emotions. In fact, their latest movie "Inside Out" has its main characters literally consist of the emotional voices in our head. The five emotions that live inside the mind of 11 year old Riley are Joy, Sadness, Anger, Disgust, and Fear, whose names are pretty self explanatory. Everything's all good for them until Riley and her parents move from Minnesota to San Francisco, where life starts to change drastically inside her noggin.
In the hands of anyone else at any other studio, there's a chance that this could have been a disaster. However, we're lucky enough to have Pete Doctor, the director of "Monsters Inc." and "Up" at the helm of this bad boy. What he does with this story, aside from delivering on some of the funniest and smartest jokes in Pixar history with the help of co-writers Ronaldo Del Carmen, Meg LeFauve, and Josh Cooley, is capture the damaged and ever-changing mind of a young girl who is faced with huge changes in her life. Aside from being Pixar's wittiest and funniest film to date, this is also their most complex and, well, most emotional as well. It's ironic to think that a film about emotions would be a studio's most emotional film, but it's honestly the truth.
I haven't felt this emotionally invested in a movie or its characters in a very long time. As someone who rarely cries or feels empathy towards characters during movies, even in Pixar movies like "Up" and "Toy Story 3," this film really got to me because, in a really strange way, I saw something of myself in the character of Riley. We all have to grow up at some point, and this film shows how one event in a girl's life can effect her emotions, which in turn effects her personality. Plenty of things symbolize the deterioration of personality and imagination in this film, and it's all very powerful to watch. In a way, this is the perfect companion piece to Richard Linklater's "Boyhood," in which this film deals with the inside perspective of a growing adolescent while "Boyhood" shows a growing adolescent from an external point of view. However for children reading this, if any are reading this, wait a few years for "Boyhood," as it's a very mature film and has lots of things that will go over a child's head. Not only does the film allude to things like depression, it also metaphorically shows in certain key sequences.
The animators at Pixar alone should get a round of applause for this film, because this is the most beautiful looking film they've made to date. Not only do the humans and the San Francisco setting look like the most realistic animation the studio's ever created, but the worlds explored while Joy and Sadness venture deep into Riley's mind are especially exhilarating to look at. There's a particular scene involving Joy, Sadness, and another character named Bing Bong going through this abstract part of Riley's subconscious that is especially amazing to look at. It feels as if this was Pixar's definitive chance to literally let their imaginations run wild and create anything they want, which has been something of a challenge to do recently because of how limiting the worlds from other films have been. Normally I wouldn't want a sequel to something as great as this, but considering the endless possibilities this world has, I would absolutely love to see Pixar do more films about these guys and how they react to things like Riley going to high school, going through puberty, etc.
The voice acting in this movie as a whole may be the best Pixar has ever had. Amy Poehler as Joy brings a lot of laughs and, well, joy to her character, making her a great person to have for a lead. Lewis Black is perfectly casted as Anger, as are Bill Hader as Fear and Mindy Kaling as Disgust, and they all deliver on fleshed out and hilarious performances. The two standouts of the cast, though, are Phyllis Smith as Sadness and Richard Kind as Bing Bong. Without spoiling anything, these characters are not only the most entertaining and deliver on the funniest jokes of the film, but they also have the most emotional complexity to each other and there are scenes with them that will make you turn soft inside because of the "feels" they bring to the table. If these characters weren't here, I don't think the movie would have been as powerful as it was.
"Inside Out" is a special movie, and one that isn't made as often as it should be. Not only is it a feast for the eyes, but it's a cuisine for the soul. The film delivers thanks to its committed cast, a beautiful message about needing all of your emotions, and a pitch perfect blend of comedy and drama. Every day since I've seen this film I've thought about it in some way, shape or form. When the comedy hits, it hits absolutely hard. When the drama hits, tears come shedding from the tear ducts. I've been recommending this movie to everyone I've talked to, and I'll continue recommending this as the years go on. I can't wait to see this film again, and I can't wait to go back to this world if Disney and Pixar decides to make sequels to this. "Inside Out" is funny, heartwarming, deep, and another masterpiece from arguably the best animation studio working today.
ME WITH "INSIDE OUT" DIRECTOR/CO-WRITER PETE DOCTOR AND PRODUCER JONAS RIVERA AFTER A SPECIAL ADVANCE SCREENING OF THE FILM ON MAY 30, 2015!!!!
Remember the 1984 horror-comedy "Gremlins?" How about "Explorers?" "The 'Burbs?" Wanna know what these films have in common with one another? Well I'll tell you: they were all directed by Joe Dante. Dante has been in the business for a while now, turning out strange but entertaining films that appeal to audiences that end up stumbling upon them. He's still been working long after his underrated 2003 sequel "Looney Tunes: Back in Action" unfortunately bombed at the box office, though the films he's been making you might not have heard of. His latest film happens to fall under that category in the form of "Burying The Ex." The film tells the story of Max, a guy who's had enough of his overbearing girlfriend Evelyn. So he does what most unhappy boyfriends do in relationships and decides he wants to break up with her. However on the day he plans to break up with her, Evelyn gets killed by a bus. Death can't easily kill her, though, as she comes back from the dead to be with her "one true love" forever.
Judging by the title, it's pretty easy to see that this isn't going to be the most unpredictable film out there. That doesn't take away from how fun it is, though. Anton Yelchin, Ashley Greene, and Alexanda Daddario all deliver on fun and energetic performances, and the story as a whole is witty and clever enough to maintain attention. The pace is smooth enough where the film never feels rushed, nor does it ever feel slow. The movie as a whole feels like both a homage to and a spoof of classic zombie films, as well as recent zombie films like "Warm Bodies." The story may be predictable and there are moments where the film lost me, but as a whole I enjoyed watching this film, and if this is on Netflix one day and you're not doing anything at the moment, then I'd recommend popping this on and checking out Joe Dante's latest flick of fun.
After the immense success of "Bridesmaids" and "The Heat," director Paul Feig and comedy star Melissa McCarthy have come together for a third helping of comedy with their latest film "Spy." Straying away from being the loud-mouthed scene-stealing femme fatale that she's been playing for the past few years, McCarthy plays the optimistic yet shy desk agent Susan Cooper. She is the eyes and ears for her partner, the James Bond-esque Bradley Fine played by Jude Law. When all of the active agents covers are blown, though, it's up to Cooper to infiltrate the arms dealing world, as well as Rose Byrne's Rayna Boyanov, in order to prevent a potential global disaster. We also have macho action star Jason Statham basically playing a gloriously hilarious parody of himself as Cooper goes across multiple countries to foil Boyanov's plan.
It shouldn't be too surprising that the film is pretty predictable at times in terms of where it's going and certain twists and turns that happen as things progressively move on. Having said that, there are plenty of twists here that are both unexpected and very clever to say the least. Not to mention, the movie as a whole is absolutely hilarious. Melissa McCarthy and Jason Statham steal the show and deliver with quite possibly the best performances of their career. Paul Feig not only delivers with a funny and clever screenplay, but he also directs some awesome action sequences. Personally I believe this is Feig's best film to date, and I am now convinced that he is the right man to be directing the upcoming "Ghostbusters" reboot. "Spy" may have its flaws, but at the end of the day it's still a damn fun and entertaining action-comedy.
MOVIE
