Movie Review: “Dumb and Dumber To”

Starring
Jim Carrey, Jeff Daniels, Laurie Holden, Rob Riggle, Rachel Melvin, Kathleen Turner, Steve Tom
Directors
Bobby & Peter Farrelly

Sequels are rarely a good idea, but particularly when the original was released so long ago that part of the new film’s target audience wasn’t even born yet. Though there had been rumblings of a follow-up to Bobby and Peter Farrelly’s 1994 cult classic “Dumb and Dumber” for a number of years, the pieces never fell into place until now. Unfortunately, while the promise of seeing Lloyd Christmas and Harry Dunne together again may have sounded like a fun slice of nostalgia, it’s obvious within minutes of “Dumb and Dumber To” that, despite trying to recapture the goofball magic of the first movie, it never quite clicks.

It’s been 20 years since Lloyd (Jim Carrey) had his heart broken by Mary Swanson, and during that time, he’s been living at a mental hospital in a catatonic state… only to reveal to his friend Harry (Jeff Daniels) that it was all an elaborate prank. Harry appreciates the commitment to the gag, but he has much bigger things on his mind, like the fact that he’ll die unless he gets a new kidney. When Harry discovers that an old flame, Fraida Felcher (Kathleen Turner), gave up their daughter for adoption 22 years earlier, Harry and Lloyd set off to track her down in the hope that the gorgeous but dumb Penny (Rachel Melvin) is willing to donate a kidney to the biological dad she never met. Along the way, the duo gets caught up in a plot to kill Penny’s adoptive father (Steve Tom) by his duplicitous trophy wife (Laurie Holden) and groundskeeper (Rob Riggle), who are after the scientist’s large inheritance, including a mystery box that he’s entrusted to Harry and Lloyd to deliver to a TED-like science conference where Penny is accepting an award on his behalf.

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Blu Tuesday: Tammy, Jersey Boys and Getting On

Every Tuesday, I review the newest Blu-ray releases and let you know whether they’re worth buying, renting or skipping, along with a breakdown of the included extras. If you see something you like, click on the cover art to purchase the Blu-ray from Amazon, and be sure to share each week’s column on Facebook and Twitter with your friends.

“Tammy”

WHAT: After she wrecks her car, is fired from her job and discovers that her husband has been cheating with their neighbor, all in the same day, Tammy (Melissa McCarthy) is desperate to leave town as quickly as possible, and her alcoholic grandmother Pearl (Susan Sarandon) – who has the two things Tammy needs most: a working car and some cash – decides to tag along. But when they end up driving the wrong way, the two women decide to make the most of the mishap in an attempt to patch up their troubled past.

WHY: Like pretty much anything that Melissa McCarthy does these days, your enjoyment of “Tammy” will depend entirely on how you feel about the actress as a performer, because for those who were already sick of her tedious, one-trick pony act after “Bridesmaids,” sitting through McCarthy’s latest movie is about as pleasant as a punch to the face. It’s bad enough that Tammy never shuts up, but director/co-writer Ben Falcone wants the audience to sympathize with her as well, even though she’s largely to blame for much of what happens over the course of the film. She’s not as mean-spirited as Diana from “Identity Thief,” nor as vulgar as Shannon from “The Heat,” but she’s not someone you’d necessarily want to be friends with either. So when the movie suddenly tries to manufacture a romance between Tammy and Mark Duplass’ nice-guy farmer in the final act, it doesn’t just feel unearned, but completely unrealistic considering he had zero interest in her only a few days prior. That initial meeting takes place shortly after an exceedingly confident Tammy brags about how men are attracted to her like “flies on shit,” and in that instant, McCarthy provides the perfect ammunition to describe her recent career, because that’s what this movie is – a big, steaming pile of shit.

EXTRAS: In addition to a short featurette about a family road trip that Melissa McCarthy and director Ben Falcone took following production on the film, there are four deleted scenes, some alternate takes and a gag reel.

FINAL VERDICT: SKIP

“Jersey Boys”

WHAT: The story of Frankie Valli (John Lloyd Young) and the Four Seasons, from their early days as two-bit gangsters in New Jersey, to their rise to fame thanks to hits such as “Sherry,” “Big Girls Don’t Cry” and “Walk Like a Man.”

WHY: Clint Eastwood is one of the last people you’d expect to direct a film adaptation of “Jersey Boys” – or any stage musical, for that matter – and it definitely shows, because it’s one of the worst stage-to-film adaptations in recent memory. In fact, the movie isn’t really a musical at all (save for the end medley/production number), instead going for more of a rockumentary feel that doesn’t translate very well to the screen. The main problem is that with the exception of the great catalog of songs, the film isn’t terribly interesting, barely scratching the surface with its “Behind the Music”-esque narrative. It’s rife with all the usual melodrama of a music biopic, but the characters are never fully developed, despite the fact that the film’s bloated 134 minute runtime gives plenty of opportunities to do just that. Vincent Piazza (as group member Tommy DeVito) and Christopher Walken (as Jersey mobster Gyp DeCarlo) both shine in supporting roles, but the rest of the acting is mediocre at best, particularly theater vets John Lloyd Young and Michael Lomenda. Eastwood was clearly having a senior moment when he agreed to do “Jersey Boys,” because not only is it one of the weakest movies in his oeuvre, but it fails to showcase why the Broadway production was such a huge hit.

EXTRAS: There are three featurettes in total, covering the movie’s journey from Broadway to the big screen, actor Donnie Kehr’s experience working with Christopher Walken, and filming the grand finale.

FINAL VERDICT: SKIP

“Getting On: The Complete First Season”

WHAT: After agreeing to serve as the temporary Director of Medicine in the Extended Care Unit at Mount Palms Hospital, Dr. Jenna James (Laurie Metcalf) is disheartened when the assignment is made permanent, relegated to work in the soul-crushing facility alongside new supervising nurse Patsy De La Serda (Mel Rodriguez), head nurse Dawn Forchette (Alex Borstein) and rookie nurse Denise “DiDi” Ortley (Niecy Nash).

WHY: Though it flew pretty far under the radar during its first season, this U.S. remake of the BBC series of the same name is one of the more underrated shows in HBO’s lineup. Every bit as much a satire as it is a drearily honest and sobering look at our country’s broken healthcare system, “Getting On” makes the typical black comedy seem lighthearted in comparison. Though the humor on the show can be a little too dry at times, and some of the in-jokes are only funny if you’ve worked in a hospital setting before, it features sharp writing and excellent performances from its cast. Laurie Metcalf, Alex Bornstein and Niecy Nash all deliver great work in their respective roles, while the guest stars (including Molly Shannon, Daniel Stern and a potty-mouthed June Squibb) provide many of the best moments. The only weak link is Mel Rodriguez’s sexually ambiguous Patsy De La Serda, whose character is so annoying (even if that’s kind of the point) that the show becomes infinitely less entertaining whenever he appears on screen. That’s not the only area where “Getting On” could improve, but although it’s not quite the hidden gem that it could have been for HBO, it’s definitely worth checking out for fans of likeminded comedies like “Derek.”

EXTRAS: The Blu-ray release includes some deleted scenes and a gag reel.

FINAL VERDICT: RENT

  

Movie Review: “Big Hero 6″

Starring
Ryan Potter, Scott Adsit, Jamie Chung, T.J. Miller, Genesis Rodriguez, Damon Wayans Jr., James Cromwell
Directors
Don Hall & Chris Williams

There is a clear sea change in the quality of Disney’s animated movies once they acquired Pixar in 2006. “Bolt” was the first film produced after the merger, and it marries the sensibilities of both companies reasonably well, though still has too much of the old Disney stodginess. Over time, though, the Pixar Way shone brighter with each release, and with the 1-2-3 punch of “Tangled,” “Wreck-It Ralph,” and “Frozen,” Disney is succeeding both critically and commercially at a level that they haven’t enjoyed in a while.

With “Big Hero 6,” the Marvelization of Disney films has begun (Disney purchased Marvel Entertainment in 2009, and “Big Hero 6” made its Marvel comic debut in 1998). It is a superhero movie about science nerds, a film where no one escapes a bad situation using anything other than their brains. In fact, brute strength does not factor once in the proceedings. Peter Parker and Tony Stark would be proud. So would Walt Disney, because the movie has a ton of heart. Also, the lead character’s parents were killed 11 years before the opening scene. That’s the Disney way.

Hiro Hamada (Ryan Potter) is a bored boy genius living with his aunt and his brother Tadashi (Daniel Henney) in the city of San Fransokyo (you read that right). Hiro graduated high school at age 14, and spends his time taking part in illegal ‘bot fights. Tadashi, hoping to inspire Hiro to apply himself, brings Hiro to the San Fransokyo Institute of Technology, where Tadashi and his friends are working with cutting-edge tools to make the world a better place. Hiro wants in, and he earns his acceptance after dazzling Professor Robert Callaghan (James Cromwell) with his newest invention, mind-controlled microbots. The microbots are almost immediately lost in a fire, which takes the lives of Callaghan and Tadashi. Shortly afterward, Hiro discovers that his microbots are being manufactured in a seemingly abandoned factory, and he is nearly killed by a masked man who’s controlling them in ways that they were never intended to be used. Hiro convinces Tadashi’s fellow colleagues to team up and use their super smarts to unmask the man who stole Hiro’s tech.

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Movie Review: “Interstellar”

Starring
Matthew McConaughey, Anne Hathaway, Jessica Chastain, Casey Affleck, David Gyasi, Wes Bentley, Michael Caine, John Lithgow
Director
Christopher Nolan

A coworker of mine is hoping that he can convince his wife to take their two girls to see “Big Hero 6” while he ducks into another theater to see Christopher Nolan’s new film “Interstellar.” Here’s the irony: the moral of “Interstellar” is that he should see “Big Hero 6” with his kids instead.

This is both an impossibly dense movie, and a deceptively simple one. The quantum physics talk and the hypotheses regarding time and space turn out to be a bit of a red herring. The true essence of “Interstellar” is about love, and Anne Hathaway’s character sums it up perfectly: time can contract and expand, but it can’t go backwards. In a nutshell, Nolan spent $165 million and 169 minutes telling us to seize the day with our loved ones. That’s a great message, and he pulls a number of incredible technical achievements in the process, but with “Interstellar,” Nolan has fallen into a trap that has caught many before him: the pitfalls of autonomy.

Set in an undefined but presumably not-too-distant future, Earth is suffering another Dust Bowl period, crops are dying, and there is reason to believe that the children will be the last generation Earth will ever know. Former astronaut Cooper (Matthew McConaughey) has taken up farming to help the cause, but a series of strange events leads Cooper and his daughter Murphy (Mackenzie Foy) to an off-the-grid NASA facility, where a team is preparing to investigate a series of planets in a far-off galaxy, courtesy of a wormhole, to see if life is sustainable. They need a reliable pilot, though, and they ask Cooper if he will join them. Cooper is understandably conflicted, since there is no guarantee that he will return, but he ultimately decides that the salvation of the human race is the nobler goal, and he joins Amelia Brand (Hathaway), Doyle (Wes Bentley), and Romilly (David Gyasi) on a boom-or-bust mission to find another Earth.

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Blu Tuesday: The Newsroom, Hercules and More

Every Tuesday, I review the newest Blu-ray releases and let you know whether they’re worth buying, renting or skipping, along with a breakdown of the included extras. If you see something you like, click on the cover art to purchase the Blu-ray from Amazon, and be sure to share each week’s column on Facebook and Twitter with your friends.

“The Newsroom: The Complete Second Season”

WHAT: Following an exclusive report on a top-secret U.S. drone strike that turns out to be untrue, the “News Night” staff becomes embroiled in a legal battle when the producer responsible for the story sues the network for wrongful termination. Meanwhile, Jim (John Gallagher Jr.) goes on the campaign trail with the Romney press bus and Maggie (Alison Pill) deals with the aftermath of a traumatic trip to Uganda.

WHY: Some people really love to hate “The Newsroom,” and for the life of me, I don’t understand why. Though the show can be a tad exaggerated at times (both dramatically and comically), it has great characters and the kind of clever, rapid-fire dialogue that’s become synonymous with every Aaron Sorkin production. Season Two isn’t as strong as its debut season – due to the more focused, season-long drone storyline and certain subplots that remove key characters from the very environment they thrive best – but with the exception of the new title sequence, it’s the same old “The Newsroom,” particularly when taking on real-life topics like the 2012 Elections, Occupy Wall Street and Trayvon Martin. Sorkin’s writing dazzles as always, but it’s the performances by the ensemble cast (from stars Jeff Daniels and Emily Mortimer, to supporting players like Sam Waterson, Olivia Munn, Dev Patel and Thomas Sadoski) that makes it such a joy to watch. It’s a shame that more people didn’t feel the same way, because although the series is returning for a shortened third season, it still feels like a loss, especially with so few great shows left on HBO outside of “Game of Thrones.”

EXTRAS: The Blu-ray set includes four audio commentaries with various cast and crew, the usual collection of “Inside the Episode” featurettes and deleted scenes.

FINAL VERDICT: BUY

“Hercules”

WHAT: After enduring his legendary 12 labors, Hercules (Dwayne Johnson) and his band of mercenaries are hired by the King of Thrace (John Hurt) to protect his people from a tyrannical warlord, only to discover that he may be fighting on the wrong side.

WHY: It’s actually quite surprising that someone hasn’t tried making a Hercules movie with Dwayne Johnson sooner, because it’s a role that he was born to play. But while the film is marginally better than Renny Harlin’s “The Legend of Hercules,” it’s rooted even less in the original myth, instead using Steve Moore’s comic book series as its inspiration, which suggests that Hercules wasn’t a demigod at all, but rather a mortal man whose legend far exceeds his abilities. Johnson does a good job in the title role, though he doesn’t have a lot to work with, and Ian McShane and Rufus Sewell (as fellow swords-for-hire) add some color to the otherwise drab story, but there’s nothing really special that sets it apart from the many other sword-and-sandal movies. The action sequences are incredibly generic, the twists aren’t surprising at all, and although the story offers a unique interpretation of the Hercules tale, it’s hard not to feel disappointed by the bait-and-switch approach to the material. After all, would you rather see a movie about the Hercules from Greek mythology, or one about an ordinary guy named Hercules who just happens to be stronger than most? Exactly.

EXTRAS: In addition to an audio commentary by director Brett Ratner and producer Beau Flynn, there’s an introduction to the film from Ratner and Dwayne Johnson, featurettes on the characters, weapons and specials effects, a behind-the-scenes look at filming one of the major actions sequences and 15 deleted/extended scenes.

FINAL VERDICT: SKIP

“Maleficent”

WHAT: When she’s tricked by her human friend, Stefan (Sharlto Copley) – who steals her wings in exchange for a place on the throne – vengeful fairy Maleficent (Angelina Jolie) curses the king’s newborn daughter with a spell that will take effect on her 16th birthday. Sent away to a remote cabin for her protection, Maleficent comes to care for Princess Aurora (played as a teen by Elle Fanning) after realizing that she may be the land’s only hope for peace.

WHY: Hollywood loves a good fad, and two of the more popular trends these days are fairy tales and villains, so it’s not surprising that Disney would want in on the act, especially after the mild success of Universal’s “Snow White and the Huntsman.” Just like that movie, “Maleficent” attempts to humanize its iconic baddie by turning her into a misunderstood antihero whose fall from grace wasn’t entirely of her own making. But just like every other cinematic villain to get the revisionist treatment (from Dracula to the Evil Queen), Maleficent is stripped of everything that made her such a great character in the process, and perhaps even more troubling, as the victim of a creepy drug rape that’s never addressed. Angelina Jolie has the physicality and talent required for the role, but while she does a good job with the material provided, it would’ve been more fun to see her play a full-fledged villain compared to the morally gray character here. Though “Maleficent” is an admirable attempt at breathing new life into a classic tale, there are so many problems with the story and supporting characters that it would have made more sense to go the direct route and make a live-action “Sleeping Beauty” movie instead.

EXTRAS: There are five short featurettes – including a look at Elle Fanning’s involvement in the film, Maleficent’s costume design and the various stages of the writing process – as well as a handful of deleted scenes.

FINAL VERDICT: SKIP

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