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Chris Sawin (602 KP) rated Once Upon a Time in Hollywood (2019) in Movies
Jul 26, 2019
Leonardo DiCaprio (1 more)
Brad Pitt
It's 2 hours and 41 minutes and feels long. (2 more)
Story elements don't seem to go together.
Charles Manson stuff feels forced.
With Once Upon a Time…in Hollywood being his ninth feature film as writer and director and a career just shy of the three decade mark, you should probably know what to expect from a Quentin Tarantino film. Amongst all of the usual Tarantino trademarks of memorable performances, long strings of dialogue, a questionable amount of dancing, the inclusion of several shots of barefoot women, interior car sequences, and a relentless tidal wave of vulgarity that drowns the audience in a sea of sharp expletives, Once Upon a Time...in Hollywood lacks the one element that truly makes a Tarantino film worthwhile; coherent storytelling.
Once Upon a Time…in Hollywood should be great based on its cast alone. Leonardo DiCaprio delivers one of his more complex performances as television star turned infrequent movie star Rick Dalton. Dalton made a name for himself in a western TV series called Bounty Law. Rick burned that bridge when he tried to make the jump to movies and failed. Now he only seems to get work as the TV villain. Rick gets an opportunity in Rome to star in Italian spaghetti westerns and reluctantly accepts. Rick is an alcoholic that struggles with a stutter when he speaks. He has low self-esteem and questions every decision he makes. The scene where he flubs his lines followed by his angry outburst in his trailer is extraordinary. He’s also the one person on the planet who seems to hate hippies more than Eric Cartman.
Brad Pitt portrays Rick’s stunt double Cliff Booth. Cliff is a Vietnam War veteran who may or may not have (but probably did) kill his wife without any repercussions. Cliff hardly works as a stunt double anymore and mostly makes his living driving Rick around and doing various odd jobs for him. Cliff is the exact opposite of Rick. Rick lives in the Hollywood Hills in a roomy luxurious house with a pool and an extravagant view. Cliff lives in a trailer by a drive-in theater, eats macaroni and cheese for dinner, and has amazing chemistry with his pitbull Brandy. Cliff seems like a handy and capable guy, but he’s also extremely blunt. His to-the-point demeanor keeps Rick’s wilder antics in check the majority of the time. Cliff doesn’t exactly babysit Rick and allows him to live his own life, but he’s the one to give Rick the “you’re better than that,” kind of pep talk after it’s over.
One of the things mentioned in the film by Kurt Russell (he plays Randy and does the voiceover as the narrator) is that Rick and Cliff share this bond that is practically as deep as a brotherhood yet lacks the commitment of a marriage. Their bond is the backbone of the film and it’s interesting because they both seem like half decent people. Cliff may have killed someone and Rick beats himself up harder than anyone else could, but they’re both hard working individuals who put everything into their work and they have each other’s backs through thick and thin. Their bond is almost wholesome to the minuscule extent Tarantino will allow.
Brad Pitt’s chemistry with Brandy is also quite entertaining. There’s something comical about seeing Cliff rummage through his pantry filled with nothing but cans of dog food only to pull out two specific cans; one rat flavored and one raccoon flavored. He opens the cans with a manual can opener, tips them over in mid-air after removing their lids, and lets gravity guide that slop into whatever is designated as a food bowl that particular evening in a sickening PLOP! And a meaty splash that overflows onto the kitchen floor tiles. Cliff and Brandy seem almost as close as Cliff and Rick. They have this partnership that is easy to detect as soon as they’re on-screen together.
Mike Moh’s Bruce Lee impression isn’t totally flawless, but it is fairly excellent regardless. Moh is Korean and Bruce Lee was Chinese-American, so it’s an intriguing fit that works way better than you expect. The scene Moh has with Pitt as Bruce Lee and Cliff Booth have a physical encounter is an entertaining highlight of the film. The outrageous violence you’ve come to expect in a Tarantino film isn’t present in Once Upon a Time…in Hollywood until the final scene and it is a glorious display of dog biting, face pummeling, and flame throwing mayhem. If Cliff Booth hasn’t already established himself as a certified badass through the first two and a half hours, those last ten minutes certainly allow him to obtain that title with ease.
The unfortunate aspect of Once Upon a Time…in Hollywood is that everything doesn’t really come together in a satisfying way. You’ve got a washed up actor trying to regain the spotlight, a stunt double struggling to find work and make a living despite his troublesome reputation, and the Charles Manson stuff with Roman Polanski (Rafal Zawierucha) and Sharon Tate (Margot Robbie) living next door to Rick and Cliff’s time at the Spahn Movie Ranch with the Manson Family. In 1968, Tate and four others were murdered in the home she shared with Polanski by members of the Manson Family while being eight-and-a-half months pregnant. It’s a horrendous statistic that puts a different perspective on the ending if you didn’t know beforehand. The Manson inclusion mostly feels like an afterthought that isn’t ever taken seriously.
So many recognizable names are a part of the cast and everyone outside of Brad Pitt and Leonardo DiCaprio are basically a waste. Margot Robbie has a few moments that mostly reside in her reacting to films starring Sharon Tate in a movie theater. Tate seems to represent this pure and positive light in the film while Rick and Cliff experience the uglier aspects of the Tarantino-skewed late 1960s. Robbie downright glows during that movie theater sequence with a bubbly and contagious attitude, but doesn’t do much else over the course of the film.
Once Upon a Time…in Hollywood feels longer than its 141-minute duration. It drags so often in between its enjoyable moments and seems to purposely lag during every dialogue heavy sequence that is just talking without any sort of payoff. Tarantino’s attention to the music of whatever era he’s depicting has always been a staple in his films, but it is on the verge of annoyance here. The dancing in the film feels like an excuse to stretch out the story that much longer for no other reason other than to blatantly rub the audience’s nose in the time period.
There are some masterful elements to Once Upon a Time…in Hollywood that shouldn’t be overlooked. Leonardo DiCaprio’s Rick F’ing Dalton sequence is explosively brilliant and Brad Pitt has this abrasive charm as Cliff Booth. It’s difficult to make the argument that Quentin Tarantino has original stories still worth telling at this point in his career though since this suffers from incoherent progression and a reasonable purpose for why we should care about these characters. At one point in the film, Rick tells Cliff with tears streaming down his face and this unhealthy cough full of cancerous phlegm, “It’s official old buddy. I’m a has-been.” Maybe this is how Tarantino feels about himself now that he’s nearing the end of his filmmaking career. That struggle to find meaning and a welcome audience for something he used to care deeply about but may have lost the passion for in recent years. He had a good run, but as it stands Once Upon a Time…in Hollywood is overstuffed yet bland despite its two zesty leads.
Once Upon a Time…in Hollywood should be great based on its cast alone. Leonardo DiCaprio delivers one of his more complex performances as television star turned infrequent movie star Rick Dalton. Dalton made a name for himself in a western TV series called Bounty Law. Rick burned that bridge when he tried to make the jump to movies and failed. Now he only seems to get work as the TV villain. Rick gets an opportunity in Rome to star in Italian spaghetti westerns and reluctantly accepts. Rick is an alcoholic that struggles with a stutter when he speaks. He has low self-esteem and questions every decision he makes. The scene where he flubs his lines followed by his angry outburst in his trailer is extraordinary. He’s also the one person on the planet who seems to hate hippies more than Eric Cartman.
Brad Pitt portrays Rick’s stunt double Cliff Booth. Cliff is a Vietnam War veteran who may or may not have (but probably did) kill his wife without any repercussions. Cliff hardly works as a stunt double anymore and mostly makes his living driving Rick around and doing various odd jobs for him. Cliff is the exact opposite of Rick. Rick lives in the Hollywood Hills in a roomy luxurious house with a pool and an extravagant view. Cliff lives in a trailer by a drive-in theater, eats macaroni and cheese for dinner, and has amazing chemistry with his pitbull Brandy. Cliff seems like a handy and capable guy, but he’s also extremely blunt. His to-the-point demeanor keeps Rick’s wilder antics in check the majority of the time. Cliff doesn’t exactly babysit Rick and allows him to live his own life, but he’s the one to give Rick the “you’re better than that,” kind of pep talk after it’s over.
One of the things mentioned in the film by Kurt Russell (he plays Randy and does the voiceover as the narrator) is that Rick and Cliff share this bond that is practically as deep as a brotherhood yet lacks the commitment of a marriage. Their bond is the backbone of the film and it’s interesting because they both seem like half decent people. Cliff may have killed someone and Rick beats himself up harder than anyone else could, but they’re both hard working individuals who put everything into their work and they have each other’s backs through thick and thin. Their bond is almost wholesome to the minuscule extent Tarantino will allow.
Brad Pitt’s chemistry with Brandy is also quite entertaining. There’s something comical about seeing Cliff rummage through his pantry filled with nothing but cans of dog food only to pull out two specific cans; one rat flavored and one raccoon flavored. He opens the cans with a manual can opener, tips them over in mid-air after removing their lids, and lets gravity guide that slop into whatever is designated as a food bowl that particular evening in a sickening PLOP! And a meaty splash that overflows onto the kitchen floor tiles. Cliff and Brandy seem almost as close as Cliff and Rick. They have this partnership that is easy to detect as soon as they’re on-screen together.
Mike Moh’s Bruce Lee impression isn’t totally flawless, but it is fairly excellent regardless. Moh is Korean and Bruce Lee was Chinese-American, so it’s an intriguing fit that works way better than you expect. The scene Moh has with Pitt as Bruce Lee and Cliff Booth have a physical encounter is an entertaining highlight of the film. The outrageous violence you’ve come to expect in a Tarantino film isn’t present in Once Upon a Time…in Hollywood until the final scene and it is a glorious display of dog biting, face pummeling, and flame throwing mayhem. If Cliff Booth hasn’t already established himself as a certified badass through the first two and a half hours, those last ten minutes certainly allow him to obtain that title with ease.
The unfortunate aspect of Once Upon a Time…in Hollywood is that everything doesn’t really come together in a satisfying way. You’ve got a washed up actor trying to regain the spotlight, a stunt double struggling to find work and make a living despite his troublesome reputation, and the Charles Manson stuff with Roman Polanski (Rafal Zawierucha) and Sharon Tate (Margot Robbie) living next door to Rick and Cliff’s time at the Spahn Movie Ranch with the Manson Family. In 1968, Tate and four others were murdered in the home she shared with Polanski by members of the Manson Family while being eight-and-a-half months pregnant. It’s a horrendous statistic that puts a different perspective on the ending if you didn’t know beforehand. The Manson inclusion mostly feels like an afterthought that isn’t ever taken seriously.
So many recognizable names are a part of the cast and everyone outside of Brad Pitt and Leonardo DiCaprio are basically a waste. Margot Robbie has a few moments that mostly reside in her reacting to films starring Sharon Tate in a movie theater. Tate seems to represent this pure and positive light in the film while Rick and Cliff experience the uglier aspects of the Tarantino-skewed late 1960s. Robbie downright glows during that movie theater sequence with a bubbly and contagious attitude, but doesn’t do much else over the course of the film.
Once Upon a Time…in Hollywood feels longer than its 141-minute duration. It drags so often in between its enjoyable moments and seems to purposely lag during every dialogue heavy sequence that is just talking without any sort of payoff. Tarantino’s attention to the music of whatever era he’s depicting has always been a staple in his films, but it is on the verge of annoyance here. The dancing in the film feels like an excuse to stretch out the story that much longer for no other reason other than to blatantly rub the audience’s nose in the time period.
There are some masterful elements to Once Upon a Time…in Hollywood that shouldn’t be overlooked. Leonardo DiCaprio’s Rick F’ing Dalton sequence is explosively brilliant and Brad Pitt has this abrasive charm as Cliff Booth. It’s difficult to make the argument that Quentin Tarantino has original stories still worth telling at this point in his career though since this suffers from incoherent progression and a reasonable purpose for why we should care about these characters. At one point in the film, Rick tells Cliff with tears streaming down his face and this unhealthy cough full of cancerous phlegm, “It’s official old buddy. I’m a has-been.” Maybe this is how Tarantino feels about himself now that he’s nearing the end of his filmmaking career. That struggle to find meaning and a welcome audience for something he used to care deeply about but may have lost the passion for in recent years. He had a good run, but as it stands Once Upon a Time…in Hollywood is overstuffed yet bland despite its two zesty leads.
BankofMarquis (1832 KP) rated Rocketman (2019) in Movies
Jun 11, 2019
Strong Lead Performance
I have to admit, I thought the Freddy Mercury bio-pic BOHEMIAN RHAPSODY was just "meh" and that Rami Malek was "just o'k" as the Queen frontman (personally, I would have given the Oscar to Christian Bale for his portrayal of Dick Cheney in VICE) so I was not rushing to the multi-plex to check out the Elton John musical film ROCKETMAN. And the fact that the release of this film was "buried" in the summer and not right before "Oscar Season" gave me room to pause.
And...I would be wrong...for ROCKETMAN is a fun, fantastical fantasy musical depicting the rise and fall (by drug and alcohol abuse) of one of rock's most flamboyant showman of the 1970's.
Following the "Jukebox Musical" blueprint of something like JERSEY BOYS, Rocketman follows a young Reggie Dwight as he discovers his musical talent and grows into the Global Superstar known as Elton John.
I was happy that the filmmakers went this route (vs the bio-pic route that BOHEMIAN RHAPSODY went) for they were able to use the vast catalog of Elton John/Bernie Taupin tunes to their fullest advantage, when it made sense to drive the narrative forward - or to give the storytelling a shot of adrenaline.
This film had Elton John's blessings and he was not kind to a few people in his life - most notably his mother (an almost unrecognizable Bryce Dallas Howard in a strong turn), his father (Steve Mackintosh, who I had never seen before) and his Manager, John Reid (Game of Throne's Richard Madden). All 3 are pretty one-dimensional villains that help contribute to Elton's drug and alcohol abuse.
On the other side of the coin is his writing partner, Bernie Taupin (Jamie Bell, the original BILLY ELLIOT in a performance that I think is the best of his career) and his Grandmother, Ivy (good ol' Gemma Jones BRIDGET JONES DIARY and Madam Pomfrey in the Harry Potter films). Both of these characters are generally positive influences on Elton's life, trying to understand and support our hero on his journey.
As for our hero, Taran Egerton (the KINGSMAN films) embodies Elton with panache and zeal while showing an underlying shyness and insecurity that helps lead to his abuse issues. Egerton is EXCELLENT in this role - both in acting and singing. He doesn't so much imitate Elton John but embodies the essence of Sir Elton and his performance is quite effective. If Rami Malek deserved his Oscar for playing Freddy Mercury in BOHEMIAN RHAPSODY then Taran Egerton better be in the Oscar conversation this year.
The film was Directed by Dexter Fletcher (who was brought on to finish BOHEMIAN RHAPSODY once Bryan Singer was fired from that film for his on-set behavior), so he puts to good use his experience on the Queen movie, keeping the action moving fast, the characterizations simple (but satisfying) enough while showcasing just enough music to fill a "Best of" Album.
While BOHEMIAN RHAPSODY was a "meh" movie with a buffo ending (the recreation of the LIVE AID concert was amazing), ROCKETMAN suffers from just the opposite problem. Starting off strong and growing weaker until it ends in "meh" fashion. The fact that this film musical fantasy decided to end with a faithful recreation of the I'M STILL STANDING music video is at the heart of the issue. I understand the implied underlying meaning of this song selection, but it just doesn't pack the punch that a live concert appearance would have.
Come for the music, stay for Egerton's performance and you'll be glad you did.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
And...I would be wrong...for ROCKETMAN is a fun, fantastical fantasy musical depicting the rise and fall (by drug and alcohol abuse) of one of rock's most flamboyant showman of the 1970's.
Following the "Jukebox Musical" blueprint of something like JERSEY BOYS, Rocketman follows a young Reggie Dwight as he discovers his musical talent and grows into the Global Superstar known as Elton John.
I was happy that the filmmakers went this route (vs the bio-pic route that BOHEMIAN RHAPSODY went) for they were able to use the vast catalog of Elton John/Bernie Taupin tunes to their fullest advantage, when it made sense to drive the narrative forward - or to give the storytelling a shot of adrenaline.
This film had Elton John's blessings and he was not kind to a few people in his life - most notably his mother (an almost unrecognizable Bryce Dallas Howard in a strong turn), his father (Steve Mackintosh, who I had never seen before) and his Manager, John Reid (Game of Throne's Richard Madden). All 3 are pretty one-dimensional villains that help contribute to Elton's drug and alcohol abuse.
On the other side of the coin is his writing partner, Bernie Taupin (Jamie Bell, the original BILLY ELLIOT in a performance that I think is the best of his career) and his Grandmother, Ivy (good ol' Gemma Jones BRIDGET JONES DIARY and Madam Pomfrey in the Harry Potter films). Both of these characters are generally positive influences on Elton's life, trying to understand and support our hero on his journey.
As for our hero, Taran Egerton (the KINGSMAN films) embodies Elton with panache and zeal while showing an underlying shyness and insecurity that helps lead to his abuse issues. Egerton is EXCELLENT in this role - both in acting and singing. He doesn't so much imitate Elton John but embodies the essence of Sir Elton and his performance is quite effective. If Rami Malek deserved his Oscar for playing Freddy Mercury in BOHEMIAN RHAPSODY then Taran Egerton better be in the Oscar conversation this year.
The film was Directed by Dexter Fletcher (who was brought on to finish BOHEMIAN RHAPSODY once Bryan Singer was fired from that film for his on-set behavior), so he puts to good use his experience on the Queen movie, keeping the action moving fast, the characterizations simple (but satisfying) enough while showcasing just enough music to fill a "Best of" Album.
While BOHEMIAN RHAPSODY was a "meh" movie with a buffo ending (the recreation of the LIVE AID concert was amazing), ROCKETMAN suffers from just the opposite problem. Starting off strong and growing weaker until it ends in "meh" fashion. The fact that this film musical fantasy decided to end with a faithful recreation of the I'M STILL STANDING music video is at the heart of the issue. I understand the implied underlying meaning of this song selection, but it just doesn't pack the punch that a live concert appearance would have.
Come for the music, stay for Egerton's performance and you'll be glad you did.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (980 KP) rated Click (2006) in Movies
Aug 14, 2019
Michael Newman (Adam Sandler) is a man in crisis. As a caring a devoted father and husband, Michael is at the end of his rope as his life has become a non-stop series of projects and endless deadlines as he attempts to become a partner in his architecture firm.
His boss, Ammer (David Hasselhoff) is constantly piling work on top of Michael’s already full plate, and promises a pending partnership which only drives Michael even harder at the expense of quality time for himself and his family.
With events such as camping trips, 4th of July family outings and his swim meets being lost to his increasing workload, Michael is in need of help as even his loving wife Donna (Kate Beckinsale), is becoming frustrated with his lack of time for his family and the fact that his family has become a distant second fiddle to his job.
When his frustration point gets the best of him, Michael decides to take a drive one night and locate a universal remote in an effort to clear up the clutter of remotes that inhabit his own.
With only a Bed Bath and Beyond open, Michael finds himself in a remote room of the store where a sympathetic employee named Morty (Christopher Walken), says he has the answer to Michaels situation, a special universal remote that is his free of charge.
Michael is skeptical but when Morty assures him that it is an advanced prototype and that sometimes a good guy need breaks in life, he sets home with the remote.
Eventually Michael realizes that the remote has the power to speed up, freeze, and access various moments of his life. Suddenly menial tasks, work, and other events can be avoided simply by forwarding past those points.
As Michael works with the remote, he is visited from time to time by Morty who shows him features such as a DVD like menu where Michael can look back at everything from past girlfriends to his conception and birth.
After a setback on his career path, Michael decides to fast forward to his promotion and is shocked to discover that not only has more time passed than he expected, but that his relationships at home have been strained in the process.
If this is not enough trouble for Michael, the remote starts to take on a mind of its own, and soon forwards him in time without his approval, forcing Michael to face the changes and repercussions of a life out of control.
Click is easily one of Sandler’s best films since “The Wedding Singer” and “Fifty First Dates”, as it blends the typical Sandler humor with moments of great candor and tenderness.
The supporting work of Walken and Beckinsale is enhanced by the presence of Henry Winkler ads to the enjoyment of the film.
Frank Coraci who previously directed Sandler in (The Wedding Singer), and (The Waterboy), is not afraid to force Sandler to stretch beyond the familiar comedic routines for which he has been known and make him address more serious subject matter.
While some fans may find the blend of comedy and a more mature subject matter difficult to accept, Click is a novel comedy that is filled with laughs and yet takes the time to address important topics without ever being heavy handed.
Some may want to take issues with the crude humor, and raise issues about the remote and why certain things were done or not done. To do this would be in my opinion would be missing the point of the film which is to remind us, that no matter what, take the time out for those that are important in your life.
His boss, Ammer (David Hasselhoff) is constantly piling work on top of Michael’s already full plate, and promises a pending partnership which only drives Michael even harder at the expense of quality time for himself and his family.
With events such as camping trips, 4th of July family outings and his swim meets being lost to his increasing workload, Michael is in need of help as even his loving wife Donna (Kate Beckinsale), is becoming frustrated with his lack of time for his family and the fact that his family has become a distant second fiddle to his job.
When his frustration point gets the best of him, Michael decides to take a drive one night and locate a universal remote in an effort to clear up the clutter of remotes that inhabit his own.
With only a Bed Bath and Beyond open, Michael finds himself in a remote room of the store where a sympathetic employee named Morty (Christopher Walken), says he has the answer to Michaels situation, a special universal remote that is his free of charge.
Michael is skeptical but when Morty assures him that it is an advanced prototype and that sometimes a good guy need breaks in life, he sets home with the remote.
Eventually Michael realizes that the remote has the power to speed up, freeze, and access various moments of his life. Suddenly menial tasks, work, and other events can be avoided simply by forwarding past those points.
As Michael works with the remote, he is visited from time to time by Morty who shows him features such as a DVD like menu where Michael can look back at everything from past girlfriends to his conception and birth.
After a setback on his career path, Michael decides to fast forward to his promotion and is shocked to discover that not only has more time passed than he expected, but that his relationships at home have been strained in the process.
If this is not enough trouble for Michael, the remote starts to take on a mind of its own, and soon forwards him in time without his approval, forcing Michael to face the changes and repercussions of a life out of control.
Click is easily one of Sandler’s best films since “The Wedding Singer” and “Fifty First Dates”, as it blends the typical Sandler humor with moments of great candor and tenderness.
The supporting work of Walken and Beckinsale is enhanced by the presence of Henry Winkler ads to the enjoyment of the film.
Frank Coraci who previously directed Sandler in (The Wedding Singer), and (The Waterboy), is not afraid to force Sandler to stretch beyond the familiar comedic routines for which he has been known and make him address more serious subject matter.
While some fans may find the blend of comedy and a more mature subject matter difficult to accept, Click is a novel comedy that is filled with laughs and yet takes the time to address important topics without ever being heavy handed.
Some may want to take issues with the crude humor, and raise issues about the remote and why certain things were done or not done. To do this would be in my opinion would be missing the point of the film which is to remind us, that no matter what, take the time out for those that are important in your life.
Gareth von Kallenbach (980 KP) rated Johnny English Strikes Again (2018) in Movies
Jul 2, 2019
My very first experience with the incredibly talented Rowan Atkinson was when I saw a silly Mr. Bean short that was played before the Beauty and the Beast movie. This was way back in 1991 and yet you wouldn’t believe that he’s aged at all during that time. Johnny English Strikes Again is the third movie in the Johnny English franchise, and is another James Bond inspired spoof where our never aging super spy once again tries to outwit a maniacal super genius hell bent on taking over the world.
The movie starts with Johnny English as a geography teacher at a private school in the heart of England. What makes this a light-hearted and perfect entrance to the movie is that instead of teaching geography lessons, he’s teaching the kids how to become spies. Not only does this result in some very chuckle worthy scenes but it also shows us that Johnny still yearns to be back in the field even though he’s an exceptional teacher to the young spies-in-training. As fate would have it, a hacker has released the identities of all MI-7 agents around the world, so the only hope that England has is to call back retired agents. Reluctantly, Johnny is given the job and of course the hijinks start before he even heads out on his mission. In a very cute and refreshing twist on the usual high-tech spy movies, Johnny prefers his spy gear old school, so he turns down the smart phone and hybrid vehicle and instead requests a gun and picks out an old gas-guzzling Aston Martin V8. It was a very clever way to show that his mission wasn’t going to be anything like how Ethan Hunt would handle things.
This leads us to the plot of the movie. Johnny’s mission, with the help of his faithful sidekick Bough (Ben Miller), is to track down the signal where the hacker has been carrying out his attacks and thwart them before the G12 summit takes place. His first stop is to the south of France, where he encounters an alluring Russian spy named Ophelia (Olga Kurylenko) who is clearly working against him. What follows is a slapstick tale of numerous follies as the unlikely trio dance, drive, and crash their way to saving the world.
As you might expect Johnny English forgoes the crudeness and lewd jokes that are popular in comedic films these days and brings back a much more wholesome family friendly comedy. There is no cursing to speak of, no real violence, and except for the last scene it barely rates in the PG category at all. It harkens back to the late 80’s and early 90’s with similar spoof movies like The Naked Gun, where silly dialog and accident-prone heroes are what leads to the laughter. It’s a film that certainly does not take itself seriously and expects the same from the viewing audience. Some of the humor in the movie may elicit a groan from being that bad…but it’s usually so bad that it becomes funny. I found myself laughing a lot more than I expected to and I wasn’t the only one in the theater laughing.
To truly enjoy Johnny English, you have to know what to expect going into it. I can’t imagine there will be many (particularly those who have seen the previous films) that will have particularly high expectations, and that’s where it shines. It may not win any comedy film awards or be the best movie you’ve ever seen but you’ll go away happy. If you enjoyed the previous films, you will certainly enjoy this film as it’s not a huge diversion from the formula and provides the same sort of silly gags throughout. It certainly won’t appeal to everyone and that’s okay, but if you think you might enjoy it even a little, it’s definitely worth a look.
The movie starts with Johnny English as a geography teacher at a private school in the heart of England. What makes this a light-hearted and perfect entrance to the movie is that instead of teaching geography lessons, he’s teaching the kids how to become spies. Not only does this result in some very chuckle worthy scenes but it also shows us that Johnny still yearns to be back in the field even though he’s an exceptional teacher to the young spies-in-training. As fate would have it, a hacker has released the identities of all MI-7 agents around the world, so the only hope that England has is to call back retired agents. Reluctantly, Johnny is given the job and of course the hijinks start before he even heads out on his mission. In a very cute and refreshing twist on the usual high-tech spy movies, Johnny prefers his spy gear old school, so he turns down the smart phone and hybrid vehicle and instead requests a gun and picks out an old gas-guzzling Aston Martin V8. It was a very clever way to show that his mission wasn’t going to be anything like how Ethan Hunt would handle things.
This leads us to the plot of the movie. Johnny’s mission, with the help of his faithful sidekick Bough (Ben Miller), is to track down the signal where the hacker has been carrying out his attacks and thwart them before the G12 summit takes place. His first stop is to the south of France, where he encounters an alluring Russian spy named Ophelia (Olga Kurylenko) who is clearly working against him. What follows is a slapstick tale of numerous follies as the unlikely trio dance, drive, and crash their way to saving the world.
As you might expect Johnny English forgoes the crudeness and lewd jokes that are popular in comedic films these days and brings back a much more wholesome family friendly comedy. There is no cursing to speak of, no real violence, and except for the last scene it barely rates in the PG category at all. It harkens back to the late 80’s and early 90’s with similar spoof movies like The Naked Gun, where silly dialog and accident-prone heroes are what leads to the laughter. It’s a film that certainly does not take itself seriously and expects the same from the viewing audience. Some of the humor in the movie may elicit a groan from being that bad…but it’s usually so bad that it becomes funny. I found myself laughing a lot more than I expected to and I wasn’t the only one in the theater laughing.
To truly enjoy Johnny English, you have to know what to expect going into it. I can’t imagine there will be many (particularly those who have seen the previous films) that will have particularly high expectations, and that’s where it shines. It may not win any comedy film awards or be the best movie you’ve ever seen but you’ll go away happy. If you enjoyed the previous films, you will certainly enjoy this film as it’s not a huge diversion from the formula and provides the same sort of silly gags throughout. It certainly won’t appeal to everyone and that’s okay, but if you think you might enjoy it even a little, it’s definitely worth a look.
Gareth von Kallenbach (980 KP) rated Safe House (2012) in Movies
Aug 7, 2019
In a complicated deadly game of international espionage things are rarely what they appear to be. Take the case of Matt Weston (Ryan Reynolds), a young man who, for all intents and purposes, appears to divide his time between his adoring French girlfriend (Nora Arnezeder) and a South African hospital. But if one were to pull back the curtain they would learn that Matt is actually a CIA agent who spends his time watching over a safe house, an assignment of painfully tedious monotony.
In the new action thriller “Safe House”, Reynolds eschews his typical charming, cocky, wisecracking on-screen personas to portray Matt as a mature young man with ambitions both inside and outside of his job. Matt longs to be assigned to a more glamorous position and is hopeful that when his 12 month tour in South Africa is up, a more exciting post awaits him in Paris. It doesn’t hurt that a Paris post will also allow him to be closer to his girlfriend when she returns to Europe in the near future. But his boss David Barlow (Brendan Gleason) isn’t as optimistic.
As his frustrations at the lack of mobility grows, Matt soon finds his quiet world torn asunder by the arrival of Tobin Frost (Denzel Washington). Frost is a former agent who went rogue and is considered an extremely dangerous and high-profile target. Having eluded the CIA for years, he only draws even more suspicion when he surrenders himself to a US consulate in South Africa. The CIA knows they have to act fast to determine what Frost knows, and quickly whisk him away to a safe house for intense interrogation. But the CIA aren’t the only ones who want to know Tobin’s secrets.
Although Matt is highly trained for his job running the safe house, he is very green when it comes to the reality of having to defend his domain against a surprise attack which leaves Tobin and Matt as the only survivors. Forced to flee and with nowhere to turn, Frost tries to convince Matt that they have been set up because someone in the agency does not want Frost to talk. At first skeptical, Matt is forced to step outside of his comfort zones and confront a deadly array of assassins as well as the threat posed by Frost himself and the unseen elements working against them. In a frantic race, Matt must keep Frost and himself alive as they attempt to reach safety and get to the truth behind the deadly game in which they’ve been cast.
Washington and Reynolds worked very well together and had a very natural, unforced chemistry. It was very nice to see Reynolds take on a grittier and more intense role than we have seen from him previously. Washington is a true artist at playing taciturn and wiley, and no one else can portray the pain and shock of being shot as subtly or as convincingly as Washington with just a simple change of expression.
That being said, the film had a number of issues. First and foremost, plot holes that you could drive a truck through and gaps in logic that really require the audience to take some serious leaps of faith. While there was some intense action, it was difficult to appreciate when it looked like the camera was being kicked around the floor during fight scenes, giving the film a very jerky quality. The film also suffered from some pacing issues with parts of the movie dragging as it worked toward an extremely predictable conclusion, one that I figured out very early into the film. There is some fine supporting work in the movie, particularly that of Gleeson and Arnezeder, as well as Ruben Blades as an old cohort of Frost’s, but it is not enough to help the film live up to its intriguing premise.
In the new action thriller “Safe House”, Reynolds eschews his typical charming, cocky, wisecracking on-screen personas to portray Matt as a mature young man with ambitions both inside and outside of his job. Matt longs to be assigned to a more glamorous position and is hopeful that when his 12 month tour in South Africa is up, a more exciting post awaits him in Paris. It doesn’t hurt that a Paris post will also allow him to be closer to his girlfriend when she returns to Europe in the near future. But his boss David Barlow (Brendan Gleason) isn’t as optimistic.
As his frustrations at the lack of mobility grows, Matt soon finds his quiet world torn asunder by the arrival of Tobin Frost (Denzel Washington). Frost is a former agent who went rogue and is considered an extremely dangerous and high-profile target. Having eluded the CIA for years, he only draws even more suspicion when he surrenders himself to a US consulate in South Africa. The CIA knows they have to act fast to determine what Frost knows, and quickly whisk him away to a safe house for intense interrogation. But the CIA aren’t the only ones who want to know Tobin’s secrets.
Although Matt is highly trained for his job running the safe house, he is very green when it comes to the reality of having to defend his domain against a surprise attack which leaves Tobin and Matt as the only survivors. Forced to flee and with nowhere to turn, Frost tries to convince Matt that they have been set up because someone in the agency does not want Frost to talk. At first skeptical, Matt is forced to step outside of his comfort zones and confront a deadly array of assassins as well as the threat posed by Frost himself and the unseen elements working against them. In a frantic race, Matt must keep Frost and himself alive as they attempt to reach safety and get to the truth behind the deadly game in which they’ve been cast.
Washington and Reynolds worked very well together and had a very natural, unforced chemistry. It was very nice to see Reynolds take on a grittier and more intense role than we have seen from him previously. Washington is a true artist at playing taciturn and wiley, and no one else can portray the pain and shock of being shot as subtly or as convincingly as Washington with just a simple change of expression.
That being said, the film had a number of issues. First and foremost, plot holes that you could drive a truck through and gaps in logic that really require the audience to take some serious leaps of faith. While there was some intense action, it was difficult to appreciate when it looked like the camera was being kicked around the floor during fight scenes, giving the film a very jerky quality. The film also suffered from some pacing issues with parts of the movie dragging as it worked toward an extremely predictable conclusion, one that I figured out very early into the film. There is some fine supporting work in the movie, particularly that of Gleeson and Arnezeder, as well as Ruben Blades as an old cohort of Frost’s, but it is not enough to help the film live up to its intriguing premise.
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Bob Mann (459 KP) rated Baby Driver (2017) in Movies
Sep 29, 2021
A summer film so cool that air-con is optional.
Sorry for the lack of posts folks…. with a holiday in sunny Portugal, I’ve not been to the pics for weeks!
There’s something inherently appealing about the concept of a getaway driver. A skillful ‘bad-boy’, but not normally bad enough to actually DO the nasty crime stuff…. merely be an active accomplice to it. As a result, it’s a subject that the movies have returned to time after time. I’m old and crusty enough to remember being wowed at seeing Ryan O’Neal in Walter Hill’s “Driver” on the big screen in 1978. And well before that, as a kid, my poor departed mother used to be driven crazy by me begging her to take me to see “The Italian Job” (the original 1969 version) YET again… probably the greatest getaway chase in movie history: I must have seen that film at least 20 times in the cinema. Of course more recently we’ve also had Ryan Gosling and Carey Mulligan in “Drive” on the same theme. Any I’ve forgotten?
But with Edgar Wright at the helm, a big name cast and an enticing trailer, I had high expectations for “Baby Driver” – and boy was I happy! This is such a seriously cool film on so many levels.
Opening with a bank heist followed by a kick-ass car chase, we follow ‘Baby’ (Ansel Elgort, “Allegiant”, “The Fault in our Stars”) as a tinnitus-suffering, music-infused getaway driver under the thumb of the criminal overlord Doc (Kevin Spacey, in icy Frank Underwood mode). Doc recruits an ever-changing mix-tape of villains for each job, including the psychopathic and appropriately named ‘Bats’ (Jamie Foxx, “Sleepless”), the chillingly dangerous Buddy (Jon Hamm, “Mad Men”, “Keeping Up With The Joneses”) and his “Bonnie-style” wife ‘Darling’ (Eiza González) and the moderately incompetent JD (Lanny Joon) (who changed his neck tattoo of “HATE” to “HAT” since it improved his job prospects… LOL…. “everybody loves a hat”!).
Baby’s life gets more complicated when the hoods become aware of his fledgling relationship with fellow-orphan Debora (Lily James) a waitress in a diner and another lever to keep Baby locked into the job that he is just so, so good at.
On the surface this might be perceived as being just another good excuse for a lot of CGI-driven car stunts in the style of “The Fate of the Furious”. But no. Firstly, as Edgar Wright declared before the special screening I saw, all of the car stunts were actually performed for real on the mean streets of Atlanta (and hats off to the film’s stunt coordinator Robert Nagle and his team for these). And secondly, the car scenes are almost secondary to the fabulous story and character development in the film. The script (also by Edgar Wright) is just brilliant. There are genuinely laugh-out loud moments in the movie, with one of the highlights for me being JD tasked with procuring Michael Myers “Halloween” masks for a heist. If you don’t find this scene hilarious, you are not human – official.
The only misstep for me in the script was an unbelievable event (both in terms of likelihood and – particularly – timing) during a closing car park fight***.
Elgort is really strong in the lead role, and suggested to me that if the role of the young Han Solo in the upcoming Star Wars spin-off hadn’t already gone to Alden Ehrenreich, then here was a very strong contender. All of the supporting roles are strong (as you would expect from such a stellar cast) with Jon Hamm being a standout, appearing truly demonic in the closing scenes. The one role I was less sure about in the film was that of Lily James, whose performance as the ‘sweet as apple pie’ waitress seemed a little too “animated” for the big screen in the early scenes – I remember an acting class by Michael Caine where he advised that given the size of movie screens it’s often the case that “stillness is good”. What works well on the small screen (I am a big fan of her roles in historical TV dramas like “Downton Abbey” and the impeccable “War and Peace”) perhaps sometimes needs modifying for the wide-screen experience. I greatly warmed to her portrayal in the action sequences later on though: she’s a great actress and one that this film can hopefully now propel into the higher echelons in Hollywood.
Another star of the film is the fabulous soundtrack coordinated by Oscar-winner Steven Price (“Gravity“) featuring (amongst many other classics) Queen’s “Brighton Rock”, Golden Earring’s “Radar Love”, the Simon and Garfunkel classic (obviously) and Bob & Earl’s “Harlem Shuffle”, all used to brilliant effect. This latter track leads me on to some early Oscar predictions: if this film doesn’t get nominated this year for Oscars for Best Editing (Jonathan Amos and Paul Machliss, “Scott Pilgrim vs the World”) and Best Sound Editing (Julian Slater), then there is no God! The “Harlem Shuffle” coffee run sequence is a masterclass in editing and direction. Starting off with what I thought might turn into a tribute to “Saturday Night Fever”, the scene neatly takes on a style all of its own. It’s use of – erm – “subtitles” is just brilliant.
The often subtle, and occasionally not so subtle, edits between scenes are also truly masterful, making this moviegoer laugh-out-loud with delight periodically at the movie-making skill on display.
All of this is orchestrated by Edgar Wright as director who – for me – has been a little inconsistent over the years (loved, loved, loved “Shaun of the Dead” and “Hot Fuzz”; “The World’s End” – not so much). Here, he delivers in spades and this film rockets immediately into my Films of the Year list for 2017. Awe inspiring.
Beg, steal, borrow, rob a bank – – do what you have to, but make sure you catch this film on the big screen.
There’s something inherently appealing about the concept of a getaway driver. A skillful ‘bad-boy’, but not normally bad enough to actually DO the nasty crime stuff…. merely be an active accomplice to it. As a result, it’s a subject that the movies have returned to time after time. I’m old and crusty enough to remember being wowed at seeing Ryan O’Neal in Walter Hill’s “Driver” on the big screen in 1978. And well before that, as a kid, my poor departed mother used to be driven crazy by me begging her to take me to see “The Italian Job” (the original 1969 version) YET again… probably the greatest getaway chase in movie history: I must have seen that film at least 20 times in the cinema. Of course more recently we’ve also had Ryan Gosling and Carey Mulligan in “Drive” on the same theme. Any I’ve forgotten?
But with Edgar Wright at the helm, a big name cast and an enticing trailer, I had high expectations for “Baby Driver” – and boy was I happy! This is such a seriously cool film on so many levels.
Opening with a bank heist followed by a kick-ass car chase, we follow ‘Baby’ (Ansel Elgort, “Allegiant”, “The Fault in our Stars”) as a tinnitus-suffering, music-infused getaway driver under the thumb of the criminal overlord Doc (Kevin Spacey, in icy Frank Underwood mode). Doc recruits an ever-changing mix-tape of villains for each job, including the psychopathic and appropriately named ‘Bats’ (Jamie Foxx, “Sleepless”), the chillingly dangerous Buddy (Jon Hamm, “Mad Men”, “Keeping Up With The Joneses”) and his “Bonnie-style” wife ‘Darling’ (Eiza González) and the moderately incompetent JD (Lanny Joon) (who changed his neck tattoo of “HATE” to “HAT” since it improved his job prospects… LOL…. “everybody loves a hat”!).
Baby’s life gets more complicated when the hoods become aware of his fledgling relationship with fellow-orphan Debora (Lily James) a waitress in a diner and another lever to keep Baby locked into the job that he is just so, so good at.
On the surface this might be perceived as being just another good excuse for a lot of CGI-driven car stunts in the style of “The Fate of the Furious”. But no. Firstly, as Edgar Wright declared before the special screening I saw, all of the car stunts were actually performed for real on the mean streets of Atlanta (and hats off to the film’s stunt coordinator Robert Nagle and his team for these). And secondly, the car scenes are almost secondary to the fabulous story and character development in the film. The script (also by Edgar Wright) is just brilliant. There are genuinely laugh-out loud moments in the movie, with one of the highlights for me being JD tasked with procuring Michael Myers “Halloween” masks for a heist. If you don’t find this scene hilarious, you are not human – official.
The only misstep for me in the script was an unbelievable event (both in terms of likelihood and – particularly – timing) during a closing car park fight***.
Elgort is really strong in the lead role, and suggested to me that if the role of the young Han Solo in the upcoming Star Wars spin-off hadn’t already gone to Alden Ehrenreich, then here was a very strong contender. All of the supporting roles are strong (as you would expect from such a stellar cast) with Jon Hamm being a standout, appearing truly demonic in the closing scenes. The one role I was less sure about in the film was that of Lily James, whose performance as the ‘sweet as apple pie’ waitress seemed a little too “animated” for the big screen in the early scenes – I remember an acting class by Michael Caine where he advised that given the size of movie screens it’s often the case that “stillness is good”. What works well on the small screen (I am a big fan of her roles in historical TV dramas like “Downton Abbey” and the impeccable “War and Peace”) perhaps sometimes needs modifying for the wide-screen experience. I greatly warmed to her portrayal in the action sequences later on though: she’s a great actress and one that this film can hopefully now propel into the higher echelons in Hollywood.
Another star of the film is the fabulous soundtrack coordinated by Oscar-winner Steven Price (“Gravity“) featuring (amongst many other classics) Queen’s “Brighton Rock”, Golden Earring’s “Radar Love”, the Simon and Garfunkel classic (obviously) and Bob & Earl’s “Harlem Shuffle”, all used to brilliant effect. This latter track leads me on to some early Oscar predictions: if this film doesn’t get nominated this year for Oscars for Best Editing (Jonathan Amos and Paul Machliss, “Scott Pilgrim vs the World”) and Best Sound Editing (Julian Slater), then there is no God! The “Harlem Shuffle” coffee run sequence is a masterclass in editing and direction. Starting off with what I thought might turn into a tribute to “Saturday Night Fever”, the scene neatly takes on a style all of its own. It’s use of – erm – “subtitles” is just brilliant.
The often subtle, and occasionally not so subtle, edits between scenes are also truly masterful, making this moviegoer laugh-out-loud with delight periodically at the movie-making skill on display.
All of this is orchestrated by Edgar Wright as director who – for me – has been a little inconsistent over the years (loved, loved, loved “Shaun of the Dead” and “Hot Fuzz”; “The World’s End” – not so much). Here, he delivers in spades and this film rockets immediately into my Films of the Year list for 2017. Awe inspiring.
Beg, steal, borrow, rob a bank – – do what you have to, but make sure you catch this film on the big screen.
Ross (3284 KP) rated Split (2016) in Movies
Apr 19, 2019
A half-decent film in its own right. A dreadful desperate attempt to link to Unbreakable at the end
Contains spoilers, click to show
I had watched over half of this film before someone mentioned to me it was part of the Unbreakable "trilogy". I had heard of Glass, and had noticed that McAvoy looked similar in the two films but hadn't realised they were linked (I guess I assumed he got bored of growing his hair back to then have to become Professor X again). I had wondered what the second film in the trilogy was. Unbeknownst to me, I was watching it.
McAvoy plays Kevin, a man whose upbringing lead him to develop a number of (mostly) distinct personalities. These personalities allow his brain to compartmentalise and protect itself from certain aspects of life.
Kevin has decided to kidnap two girls (but for reasons he ends up getting three for the price of two). There is much less threat and horror in their imprisonment than in this type of scenario normally, which is to the film's credit. The girls are confused by the different personalities and how they interact with them and with each other. There are moments of charm, comedy, pantomime and some chilling moments in these scenes.
McAvoy does a good job of portraying these different personalities and they are mostly distinct. He is said to have 23 such personalities but I can only say I recognised 5 distinct ones, two of which were only a camp leg-crossing away from being the same.
Kevin is afraid of, but also excited about (depending on which personality has the spotlight) the possible coming of The Beast, a 24th personality that will be strong and powerful and hard for him to control.
Most of the film centres around either Kevin and his kidnappees or his therapist, which helps to describe his issues and show them at the same time.
The final section, The Beast's emergence and the eventual escape of the victims (I actually can't remember if either of the other 2 girls escaped) was so implausible and hammy. The supposed physical changes that each personality brings to Kevin's body are stretched to breaking point, and I think this just becomes stupid.
We then see where the girls had been kept all this time (a zoo) and again this just shouts out stupid. Suggesting a mentally ill janitor could drive a car with three unconscious schoolgirls into a closed zoo is just stupid.
The final scene made me so angry. Up to this point, there was no link whatsoever to Unbreakable. Fine, I thought. Keep them as separate films in their own right and then Glass can bring them together. But no. We see a news report of the kidnapping and Kevin's escape and disappearance playing out in a diner. One woman remarks that it sounded like that guy a few years ago who went to prison. She turns to Bruce Willis who responds "Mr Glass" (Samuel L Jackson's character from Unbreakable). It sounded absolutely nothing like "that guy". There was no similarity whatsoever in what had been described on TV and the story about a rich disabled man organising terrorist attacks. None whatsoever. This was such a clumsy, unnecessary attempt to sow the seeds of excitement for Glass. This has actually tainted the film for me, it would probably have gotten a 7 or an 8 if not for this lunacy.
McAvoy plays Kevin, a man whose upbringing lead him to develop a number of (mostly) distinct personalities. These personalities allow his brain to compartmentalise and protect itself from certain aspects of life.
Kevin has decided to kidnap two girls (but for reasons he ends up getting three for the price of two). There is much less threat and horror in their imprisonment than in this type of scenario normally, which is to the film's credit. The girls are confused by the different personalities and how they interact with them and with each other. There are moments of charm, comedy, pantomime and some chilling moments in these scenes.
McAvoy does a good job of portraying these different personalities and they are mostly distinct. He is said to have 23 such personalities but I can only say I recognised 5 distinct ones, two of which were only a camp leg-crossing away from being the same.
Kevin is afraid of, but also excited about (depending on which personality has the spotlight) the possible coming of The Beast, a 24th personality that will be strong and powerful and hard for him to control.
Most of the film centres around either Kevin and his kidnappees or his therapist, which helps to describe his issues and show them at the same time.
The final section, The Beast's emergence and the eventual escape of the victims (I actually can't remember if either of the other 2 girls escaped) was so implausible and hammy. The supposed physical changes that each personality brings to Kevin's body are stretched to breaking point, and I think this just becomes stupid.
We then see where the girls had been kept all this time (a zoo) and again this just shouts out stupid. Suggesting a mentally ill janitor could drive a car with three unconscious schoolgirls into a closed zoo is just stupid.
The final scene made me so angry. Up to this point, there was no link whatsoever to Unbreakable. Fine, I thought. Keep them as separate films in their own right and then Glass can bring them together. But no. We see a news report of the kidnapping and Kevin's escape and disappearance playing out in a diner. One woman remarks that it sounded like that guy a few years ago who went to prison. She turns to Bruce Willis who responds "Mr Glass" (Samuel L Jackson's character from Unbreakable). It sounded absolutely nothing like "that guy". There was no similarity whatsoever in what had been described on TV and the story about a rich disabled man organising terrorist attacks. None whatsoever. This was such a clumsy, unnecessary attempt to sow the seeds of excitement for Glass. This has actually tainted the film for me, it would probably have gotten a 7 or an 8 if not for this lunacy.
BankofMarquis (1832 KP) rated Ralph Breaks the Internet: Wreck-It Ralph 2 (2018) in Movies
Dec 1, 2018
Come for Ralph and Vanelope, stay for the Disney Princesses
I'm pretty sure that this is going to be the only review of WRECK-IT RALPH 2: RALPH BREAKS THE INTERNET that will draw a comparison between Ralph2 and DEADPOOL 2.
Like, DP2, Ralph2 suffers in the first 1/2 hour of the film with an issue - it tries too hard to repeat what was successful in the first film. I spent the first portion of both films thinking "you did this - better - in the first film". But, like DP2, Ralph2 finds it's footing - and it's own voice - after a fashion and becomes a very entertaining film.
And you can thank the Disney Princesses for that.
Without giving too much away, the plot of Ralph2 has Wreck-it Ralph (John C. Reilly) and Vanelope (Sarah Silverman) heading to the Internet (notably E:BAY) to find a replacement part for her game. The main theme of this film is "finding the place where you belong" and along this journey Vanelope enters in the world of Disney and encounters all of the Disney Princesses backstage.
Kudos to The Walt Disney Company - and Disney Animation Studios - for having a sense of humor and poking fun at themselves. These versions of the princesses are funny and don't take themselves too seriously, by taking themselves very seriously (if that makes any sense) - every character acts (and reacts) ways that make sense. It's a tribute to this extended bit that EVERY original voice of these characters (at least the ones that are still alive) agreed to contribute their voice talents to this bit. The funniest bit was the way Disney Animation handled the character of Princess Merida from BRAVE - a Pixar film.
As for the film proper - it is fine enough. John C. Reilly (as Ralph) and Sarah Silverman (as Vanelope) reprise their roles and they are winning enough to hold our attention throughout (though Ralph is sidelined for long stretches as this is really Vanelope's story). Jacks McBrayer's Fix-It Felix is back (for small bits in the beginning and end) as is the great Jane Lynch's Calhoun character. I get that these 2 characters are not really in service to the story - and I applaud the filmmakers for not trying to shoehorn them in - but I can't believe ANY conversation that starts "We have Jane Lynch, so we're going to push her in the background and use very little of her."
As for the other voice cast, Alan Tudyk (the voice of the King Candy in the first Wreck-It Ralph) is back as the voice of an overly-aggressive search engine. Tudyk is this generation's "Man of a Thousand Voices" and I had no idea it was him until the credits, which was fun (for me). Joining the fun this time around - and acquitting herself quite well - is Gal Gadot as an on-line game Race Car Drive that becomes Big Sister/mentor to Vanelope.
One final mention, there are 2 credits scene. The first one is fun enough (and is a callback to the first film), but the 2nd one (at the very end of the credits) had me chuckling - and I was glad I stayed for it.
Come for Ralph and Vanelope, stay for the Disney Princesses. You'll be glad you did.
Letter Grade: B+
7 1/2 (out of 10) stars and you can take that to the Bank(ofMarquis)
Like, DP2, Ralph2 suffers in the first 1/2 hour of the film with an issue - it tries too hard to repeat what was successful in the first film. I spent the first portion of both films thinking "you did this - better - in the first film". But, like DP2, Ralph2 finds it's footing - and it's own voice - after a fashion and becomes a very entertaining film.
And you can thank the Disney Princesses for that.
Without giving too much away, the plot of Ralph2 has Wreck-it Ralph (John C. Reilly) and Vanelope (Sarah Silverman) heading to the Internet (notably E:BAY) to find a replacement part for her game. The main theme of this film is "finding the place where you belong" and along this journey Vanelope enters in the world of Disney and encounters all of the Disney Princesses backstage.
Kudos to The Walt Disney Company - and Disney Animation Studios - for having a sense of humor and poking fun at themselves. These versions of the princesses are funny and don't take themselves too seriously, by taking themselves very seriously (if that makes any sense) - every character acts (and reacts) ways that make sense. It's a tribute to this extended bit that EVERY original voice of these characters (at least the ones that are still alive) agreed to contribute their voice talents to this bit. The funniest bit was the way Disney Animation handled the character of Princess Merida from BRAVE - a Pixar film.
As for the film proper - it is fine enough. John C. Reilly (as Ralph) and Sarah Silverman (as Vanelope) reprise their roles and they are winning enough to hold our attention throughout (though Ralph is sidelined for long stretches as this is really Vanelope's story). Jacks McBrayer's Fix-It Felix is back (for small bits in the beginning and end) as is the great Jane Lynch's Calhoun character. I get that these 2 characters are not really in service to the story - and I applaud the filmmakers for not trying to shoehorn them in - but I can't believe ANY conversation that starts "We have Jane Lynch, so we're going to push her in the background and use very little of her."
As for the other voice cast, Alan Tudyk (the voice of the King Candy in the first Wreck-It Ralph) is back as the voice of an overly-aggressive search engine. Tudyk is this generation's "Man of a Thousand Voices" and I had no idea it was him until the credits, which was fun (for me). Joining the fun this time around - and acquitting herself quite well - is Gal Gadot as an on-line game Race Car Drive that becomes Big Sister/mentor to Vanelope.
One final mention, there are 2 credits scene. The first one is fun enough (and is a callback to the first film), but the 2nd one (at the very end of the credits) had me chuckling - and I was glad I stayed for it.
Come for Ralph and Vanelope, stay for the Disney Princesses. You'll be glad you did.
Letter Grade: B+
7 1/2 (out of 10) stars and you can take that to the Bank(ofMarquis)