Category: Movie Reviews (Page 38 of 81)

Movie Review: “Pixels”

July 23, 2015 / David Medsker

Adam Sandler, Josh Gad, Peter Dinklage, Michelle Monaghan, Kevin James, Brian Cox, Sean Bean

Chris Columbus

Adam Sandler has said that the goal of “Pixels” was to be a modern-day version of an early-period Amblin Entertainment film (think “The Goonies,” “Gremlins” and “Who Framed Roger Rabbit”), something entertaining but also absolutely bonkers, and plays by its own rules. By that measure, “Pixels” is a smashing success. This movie is ridiculous, but in watching it, you realize that it’s been a long time since a live-action summer movie had the nerve to be ridiculous. It’s been this superhero movie or that graphic novel, and with the exception of “Scott Pilgrim vs. the World,” they’ve all been deathly serious. “Pixels” revels in its silliness, and in the process gives the audience some wildly entertaining battle and chase sequences as a bonus. This is one absurd, but fun, movie. If it had a theme song, it would be “Weird” Al Yankovic’s “Dare to Be Stupid.” That’s a compliment, for the record.

When Sam Brenner (Sandler) was a teen (in 1982), his future was impossibly bright. He was the best video gamer in town, but his hopes were crushed when smack-talking Eddie Plant came to town and beat him in a tournament. (Eddie is played by Peter Dinklage, who modeled his look after real-life Donkey Kong champion, and “The King of Kong” supervillain, Billy Mitchell. If you have not yet seen this movie, stop reading this and watch it right now. NOW, damn it.) The footage of that tournament was sent into space, where it was received by an alien race…and interpreted to be a declaration of war.

Thirty-three years later, the aliens arrive, in the form of the 8-bit video game characters that were in the video, destroying a US military base in Guam, and then a major international landmark. Sam now installs high-tech audio and video systems, while his teen years buddy Will Cooper (Kevin James) is the President of the United States. President Cooper, once he realizes what they’re up against, brings in Sam, and their onetime gamer friend-turned-conspiracy theorist Ludlow Lamonsoff (Josh Gad) to advise the military, much to the military’s chagrin, on how to defeat their enemy. Later, when Sam and Ludlow show that they are better soldiers in this war than the actual soldiers, the government makes a deal with the now-incarcerated Eddie to enlist the help of the self-branded “Fireblaster” (that nickname is so very ‘80s, and so very douchey). They’ve already lost the first two battles, though, so using video game logic, if they lose one more, it’s game over for the planet.

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Adam Sandler Josh Gad Michelle Monaghan Peter Dinklage Pixels Pixels review

Movie Review: “Trainwreck”

July 16, 2015 / David Medsker

Amy Schumer, Bill Hader, Brie Larson, LeBron James, Colin Quinn

Judd Apatow

Judd Apatow’s films often cover heavy, emotionally complicated territory, but they’re ice cold at the same time. The subject matter is relatable, but the manner in which it’s treated bears little resemblance to real life. (The most egregious offender: “This Is 40.” Now let us never speak of it again.) “Trainwreck,” by comparison, is the most honest, heartfelt film Apatow has made to date, and it’s hard not to notice that it’s also the first time he directed a script that he didn’t have a hand in writing.

Some back story, for the unfamiliar: Apatow has taken heat over the years for underwriting his female roles – and yes, that criticism came largely from Katherine Heigl, who cashed some monster paychecks after receiving a massive career boost by appearing in his 2007 film “Knocked Up,” therefore people accuse her of biting the hand that fed her, and while that may be the case, she’s not wrong – and perhaps this was Apatow’s attempt to make amends, by directing a script written by a woman (Amy Schumer). The crazy thing is, Schumer’s character in many ways embodies the very traits that Heigl protested (reckless, irresponsible, unaccountable), but with the female character in the lead role, you get something that previous Apatow films never provided, and that is perspective: we get both the ‘what’ and the ‘why’ of her character’s behavior. Also, there are no shrews in this movie. Apatow’s other movies were loaded with shrews. Who likes shrews that much?

Amy Townsend (Schumer) writes for S’Nuff, a Gawker-esque magazine with roughly 75% less humanity. She also parties nonstop and sleeps around, even though she has a boyfriend (John Cena). A fellow writer pitches an article about Aaron Conners (Bill Hader), a surgeon who’s come up with a revolutionary knee procedure that will greatly reduce recovery time for athletes. S’Nuff editor Dianna (Tilda Swinton, in full Anna Wintour mode) likes the story, but assigns it to Amy, because Amy has admitted that she hates sports, and Dianna likes the idea of the paradox. Amy surprisingly finds herself fascinated with both Aaron and his work, and when she unprofessionally consummates their professional arrangement, she does unthinkable things, like actually agreeing to spend the night at his place and generally being less afraid of commitment. Amy is confused by this new change to the game plan, and she responds to it the only way she knows how: self-destruction.

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Amy Schumer Bill Hader Brie Larson Judd Apatow LeBron James Trainwreck Trainwreck review

Movie Review: “Irrational Man”

July 16, 2015 / Jack Giroux

Joaquin Phoenix, Emma Stone, Parker Posey, Jamie Blackley

Woody Allen

Woody Allen is the ballplayer of filmmakers. He probably takes more swings than any other writer-director working today, so when he misses, even badly, they often go unnoticed. That was certainly the case with his 2014 film, “Magic in the Moonlight,” a lifeless romantic comedy that wasted the talent of its two stars. Allen’s latest movie, “Irrational Man,” is all about life and the pain that comes with it, and though it isn’t quite a homerun, it’s a solid double down the line that ranks as one of the director’s funnier and more engaging character studies.

Everyone likes Abe Lucas (Joaquin Phoenix) except Abe Lucas. His students and peers consider the philosophy professor to be mysterious, intriguing and sexy, but he has nothing going for himself since his wife left him and his best friend passed away. One of his students, Jill (Emma Stone), takes an interest in Abe and all his misery, as does a lonely professor named Rita (Parker Posey), but despite being romantically pursued by a young girl and a gorgeous woman, Abe remains a Debbie Downer. One day, though, his whole attitude and outlook on life changes when Abe and Jill overhear a conversation at a diner. Without spoiling it, the conversation gives him a reason to stop talking about making a change in the world and actually make one, and convinced of his newfound sense of purpose, Abe only becomes more lost than he already was.

Abe Lucas is one of Allen’s more unlikable protagonists. He drinks and drives, sleeps with a married woman, and his mission ultimately makes him something of a monster, although a very real and human monster. Abe’s lesson to his students is to accept your flaws and embrace your selfish desire; at the expense of others, he’ll do whatever it takes to survive. This all sounds very vague, but like “Midnight in Paris,” the turn in Abe Lucas’ journey is surprising, and it’s best to experience it blind.

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Movie Review: “Ant-Man”

July 15, 2015 / Jason Zingale

Paul Rudd, Michael Douglas, Evangeline Lilly, Corey Stoll, Michael Peña, Bobby Cannavale, Judy Greer, Wood Harris

Peyton Reed

Believe it or not, a big-screen adaptation of “Ant-Man” has been in development since the so-called MCU was just a twinkle in Marvel Studios president Kevin Feige’s eye. It’s been a decade in the making, and a majority of that time was spent under the guidance of director Edgar Wright. Many people didn’t think it would ever get made, and when Wright left the project only weeks before production was scheduled to begin, citing creative differences, it nearly broke the internet. You have to respect Wright for maintaining his integrity by refusing to kowtow to the bigwigs at Marvel, but Feige deserves credit for holding his ground as well, because considering its troubled production, “Ant-Man” could (and probably should) have been a disaster. Instead, it’s a funny and fast-paced superhero film that serves as a welcome breath of fresh air compared to the typical end-of-the-world summer blockbusters.

Paul Rudd stars as Scott Lang, a gifted thief and ex-convict who’s trying to put his life back together for the sake of his young daughter. And he gets that second chance when he’s recruited by Dr. Hank Pym (Michael Douglas) – a genius inventor who’s hidden his groundbreaking particle technology, which can shrink a human down to the size of an ant, from the rest of the world – to break into his company’s research facility and thwart his power-hungry protégé, Darren Cross (Corey Stoll), from replicating the technology. Cross plans to militarize his version of the Pym particles, which he’s dubbed Yellowjacket, and sell it to the highest bidder for the purpose of creating the ultimate super-soldier. Sound familiar? In order to protect the weapon from falling into the wrong hands, Scott must assume the mantle of Ant-Man using a suit that grants its wearer increased strength while microscopic and the ability to telepathically control an army of ants.

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Movie Review: “The Gallows”

July 9, 2015 / Jason Zingale

Reese Mishler, Pfeifer Brown, Ryan Shoos, Cassidy Gifford

Travis Cluff & Chris Lofing

“Here lies the found footage genre. It had a good run.” That might as well be the tagline for the new horror movie, “The Gallows,” because if the countless other found footage films suffocating the market didn’t already kill the genre, then surely this is the final nail in the coffin. Though the movie was bankrolled by Blumhouse Productions, which has made millions from micro-budgeted horror flicks like the “Insidious” and “Paranormal Activity” series, “The Gallows” is just the latest in a long line of amateurish junk that the studio has been cranking out for years. The benefit of making films on a small budget is that you only need a few hits to offset the losses on your many flops, and sadly, “The Gallows” is destined to fall into the latter category – yet another footnote in Blumhouse’s cinematic game of Russian roulette.

In 1993, Beatrice High School student Charlie Grimille was horrifically killed due to a prop malfunction during the theater department’s production of “The Gallows.” Twenty years later, the school’s students have mounted a revival of the failed stage play (and the fact that the school board didn’t have a problem with this highlights the level of stupidity on display in the film), with football jock Reese (Reese Mishler) landing the coveted lead role despite his complete lack of experience or talent. Reese is noticeably nervous about making his acting debut, so when his friend Ryan (Ryan Shoos) suggests that they break into the school at night and destroy the set so that the play gets cancelled, he reluctantly agrees to tag along. (And of course they record the whole thing, because why wouldn’t they want evidence tying them to the crime?) But after the two guys – along with gal pal Cassidy (Cassidy Gifford) and drama queen Pfiefer (Pfiefer Brown) – mysteriously get locked inside and begin to experience creepy occurrences, they learn that the vengeful spirit of Charlie still haunts the school.

Entertainment, Movie Reviews, Movies

Cassidy Gifford Pfeifer Brown Reese Mishler Ryan Shoos The Gallows The Gallows review