Author: David Medsker (Page 5 of 59)

Movie Review: “The Secret Life of Pets”

Starring
Louis C.K., Eric Stonestreet, Kevin Hart, Ellie Kemper, Jenny Slate, Albert Brooks
Director
Chris Renaud & Yarrow Cheney

Illumination Entertainment showed such great promise with their debut film “Despicable Me.” It wasn’t quite Pixar-esque in terms of greatness, but the movie had its heart in the right place, delivered some quality laughs, and included great jokes for the adults that were also appropriate for kids (“Bank of Evil, Formerly Lehman Brothers.”) They’ve responded to the success of the first film by exploiting Gru’s minions like they were a limitless supply of programmable Olsen twins. The minions dominated “Despicable Me 2,” much to that movie’s detriment, and they finally got their own film, which to date is the worst film in Illumination’s history (yes, it made over $1 billion worldwide, but so did “Alice in Wonderland,” and that movie is a hot mess). Worse, they even appeared in costume form in “Neighbors 2: Sorority Rising.” They’re like alien spores, hell-bent on consuming all life on Earth.

This brings us to Illumination’s latest film, “The Secret Life of Pets,” which does not take place in the minions’ universe, yet contains three references to them: the word ‘Illumination’ in the studio’s title card flickers so that only the letters spelling ‘minion’ are visible; a character dresses up as a minion for a party; and there is a short film starring the minions before the main feature (to be fair, that bit is somewhat amusing, and proves that the minions are funnier when administered in smaller doses). That might sum up Illumination’s problem better than anything: they care more about branding than they do about the quality of their films.

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Movie Review: “Mike and Dave Need Wedding Dates”

Starring
Zac Efron, Adam Devine, Aubrey Plaza, Anna Kendrick, Stephen Root
Director
Jake Szymanski

Raunch-com, we need to talk. We’ve been spending a lot of time together (11 years, by my count), and this relationship just isn’t working out for me anymore. Every time you start to tell me a new story, I get all excited, thinking, “This ought to be good,” only to discover that this story just cobbles together elements from the stories you told me a couple of years ago. Do you even recognize that you’ve told this joke before? There are times when I feel like Julianne Moore’s husband in “Still Alice,” if “Still Alice” was a pitch-black comedy. Funny, yet so not funny.

And yet, there are times when you can still bring the goods, though with your most recent story, “Mike and Dave Need Wedding Dates,” your ass was saved by some expert casting. Aubrey Plaza? Genius move. it was economical as well, at 98 minutes. Way to get in and out before wearing out your welcome.

Mike (Adam Devine) and Dave (Zac Efron) are dipshit party boy liquor salesmen who have a history of ruining family events with their brotastic shenanigans. The next family event is the wedding of their little sister Jeanie (Sugar Lyn Beard), so the parents give them an ultimatum: they must bring dates, and nice ones at that, so they will be encouraged to behave themselves. The boys are struggling with the concept, so in their infinite wisdom they decide to put out an ad, which quickly goes viral and catches the eye of party girl Tatiana (Plaza), who sees an all-expenses-paid trip to Hawaii as the perfect way to get her left-at-the-altar bestie Alice (Anna Kendrick) out of her tailspin. Alice and Tatiana’s ruse is to lead the boys into thinking that they don’t know who they are and are just meeting them by chance. It works, but not for as long as they had hoped.

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Movie Review: “The BFG”

Starring
Ruby Barnhill, Mark Rylance, Bill Hader, Jemaine Clement, Rebecca Hall, Rafe Spall, Penelope Wilton
Director
Steven Spielberg

It’s easy to see why filmmakers are drawn to Roald Dahl’s work. He liked placing his stories in our world while adding something most definitely not from our world, with several of his stories coming with a new language. “The BFG” hits everything on the Dahl checklist, but it has trouble getting out of second gear. It’s sweet, it’s beautifully shot, and it sports another fine performance from Mark Rylance (who, last time he worked with “BFG” director Steven Spielberg, won an Oscar for his work in “Bridge of Spies”), but let’s point out the elephant in the room, shall we? Wes Anderson wrecked the curve for Roald Dahl adaptations with his stop-motion masterpiece “Fantastic Mr. Fox.” Following in that movie’s footsteps, even seven years later and multiple generations of technological advancement – something that is clearly prioritized here – “The BFG” didn’t have a prayer.

Sophie (Ruby Barnhill) lives in a London orphanage at a time that is at first undetermined, but we later learn is the early 1980s (Dahl’s book was released in 1982). She has trouble sleeping, and it is on a sleepless night that she sees a giant walking the streets. The giant (Rylance) sees that he’s been spotted and, out of concern that she will tell the authorities and make things difficult for him, he snatches Sophie and takes her to his home in a faraway land. Unlike the giants he lives with, he has no intentions of hurting her (the others love eating children, and would devour her on sight), and he even takes her as he goes to work catching dreams. The other giants are much larger and meaner than Sophie’s giant – whom she calls BFG after he remarked that he’d like to be known as the Big Friendly Giant – and they bully him relentlessly. Sophie encourages BFG to stand up for himself and comes up with a plan to put the giants in their place.

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Movie Review: “Central Intelligence”

Starring
Dwayne Johnson, Kevin Hart, Amy Ryan, Danielle Nicolet, Aaron Paul
Director
Rawson Marshall Thurber

There is a really good movie just within reach of “Central Intelligence.” The casting is impeccable (no joke, Dwayne Johnson has never been better), and the premise is a strangely beautiful marriage of “Grosse Pointe Blank” and “True Lies,” with a few jabs at Facebook for good measure. They even used their PG-13, one-time-only F-bomb to tell Mark Zuckerberg to, well, you know.

Unfortunately, the dialogue reads like it was written by horny tweens who are really, really into toilet humor. It also falls prey to the age-old movie cliché that the most highly skilled soldiers in the world happen to all be lousy shots. No, no, no.

It is 1996, and Calvin Joyner (Kevin Hart) is riding high as a high school senior and multi-sport all-star. In the middle of his speech at the last assembly of the year, Robbie Weirdicht (Johnson), an awkward, overweight, overlooked kid, is thrown into the gym, naked as a jailbird, by a group of bullies. Calvin offers him his letterman jacket so he can cover himself up, and Robbie is eternally grateful. Twenty years later, Calvin is an accountant but frustrated that he, in his mind, peaked too soon. A day before his 20-year high school reunion, Calvin receives a Facebook friend request from a Bob Stone and accepts it. Bob Stone turns out to be Robbie, only now he’s tall and ripped, and he hasn’t forgotten that Calvin offered to help him during the most humiliating experience of his life.

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Movie Review: “Finding Dory”

Starring
Ellen DeGeneres, Albert Brooks, Ed O’Neill, Hayden Rolence, Kaitlin Olson, Ty Burrell, Idris Elba, Dominic West
Director
Andrew Stanton & Angus MacLane

Well, this is disturbing: Pixar, which for years was the most creative, most consistent studio in Hollywood (that includes live-action films and animation), has five films in various stages of production, and four of them are sequels. If you go back to 2010, Pixar has produced seven sequels, as opposed to four films based on new ideas. Three of those four new-idea films have been released. One of them (“Inside Out,” one of only a handful of reviews I’d like to rewrite after misinterpreting a key plot point) has already ascended to classic status. The other two were two of Pixar’s weakest efforts (“Brave” and “The Good Dinosaur”). The fourth one, “Coco,” is inspired by the Mexican holiday Dia de Los Muertos (Day of the Dead), which is the exact setting for Fox’s 2014 film “The Book of Life.” Ahem.

The first of the five films in production is “Finding Dory,” the follow-up to 2003’s “Finding Nemo,” far and away Pixar’s most successful film until “Toy Story 3” made over $1 billion worldwide in 2010. Thirteen years is a long time to be away, and Pixar is clearly mindful of the gap, because the story structure is part sequel, part remake. Several jokes from the first film are rehashed, with diminishing returns from all but one (the sea lions). For the most part, the film plays it maddeningly safe, and then the third act arrives, at which point all hell breaks loose in the most glorious, adorable way possible. In addition, it appears they even threw in an homage to “Inception” for the adults.

After a cute but heartbreaking sequence involving a toddler Dory and her parents, then later lost tween and adult Dory trying to find her parents, the story eventually settles a year after the events of “Nemo,” where Dory (Ellen DeGeneres) has a sudden urge to, yep, find her parents (Diane Keaton and Eugene Levy). With a vague memory that she was raised off the coast of California, Dory, Marlin (Albert Brooks), and Nemo (Hayden Rolence) enlist the help of an old friend (no spoilers) to take them on the roughly 7,000-mile journey. Shortly upon arrival, Dory is snagged in a plastic six-pack ring and picked up by employees of the local marine institute, which treats marine life for release back into the ocean. Dory recalls living in one of the exhibits and convinces a standoffish mimic octopus named Hank (Ed O’Neill, in a bit of inspired casting) to help her. Meanwhile, Marlin and Nemo are concerned that without them, Dory will forget where she is and why she’s there, and embark on their own adventure to save their friend.

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