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Charlie Cobra Reviews (1840 KP) rated Good Boys (2019) in Movies
Jul 7, 2020
South Park Meets Super Bad In This Summer Comedy
Good Boys is a 2019 comedy movie directed by Gene Stupnitsky and written by Stupnitsky and Lee Eisenberg. Seth Rogen and Evan Goldberg served as producers under their Point Grey Pictures production company. It was also produced by Good Universe and Quantity Entertainment and distributed by Universal Pictures. The film stars Jacob Tremblay, Keith L. Williams, and Brady Noon.
Entering 6th grade and dealing with their own personal problems, friends Max, Thor and Lucas are presented with the opportunity to attend a party thrown by the popular kids. However nervous that this will be their first "kissing" party, Max and his friends lose his dad's valuable drone while spying on his neighbor Hannah to learn more about kissing. And their journey to get it back is full of chaos and shenanigans they likes of which they are not prepared for.
Now this movie was really funny and had me laughing. Man it got me reminiscing about how my friends and I were pretty much our own version of the gang from South Park. What I enjoyed the most was that the movie had a great way of showing the kids struggle to understand things that you would think they would know because of how they act older by cussing and talking about other adult stuff. I really liked their group dynamic and the acting from them was really top notch. This movie really made me laugh but also made me miss my group of friends that I grew up with and used to hang out with all the time. I give this movie an 8/10 and say that if you are looking for something to make you laugh, then you need to check out this movie.
Entering 6th grade and dealing with their own personal problems, friends Max, Thor and Lucas are presented with the opportunity to attend a party thrown by the popular kids. However nervous that this will be their first "kissing" party, Max and his friends lose his dad's valuable drone while spying on his neighbor Hannah to learn more about kissing. And their journey to get it back is full of chaos and shenanigans they likes of which they are not prepared for.
Now this movie was really funny and had me laughing. Man it got me reminiscing about how my friends and I were pretty much our own version of the gang from South Park. What I enjoyed the most was that the movie had a great way of showing the kids struggle to understand things that you would think they would know because of how they act older by cussing and talking about other adult stuff. I really liked their group dynamic and the acting from them was really top notch. This movie really made me laugh but also made me miss my group of friends that I grew up with and used to hang out with all the time. I give this movie an 8/10 and say that if you are looking for something to make you laugh, then you need to check out this movie.
Gareth von Kallenbach (965 KP) rated Luca (2021) in Movies
Jun 16, 2021
The artists at Disney and Pixar have returned with a new animated film “Luca” which will debut on Disney+ on June 18th.
The film introduces audiences to Luca (Jacob Tremblay); a young Sea Monster who lives with his family and fellow fish off the coast of a small town in Italy. Luca is warned not to go on the surface and to avoid humans at all costs by his parents.
When a rebellious Sea Monster named Alberto (Jack Dylan Grazer); happens upon Luca and gets him to the surface; Luca discovers that he and Alberto appear as human boys when their skin is no longer wet.
Fascinated by the rebellious life Alberto leads and amazed by what he sees upon his brief land excursions; Luca looks for new ways to find time on the surface which leads to him being more and more deceptive to his parents.
In time Luca and Alberto head to the village and meet a spunky local girl named Giulia (Emma Berman); who is on a break from school and longs to win a local race in order to get back at the reigning champion and bully.
Luca and Alberto see the race as a chance to win money to buy their own Vespa which they see as the key to exploring the surface world which sets a chain of events into motion as their two worlds are about to collide leading up to the race.
The film is visually appealing, but the story for me dragged and did not have the spark and heart that have made countless PIXAR films enduring classics. While the characters were fine; they did not have the appeal or charisma that I have come to expect with the PIXAR brand.
There have been reports that after “SOUL” was moved from a theatrical release to streaming during the Pandemic that some at PIXAR were upset with the decision to make “Luca” a streaming option. My take is that it was 100% the correct decision as while it is an entertaining film; it is not one that is likely to light up the Box Office and is better suited for a streaming debut.
The biggest issue with “Luca” is that coming from a studio with such a long line of classics; it fails to reach the levels previously set and while entertaining comes up lacking.
3 stars out of 5
The film introduces audiences to Luca (Jacob Tremblay); a young Sea Monster who lives with his family and fellow fish off the coast of a small town in Italy. Luca is warned not to go on the surface and to avoid humans at all costs by his parents.
When a rebellious Sea Monster named Alberto (Jack Dylan Grazer); happens upon Luca and gets him to the surface; Luca discovers that he and Alberto appear as human boys when their skin is no longer wet.
Fascinated by the rebellious life Alberto leads and amazed by what he sees upon his brief land excursions; Luca looks for new ways to find time on the surface which leads to him being more and more deceptive to his parents.
In time Luca and Alberto head to the village and meet a spunky local girl named Giulia (Emma Berman); who is on a break from school and longs to win a local race in order to get back at the reigning champion and bully.
Luca and Alberto see the race as a chance to win money to buy their own Vespa which they see as the key to exploring the surface world which sets a chain of events into motion as their two worlds are about to collide leading up to the race.
The film is visually appealing, but the story for me dragged and did not have the spark and heart that have made countless PIXAR films enduring classics. While the characters were fine; they did not have the appeal or charisma that I have come to expect with the PIXAR brand.
There have been reports that after “SOUL” was moved from a theatrical release to streaming during the Pandemic that some at PIXAR were upset with the decision to make “Luca” a streaming option. My take is that it was 100% the correct decision as while it is an entertaining film; it is not one that is likely to light up the Box Office and is better suited for a streaming debut.
The biggest issue with “Luca” is that coming from a studio with such a long line of classics; it fails to reach the levels previously set and while entertaining comes up lacking.
3 stars out of 5
Emma @ The Movies (1786 KP) rated The House with a Clock in Its Walls (2018) in Movies
Sep 25, 2019
This isn't a bad film all in all, it certainly fills a more traditional (?) magical gap in recent releases.
The best thing about The House With A Clock In Its Walls is definitely Cate Blanchett, she plays eccentric beautifully in this one and I don't think there were any of her scenes that I wasn't fond of. She bounces well with Jack Black, and their little moments of bickering are amusing and express their playful friendship really well.
Jack Black is very, well, Jack Black in this. He's a good comedic actor, but his roles are always quite similar in ways. That's not a negative thing as such, I like that he's consistent and you know you'll enjoy his performance.
We've been blessed with some great performances from kids in films recently, Shuya Sophia Cai as Meiying in The Meg and Jacob Tremblay as Rory McKenna in The Predator, were both brilliant in their roles and were blessed with some great scenes and lines. Owen Vaccaro in this portrayed the awkward Lewis with conviction and was on point for what the film set out for him, but what he was given was on par with the film as a whole. It was good, but it didn't have any oomph behind it.
The story itself seemed to be jogging along nicely in the background, but I'm always left wondering about the baddie reveals. Would the film have felt better if there was less lead up and more of the spooky bad guy moments? I'm honestly not sure, but he seemed to appear and then disappear in a puff of smoke. I wonder how much screen time he had in total?
I will say this... I don't ever need to see "baby" Jack Black ever again. It was creepy, the graphics were horrendous and it was completely inaccurate to the events that were about to unfold, as was evident with the rest of the town who we see experiencing the same thing.
Based on the book The House With A Clock In It's Walls by John Bellairs.
What should you do?
It's not a bad family film to go and see if you've got a couple of hours to spare.
Movie thing you wish you could take home
Having the magic would be too cliché, I'd like a topiary winged lion please.
The best thing about The House With A Clock In Its Walls is definitely Cate Blanchett, she plays eccentric beautifully in this one and I don't think there were any of her scenes that I wasn't fond of. She bounces well with Jack Black, and their little moments of bickering are amusing and express their playful friendship really well.
Jack Black is very, well, Jack Black in this. He's a good comedic actor, but his roles are always quite similar in ways. That's not a negative thing as such, I like that he's consistent and you know you'll enjoy his performance.
We've been blessed with some great performances from kids in films recently, Shuya Sophia Cai as Meiying in The Meg and Jacob Tremblay as Rory McKenna in The Predator, were both brilliant in their roles and were blessed with some great scenes and lines. Owen Vaccaro in this portrayed the awkward Lewis with conviction and was on point for what the film set out for him, but what he was given was on par with the film as a whole. It was good, but it didn't have any oomph behind it.
The story itself seemed to be jogging along nicely in the background, but I'm always left wondering about the baddie reveals. Would the film have felt better if there was less lead up and more of the spooky bad guy moments? I'm honestly not sure, but he seemed to appear and then disappear in a puff of smoke. I wonder how much screen time he had in total?
I will say this... I don't ever need to see "baby" Jack Black ever again. It was creepy, the graphics were horrendous and it was completely inaccurate to the events that were about to unfold, as was evident with the rest of the town who we see experiencing the same thing.
Based on the book The House With A Clock In It's Walls by John Bellairs.
What should you do?
It's not a bad family film to go and see if you've got a couple of hours to spare.
Movie thing you wish you could take home
Having the magic would be too cliché, I'd like a topiary winged lion please.
BankofMarquis (1832 KP) rated Luca (2021) in Movies
Jun 22, 2021
Charming but Unspectacular
Usually, a motion picture premiere by PIXAR is a major event and (most of the time) the product premiered is one of the better films debuting in that year (regardless of whether they are animated or not). But…the past 2 PIXAR films have debuted directly on the Disney+ streaming service.
One can understand SOUL debuting on-line since the world was in the midst of a global pandemic. But with LUCA, one had to scratch their heads wondering why the brass at Pixar wouldn’t give it at least a cursory theatrical release.
But, now that I’ve seen LUCA, I know why.
Luca tells the tale of a sea monster named…you got it…Luca, who ventures above the surface of the water with a friend to the human world. As a premise for this film, the Sea Monsters turn into humans when their skin is dry (and turn back into Sea Monsters when they are wet).
As Directed by Enrico Casarosa (the director of the the wonderful 2011 short animated film LA LUNA), Luca is a charming, if unspectacular, film that wears its heart - and it’s message of inclusion for ALL, no matter their differences - on it’s sleeve in a pretty overt way that doesn’t aide, nor does it detract, from the film.
Playing the lead roles of Luca and Alberto are child actors Jacob Tremblay (ROOM) and Jack Dylan Grazer (IT) and they are just like this film - charming and unspectacular. They instill these characters with youthful zest and energy…but not much else. Rising above them (and this film, if I’m being honest) is the voice work of the wonderful Maya Rudolph and the always affable Jim Gaffigan as Luca’s parents, who end up looking for Luca in the human world. To be honest, I would have rather had a film focusing on these two looking for Luca, than the movie we got.
Director Casaroso has stated that he has been inspired by the works of the great Japanese animation Director Hayao Miyazaki and it shows in some of the scenes that are absolutely breathtaking to look at while the feeling of this film is light and airy and not too terribly deep.
This is the 3rd straight film from Pixar that I have found to be “just fine, nothing special”, which is just a bit disappointing in that Pixar films were once the gold standard of animated films.
While not a standout film, Luca is an entertaining diversion and certainly one where the younger ones in the family will find fun while their parents will be entertained…enough. I have to admit, that I was not engaged with the main characters throughout the film, but was caught up at the end and found myself rooting for our heroes, so I guess Casarosa did something right.
Letter Grade:B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
One can understand SOUL debuting on-line since the world was in the midst of a global pandemic. But with LUCA, one had to scratch their heads wondering why the brass at Pixar wouldn’t give it at least a cursory theatrical release.
But, now that I’ve seen LUCA, I know why.
Luca tells the tale of a sea monster named…you got it…Luca, who ventures above the surface of the water with a friend to the human world. As a premise for this film, the Sea Monsters turn into humans when their skin is dry (and turn back into Sea Monsters when they are wet).
As Directed by Enrico Casarosa (the director of the the wonderful 2011 short animated film LA LUNA), Luca is a charming, if unspectacular, film that wears its heart - and it’s message of inclusion for ALL, no matter their differences - on it’s sleeve in a pretty overt way that doesn’t aide, nor does it detract, from the film.
Playing the lead roles of Luca and Alberto are child actors Jacob Tremblay (ROOM) and Jack Dylan Grazer (IT) and they are just like this film - charming and unspectacular. They instill these characters with youthful zest and energy…but not much else. Rising above them (and this film, if I’m being honest) is the voice work of the wonderful Maya Rudolph and the always affable Jim Gaffigan as Luca’s parents, who end up looking for Luca in the human world. To be honest, I would have rather had a film focusing on these two looking for Luca, than the movie we got.
Director Casaroso has stated that he has been inspired by the works of the great Japanese animation Director Hayao Miyazaki and it shows in some of the scenes that are absolutely breathtaking to look at while the feeling of this film is light and airy and not too terribly deep.
This is the 3rd straight film from Pixar that I have found to be “just fine, nothing special”, which is just a bit disappointing in that Pixar films were once the gold standard of animated films.
While not a standout film, Luca is an entertaining diversion and certainly one where the younger ones in the family will find fun while their parents will be entertained…enough. I have to admit, that I was not engaged with the main characters throughout the film, but was caught up at the end and found myself rooting for our heroes, so I guess Casarosa did something right.
Letter Grade:B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (965 KP) rated Good Boys (2019) in Movies
Aug 16, 2019
Every generation has a coming of age classic that they can point to and say that it resonated with them. Whether it be classic John Hughes movies such as Pretty in Pink or The Breakfast Club, there is always something that defines the youth of that generation. Whether it be the situations that the main characters find themselves in, or even something as simple as the music and fashion, there is usually something that will strike a familiar chord with the audience. Even when I go back and rewatch the classics, it reminds me of a simpler time, when my life struggles involved asking a girl to a dance or attempting to fit in to any number of awkward first-time moments that each of us at one time or another go through. Good Boys is such a movie, about the awkwardness and naivety of youth, even if the kids had a bigger potty mouth than I did as a child.
Max (Jacob Tremblay), Thor (Brady Noon), and Lucas (Keith L. Williams) are a group of 12-year old boys known to their family and friends as the Bean Bag boys. Why do they refer to themselves as the Bean Bag Boys you ask? Why because they sit on Bean Bag chairs of course. Entering 6th grade they are trying to stand out but tend to do so in all the worst ways. Thor loves to sing but is bullied to not sign up for the school musical because it’s not a cool thing to be. Lucas is dealing with his parent’s new divorce and has a propensity to always tell the truth (even when the truth potentially causes more damage than a lie). Then there is Max, a young man whose hormones are beginning to take over his brain and can only think of the love of his life (and future wife of course) Brixlee.
Max being to shy to even look at Brixlee when she is looking his way is finally given a golden opportunity when he is invited by popular kid Soren (Izaac Wang) to a kissing party. The idea of being able to not only speak to Brixlee but be able to kiss her causes a rush of emotions that gravitate from excitement to terror. Max, believing that the way to his true-loves heart is by being a kissing expert recruits his fellow Bean Bag Boys on a quest to learn to kiss.
His quest will take him from spying on his “nymphomaniac” neighbor, to a treacherous highway crossing to get to the mall. They will have to brave frat houses, and potentially risky run-ins with pedophiles and the police, all to learn how to be a better kisser. Of course, there is plenty of laughs and situations that only naïve children could get themselves into, all of which had me and the entirety of the audience laughing the entire way through
Good Boys is a movie that relies on the audience connection with the main characters to succeed. Without that, you are left with a movie full of foul language and crude humor which have lately become a dime a dozen. Thankfully the casting of Good Boys far exceeds any expectations I had going into the theater. Comedies of these type lean heavily on the actors to carry the story through the hi-jinx that are around every corner and the actors were more than up to the challenge. Jacob Tremblay portrays perfectly the fear that every young boy (or girl) goes through when they imagine their first kiss. Keith L. Williams shows the heart break that a young kid goes through when deal with personal tragedy (in this case his parents’ divorce) and yet still remains true-to-himself anyway. Brady Noon excels at his desire to be cool, and still struggle with how coolness affects what he truly loves and wants to ultimately do. All three as a group convincingly take us on a journey that may seem outlandish, yet ultimately feel believable as well.
Good Boys also has a strong supporting cast, that add further dimension to the film. The two “old” girls Lily (Midori Francis) and Hannah (Molly Gordon) are fantastic in their portrayal of two women who simply want their drugs to get high. They will go to almost any lengths to get them back from the boys who stole them and yet end up becoming a bigger part to the film as a whole. Even the well meaning yet clueless parents of Lucas (Lil Rel Howery and Retta) add to the laughs as a couple trying their best to protect their son even as their own lives are driven apart.
Good Boys may come across in previews as a crude comedy with loads of foul language and sexual situations. While at first glance that may be what it is, as you pull back the layers you soon begin to realize that it’s a story, not about the words that are said, but the innocence of youth and what it means to grow apart as friends. The laughs are non-stop and the language excusable because of the innocence of those on the screen who are spouting them. As parents maybe you’d be looking to wash their mouths out with soap, but as the audience you can’t help but think how innocent they truly are. Good Boys is a movie that will resonate with many in the audience, who likely went through some of these very same dilemmas in their own coming of age stories. Maybe not through paintball fights at a frat house, or crossing a busy freeway, but we each have our own unique stories that helped to mold us into who we are today. It’s funny how watching a film like this can make you reminisce on your own experiences, even if it isn’t on the big screen for all to see.
4 out of 5 stars
http://sknr.net/2019/08/14/good-boys/
Max (Jacob Tremblay), Thor (Brady Noon), and Lucas (Keith L. Williams) are a group of 12-year old boys known to their family and friends as the Bean Bag boys. Why do they refer to themselves as the Bean Bag Boys you ask? Why because they sit on Bean Bag chairs of course. Entering 6th grade they are trying to stand out but tend to do so in all the worst ways. Thor loves to sing but is bullied to not sign up for the school musical because it’s not a cool thing to be. Lucas is dealing with his parent’s new divorce and has a propensity to always tell the truth (even when the truth potentially causes more damage than a lie). Then there is Max, a young man whose hormones are beginning to take over his brain and can only think of the love of his life (and future wife of course) Brixlee.
Max being to shy to even look at Brixlee when she is looking his way is finally given a golden opportunity when he is invited by popular kid Soren (Izaac Wang) to a kissing party. The idea of being able to not only speak to Brixlee but be able to kiss her causes a rush of emotions that gravitate from excitement to terror. Max, believing that the way to his true-loves heart is by being a kissing expert recruits his fellow Bean Bag Boys on a quest to learn to kiss.
His quest will take him from spying on his “nymphomaniac” neighbor, to a treacherous highway crossing to get to the mall. They will have to brave frat houses, and potentially risky run-ins with pedophiles and the police, all to learn how to be a better kisser. Of course, there is plenty of laughs and situations that only naïve children could get themselves into, all of which had me and the entirety of the audience laughing the entire way through
Good Boys is a movie that relies on the audience connection with the main characters to succeed. Without that, you are left with a movie full of foul language and crude humor which have lately become a dime a dozen. Thankfully the casting of Good Boys far exceeds any expectations I had going into the theater. Comedies of these type lean heavily on the actors to carry the story through the hi-jinx that are around every corner and the actors were more than up to the challenge. Jacob Tremblay portrays perfectly the fear that every young boy (or girl) goes through when they imagine their first kiss. Keith L. Williams shows the heart break that a young kid goes through when deal with personal tragedy (in this case his parents’ divorce) and yet still remains true-to-himself anyway. Brady Noon excels at his desire to be cool, and still struggle with how coolness affects what he truly loves and wants to ultimately do. All three as a group convincingly take us on a journey that may seem outlandish, yet ultimately feel believable as well.
Good Boys also has a strong supporting cast, that add further dimension to the film. The two “old” girls Lily (Midori Francis) and Hannah (Molly Gordon) are fantastic in their portrayal of two women who simply want their drugs to get high. They will go to almost any lengths to get them back from the boys who stole them and yet end up becoming a bigger part to the film as a whole. Even the well meaning yet clueless parents of Lucas (Lil Rel Howery and Retta) add to the laughs as a couple trying their best to protect their son even as their own lives are driven apart.
Good Boys may come across in previews as a crude comedy with loads of foul language and sexual situations. While at first glance that may be what it is, as you pull back the layers you soon begin to realize that it’s a story, not about the words that are said, but the innocence of youth and what it means to grow apart as friends. The laughs are non-stop and the language excusable because of the innocence of those on the screen who are spouting them. As parents maybe you’d be looking to wash their mouths out with soap, but as the audience you can’t help but think how innocent they truly are. Good Boys is a movie that will resonate with many in the audience, who likely went through some of these very same dilemmas in their own coming of age stories. Maybe not through paintball fights at a frat house, or crossing a busy freeway, but we each have our own unique stories that helped to mold us into who we are today. It’s funny how watching a film like this can make you reminisce on your own experiences, even if it isn’t on the big screen for all to see.
4 out of 5 stars
http://sknr.net/2019/08/14/good-boys/
BankofMarquis (1832 KP) rated The Predator (2018) in Movies
Sep 26, 2018
Waste of idea, talent and my time
If I was to show future generations a prototypical 1980's "Machismo, Blood and Guts Action Flick", I would pull the original 1987 PREDATOR (starring good ol' Arnold Schwarzenegger) off my dusty shelves and show this to them. It is a film so "of it's time".
In subsequent years, there have been more films that attempted to use the Predator character - PREDATOR 2 (1990), AVP: ALIENS VS. PREDATOR (2004), ALIENS VS. PREDATOR: REQUIEM (2007) and PREDATORS (2010) - all disappointing. All failing to equal the balance of machismo, action and humor that is needed.
So...it was with great anticipation that I looked forward to THE PREDATOR, a new film written and directed by Shane Black (KISS KISS BANG BANG, IRON MAN 3, THE NICE GUYS) - one of the actors in the 1987 flick!
And...I was disappointed again.
This film fails because it never really got a grip on just what type of film it wanted to be - is it a Sci-Fi film? Is it an Action film? A buddy flick? A gore fest? A look at Autism? Black's script and direction spreads all these items out on the picnic blanket that is this film and then intermittently picks each one of these up to show us - sometimes a couple of them - like a kid trying to decide whether he wants the chips or the hot dogs or the Oreo cookies and just shoves them all in his mouth together.
And that's too bad, for Black has an interesting premise - rival Predators battling on Earth - with a ragtag group of Earthlings thrown in the middle - and what a "ragtag" group they are! Trevante Rhodes (MOONLIGHTING), Thomas Jane (THE MIST), Keegan-Michael Key (KEY & PEELE), Alfie Allen (GAME OF THRONES) and Augusto Aguilera (CHASING LIFE) make an intriguing band of misfit soldiers that easily could have been an equal to Arnold's ragtag group of soldiers from the 1987 original.
Unfortunately, they are the "back-up band" to the boring Boyd Holbrook (NARCOS) and Olivia Munn (X-MEN: APOCALYPSE) as a couple thrown together to defend Holbrook's Autistic son (Jacob Tremblay - so good in ROOM and wasted here) in a by-the-book "they hate each other when they first meet, so - naturally - they'll fall in love by the end" plot contrivance that doesn't work at all.
Add on top of that Sterling K. Brown (THIS IS US) as a "mysterious" Gov't Agent who is so much of a bad guy, all he was missing was a mustache twirl and the missed opportunities of actors such as Yvonne Stahovski (THE HANDMAID'S TALE) and NIall Matter (EUREKA) who both just stand around and do nothing. They even cast Jake Busey (Gary's kid) - who would be the perfect "over-the-top" bad guy for this sort of film, but...he is just misdirection and wasted as well.
What a wasted effort, a wasted opportunity and a waste of my time.
Letter Grade C_+: The ragtag group of soldiers were at least fun to watch (give Thomas Jane and Keegan-Michael Key their own "buddy" picture)!
5 stars (out of 10) - and you can take that to the BankofMarquis
In subsequent years, there have been more films that attempted to use the Predator character - PREDATOR 2 (1990), AVP: ALIENS VS. PREDATOR (2004), ALIENS VS. PREDATOR: REQUIEM (2007) and PREDATORS (2010) - all disappointing. All failing to equal the balance of machismo, action and humor that is needed.
So...it was with great anticipation that I looked forward to THE PREDATOR, a new film written and directed by Shane Black (KISS KISS BANG BANG, IRON MAN 3, THE NICE GUYS) - one of the actors in the 1987 flick!
And...I was disappointed again.
This film fails because it never really got a grip on just what type of film it wanted to be - is it a Sci-Fi film? Is it an Action film? A buddy flick? A gore fest? A look at Autism? Black's script and direction spreads all these items out on the picnic blanket that is this film and then intermittently picks each one of these up to show us - sometimes a couple of them - like a kid trying to decide whether he wants the chips or the hot dogs or the Oreo cookies and just shoves them all in his mouth together.
And that's too bad, for Black has an interesting premise - rival Predators battling on Earth - with a ragtag group of Earthlings thrown in the middle - and what a "ragtag" group they are! Trevante Rhodes (MOONLIGHTING), Thomas Jane (THE MIST), Keegan-Michael Key (KEY & PEELE), Alfie Allen (GAME OF THRONES) and Augusto Aguilera (CHASING LIFE) make an intriguing band of misfit soldiers that easily could have been an equal to Arnold's ragtag group of soldiers from the 1987 original.
Unfortunately, they are the "back-up band" to the boring Boyd Holbrook (NARCOS) and Olivia Munn (X-MEN: APOCALYPSE) as a couple thrown together to defend Holbrook's Autistic son (Jacob Tremblay - so good in ROOM and wasted here) in a by-the-book "they hate each other when they first meet, so - naturally - they'll fall in love by the end" plot contrivance that doesn't work at all.
Add on top of that Sterling K. Brown (THIS IS US) as a "mysterious" Gov't Agent who is so much of a bad guy, all he was missing was a mustache twirl and the missed opportunities of actors such as Yvonne Stahovski (THE HANDMAID'S TALE) and NIall Matter (EUREKA) who both just stand around and do nothing. They even cast Jake Busey (Gary's kid) - who would be the perfect "over-the-top" bad guy for this sort of film, but...he is just misdirection and wasted as well.
What a wasted effort, a wasted opportunity and a waste of my time.
Letter Grade C_+: The ragtag group of soldiers were at least fun to watch (give Thomas Jane and Keegan-Michael Key their own "buddy" picture)!
5 stars (out of 10) - and you can take that to the BankofMarquis
Darren (1599 KP) rated The Book of Henry (2017) in Movies
Oct 2, 2019
Characters – Susan is the mother of the house, though she doesn’t have the full responsibility in the house as she lets her genius son Henry handle the finances in the home. She is a single working mother that does everything she can to help her kids, enjoys a drink with her best friend Sheila and videos to release the stress, she must go through a difficult process when Henry becomes sick and wants to follow his book to do the right thing. Henry is a genius 12-year-old boy, he keeps his family together while trying to leave his own legacy, he knows how to work the stock market which keeps the family a float and when he sees wrong in the world he wants to help change it, this brings him to write a book to stop the abuse of his neighbour by her stepfather. Peter is the younger brother to Henry, he always looks up to him and wants to help him with his innocent being the only thing that lets Henry have fun. Sheila is the best friend and work colleague of Susan, she enjoys herself a drink and has great banter with Henry. Glenn is the neighbour and police chief living next door to the Carpenter family, he has a stepdaughter that he is abusing though he position of power makes it nearly impossible for him to get investigated. Dr Daniels is the man that must treat Henry, he must help the family through the difficult decision.
Performances – Naomi Watts in the leading role is great through this film, we see how her character needs to develop after what happens to Henry. Jaeden continues to show us he is a fast-rising child star along with Jacob Tremblay who are both going to be talked about as a couple of the best of the current generations. Silverman, Morris and Pace give us good supporting performances throughout the film too.
Story – The story here follows a genius son that helps run the family to help take the pressure of his single mother, he plans long term and wants to make the world a better place, though when sees abuse he wants to step in and help. He doesn’t expect the short term though, leaving his legacy to his mother to help solve the abuse he sees the neighbour going through. We do have moments that make the children feel like they are in ‘Pay it Forward’ which does have a better message about, doing something to make the world a better place, this story does get that message over and does make you want to help bring calm to the world. if I was being honest with the way the story is told, I feel it would have been nice to mix the planning Henry does with the actual plan rather than showing his plan before the incident.
Crime – The film does have a crime base to everything going on, we get to see how Henry sees a crime being committed and the only way he can solve it is to have someone commit a crime for him.
Settings – The film shows us the simple life the Carpenter family are currently living and how Henry is happy with this even though he can make them rich with a blink of an eye, he wants family over anything.
Scene of the Movie – Take the shot.
That Moment That Annoyed Me – The kids are way to talent in the talent contest.
Final Thoughts – This is a film that has taken a beating by the critics and sure there are a couple of weaknesses in this film, but the core of the story is one of the most interesting ways to show a child genius doing the right thing in life, well-acted and one people should be giving a chance too.
Overall: Nice story about leaving a legacy.
Performances – Naomi Watts in the leading role is great through this film, we see how her character needs to develop after what happens to Henry. Jaeden continues to show us he is a fast-rising child star along with Jacob Tremblay who are both going to be talked about as a couple of the best of the current generations. Silverman, Morris and Pace give us good supporting performances throughout the film too.
Story – The story here follows a genius son that helps run the family to help take the pressure of his single mother, he plans long term and wants to make the world a better place, though when sees abuse he wants to step in and help. He doesn’t expect the short term though, leaving his legacy to his mother to help solve the abuse he sees the neighbour going through. We do have moments that make the children feel like they are in ‘Pay it Forward’ which does have a better message about, doing something to make the world a better place, this story does get that message over and does make you want to help bring calm to the world. if I was being honest with the way the story is told, I feel it would have been nice to mix the planning Henry does with the actual plan rather than showing his plan before the incident.
Crime – The film does have a crime base to everything going on, we get to see how Henry sees a crime being committed and the only way he can solve it is to have someone commit a crime for him.
Settings – The film shows us the simple life the Carpenter family are currently living and how Henry is happy with this even though he can make them rich with a blink of an eye, he wants family over anything.
Scene of the Movie – Take the shot.
That Moment That Annoyed Me – The kids are way to talent in the talent contest.
Final Thoughts – This is a film that has taken a beating by the critics and sure there are a couple of weaknesses in this film, but the core of the story is one of the most interesting ways to show a child genius doing the right thing in life, well-acted and one people should be giving a chance too.
Overall: Nice story about leaving a legacy.
Movie Metropolis (309 KP) rated The Predator (2018) in Movies
Jun 10, 2019
A soft reboot that actually works
1987; feels like a long time ago doesn’t it? In fact, most of you reading this I imagine weren’t even born way back in the late 80s. I mean, I was only a twinkle in my parents’ eyes at that time. But I digress.
What’s so special about 1987? Well, it was the year that Arnold Schwarzenegger kicked serious alien butt in the first Predator movie. Of course, the franchise’s now infamous fall from grace is the stuff of legend, and along with Alien, the original remains a true high point in the sci-fi horror genre.
Rebooted for 2018 with Iron Man 3 director Shane Black at the helm, The Predator aims to revitalise the public’s interest in this flagging horror franchise. Looking at Shane Black’s unusual resume, he seems a strange choice to take charge here, but we’ll give him the benefit of the doubt for now. But just how good, or bad, is The Predator?
From the outer reaches of space to the small-town streets of suburbia, the hunt comes home. The universe’s most lethal hunters are stronger, smarter and deadlier than ever before, having genetically upgraded themselves with DNA from other species. When a boy accidentally triggers their return to Earth, only a ragtag crew of ex-soldiers and an evolutionary biologist can prevent the end of the human race.
The aforementioned ragtag crew of ex-soldiers includes Boyd Holbrook, a vastly underused presence in last year’s Logan, that thankfully receives much higher billing here. Trevante Rhodes, Keegan-Michael Key, Thomas Jane and Augusto Aguilera make up the rest of the team and whilst their backstories are limited to one scene on a bus, they feel fleshed out enough to carry the film.
Less successful is Olivia Munn’s Casey Bracket. Biologist and when required by the screenwriters, experienced military personnel, she’s probably the most badass biologist you’ll see on screen this decade, when the script requires it of course.
Finally, we have the ridiculously talented Jacob Tremblay as Holbrooks son, Rory. His subplot which surrounds his daily struggles with autism is poorly realised but should be praised for bringing awareness to the condition in a mainstream Hollywood film.
Thankfully, Shane Black injects his trademark dark humour throughout and surprisingly, it works better than I had anticipated. The jokes are well-placed across the running time and each one manages to at least raise a titter.
Now let’s get to the part everyone reading this is interested in; the Predator’s return. Portrayed by stuntman Brian A. Prince, this Predator is virtually identical to the 1987 original in every way. And that’s a good thing, because when the 11ft hybrid shows up, it spoils the party a little. Rendered in CGI, rather than practical effects, its movements are a little too fluid and lack that sense of realism you get with a real man in a suit. The addition of the Predator Dogs however is an inspired choice and they work well despite some sloppy CG at times.
The Predator is a confident film with a cracking sense of humour, good special effects and just enough call-backs to please series diehards
Nevertheless, the film is shot very well and the copious amounts of gore are both restrained and animalistic. It earns its 15 rating most definitely as the Predator works its way through a massive number of victims, but it never crosses the line in which you’d have people saying ‘enough is enough’.
The special effects are on the whole, very good indeed. Considering a relatively modest $88million budget, there are only a few instances of poor CGI and the practical effects used throughout are a nice touch. It’s a shame then that there are some case of poor editing in the film however. A couple of character decisions will leave you scratching your head as you wonder how on earth our band of heroes managed to figure out certain problems.
But this is very much fan service to the original and for that, you’ll either love or hate it. There are many references to its predecessors, some subtle, some smack you in the face obvious. The classic Arnie line “get to the chopper” is there, but that’s definitely in the latter camp, and it’s one reference that doesn’t quite hit the spot.
Overall, The Predator is definitely the best film since the original, although that really isn’t saying much. And that’s a little bit of a disservice to what Shane black and the cast has managed to achieve. It’s a confident film with a cracking sense of humour, good special effects and just enough call-backs to please series diehards. Is it a horror movie like the original was classed to be? Absolutely not. But it’s worth a watch for both Predator fans and those looking to scratch their sci-fi itch.
https://moviemetropolis.net/2018/09/14/the-predator-review-a-soft-reboot-that-actually-works/
What’s so special about 1987? Well, it was the year that Arnold Schwarzenegger kicked serious alien butt in the first Predator movie. Of course, the franchise’s now infamous fall from grace is the stuff of legend, and along with Alien, the original remains a true high point in the sci-fi horror genre.
Rebooted for 2018 with Iron Man 3 director Shane Black at the helm, The Predator aims to revitalise the public’s interest in this flagging horror franchise. Looking at Shane Black’s unusual resume, he seems a strange choice to take charge here, but we’ll give him the benefit of the doubt for now. But just how good, or bad, is The Predator?
From the outer reaches of space to the small-town streets of suburbia, the hunt comes home. The universe’s most lethal hunters are stronger, smarter and deadlier than ever before, having genetically upgraded themselves with DNA from other species. When a boy accidentally triggers their return to Earth, only a ragtag crew of ex-soldiers and an evolutionary biologist can prevent the end of the human race.
The aforementioned ragtag crew of ex-soldiers includes Boyd Holbrook, a vastly underused presence in last year’s Logan, that thankfully receives much higher billing here. Trevante Rhodes, Keegan-Michael Key, Thomas Jane and Augusto Aguilera make up the rest of the team and whilst their backstories are limited to one scene on a bus, they feel fleshed out enough to carry the film.
Less successful is Olivia Munn’s Casey Bracket. Biologist and when required by the screenwriters, experienced military personnel, she’s probably the most badass biologist you’ll see on screen this decade, when the script requires it of course.
Finally, we have the ridiculously talented Jacob Tremblay as Holbrooks son, Rory. His subplot which surrounds his daily struggles with autism is poorly realised but should be praised for bringing awareness to the condition in a mainstream Hollywood film.
Thankfully, Shane Black injects his trademark dark humour throughout and surprisingly, it works better than I had anticipated. The jokes are well-placed across the running time and each one manages to at least raise a titter.
Now let’s get to the part everyone reading this is interested in; the Predator’s return. Portrayed by stuntman Brian A. Prince, this Predator is virtually identical to the 1987 original in every way. And that’s a good thing, because when the 11ft hybrid shows up, it spoils the party a little. Rendered in CGI, rather than practical effects, its movements are a little too fluid and lack that sense of realism you get with a real man in a suit. The addition of the Predator Dogs however is an inspired choice and they work well despite some sloppy CG at times.
The Predator is a confident film with a cracking sense of humour, good special effects and just enough call-backs to please series diehards
Nevertheless, the film is shot very well and the copious amounts of gore are both restrained and animalistic. It earns its 15 rating most definitely as the Predator works its way through a massive number of victims, but it never crosses the line in which you’d have people saying ‘enough is enough’.
The special effects are on the whole, very good indeed. Considering a relatively modest $88million budget, there are only a few instances of poor CGI and the practical effects used throughout are a nice touch. It’s a shame then that there are some case of poor editing in the film however. A couple of character decisions will leave you scratching your head as you wonder how on earth our band of heroes managed to figure out certain problems.
But this is very much fan service to the original and for that, you’ll either love or hate it. There are many references to its predecessors, some subtle, some smack you in the face obvious. The classic Arnie line “get to the chopper” is there, but that’s definitely in the latter camp, and it’s one reference that doesn’t quite hit the spot.
Overall, The Predator is definitely the best film since the original, although that really isn’t saying much. And that’s a little bit of a disservice to what Shane black and the cast has managed to achieve. It’s a confident film with a cracking sense of humour, good special effects and just enough call-backs to please series diehards. Is it a horror movie like the original was classed to be? Absolutely not. But it’s worth a watch for both Predator fans and those looking to scratch their sci-fi itch.
https://moviemetropolis.net/2018/09/14/the-predator-review-a-soft-reboot-that-actually-works/
Chris Sawin (602 KP) rated Good Boys (2019) in Movies
Aug 14, 2019
Repetitive. (1 more)
Too similar to other R-rated teen comedies.
Thor Casts Anal Bead Nunchucks
“Bean Bag Boys for life!” In Good Boys, that’s the motto for three 12-year-old best friends that are finding the sixth grade way more profound and coercing than the fifth grade or any other grade before it ever was. Max (Jacob Tremblay) is at the age where girls aren’t so gross and are actually quite arousing, Thor (Brady Noon) is giving up on who he is and what he loves in a bold attempt to try to fit in with kids who he thinks are cool, and Lucas (Keith L. Williams) mostly just loves Magic: The Gathering, treating women with respect, and being honest.
Two weeks into sixth grade and the boys find themselves invited to their first party, but the catch is that it’s a kissing party and none of them know how to kiss. They use Max’s dad’s drone to spy on high school girls Hannah (Molly Gordon) and Lily (Midori Francis), but the girls end up capturing the drone and holding it for ransom. After a face-to-face meeting goes south, Thor steals Hannah’s purse which includes two capsules of Molly/ecstasy in a kid’s chewy vitamins bottle. Now in possession of illegal drugs after skipping school and using Max’s dad’s drone without permission while he’s out of town, the boys need to figure out a way to get the drone back home without his dad knowing so Max won’t get grounded all so they can still attend the kissing party and become legends of the sixth grade.
Good Boys is co-written and co-directed (only Stupnitsky received credit) by Gene Stupnitsky and Lee Eisenberg (writers of Year One and Bad Teacher). The film is produced by Seth Green’s Point Grey Pictures and Good Universe (both Neighbors films, The Disaster Artist, Long Shot). This is all worth mentioning to get an idea of what you’re diving into if you plan on seeing this film. The R-rated comedy attempts to capture what Superbad did for teenagers over a decade ago, but replaces the teenage element with tweens. Whether they’re successful or not is entirely up to you.
There are some decent laugh-out-loud moments in Good Boys, but their long-lasting effect is short-lived because Stupnitsky and Eisenberg decided to repeat those laugh out loud moments over and over again to the point of annoyance. The main laughs of the film come from the boys trying to talk about adult things they don’t fully understand (cum pronounced as koom, a sex doll being a CPR dummy, a nymphomaniac is someone who likes to have sex at sea and on land, etc), thinking sex toys are weapons, and still not being able to get past the child proof lid on a vitamin bottle. These are all funny at first, but all the gags in the film fall under the same handful of categories and essentially feel like Stupnitsky and Eisenberg didn’t have enough creativity in the script writing process to think outside a smattering of raunch.
The typo’d “porb” sequence where the boys attempt to look up how to kiss on the internet, the crossing the busy highway on the way to the mall sequence, and Lucas being so adamant about a woman’s consent are more humorous elements because they’re not as overplayed into the ground; even the opening where Max is on the verge of masturbation seems like a cheap knock off of what Not Another Teen Movie did in its opening sequence nearly 20 years ago. In comparison, Olivia Wilde’s Booksmart from earlier this year was labeled as a female version of Superbad. The Superbad influence is there, but Booksmart adds a refreshing female perspective and explores what the future means for the main characters to a more satisfying extent.
Growing up and what that means to a 12-year-old is explored in Good Boys, but it seems awkward. You’re on the verge of becoming a teenager, which shouldn’t mean all that much for you other than attending a new school. Lucas’ parents are in the middle of a divorce and Thor is trying to be something he isn’t just for his reputation. The characters learn something over the course of the film because of this, but the entire maturing angle doesn’t feel right. Part of it is meant to be ridiculous, especially after Lucas says something like, “I’ve grown up a lot in the past two hours,” and it’s cool that the film goes out of its way to tell the audience to never be ashamed of what you love, but it all feels sloppy and thrown together at the last minute.
This is the first R-rated film to ever have a rating that includes, “all involving tweens,” and this could be seen as the Superbad of this generation, but Good Boys simply doesn’t differentiate itself from the high school and college R-rated comedies that came before it to be memorable or enjoyable. It will likely be a crowd pleaser anyway since the theater I was in was full of laughs from the general public, but its charm is ruined so early on and that’s a painful thing to say when your film is only 90 minutes long. Good Boys may be outrageous and funny at times, but its generic formula destroys what little entertainment value it potentially had.
Two weeks into sixth grade and the boys find themselves invited to their first party, but the catch is that it’s a kissing party and none of them know how to kiss. They use Max’s dad’s drone to spy on high school girls Hannah (Molly Gordon) and Lily (Midori Francis), but the girls end up capturing the drone and holding it for ransom. After a face-to-face meeting goes south, Thor steals Hannah’s purse which includes two capsules of Molly/ecstasy in a kid’s chewy vitamins bottle. Now in possession of illegal drugs after skipping school and using Max’s dad’s drone without permission while he’s out of town, the boys need to figure out a way to get the drone back home without his dad knowing so Max won’t get grounded all so they can still attend the kissing party and become legends of the sixth grade.
Good Boys is co-written and co-directed (only Stupnitsky received credit) by Gene Stupnitsky and Lee Eisenberg (writers of Year One and Bad Teacher). The film is produced by Seth Green’s Point Grey Pictures and Good Universe (both Neighbors films, The Disaster Artist, Long Shot). This is all worth mentioning to get an idea of what you’re diving into if you plan on seeing this film. The R-rated comedy attempts to capture what Superbad did for teenagers over a decade ago, but replaces the teenage element with tweens. Whether they’re successful or not is entirely up to you.
There are some decent laugh-out-loud moments in Good Boys, but their long-lasting effect is short-lived because Stupnitsky and Eisenberg decided to repeat those laugh out loud moments over and over again to the point of annoyance. The main laughs of the film come from the boys trying to talk about adult things they don’t fully understand (cum pronounced as koom, a sex doll being a CPR dummy, a nymphomaniac is someone who likes to have sex at sea and on land, etc), thinking sex toys are weapons, and still not being able to get past the child proof lid on a vitamin bottle. These are all funny at first, but all the gags in the film fall under the same handful of categories and essentially feel like Stupnitsky and Eisenberg didn’t have enough creativity in the script writing process to think outside a smattering of raunch.
The typo’d “porb” sequence where the boys attempt to look up how to kiss on the internet, the crossing the busy highway on the way to the mall sequence, and Lucas being so adamant about a woman’s consent are more humorous elements because they’re not as overplayed into the ground; even the opening where Max is on the verge of masturbation seems like a cheap knock off of what Not Another Teen Movie did in its opening sequence nearly 20 years ago. In comparison, Olivia Wilde’s Booksmart from earlier this year was labeled as a female version of Superbad. The Superbad influence is there, but Booksmart adds a refreshing female perspective and explores what the future means for the main characters to a more satisfying extent.
Growing up and what that means to a 12-year-old is explored in Good Boys, but it seems awkward. You’re on the verge of becoming a teenager, which shouldn’t mean all that much for you other than attending a new school. Lucas’ parents are in the middle of a divorce and Thor is trying to be something he isn’t just for his reputation. The characters learn something over the course of the film because of this, but the entire maturing angle doesn’t feel right. Part of it is meant to be ridiculous, especially after Lucas says something like, “I’ve grown up a lot in the past two hours,” and it’s cool that the film goes out of its way to tell the audience to never be ashamed of what you love, but it all feels sloppy and thrown together at the last minute.
This is the first R-rated film to ever have a rating that includes, “all involving tweens,” and this could be seen as the Superbad of this generation, but Good Boys simply doesn’t differentiate itself from the high school and college R-rated comedies that came before it to be memorable or enjoyable. It will likely be a crowd pleaser anyway since the theater I was in was full of laughs from the general public, but its charm is ruined so early on and that’s a painful thing to say when your film is only 90 minutes long. Good Boys may be outrageous and funny at times, but its generic formula destroys what little entertainment value it potentially had.