The Interview (2014)

Starring: Seth Rogen, James Franco, Randall Park

Directors: Evan Goldberg, Seth Rogen

IMDb: http://www.imdb.com/title/tt2788710/

Wikipedia: http://en.wikipedia.org/wiki/The_Interview_(2014_film)

"If liking Katy Perry and margaritas is gay, then I don't want to be straight."

-James Franco, speaking the most profound line in the movie

Yeah, you knew this was coming... again...

Yes, "The Interview," after a causing an international incident over its depiction of the attempted assassination of North Korea Leader Kim Jong-Un, ending up being released, and was... promptly forgotten by all those originally upset by it, a shining example of how incredibly pathetic human attention span can be. But... I remembered it, strangely enough. And so I decided it would be best to conclude this useless saga in pop-culture history by reviewing it. So...here we go:

The plot starts off with a TV personality and his producer who mostly interview celebrities. However, in an attempt to be taken seriously, they get a chance to interview the Dear Leader (Randall Park). Before heading over to North Korea, they are recruited by the CIA to assassinate him. However, when they arrive, things get complicated...or stupid...mostly stupid...

When I discussed this movie in my previous post, I said, based on the trailer, that this movie looked really stupid. But trailers can be wrong, right? Yes, but...not this time!

First things first: James Franco is the most annoying human being on the planet and he needs to be locked away forever! I know, I know, I am not exactly trending new ground by saying that. But...seriously! Almost every time his character speaks, it is an attempt to cram in as much bathroom/bedroom humor (and "Lord of the Rings" references, for some reason) as possible. And they are not quick one liners either: he just starts talking and never stops. It serves no value to the plot or the English language.

As for Seth Rogen...um...was he even in this movie? He mostly plays it straight and he (unwittingly) takes part in moving forward with the plan toward the end. And granted, he did co-direct the film, so maybe his attention was elsewhere. Still, he mostly seems like he is just reacting to events as opposed to doing anything productive. Oh, wait I forgot, the sticking the thing up his butt gag. Never mind, he was very important to the movie.

As for the movie as a whole, the best way I can describe it is that it is "Pineapple Express" if it took place in North Korea. It is two guys who get caught up in something they have no business in doing. You can say this is symbolic of the whole hacking incident, but that is to assume the movie is somehow deep (it isn't).

Now, the film is somewhat self-aware: it touches on the consequences of having a televised meeting with, and possibly killing, the leader of a rogue state.

And then James Franco tells a dick joke.

When you get down to it, the film as a whole is just a string of bathroom and bedroom humor jokes wrapped together to create a basic plot. A lot of this (as a bit of an inside-joke) centers around Franco's homoerotic tendencies, both toward Rogen and Jung-Un, whom he becomes buddies with (Park actually does play the part well, even if he looks more esteemed than the real Jung-Un and does not do much to hide his American accent). That might be the real reason Jung-Un was upset with the film; it was because it associated him with James Franco! In fairness, the friendship is rather odd: can you image something as weird as that happening in real life...

Oh, right...

But hey, at least I now know what "honey dipping" is, or at least the PG-rated meaning of the word (don't ask).

Now, I will admit, there were some parts that made me laugh. The funniest was probably at the very beginning when they interview Eminem (playing himself) It has little to do with the rest of the movie, but it is just fun watching him saying this ridiculous stuff in a deadpan manner. Forget "8 Mile," he should go into comedy if he decides to give up rap (I am going to regret this sentence years from now, aren't I...?). The other funny parts are a bit forced, but you take what you can get.

So, has my opinion changed about the film now that I have actually seen it? Uhhh...no. It is what I expected: a dumb movie about dumb people doing dumb things. And again, if everyone had just left it alone, this whole fuss would have never happened. And I would not have had to write not one, but two, posts about a movie when I should have written zero!

So, do I recommend it? If you want to stick it to North Korea, you probably already have. If you are looking for great political satire, you would be better served watching "Team America" instead. Other than that, it really depends on how much you enjoy this sort of humor. I am not above saying I like it in small doses or if it is done in a cleaver way, but this movie does neither. If what I described it not up your alley, then I would skip it. Either way, it is what it is. Nothing more, nothing less...

I felt the need to include this image for whatever reason.

Well, glad that is over with. Weird how worked up everyone got over this. It is just a movie. It is not like there is any movie in history that has ever caused real long-term damage or...

Oh, Jesus...

The images and links in this post do not belong to me and are being used for entertainment purposes only. Please do not sue me. Especially you, Franco.

Review: 30 Minutes or Less (2011) TH

You might want to be smashed for this one

This is a film where the ludicrous story is in the background with the players throwing out banter, odd little quirks and working on friendship through the thick and thin in the foreground. There's the two buddies who've got each other's back, or at least they initially thought when secrets come out about Chet (Aziz Ansari) confessing to being the culprit for Nick's (Jesse Eisenberg) parent's divorce and Nick sleeping with Chet's twin sister one time way back. On the opposite corner, Dwayne (Danny McBride) lives at home with his lottery-winning, Marine-spouting dad who belittles him. So he turns right back around and acts all dominating and self-centered to the tag-along Travis (Nick Swardson) who wants to make an impression, so he'll do just about anything for his respect.

As the title suggests Nick is a "30 Minutes or Less" pizza guy who hates his job. Meanwhile Dwayne despises his dad and from the advice of a stripper decides to hire a hitman to take care of his father and collect his remaining lottery bankroll. He'll need $100 grand of his own for the hire and decides to get some pizza dude to rob a bank for him with some convincing of a bomb vest. Yep, the story is pretty ridiculous to say the least--despite supposedly mirroring real life events in Pennsylvania--as point A doesn't always smoothly line up to point B in the film. Dwayne and Travis have an idea--wham!--they have a solution fall into their lap, literally. Nick is presented with a dilemma--wham!--he jumps right into it like it was his calling card. Director Ruben Fleischer along with Eisenberg did a great turn around for "Zombieland" and you might except them to have done so here. Except this is either a make it or break it movie, since the scenarios are over-the-top and the dialogue is going for broke with the goofy, juvenile and throwing a parade with low self-esteem--sex, gay, racist jokes that might be funnier on substances but a share of them throwaway otherwise--instead of possibly the witty or setting up punchlines, which makes this more a single shot film than a repeater.

It felt like they tried too hard at times for that laugh by saying whatever to get a reaction rather than working through a scene. Other films have gotten away and proved to be thoroughly funny gems with a similar setup, but that's pretty much all this has going for it with not too many tricks up its sleeves otherwise. It's an attempt at a simple laugh riot by taking a trip to the loony land of the thought to be implausible. Though it doesn't always fully sculpt that world they take you to. It feels like you got invited to a gathering, yet don't always get a full feel for the people around you to truly let loose and have a grand time yourself because they're nothing but loafers, idiotic and get themselves in entanglements for all the wrong reasons--not exactly charismatic to say the least, even when laughing at them. Not to mention the character development went in and out whenever they felt like it: from knowing better to not knowing better, to doing it because they're forced but then enjoying getting caught up in it.

Swardson probably has the most range as he's nearly capable--he was the one who built a complex bomb after all--but doesn't want to let down a friend, so he goes along to get along. The others arrive in one state and leave in a similar state: little growth, little to learn. The credits rolled down somewhat abruptly without showing the after party where their adventurous story is told or their reward is enjoyed. Yeah, it's a silly comedy but there doesn't feel like that much in the way of a challenge rather than a contrivance for life's struggles, as a share of the setups are there to a point, just not always capitalized on or transitioned to its own advantage. The twin sister literally feels like the twin sister without a name, as she's dropped off in the story somewhere as a mirage to work towards for the slacker Nick, as everybody else around him is becoming more successful. Chet so happens to like his full time teaching job, and Nick's lost love so happens to be moving to Atlanta during all this mayhem. There were some lines here that are funny from the jittery Aziz Ansari and some here nor there from the others, but overall hit and miss. To its credit the movie goes by very quickly, as in they move from one place to the next in a rapid succession, even if what they're doing doesn't always feel that gravitating or memorable past a cursory viewing, if that even. If you're a die hard fan of a performer here, I recommend a rental. A free rental. A free rental when you're all taxed out and there's nothing else to watch.

Director: Ruben Fleischer (Zombieland)
Starring: Jesse Eisenberg, Danny McBride, Aziz Ansari, Nick Swardson
Website: IMDB

Review: The Change-Up (2011) TH

When the frowned on catches some smiles

On a drunken night two polar opposite buds--after saying they want each others' lives--switch bodies but not minds when accidentally swearing an oath in front of a statue while crossing urine streams into its fountain. Mitch (Ryan Reynolds) lives the complete bachelor life with no responsibilities beyond making a paycheck as a part time actor, and Dave (Jason Bateman) has his hands full as a lawyer with three kids and a wife. The fountain is moved and in the meantime they have to live one anothers' lives till it can be found. Easy said, easy done. Yeah, right.

The premise sounds awfully familiar, though this is a movie that skips out on the cleverness and goes more towards the profane by playing on taboos and shock value for a share of the way. Some of the jokes feel like they are too in your face to the point of stepping over their punch and the replay value is somewhat diminished in that they can only be looked at head-on and from a point-blank angle. Though one thing you can count on is it literally doesn't let up with what it shows or says, with kids included, which makes the experience extremely over-the-top in a titillating, one-off kind of way. Babies are more misused than females born in China, and then adults don't hold back in what they say with yougins in presence, cursing and urination included. That unabashed outlook is gonna cause a share of gasping and head-shakes, not to mention I-can't-believe-they-did-that laughter all at the same time. It's a movie that you gotta forget all social stigmas and just let loose to the ludicrousness, otherwise this is gonna be a tough watch and not recommended. The main culprit is the Mitch role, and then the raunchiness is continued when that persona has to be maintained when Bateman switches to Reynolds. He tries to keep up with the bachelor's extracurricular activities, including meeting his sex-crazed partners and showing up to the set of his "acting" job, which turns out to be something a little more risque than the reserved dad and businessman agreed to.

The whole ride isn't a roller coaster of do-whatever-it-wants as it eventually turns into a safer formula that takes a lighter stroll for the latter portion where there is room for character learning and growth and things are more content. The original Dave character wants to make partner in the law firm he's worked so hard to get to, but at the same time doesn't have time for his wife. Jamie (Leslie Mann) has some funny and also serious scenes from uncertainty setting in with her "new" husband but that's not to say there weren't issues beforehand. The original Mitch character is always running away from finishing anything that he starts and uses the opportunity to hopefully rectify himself if that's even possible. Olivia Wilde shows with interest on both fronts as Sabrina: a pretty face that works in the law firm. Dave wanted her before the switch, and Mitch being Dave, being his sneaky perverted self, says they should go out and she turns out to be much different than the conservative lady she appears in the office.

"The Change-Up" plays on the absurd while others around them play it straight and act confused. Reynolds and Bateman definitely have their moments but don't always transition their reverse rolls back and forth smoothly as it feels like they can't always shake their stage names. This plays out the fantasy of how it would be if you did things differently in your earlier years and shows that it might not be too late to do so from a changed perspective. Yeah, the message was delivered a little fluffy and easily but, then again, this is simple entertainment that uses taboos to get its audience loosened up from the day-to-day of rules and what we're supposed to do. The movie rides a fine line between potentially getting someone on the complete defensive, or on the other side letting loose and going with the insane flow. It can be nice to see them--not yourself, mind you--break the rules for basic escapism even if that diversion wasn't without its over-daring snags that make it more closer to a minor comedy than an instant classic.

Director: David Dobkin (Shanghai Knights, Wedding Crashers, Fred Claus)
Starring: Ryan Reynolds, Jason Bateman, Leslie Mann, Olivia Wilde, Alan Arkin
Website: IMDB

Review: The Other Guys (2010) TH

Off-the-wall cops and financial frauders

At first glance, this looks to be another same-ol', same-ol' buddy cop movie after just getting over the sour taste of "Cop Out." Though this was one of the better comedies of 2010, as generic, stupid or pointless it may initially seem--it ain't. This also works as an action movie spoof that is less exaggerated than "Loaded Weapon" and "Hot Shots" and more closer to "Hot Fuzz," if still unlike. It's off in its own odd-ball world where everyday life is noteworthy and completely over-the-top silly in a way similar to the director's other works like "Anchorman" and "Talladega Nights." The simplistic story has some relating points, though the scenarios and setups in between is what makes this an amusing ride that has capability of repeating and reliving.

Two NYPD detectives are begrudgingly assigned together and have to maintain the partner's code which entails getting each other's backs, except they have nothing in common to the point of being the absolute antithesis of one another. Terry Hoitz (Mark Wahlberg) is a man's man who's more street wise than book smart and also doesn't express himself through anything but anger and disapproval: a yell, a smirk, a cold stare at the slightest slip in his chauvinist view. Allen Gamble (Will Ferrell) is a learned but gullible man who's the everybody-make-fun-of guy due to everything he does going strictly by the book, not to mention looking like a straight-edge accountant that he is who plays it safe behind his desk, outdated specs and the wheels of a Prius.

The super cops--more like "superstars"--of the department get first dibs on calls and are practically treated like royalty. Highsmith (Samuel L. Jackson) and Danson (Dwayne Johnson) wear their shades, flashy clothing and drive their muscle cars, except until they unexpectedly check out early and someone else takes their place in front of the cameras and press stands. Hoitz wants him and his tight-end partner to step up after being stuck behind a desk--or as he puts it "I am a peacock, you gotta let me fly!"--by doing everyone else's paper work. Except first they have some competition with the wise crackin' partners Martin (Rob Riggle) and Fosse (Damon Wayans Jr.) who can't help to mess with Gamble, such as making him do a "desk pop" and fire his gun in the office as if it's just some supposed initiation. Gamble stumbles onto some evidence after making what seems to be a pointless arrest for a financial investor named David Ershon (Steve Coogan). After the Captain (Michael Keaton) tells them to repeatedly back off, they still urge ahead as they have a gut hunch and suspect something fishy's going with other people's money. That is only after they get bribed to sports games and concerts but are too stupid to realize, not to mention are being chased by a ruthless security team headed by an Australian named Wesley (Ray Stevenson) who keeps rolling a bolder in their path.

As dorky as Gamble is you realize there's another side to him, such as for some reason attracting all the fine ladies without even having to try. Hoitz is a straight shooter that you find out has something in him but is afraid to let it out, such as secretly knowing ballet, but only because he wanted to imitate how "queer" it was when younger. They have to prove themselves and reverse the decisions that landed them to desk jockey duty instead of being out there with the big boys. But first they have to dodge a couple of reprimands from the Captain who needs to keep his guys in line so he can put his bi-sexual son who wants to be a DJ through college. Now it's all about two cops going out on a limb by sifting through the politics and doing what's right. Yep, it's about as cliche as that but the story--still with some relating points about bailouts and Ponzi schemes--isn't the entire emphasis but also the inventive puns, jokes and comedic observations to go along with it about things in general, pop culture and cop movie fare.

Similar to "Cop Out," this has everything a bad movie usually has, except the difference is "The Other Guys" used its purposeful set-backs to its advantage with consistent timing and the chemistry of a team to pull that off with. Otherwise, it's such an overused convention that rides a fine line that can fall on its face when not pulling off the trick without a hitch. Where would this be without some shoot outs and car chases like a good ol' cop and bad guys story even if they are even more exaggerated than what they're emulating. This is often direct, unashamed, raunchy and mean-spirited, but at the same time hilarious in that it takes it all the way to the hilt without feeling guilty about it. They say some of the most ridiculous lines but while maintaining a completely stern-faced serious look. This has an abundance of I-can't-believe-they-just-went-there snappy jokes with a well-timed comedic side on all fronts that makes this such a thoroughly and highly entertaining and fun experience that should be fresh for some time.

Director: Adam McKay (Anchorman, Talledega Nights, Eastbound & Down)
Starring: Will Ferrell, Mark Wahlberg, Michael Keaton, Damon Wayans Jr., Rob Riggle, Samuel L. Jackson, Dwayne Johnson, Eva Mendes
Website: IMDB

Review: Cop Out (2010) TH

Oh, buddy, more coppers

Brooklyn police detectives Jimmy (Bruce Willis) and Paul (Tracy Morgan) have been together as partners for the NYPD for 9 years, until they get suspended for 30 days without pay as per a botched sting operation involving Mexican drug dealers, excessive force and now an unusable informant. Jimmy's daughter is getting married and instead of letting his ex-wife's wealthy, condescending husband Roy (Jason Lee) foot the bill, he volunteers despite having no income for the next month and nothing to his name besides a very expensive, one-of-a-kind Andy Pafko baseball card.

This jumps over to a subplot that ties into the very reason they got suspended when the card gets stolen. They dodge giving information to the arch rival detectives Mangold and Hunsaker--who are constantly give them sarcastic flack for being screw ups--and decide to follow up the leads on their own. After getting some information off an effeminate cat burglar, who doesn't know when to shut up, they end up at the crib of the Catholic, murdering-dudes-left-and-right gang leader named Poh Boy who's got a posse that's armed to the teeth like a bunch of modern outlaw bandidos. The intimidating and potentially loco man named after a sandwich negotiates a deal that if they can get back his Mercedes Benz from some elusive guys who stole it then he'll hand over the card. Though a simple transaction turns into a fiasco that involves a growing list of illegal activities that these honest cops can't look the other way on.

"Cop Out" is a from-one-thing-to-another type movie, where the plot is loose and the players throw out some banter for the meantime. Problem is the story isn't note worthy and on top of that the chemistry between Willis and Morgan feels hit and miss, not to mention they frequently jump in and out of character. Ana de la Reguera as Gabriela is cute and likable, and the gang leader, played by Guillermo Diaz, is brutal to the point of exaggeration but also brings a certain on-screen presence just to see his next move. This isn't just a basic movie, it's a movie that doesn't hold that much power over its audience: they don't capitalize on what to root for, they don't take advantage of relating factors, there's nothing of value to polish with upkeep, light on mystery, small surprises, nothing to learn and repeat, little on growth, not as big on action and this produces superficial rewards--exhales. The one thing it does have is some nostalgia going on: '80s synthesizer music mixed with other radio hits, as well as more references to other movies than one can count. It plays on the cult, but doesn't produce a following itself.

This is purposely derivative and what makes it trip over its own shoelaces is it never fully crosses back over to walk with its own gait. "Lethal Weapon" and "Rush Hour" played on the tried-and-true and had their cliches as well, but still added some other elements to make the experience have their own distinctions to go back to. This is the second chance I've given this--being a fan of some of Kevin Smith and Bruce Willis' work--with the first time being okay if nothing special, but on the second time the slap stick jokes wear thin and have a shelf life of one time use with some currently having a stale taste as is. After awhile "Cop Out" feels like it's dragging through the mud as what's displayed isn't producing anything that's exceptional, even by simple escapism standards. For shame.

Director: Kevin Smith (Clerks, Dogma, Zack and Miri Make a Porno)
Starring: Bruce Willis, Tracy Morgan, Guillermo Diaz, Ana de la Reguera, Jason Lee, Kevin Pollak, Michelle Trachtenberg
Website: IMDB

The Hangover: Part II (2011)

Starring: Bradley Cooper, Ed Helms, Zach Galifianakis

Director: Todd Phillips

IMDb: http://www.imdb.com/title/tt1411697/

Wikipedia: http://en.wikipedia.org/wiki/The_Hangover:_Part_II

Here we go again...

The Wolfpack is back, and they are once again having to retrace their steps after a not-so-unforgettable night. Phil, Stu, and Doug (Bradley Cooper, Ed Helms, and Zach Galifianakis respectively) are in Thailand to attend Stu's wedding, but things go airy when they wake up in a shady motel in Bangkok and find that the groom's future brother-in-law (Mason Lee) has gone missing. They go out to look for him, and in the process get into all sorts of shenanigans, particularly when a returning Leslie Chow (once again played by Ken Jeong) and a cigarette- smoking monkey (Chrystal) get involved.

There isn't much more I can really say about this movie. I mean, I can, but it would involve spoiling a bunch of the jokes. So I will just say that it is both entertaining and funny. It's not quite as good as the first one, but it's fairly close; not bad for a sequel. I guess my only criticism is that it's basically the same movie as the original. Obviously, the specific details are different, but the basic story-line is practically identical. But to be honest, this really didn't bother me that much. After all, it's a comedy, which tend to be less dependent on their plots and more on the jokes they provide. And the filmmakers managed to make it interesting enough so that even if you have some idea of what will happen next, you will still look forward to it.

Well, that's pretty much it. If you liked the first film, you will like this one, but I also recommend it in a general sense as well.

I don't own the rights to the poster above. It's for entertainment purposes only. Please don't sue me. But you can sue Leslie Chow; he's cool with it.

NIC CAGE MONTH: Amos and Andrew (1993)

Director: E. Max Frye

Starring: Nicolas Cage, Samuel L. Jackson

Website: http://www.imdb.com/title/tt0106266/

Welcome to Nic Cage Month, everyone! All Nic Cage, all the time and our first movie is an interesting little comedy from 1993 called Amos and Andrew.

The movie’s title is a sort of pun on this old radio sketch comedy show that eventually evolved into a TV sketch comedy show, Amos and Andy. The show revolved around the comedic exploits of two guys wearing black facepaint named Amos and Andy – big shock. The movie…is a little different. In this film, Samuel L. Jackson plays a wealthy black writer who comes to a small island to relax and enjoy his summer when he gets mistaken for a burglar in his new house. Two dipshits alert the police as well as the fattest, nosiest reporter alive and then all hell breaks loose.

But wait! When the corrupt chief of police, striving to get elected yet again, realizes he messes up, he consults a very special prisoner in his ranks…Nic Cage! Yes, the first time you see Nic Cage in this movie, he’s in prison; is anyone really surprised? The corrupt cop tells Cage to go pretend to be a house-robber, but things go wrong when he breaks the deal he made with Cage and Cage starts taking his role a little too seriously. What follows is pretty much your standard Comedy of Misunderstandings, so snugly fit into that role that it could be trademarked.

The good thing about this movie is that it is a well constructed, by-the-books comedy with some dramatic elements to make the audience all teary eyed. It pretty much checks all the boxes for what these kinds of movies have to do. Our two main characters are vastly different – Nic Cage is brash and spontaneous, without much regard for the law, and Samuel Jackson is uptight with a chip on his shoulder about his race. Yeah, doesn’t that kind of sound like his character in Die Hard with a Vengeance? Did he just have some kind of contractual obligation to play characters like that in ’93?

"I reserve the right to remain silent." 

But anyway, yeah; the characters get into various tiffs and get their panties in a bunch a few times, they bond with one another and there are several scenes where they point out what is so different about them. It’s pretty much everything you would expect out of a comedy like this. The bad side is that while the movie doesn’t do anything wrong, it also doesn’t really go the extra mile and blow the audience away, either. It’s not a movie you’ll really look back at and remember as a great piece of poignant cinema. It’s enjoyable while it’s on, but Amos and Andrew won’t really stick in your head afterward.

The movie is mostly carried by the two actors, because honestly, could you tell me you would watch this movie if it didn’t have Samuel Jackson or Nic Cage in it? Anybody? No? I thought so. Jackson is good as the prestigious, indignant Andrew Sterling, but it’s really Cage who is the more interesting character. You get a lot of sympathy for him because the cops screwed him over, and I think my favorite moment in the entire film is his speech about sea monkeys somewhere in the movie’s second act. It’s really poignant and will make you want to cry.

"You better not."

But THERE WILL BE NO CRYING DURING NIC CAGE MONTH! That’s for wimps!

So, yeah, check this movie out; it’s got some good moments here and there and certainly is at least a little bit of a gem. But there will be more outrageous discoveries to come in Nic Cage month…just you wait, readers.

Just you wait.

Pictures not mine, copyright of their original owners.

Twins (1988)

Starring: Arnold Schwarzenegger Danny DeVito, Kelly Preston

Directed by: Ivan Reitman

"Twins" is a film about...well, twins...who are separated at birth, and are unaware of each other's existence until decades later. It soon becomes clear that they are very different, and not just in physical appearance, as they try to bond, evade dangerous criminals, and search for their long lost mother.

This is a good movie. To be honest, it was not quite as funny as I thought it was going to be and I did not like it as much as "Kindergarten Cop" (one of Arnold Schwarzenagger and Ivan Reitman's other collaborations). Still, I had a decent amount of laughs while watching the film and it has its own little charms. It was kind of amusing seeing Schwarzenagger playing a "Mr. Sensitive" role for once. Danny DeVito also does well as a schmuck who gradually learns that he has a conscience, and the two of them have good chemistry with one another. There is one scene in the movie where DeVito's character successfully persuades his girlfriend to help him out using a puppy-dog look. That really sums up the feel of the movie: you know what you are getting is not high-quality material, but you cannot help but be won over by it. It is not a strong recommendation, but it is a recommendation nonetheless.