Author: David Medsker (Page 14 of 59)

Movie Review: “The Lazarus Effect”

Starring
Olivia Wilde, Mark Duplass, Evan Peters, Donald Glover, Sarah Bolger
Director
David Gelb

A group of scientists are working on a serum that, combined with the right stimuli, can bring someone back from the dead. Their argument for creating this is that it would enable doctors to have a little more time to find a cure for whatever is ailing someone. That is a terrible, terrible idea, and the rationale for the idea is even worse. But here’s the worst part: “The Lazarus Effect” actually has some interesting bits mixed in with all of the stupid ones, and the ending is kind of fantastic. To get there, though, we have to slog through a bunch of home video and security camera footage (this looks like it started life as a found footage movie, which makes sense considering the film’s producers also worked on the “Paranormal Activity” films) and an ungodly number of faulty light fixtures. The only thing it was missing was a cat.

Frank (Mark Duplass), his fiancé Zoe (Olivia Wilde), and their assistants Clay (Evan Peters) and Neko (Donald Glover), are working in a basement lab at a school in Berkeley to perfect their Lazarus serum. They bring in student Eva (Sarah Bolger) to document their work on video. They test the process on a dog, and it works, though the dog doesn’t really act like a dog once alive, and there are numerous medical red flags that suggest the dog could become extremely aggressive at any moment. Soon after their success in resurrecting someone, which is only known to those five, the lab is raided by a pharmaceutical company that, according to the terms of the grant that was funding Frank and Zoe’s research, owns all intellectual property in the event the terms of the grant are broken, which happened once they started testing on animals.

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Movie Review: “VANish”

Starring
Maiara Walsh, Austin Abke, Bryan Bockbrader, Adam Guthrie, Danny Trejo
Director
Bryan Bockbrader

Here’s a tip for those hoping to get reviews of their new indie film by cold-writing movie critics: make sure your movie has Danny Trejo or Tony Todd in it, preferably both. “VANish” has both, and here we are.

“VANish” hits video and on demand this week. Writer and director Bryan Bockbrader tells us that he shot the film in 13 days, which brings to mind the story of how Robert Rodriguez shot “El Mariachi” on a $7,000 budget. The comparison is an apt one, as “VANish” is a warped wet dream of chatty Tarantino wise asses with “From Dusk Till Dawn” levels of bloodshed, and the entire movie takes place inside of a van, hence the capitalization in the title (and possibly a reference to the first half of “From Dusk Till Dawn,” which mostly takes place inside an RV). The majority of the acting fails the plot – and in some ways, the plot fails the plot – but it is a fun distraction, even if it pains us to think of a Tarantino/Rodriguez bloodfest like this as the two-decade nostalgia trip that it is.

College student Emma (Maiara Walsh) is kidnapped by Jack (Austin Abke) and Max (Bockbrader, the writer and director himself). They go to pick up their driver Shane (Adam Guthrie) with the intent of arranging a drop with Emma’s estranged father, drug lord Carlos (Trejo). Emma is not afraid of these guys in the slightest, and tells her dad as much in her kidnapping video. War veteran Jack, however, thinks he has everything under control, but as the job gets botched (on a number of levels), the three accomplices learn things about the other that cause mistrust to settle in. Oh, and did we mention that the damsel in distress is the daughter of a drug lord? (We did.) She is surely a delicate flower, and wouldn’t think of exploiting the circumstances at the first opportunity. Or the second. Or the third.

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Movie Review: “Fifty Shades of Grey”

Starring
Dakota Johnson, Jamie Dornan, Eloise Mumford, Jennifer Ehle, Luke Grimes, Victor Rasuk, Marcia Gay Harden
Director
Sam Taylor-Johnson

It’s well established that “Fifty Shades of Grey” began life as fan fiction by a “Twilight” devotee who was frustrated with the lack of sex in the books, and that’s fair; there is but one sex scene in the entire series, after all. However, this married mother of two (!) didn’t just write about Bella and Edward (here named Ana and Christian) having sex: she wrote about them having rough sex, BDSM-type stuff that tries to present itself as a confident woman owning her sexuality, when in fact the sex is completely about him, and he is constantly looking for reasons to “punish” her. Christian Grey is basically the Patrick Bateman (“American Psycho”) of sex, to the point where “American Psycho” author Bret Easton Ellis saw so much of Patrick in Christian that he actually begged “Grey” author E. L. James for the right to write the film’s screenplay. She turned him down. That’s unfortunate; he might have made something watchable out of this.

Anastasia Steele (Dakota Johnson) is a college senior who does her journalism major roommate Kate (Eloise Mumford) a solid by doing an interview on her behalf when Kate gets the flu. The interviewee is Christian Grey (Jamie Dornan), a 27-year-old billionaire who is giving her school’s commencement speech. Ana is intimidated by Christian – yet conducts the most passive-aggressive interview in history – but something about Ana intrigues Christian. He visits her at the hardware store where she works, and later tracks her down at a bar after she drunk calls him to tell him off. She wakes up in his hotel room, and after a brief (and hilariously awkward) chat, it is clear that there is chemistry between them, and each wants to consummate the relationship.

However, Christian plays a different sport than Ana does. He doesn’t want a lover: he wants a submissive (honest to God quote from the movie: “I don’t make love. I fuck. Hard.”), and asks Ana to look over a lengthy contract that spells out the terms of their sexual relationship, unaware that Ana is a virgin. Once he discovers this, he softens his approach and gives her the loving first experience that girls wish for, but after that, it’s all business, and business is this: you will do what I want, when I want, or you will be punished. Ana refuses to sign the contract, though the two continue to see each other. They have lots of sex, he spanks and whips her, and despite his insistence that he is not a candy and flowers kind of guy, Ana thinks that this arrangement has the potential to blossom into something greater. Fool.

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Movie Review: “Jupiter Ascending”

Starring
Mila Kunis, Channing Tatum, Eddie Redmayne, Sean Bean, Douglas Booth
Directors
Andy & Lana Wachowski

If the Wachowskis were a band, the label would have dropped them after “The Matrix Revolutions.” That was 13 years ago, just to give you a sense of how long Warner Bros. has been granting them multiple second chances to replicate the success of “The Matrix.” With “Jupiter Ascending,” it’s time to cut the cord. The movie is so spectacularly bad (think “MST3K” bad) that someone will inevitably document it for historical purposes, a la the “Troll 2” doc “Best Worst Movie.” The “Jupiter” documentary will be a cautionary tale of giving carte blanche to talent that, breakout hit be damned, just haven’t earned it yet, baby.

Jupiter Jones (Mila Kunis) and her Russian immigrant family struggle to make ends meet cleaning houses. What Jupiter doesn’t realize – until there are multiple attempts on her life – is that she is the reincarnation of a royal family member from another galaxy, the mother of three feuding siblings, all devising ways to assume more power. She is saved from certain death by Caine (Channing Tatum), a disgraced soldier hired by royal son Titus (Douglas Booth). Titus informs Jupiter of her significance to the family, and Jupiter is tempted by the appeal of living a better life, until she discovers the fate of those on Earth; it is merely one of many planets in the royal family’s possession, and its sole purpose is for the humans, once they have rendered life on Earth unsustainable, to be harvested in order to create a formula that grants the royals eternal life.

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Movie Review: “The Wedding Ringer”

Starring
Kevin Hart, Josh Gad, Kaley Cuoco-Sweeting, Alan Ritchson, Olivia Thirlby
Director
Jeremy Garelick

The premise for “The Wedding Ringer” has a blind spot the size of Texas. If someone were to actually do what Kevin Hart’s character does here, it would not be long before they ran into one of their former clients’ spouses, or a girl they hooked up with after the reception, or a family member of the wedding party (you get the idea), while pretending to be the new character. Not to mention, the movie wrings laughs out of a scenario where men spin a hideous web of lies to their wives-to-be as a means of impressing them, which is the worst possible way to start a marriage. It’s a house of cards, with a near-zero level of plausibility, and yet, “The Wedding Ringer” works in spite of all of these things. Hart and Josh Gad have great chemistry, the script is surprisingly smart for such a broad comedy (they don’t stoop to making the supporting characters dunces in order for the plot to work), and there is an underdog mentality to it that is intoxicating.

Doug Harris (Gad) has a problem. He’s about to get married to out-of-his-league Gretchen (Kaley Cuoco-Sweeting), but he doesn’t have any friends, and therefore no best man or groomsmen. The wedding planner sniffs this out (Gretchen, conveniently, is still in the dark about this), and suggests that Doug meet Jimmy Callahan (Hart), who runs a business providing services for men who need a best man. Doug, however, doesn’t just need a best man: he needs a best man and a whopping seven groomsmen, something Jimmy has joked about but never executed before. The groomsmen Jimmy recruits are less than ideal, but Doug goes along with it given the circumstances. As Doug and Jimmy get to know each other – Jimmy has a strict ‘This is a business arrangement, and we are not friends’ policy – and as Gretchen’s family gets to know Jimmy, lines get blurred.

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