Has your dating game been off lately? Maybe you can snag a hottie online, but once she’s been around you a few times, she suddenly disappears off the radar. If this has been a pattern in your dating life, there could be something SERIOUSLY wrong… or it could be something pretty petty. While guys might have a few qualities and attributes they’re looking for in a woman, women tend to be a bit more “detailed” in their list of qualities they want in a guy.
No, I can’t tell you anything about Cocktail No. 365 or, for that matter, Cocktail No. 367. I do know that the people behind the marketing of Hornitos Black Barrel Tequila have been pushing this enigmatically named concoction as a modern day update of last week’s beverage, Harry Craddock’s Leap Year Cocktail. While both cocktails do indeed have both bitter and sweet flavors, the Hornitos people have come up with something that is far more boldly bitter in a way that’s also kind of sweetly refreshing, and which features one of my very favorite ingredients, good ol’ Campari. That’s one way to get my attention. In any event, I’d say this drink is probably closer to a Boulevardier than the Leap Year, but that’s hardly a bad thing.
Cocktail No. 366
1 1/2 ounces Hornitos Black Barrel Tequila
1 ounce Campari
1/4 ounce sweet vermouth
2 ounces soda water
1 dash orange bitters
1 orange peel (garnish)
Gather ye your liquid ingredients in a mixing glass or, if you’re a piker who doesn’t own one like me, you can use a cocktail shaker, though you won’t be doing any shaking on account of the soda water. Instead, stir the concoction vigorously and, depending on your mood, you can either strain the mixture over fresh ice into a Tom Collins glass or pour it out carefully, ice and all. Add the orange peel garnish, and toast the world that teaches us to take the bitter with the sweet and to actually enjoy it.
“Olympus Has Fallen” was a pretty blatant rip-off of John McTiernan’s “Die Hard,” so it should come as no surprise that “London Has Fallen” – which is more of a spiritual successor than a literal sequel to the 2013 film – takes a page from another installment in the John McClane series, “Die Hard with a Vengeance,” by staging it as a buddy movie between Gerard Butler‘s gruff, no-nonsense Secret Service agent and Aaron Eckhart‘s hostage-prone president. The premise itself isn’t all that different from its somewhat enjoyable predecessor, but while “London Has Fallen” has its charms, this lean, mean POTUS-in-peril action thriller is ultimately hindered by its reluctance to fully embrace its own stupidity.
When the British Prime Minister unexpectedly dies after a routine surgery, U.S. President Benjamin Asher (Eckhart) insists on traveling to London for the funeral to pay his respects, despite the logistical nightmare that it creates for Secret Service director Lynne Jacobs (Angela Bassett) and head of security Mike Banning (Butler). Many of the world’s most powerful leaders are scheduled to attend, which provides the perfect opportunity for Yemenian arms dealer Aamir Barkawi (Alon Aboutboul) to launch a synchronized terrorist attack that kills several heads of state and reduces London’s most famous landmarks to rubble. President Asher manages to survive the initial attack, but when his rescue chopper is shot down, he’s forced to go on the run from his pursuers, relying once again on the highly skilled Banning to keep him safe and neutralize the threat.
“Zootopia” might be the cleverest bait-and-switch Disney has ever pulled. All of the teaser ads and promotional materials are pushing the adorable Judy Hopps and her very funny encounter with the sloths running the DMV. What they conveniently leave out is that the movie is an on-point commentary about prejudice and racism, their origins, how they’re used as a weapon for political gain, and how we’re all guilty of them in one form or another. In fact, it’s tempting to resent the film a little, because it explains these subjects to children better than most parents ever could.
The film opens with an expository children’s play that explains how predator and prey in the animal kingdom have found a way to co-exist without, you know, one eating the other (though what the predators eat instead is never mentioned, outside of doughnuts). One of the stars of that play is the idealistic bunny Judy Hopps (Ginnifer Goodwin), who announces on stage that she intends to be the world’s first bunny police officer, and many years later, against all odds and her parents’ wishes, she succeeds. She is transferred to the big city of Zootopia, where Sergeant Bogo (Idris Elba) assigns her to…parking duty. Ouch.
The urge to fight crime is strong, though, and Judy zones in on a seemingly untrustworthy fox named Nick Wilde (Jason Bateman, whose character bears an uncanny resemblance), only to become a victim to one of his many cons. Judy is desperate to prove herself to Bogo, and agrees to take on the missing case of an otter against Bogo’s wishes. Bogo initially fires her for insubordination, but instead gives her 48 hours to find the otter, after which Judy must resign if she fails. Judy leans on Nick – whom she has under her thumb because she has enough evidence to have him locked up – to guide her through the big city, even though Nick tends to cause more problems than he solves.
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.
WHAT: Determined to get out from under his father’s shadow, Adonis Johnson (Michael B. Jordan) – the illegitimate son of former boxing champ Apollo Creed – leaves Los Angeles for Philadelphia to train with local legend Rocky Balboa (Sylvester Stallone). But when Adonis’ secret family history is revealed and he’s offered the chance to fight the reigning world champion, he must prove to himself (and his detractors) that he’s worthy of the Creed name.
WHY: After garnering critical acclaim for his directorial debut, “Fruitvale Station,” the last thing anyone expected from Ryan Coogler’s follow-up was a spin-off/sequel to a movie franchise that’s last meaningful installment was released 30 years ago. But while it may have seemed like a strange career move at the time, “Creed” is an energizing addition to the boxing series that succeeds as a respectful passing of the torch and one of the best “Rocky” films ever made. Michael B. Jordan and Sylvester Stallone are both excellent in their roles, especially the latter, who delivers his finest work in years with a subtler, more emotional performance than we’re used to seeing from the actor. Coogler, meanwhile, makes the transition from indie to mainstream filmmaking remarkably well; he provides all the usual crowd-pleasing moments without sacrificing the kind of intimate, character-driven storytelling that made “Fruitvale Station” so effective. Though “Creed” follows the 1976 original a little too closely at times, it does enough to stand on its own while still paying homage to the “Rocky” legacy.
EXTRAS: There’s a pair of featurettes on developing the movie and Michael B. Jordan’s training regime, as well as some deleted scenes.
FINAL VERDICT: RENT
WHAT: After being abducted as a teenager and spending the past seven years in captivity, Joy (Brie Larson) and her five-year-old son, Jack (Jacob Tremblay) – who knows nothing of the outside world – finally gain their freedom following a brave escape. But adapting to life on the outside proves even more difficult for Joy than the impressionable Jack.
WHY: Brie Larson has been quietly making a name for herself over the past few years, but while 2013’s “Short Term 12” may have been her big breakthrough, “Room” confirms that she’s the real deal. Her emotionally-charged role as the abducted teen-turned-mother was one of the best performances of 2015, and though young co-star Jacob Tremblay is also really good as her sheltered son, it’s Larson who holds the movie together, even when her character is dangerously close to falling apart. The film is comprised of two very different halves (the world Joy has made for Jack inside “room” and the outside world), and each section gives its actors a wide range of emotions to play. While Joy’s journey is pretty dark and depressing – and rightfully so, because “Room” is every parent’s worst nightmare – the innocent yet insightful narration that Jack provides as he experiences things for the first time is bursting with optimism, and ultimately, it’s that hopefulness that makes the movie such a rewarding experience.
EXTRAS: In addition to an audio commentary by director Lenny Abrahamson, cinematographer Danny Cohen, editor Nathan Nugent and production designer Ethan Tobman, there’s a trio of production featurettes.
FINAL VERDICT: RENT
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