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Kevin Phillipson (10022 KP) rated Mallrats (1995) in Movies
Jun 19, 2020
Stan Lee (2 more)
Jay
Silent Bob
Just watched first time I've seen this Im a fan of the jay and silent Bob movies they always have some of the best lines in the movie even when they are not the main characters in the movie. Nice cameo from Stan Lee too overall loved the movie one for a good laugh
Matthew Scott (7 KP) rated Jay and Silent Bob Strike Back (2001) in Movies
Mar 25, 2019
Greatest movie ever? MoviePoopChute.com thinks not!
There is not a more positive culture relevant movie in existence. If you like any movie or TV show from the 70s-90s, chances are somebody from that show is in this movie. Mark Hamil, Ben Affleck, Matt Damon, Carrie Fisher, George Carlin, Pie fucker, that dude that screwed Joey on Dawson's, Stiffler, not to mention hetero life mates Jay and Silent Bob! The jokes on this movie are a mile a minute, so you need to pay attention if you want to catch them all. If you're new to Kevin Smith and his impulsive friend Jason Mewes, then check out their Smodcast podcasts, or any of the other movies they've done together. Mallrats, Clerks, Dogma, Chasing Amy, etc. This is a must see for any fan of pop culture. This movie is like every Funko Pop figure wrapped into one.
Veronica Pena (690 KP) rated Men in Black (1997) in Movies
Feb 16, 2020
I don't know what it is about this movie that just left me unsatisfied, but I just did not like this film. Will Smith and Tommy Lee Jones play an intergalactic crime-fighting duo. It definitely feels like Smith was the token black man in this film and as much as it was seen in the 90s and throughout other decades of film, it doesn't make it any more pleasurable to watch.
This film's plot just could not keep me engaged. I always end up really disappointed when the storyline is so promising and there is so much room to run and a shoddy plot comes out of it and the film or book or tv show, whatever the medium, ends up being lackluster. That's how I felt about this film.
Tommy Lee Jones's character was stiff and unlikeable so by the time the end of the film comes, you don't feel any type of way about how his character arc is resolved. I have a feeling the intention was to feel sad for him but also sad for Jay and it just doesn't happen like that. Will Smith's jokes were not funny and it's clear, once again, that his blackness was what he brought to this film. I find myself having a hard time reconciling the stereotype they put him in and the character he was supposed to play. I'm thinking they're one and the same.
Generally just disappointed in this film. Am I going to watch the next one? Yes. Will I probably regret it? Yes. I guess we'll see.
This film's plot just could not keep me engaged. I always end up really disappointed when the storyline is so promising and there is so much room to run and a shoddy plot comes out of it and the film or book or tv show, whatever the medium, ends up being lackluster. That's how I felt about this film.
Tommy Lee Jones's character was stiff and unlikeable so by the time the end of the film comes, you don't feel any type of way about how his character arc is resolved. I have a feeling the intention was to feel sad for him but also sad for Jay and it just doesn't happen like that. Will Smith's jokes were not funny and it's clear, once again, that his blackness was what he brought to this film. I find myself having a hard time reconciling the stereotype they put him in and the character he was supposed to play. I'm thinking they're one and the same.
Generally just disappointed in this film. Am I going to watch the next one? Yes. Will I probably regret it? Yes. I guess we'll see.
LeftSideCut (3776 KP) rated Jay and Silent Bob Reboot (2019) in Movies
Mar 7, 2020
To put it simply, if you're not too keen on anything related to Jay & Silent Bob or Kevin Smith, then this entry is not going to change your mind!
The first film from way back in 2001 was already loveably dumb enough. It's collision of immature humour, social commentary, slapstick silliness and plentiful references to past Kevin Smith projects leant it an awkward charm, and things are no different this time around, with exception of everyone involved looking older.
The plot revolves around the titular duo traveling to Hollywood to stop the reboot of a comic book film featuring characters based on their likenesses (literally the same plot as the first). Cue plenty of remarks about the state of cinema and the unstoppable geyser of reboots/remakes/re-imaginings, followed by an absurd road trip, and everything feels familiar and homely.
Jason Mewes and Kevin Smith are just as likable as they every have been as Jay & SB, and the supporting characters, lead by Smith's daughter Harley Quinn, are much the same (although they took a bit longer to grow on me).
There is a veritable plethora of cameos and Clerks call backs peppered throughout, including the likes of Ben Affleck, Matt Damon, Chris Hemsworth, Joey Lauren Adams, Melissa Benoist, Val Kilmer, Jason Biggs, Robert Kirkman....the list goes on and on. None of these inclusions feel particularly forced, and everyone seems pretty willing to be a part of the silliness.
The script is a mixed bag of decent gags, meta lines (sometimes a bit too over the top, to the point of almost insulting the audience!), Kevin Smith talking a whole bunch of shit about himself and some genuinely touching moments. Seriously - towards the films climax, I genuinely fretted that i might let out a little sob...
The truth is, I grew up watching films like Clerks, Dogma, Mallrats etc, and whenever a new entry is put out, I remember just how much these niche comedies mean to me. Jay & Silent Bob Reboot fits right in there with the rest of them.
It's not perfect by any means, but this is a film that can pull off Chris Jericho playing a KKK leader, Redman and Method Man giving parenting, whilst still including a lip wobbling tribute to the late Stan Lee (a we'll know fan of Kevin Smith and his work). How can anyone not appreciate that!?
The first film from way back in 2001 was already loveably dumb enough. It's collision of immature humour, social commentary, slapstick silliness and plentiful references to past Kevin Smith projects leant it an awkward charm, and things are no different this time around, with exception of everyone involved looking older.
The plot revolves around the titular duo traveling to Hollywood to stop the reboot of a comic book film featuring characters based on their likenesses (literally the same plot as the first). Cue plenty of remarks about the state of cinema and the unstoppable geyser of reboots/remakes/re-imaginings, followed by an absurd road trip, and everything feels familiar and homely.
Jason Mewes and Kevin Smith are just as likable as they every have been as Jay & SB, and the supporting characters, lead by Smith's daughter Harley Quinn, are much the same (although they took a bit longer to grow on me).
There is a veritable plethora of cameos and Clerks call backs peppered throughout, including the likes of Ben Affleck, Matt Damon, Chris Hemsworth, Joey Lauren Adams, Melissa Benoist, Val Kilmer, Jason Biggs, Robert Kirkman....the list goes on and on. None of these inclusions feel particularly forced, and everyone seems pretty willing to be a part of the silliness.
The script is a mixed bag of decent gags, meta lines (sometimes a bit too over the top, to the point of almost insulting the audience!), Kevin Smith talking a whole bunch of shit about himself and some genuinely touching moments. Seriously - towards the films climax, I genuinely fretted that i might let out a little sob...
The truth is, I grew up watching films like Clerks, Dogma, Mallrats etc, and whenever a new entry is put out, I remember just how much these niche comedies mean to me. Jay & Silent Bob Reboot fits right in there with the rest of them.
It's not perfect by any means, but this is a film that can pull off Chris Jericho playing a KKK leader, Redman and Method Man giving parenting, whilst still including a lip wobbling tribute to the late Stan Lee (a we'll know fan of Kevin Smith and his work). How can anyone not appreciate that!?
Joe Goodhart (27 KP) rated The Man Of Steel in Books
Nov 30, 2020
If you know me, you know that I have a strong dislike for the writing by Brian Michael Bendis. His last few years before his journey to DC Comics, the work he did on the X-titles, as well as GUARDIANS OF THE GALAXY, it was just rubbish! It was the end result of someone who clearly needed a change of scenery and a more focused editor! After reading this, I feel confident that what I just wrote, as well as feeling, is pretty close to the truth, as this, his first work for DC, was frikkin' A-MAZ-ING!
While I have a great love of Marvel (preferrably older stuff, as the new stuff is starting to stink like yesterday's diapers!), I also have a great love of DC (the comics, not the nation's capital, which stinks as well, but of ignorance, racism, and misogyny), especially Superman, a hero who has never been more needed than he is needed now! It is very apparent that BMB has a great love/admiration of the Big 'S'!
His Clark Kent is written different from Superman, making the <i>illusion</i> that much easier to swallow once the glasses and suit goes on over his costume. The character does not appear as "mild mannered" as he was originally conceived, but he also is not mean or off-putting. He is still an alien, but he embraced our customs, and the end result is quite pleasing, especially with the toxicity that exists with the US at this point in time!
Equally well written is BMB's handling of Lois Lane and Jon, her and Kal-El's son. Lois is both a successful, highly competent writer, but she is also a mother. Not an overbear, bitchy mom, but someone who cares for her son, as much as she cares for her husband. The boy, Jon, is written like a normal boy his age, but without that precociousness that seems to be given to young'uns his age on TV!
As I am so prone to do in my other reviews, I want to give credit to the art side of this tale. The artists (yes, artists, Plural.) on board is quite a top shelf gathering. Jim Lee handles the first issue, while Ivan Reis (BLACKEST NIGHT), Steve Rude (NEXUS), Jay Fabok (New 52 JUSTICE LEAGUE), and even Ryan Sook! What a heckuva good way to start your beginnings with DC!
While some are apt to disagree, Superman needs the red shorts! And, that, my friends, was Bendis' first order of business on taking on the Man of Steel! I look forward to seeing where he goes with Superman, as the character is one that many love, and many will expect something good! If this is the beginning, I can't wait to see where the rest of this ride takes us!
While I have a great love of Marvel (preferrably older stuff, as the new stuff is starting to stink like yesterday's diapers!), I also have a great love of DC (the comics, not the nation's capital, which stinks as well, but of ignorance, racism, and misogyny), especially Superman, a hero who has never been more needed than he is needed now! It is very apparent that BMB has a great love/admiration of the Big 'S'!
His Clark Kent is written different from Superman, making the <i>illusion</i> that much easier to swallow once the glasses and suit goes on over his costume. The character does not appear as "mild mannered" as he was originally conceived, but he also is not mean or off-putting. He is still an alien, but he embraced our customs, and the end result is quite pleasing, especially with the toxicity that exists with the US at this point in time!
Equally well written is BMB's handling of Lois Lane and Jon, her and Kal-El's son. Lois is both a successful, highly competent writer, but she is also a mother. Not an overbear, bitchy mom, but someone who cares for her son, as much as she cares for her husband. The boy, Jon, is written like a normal boy his age, but without that precociousness that seems to be given to young'uns his age on TV!
As I am so prone to do in my other reviews, I want to give credit to the art side of this tale. The artists (yes, artists, Plural.) on board is quite a top shelf gathering. Jim Lee handles the first issue, while Ivan Reis (BLACKEST NIGHT), Steve Rude (NEXUS), Jay Fabok (New 52 JUSTICE LEAGUE), and even Ryan Sook! What a heckuva good way to start your beginnings with DC!
While some are apt to disagree, Superman needs the red shorts! And, that, my friends, was Bendis' first order of business on taking on the Man of Steel! I look forward to seeing where he goes with Superman, as the character is one that many love, and many will expect something good! If this is the beginning, I can't wait to see where the rest of this ride takes us!
Mothergamer (1546 KP) rated The Green Hornet (2011) in Movies
Apr 3, 2019
I don't even have the words for how infuriated I am right now with The Green Hornet film. There's a small part of me that wishes I could just throw a brick at Seth Rogen's crotch right now, because he absolutely deserves it along with director Michael Gondry. That's right, the director of the film Eternal Sunshine Of The Spotless Mind which to me was a good movie is responsible for this equally terrible movie.
I do feel much of the blame lies with the fact that Seth Rogen co-wrote this screenplay and he claimed that he was so glad he didn't screw up one of his favorite childhood heroes. Seth, Seth, Seth....tsk tsk, someone's a dirty rotten liar Seth. Why must you constantly lie to us Seth? The truth is you messed up completely! In the original radio show, comics, and T.V. Show Britt Reid wasn't a moron. He was a smart successful newspaper publisher, he was confident, and he could fight well alongside his equally confident sidekick Kato. I loved the T.V. show and I loved the comic. I loved watching The Green Hornet on Kung Fu Saturday when I was a kid. That was the highlight of my Saturday. I would watch a couple of episodes of The Green Hornet and then watch the featured kung fu film. That's a sacred childhood memory and you, Seth Rogen along with your director have pissed all over it.
Not only did you make Britt Reid a total jerk, you made him stupid too! He loosely based Britt Reid on Paris Hilton? Are you kidding me with this nonsense?
Seth Rogen's Britt Reid is a spoiled rich brat who shows no interest in running the newspaper, but he instead becomes buddies with Kato his mechanic and coffee maker. I felt bad for Jay Chou because he's no Bruce Lee, but he did alright in spite of Seth Rogen constantly hyperventilating and shouting in every scene. He tried, he really did. Cameron Diaz's role as Reid's secretary Lenore Case is completely useless. She's basically camera filler with a great smile.
Of course, The Green Hornet has to have a villain and that is Christoph Waltz (Oscar winner from Inglorious Basterds) as Chudnofsky, but there is no depth to the character which proves bad writing is bad writing. Now I like action scenes as much as the next person, but it's as if Seth Rogen got bored and just added as much action as possible as filler rather than having an actual plot that tells the story. There's also so much pointless dialogue, watching this train wreck of a film is like being stuck in a dentist's chair having a root canal with no anesthesia. Yes, it's that damn bad. Not even the overpriced 3-D could save this film. That is just a gimmick to get more money out of people and this film proved that point real quick.
There is so much that could have been done to make this film version of the T.V. show great, but none of it was done. Instead, we get a film that is so terrible with no plot at all, a fake Britt Reid (I don't care what you say Rogen, that character you played was NOT Britt Reid! You are a liar sir!), a subdued Kato that got overshadowed by the crazy rich brat, a useless vapid secretary, and a villain that's about as threatening as a labradoodle. Seth Rogen and Michale Gondry you should be ashamed and embarrassed that your names are on this piece of trash.
Don't waste your money on this folks and certainly don't waste it on 3-D. The original is better and I'm sure that Mr. Rogen's going to have several bricks thrown at his crotch for even writing this awful screenplay. Just please, do us a favor and go sit in the corner with M. Night Shyamalan and quit making movies, because you really screwed the pooch on this one pal.
I do feel much of the blame lies with the fact that Seth Rogen co-wrote this screenplay and he claimed that he was so glad he didn't screw up one of his favorite childhood heroes. Seth, Seth, Seth....tsk tsk, someone's a dirty rotten liar Seth. Why must you constantly lie to us Seth? The truth is you messed up completely! In the original radio show, comics, and T.V. Show Britt Reid wasn't a moron. He was a smart successful newspaper publisher, he was confident, and he could fight well alongside his equally confident sidekick Kato. I loved the T.V. show and I loved the comic. I loved watching The Green Hornet on Kung Fu Saturday when I was a kid. That was the highlight of my Saturday. I would watch a couple of episodes of The Green Hornet and then watch the featured kung fu film. That's a sacred childhood memory and you, Seth Rogen along with your director have pissed all over it.
Not only did you make Britt Reid a total jerk, you made him stupid too! He loosely based Britt Reid on Paris Hilton? Are you kidding me with this nonsense?
Seth Rogen's Britt Reid is a spoiled rich brat who shows no interest in running the newspaper, but he instead becomes buddies with Kato his mechanic and coffee maker. I felt bad for Jay Chou because he's no Bruce Lee, but he did alright in spite of Seth Rogen constantly hyperventilating and shouting in every scene. He tried, he really did. Cameron Diaz's role as Reid's secretary Lenore Case is completely useless. She's basically camera filler with a great smile.
Of course, The Green Hornet has to have a villain and that is Christoph Waltz (Oscar winner from Inglorious Basterds) as Chudnofsky, but there is no depth to the character which proves bad writing is bad writing. Now I like action scenes as much as the next person, but it's as if Seth Rogen got bored and just added as much action as possible as filler rather than having an actual plot that tells the story. There's also so much pointless dialogue, watching this train wreck of a film is like being stuck in a dentist's chair having a root canal with no anesthesia. Yes, it's that damn bad. Not even the overpriced 3-D could save this film. That is just a gimmick to get more money out of people and this film proved that point real quick.
There is so much that could have been done to make this film version of the T.V. show great, but none of it was done. Instead, we get a film that is so terrible with no plot at all, a fake Britt Reid (I don't care what you say Rogen, that character you played was NOT Britt Reid! You are a liar sir!), a subdued Kato that got overshadowed by the crazy rich brat, a useless vapid secretary, and a villain that's about as threatening as a labradoodle. Seth Rogen and Michale Gondry you should be ashamed and embarrassed that your names are on this piece of trash.
Don't waste your money on this folks and certainly don't waste it on 3-D. The original is better and I'm sure that Mr. Rogen's going to have several bricks thrown at his crotch for even writing this awful screenplay. Just please, do us a favor and go sit in the corner with M. Night Shyamalan and quit making movies, because you really screwed the pooch on this one pal.
Gareth von Kallenbach (980 KP) rated The Dukes of Hazzard (2005) in Movies
Aug 14, 2019
Those good ol’ boys from Hazzard County are back, in the film version of one of the most enduring series from the 70’s.
For those unfamiliar with the series, each week Cousins Bo and Luke Duke used their super charged Dodge Charger, christened “The General Lee”, to avoid corrupt police, city overlord Boss Hogg, and bad guys of the week.
If this sounds very simplistic, it is, yet the show was a huge ratings sensation as were subsequent T.V. reunions after the show completed its run. Thanks to reruns on syndication and the recent DVD sales, a new generation is encountering the Dukes and in many ways, that is who the new film is targeted to.
Starring Johnny Knoxville and Sean William Scott as Luke and Bo Duke, the film follows the basic theme of the series as the two cousins joke with one another as they run Moonshine for their Uncle Jessie (Willie Nelson), and try to stay one step ahead of the Sheriff Roscoe P. Coltrane (M.C. Gainey),
As the film opens, Bo is concerned about defending his title in the annual road rally and tying the record with his 4th consecutive win. Luke is concerned about staying one step ahead of a shotgun toting father & son duo who aren’t thrilled about his numerous dalliances with the daughter.
It is all fun and games until local overlord Boss Hogg (Burt Reynolds), seizes the family farm when he plants a still on the property and drives the Dukes out. Not ones to take it sitting down, Bo, Luke, and Cousin Daisy (Jessica Simpson), set out to discover why Boss Hogg is acquiring through ruthless means all of the land in the outlying areas of Hazzard County.
Bo and Luke are forced to flee Hazzard County and venture to Atlanta in order to gain further insight into Boss Hogg’s plans, which results in some funny fish-out-of-water moments when Bo and Luke have to deal with yuppies, college dorms, and the ‘hood as well as city police and the Boss himself.
Of course in keeping with the show, there will be countless car chases, spectacular jumps, and more than enough T&A thanks to Simpson, but what is surprising is that the film’s humor for the most part works.
Directed by Jay Chandrasekher of the Broken Lizard comedy troupe, the film does have its share of moments that may raise a few eyebrows as drug use, sex, and shots to the groin are present in this film, as is language that is more colorful than anything from the original series.
That being said, it is important to remember, that times have changed greatly since the Dukes first aired and you cannot blame the film makers for attempting to reach out to a broader audience. Such is the running joke of Bo being more concerned with his car than with woman, and his inability to speak with the object of his affections without fainting. This is quite a change from the unflappable character of the television show, yet one that still allows the good natured appeal of the character to remain intact.
The cast works well, especially the chemistry between Knoxville and Scott, as well as the scenery chewing performance of Reynolds who seems to be having the time of his life in the role. Much has been made of Simpson’s part, but it is mostly a limited role that offers her little chance to do much more than serve as eye candy, and does not show if she is capable of doing much more.
Nelson is sadly underused, but when he is on screen he raises the bar as his easygoing charm is a perfect match for Uncle Jessie.
While the film is in no way great cinema, it is at times an enjoyable bit of nostalgia to the days when Friday nights growing up meant dinner in front of the television watching the Dukes.
If car chases and some light comedy are what you are in the mood for, and you do not mind a thin story, you can do a lot worse than the Dukes.
For those unfamiliar with the series, each week Cousins Bo and Luke Duke used their super charged Dodge Charger, christened “The General Lee”, to avoid corrupt police, city overlord Boss Hogg, and bad guys of the week.
If this sounds very simplistic, it is, yet the show was a huge ratings sensation as were subsequent T.V. reunions after the show completed its run. Thanks to reruns on syndication and the recent DVD sales, a new generation is encountering the Dukes and in many ways, that is who the new film is targeted to.
Starring Johnny Knoxville and Sean William Scott as Luke and Bo Duke, the film follows the basic theme of the series as the two cousins joke with one another as they run Moonshine for their Uncle Jessie (Willie Nelson), and try to stay one step ahead of the Sheriff Roscoe P. Coltrane (M.C. Gainey),
As the film opens, Bo is concerned about defending his title in the annual road rally and tying the record with his 4th consecutive win. Luke is concerned about staying one step ahead of a shotgun toting father & son duo who aren’t thrilled about his numerous dalliances with the daughter.
It is all fun and games until local overlord Boss Hogg (Burt Reynolds), seizes the family farm when he plants a still on the property and drives the Dukes out. Not ones to take it sitting down, Bo, Luke, and Cousin Daisy (Jessica Simpson), set out to discover why Boss Hogg is acquiring through ruthless means all of the land in the outlying areas of Hazzard County.
Bo and Luke are forced to flee Hazzard County and venture to Atlanta in order to gain further insight into Boss Hogg’s plans, which results in some funny fish-out-of-water moments when Bo and Luke have to deal with yuppies, college dorms, and the ‘hood as well as city police and the Boss himself.
Of course in keeping with the show, there will be countless car chases, spectacular jumps, and more than enough T&A thanks to Simpson, but what is surprising is that the film’s humor for the most part works.
Directed by Jay Chandrasekher of the Broken Lizard comedy troupe, the film does have its share of moments that may raise a few eyebrows as drug use, sex, and shots to the groin are present in this film, as is language that is more colorful than anything from the original series.
That being said, it is important to remember, that times have changed greatly since the Dukes first aired and you cannot blame the film makers for attempting to reach out to a broader audience. Such is the running joke of Bo being more concerned with his car than with woman, and his inability to speak with the object of his affections without fainting. This is quite a change from the unflappable character of the television show, yet one that still allows the good natured appeal of the character to remain intact.
The cast works well, especially the chemistry between Knoxville and Scott, as well as the scenery chewing performance of Reynolds who seems to be having the time of his life in the role. Much has been made of Simpson’s part, but it is mostly a limited role that offers her little chance to do much more than serve as eye candy, and does not show if she is capable of doing much more.
Nelson is sadly underused, but when he is on screen he raises the bar as his easygoing charm is a perfect match for Uncle Jessie.
While the film is in no way great cinema, it is at times an enjoyable bit of nostalgia to the days when Friday nights growing up meant dinner in front of the television watching the Dukes.
If car chases and some light comedy are what you are in the mood for, and you do not mind a thin story, you can do a lot worse than the Dukes.
Chris Sawin (602 KP) rated Cop Out (2010) in Movies
Jun 22, 2019 (Updated Jun 23, 2019)
Jimmy Monroe (Bruce Willis) and Paul Hodges (Tracy Morgan) have been working as partners at the NYPD for the past nine years. They have a reputation at the precinct for doing things their own sporadic and wreckful way that isn't normal procedure and usually winds up getting them into hot water with the captain. A suspect is brought in for interrogation and when he finally spills the beans on a drug deal happening that afternoon, Jimmy and Paul think it's best to act on it right then and there. After their plan fails, their suspect is killed and months of work is flushed down the drain. Jimmy and Paul are suspended for 30 days without pay, which isn't good news for Jimmy since his daughter is getting married and has the typical expensive wedding of her dreams in mind. Jimmy plans on selling a collectible baseball card that could pay for his daughter's wedding and then some, but the card is stolen by some crackheads before he can get the chance. Now Jimmy's just trying to get the card back to pay for his daughter's wedding, but him and Paul, who's too distracted with his wife's possible infidelity to really concentrate on the task at hand, are thrown into something much deeper.
To tell the truth, I wasn't looking forward to this film at all. I'm a pretty big fan of most of Kevin Smith's work, but he didn't write the film. It could be argued that he did write Jersey Girl and that could be considered a bomb, but his films usually average about $25-$30 million anyway. A Kevin Smith film isn't really about bringing in a large amount of money at the box office. His charm is in his writing, especially the dialogue and interaction between characters. There's a very specific audience his films will appeal to and none of them have really branched away from that. But him not writing this one made me think, "Eh. Not sure what that'll be like since he didn't write it." When it comes to Bruce Willis, I've never talked to anyone who dislikes him entirely. There always seems to be at least one of his films everybody enjoys. Die Hard, The Fifth Element, and Sin City are just a few off the top of my head. The real buzz-killer for me though was Tracy Morgan. He's just never been funny to me. He was beyond lame on Saturday Night Live and 30 Rock has never been able to hold my attention for very long. Not to mention all the trailers for Cop Out didn't make me laugh. Thankfully though, first impressions can be so very wrong.
One of Cop Out's biggest charms is that it feels like a buddy cop comedy you've seen before, but have forgotten how much you enjoy it. The film feels similar to a 48 Hrs or Beverly Hills Cop film. Bulletproof is also a good example. Cop Out is pretty much what you expect when it comes to roles Bruce Willis chooses as it's pretty much no different than his role as John McClane on the surface, but he's a lot funnier this time around. As far as Tracy Morgan goes, the funniest thing I could remember him saying was his one line in Jay and Silent Bob Strike Back ("Man... I don't know what the f--- you just said, Little Kid, but you're special man, you reached out, and you touched a brother's heart.") until this film. He was downright hilarious at times. The only person who was funnier than Morgan was Seann William Scott who stole every scene he was in. Even though Kevin Smith didn't pen the script this time around, it still feels like a Kevin Smith film. It could be due to the fact that Jason Lee has a small role in the film, but I like to think it's because Cop Out offers the same kind of comedy you'd find in a Kevin Smith film with a bit more action. It also took me forever to place Scarface from Half Baked as Poh Boy.
Cop Out is surprisingly funny and incredibly entertaining. Give this film a chance even if the trailers may not be doing anything for you. I felt the same way and wound up thoroughly enjoying the film. After a long, stressful day at work, an R-rated comedy with a lot of laughs is one of the best ways to relax and this film offers just that. It's a great film to go into with no expectations other than to just have a good time.
To tell the truth, I wasn't looking forward to this film at all. I'm a pretty big fan of most of Kevin Smith's work, but he didn't write the film. It could be argued that he did write Jersey Girl and that could be considered a bomb, but his films usually average about $25-$30 million anyway. A Kevin Smith film isn't really about bringing in a large amount of money at the box office. His charm is in his writing, especially the dialogue and interaction between characters. There's a very specific audience his films will appeal to and none of them have really branched away from that. But him not writing this one made me think, "Eh. Not sure what that'll be like since he didn't write it." When it comes to Bruce Willis, I've never talked to anyone who dislikes him entirely. There always seems to be at least one of his films everybody enjoys. Die Hard, The Fifth Element, and Sin City are just a few off the top of my head. The real buzz-killer for me though was Tracy Morgan. He's just never been funny to me. He was beyond lame on Saturday Night Live and 30 Rock has never been able to hold my attention for very long. Not to mention all the trailers for Cop Out didn't make me laugh. Thankfully though, first impressions can be so very wrong.
One of Cop Out's biggest charms is that it feels like a buddy cop comedy you've seen before, but have forgotten how much you enjoy it. The film feels similar to a 48 Hrs or Beverly Hills Cop film. Bulletproof is also a good example. Cop Out is pretty much what you expect when it comes to roles Bruce Willis chooses as it's pretty much no different than his role as John McClane on the surface, but he's a lot funnier this time around. As far as Tracy Morgan goes, the funniest thing I could remember him saying was his one line in Jay and Silent Bob Strike Back ("Man... I don't know what the f--- you just said, Little Kid, but you're special man, you reached out, and you touched a brother's heart.") until this film. He was downright hilarious at times. The only person who was funnier than Morgan was Seann William Scott who stole every scene he was in. Even though Kevin Smith didn't pen the script this time around, it still feels like a Kevin Smith film. It could be due to the fact that Jason Lee has a small role in the film, but I like to think it's because Cop Out offers the same kind of comedy you'd find in a Kevin Smith film with a bit more action. It also took me forever to place Scarface from Half Baked as Poh Boy.
Cop Out is surprisingly funny and incredibly entertaining. Give this film a chance even if the trailers may not be doing anything for you. I felt the same way and wound up thoroughly enjoying the film. After a long, stressful day at work, an R-rated comedy with a lot of laughs is one of the best ways to relax and this film offers just that. It's a great film to go into with no expectations other than to just have a good time.
Bob Mann (459 KP) rated The Front Runner (2018) in Movies
Sep 28, 2021
Candidate for a downfall.
We can all probably rattle off some of the classics movies with US politics as their backdrop. For me, “All the President’s Men”; “Primary Colors”; and “Frost/Nixon” might make that list. In the next tier down there are many great drama/thrillers – “Miss Sloane“; “The Post“; “The Ides of March”; “The American President”; “JFK” – and even some pretty funny comedies – “Dave” and “My Fellow Americans” for example. It’s actually quite difficult to think of many films on the subject that are outright dire, proving it remains a fertile ground for film-makers.
“The Front Runner” fortunately avoids this last category, but it’s certainly not good enough to make it into the ‘classics’ list either.
A true story.
The film is based on the true-story of US presidential hopeful Gary Hart (Hugh Jackman) and if you are NOT aware of the historical background then you might want to skip the rest of this review – and indeed all others – so you can see the film first and let the history come as a surprise to you.
Hart was younger than most candidates: good-looking, floppy-haired and refreshingly matter of fact in his dealings with the public and the press. Any interviews had to be about his politics: not about his family life with wife Lee (Vera Farmiga) and teenage daughter Andrea (Kaitlyn Dever).
Unfortunately, Hart has a weakness for a pretty face (or ten) and his marriage is rocky as a result: “Just don’t embarrass me” is Lee’s one requirement. His “nothing to hide” line to an intelligent Washington Post reporter – AJ Parker (a well cast Mamoudou Athie) – leads to a half-arsed stake-out by Miami Herald reporters and incriminating pictures linking Hart to a Miami pharmaceutical saleswoman Donna Rice (Sara Paxton). As the growing press tsunami rises, and his campaign manager (J.K. Simmons) gets more and more frustrated with him, can his candidacy survive and will his (now very much embarrassed) wife stick by him?
The turns.
Hugh Jackman is perfectly cast here; very believable as the self-centred, self-righteous and stubborn politician. But this central performance is surrounded by a strong team of supporting players. Vera Farmiga is superb as the wounded wife. Sara Paxton is heartbreaking as the intelligent college girl unfairly portrayed as a “slapper” by the media. The scenes between her and Hart-staffer Irene (Molly Ephraim), trying desperately to support her as best she can, are very nicely done. J.K Simmons as campaign manager Bill Dixon is as reliable as ever. And Alfred Molina turns up as the latest film incarnation of The Post’s Ben Bradlee – surely one of the most oft portrayed real-life journalists in film history.
“What did they just say”?
The biggest cause of dissatisfaction I have with the film is with the sound mixing. Was this a deliberate act by director Jason Reitman, to reflect the chaotic nature of political campaigning? Whether it was deliberate or not, much of the film’s dialogue – particularly in the first 30 minutes of the film – is drowned out by background noise. Sometimes I just longed for subtitles!
Just a little bit dull.
The screenplay, by Matt Bai (from his source book), Jay Carson (a Clinton staffer) and director Jason Reitman might align with the history, but the big problem is that the story’s just a little bit dull, particularly by today’s levels of scandal. This suffers the same fate as “House of Cards” (even before the Kevin Spacey allegations) in that the shocking realities of the Trump-era have progressively neutered the shock-factor of the fiction: to the point where it starts to become boring. Here, only once or twice does the screenplay hit a winning beat: for me, it was the scenes between Donna Rice and Irene Kelly and the dramatic press conference towards the end of the film. The rest of the time, the screenplay was perfectly serviceable but nothing spectacular.
When is a politician’s personal life private?
A core tenet of the film is Hart’s view that politics should be about the policies and not about the personality. Looking at the subject nowadays, it’s clearly a ridiculously idealistic viewpoint. Of course it matters. Politicians need to be trusted by their constituents (yeah, like that’s the case in the UK and the US at the moment!) and whether or not they slap their wives around or sleep with farm animals is clearly a material factor in that relationship. But this was clearly not as much the case in the 70’s as it is today, and the suggestion is that the Hart case was a turning point and a wake-up call to politicians around the world. (An interesting article by the Washington Post itself points out that this is also a simplistic view: that Hart should have been well aware of the dangerous game he was playing.)
Fidelity in politics.
Do you think that powerful politicos are driven to infidelity because they are powerful? Or that it is a characteristic of men who have the charisma to become political leaders in the first place? Such was the discussion my wife and I had in the car home after this film. Nature or political nurture? I’m still not sure.
It’s worth pointing out that to this day both Hart and Rice (interestingly, an alleged ex-girlfriend of Eagles front-man Don Henley) stick to their story that they never had sex.
Final thoughts.
The film’s perfectly watchable, has great acting, but is a little bit of a non-event. The end titles came and I thought “OK, that’s that then”…. nothing more. If you’re a fan of this style of historical political film then you probably won’t be disappointed by it; if not, probably best to wait and catch this on the TV.
“The Front Runner” fortunately avoids this last category, but it’s certainly not good enough to make it into the ‘classics’ list either.
A true story.
The film is based on the true-story of US presidential hopeful Gary Hart (Hugh Jackman) and if you are NOT aware of the historical background then you might want to skip the rest of this review – and indeed all others – so you can see the film first and let the history come as a surprise to you.
Hart was younger than most candidates: good-looking, floppy-haired and refreshingly matter of fact in his dealings with the public and the press. Any interviews had to be about his politics: not about his family life with wife Lee (Vera Farmiga) and teenage daughter Andrea (Kaitlyn Dever).
Unfortunately, Hart has a weakness for a pretty face (or ten) and his marriage is rocky as a result: “Just don’t embarrass me” is Lee’s one requirement. His “nothing to hide” line to an intelligent Washington Post reporter – AJ Parker (a well cast Mamoudou Athie) – leads to a half-arsed stake-out by Miami Herald reporters and incriminating pictures linking Hart to a Miami pharmaceutical saleswoman Donna Rice (Sara Paxton). As the growing press tsunami rises, and his campaign manager (J.K. Simmons) gets more and more frustrated with him, can his candidacy survive and will his (now very much embarrassed) wife stick by him?
The turns.
Hugh Jackman is perfectly cast here; very believable as the self-centred, self-righteous and stubborn politician. But this central performance is surrounded by a strong team of supporting players. Vera Farmiga is superb as the wounded wife. Sara Paxton is heartbreaking as the intelligent college girl unfairly portrayed as a “slapper” by the media. The scenes between her and Hart-staffer Irene (Molly Ephraim), trying desperately to support her as best she can, are very nicely done. J.K Simmons as campaign manager Bill Dixon is as reliable as ever. And Alfred Molina turns up as the latest film incarnation of The Post’s Ben Bradlee – surely one of the most oft portrayed real-life journalists in film history.
“What did they just say”?
The biggest cause of dissatisfaction I have with the film is with the sound mixing. Was this a deliberate act by director Jason Reitman, to reflect the chaotic nature of political campaigning? Whether it was deliberate or not, much of the film’s dialogue – particularly in the first 30 minutes of the film – is drowned out by background noise. Sometimes I just longed for subtitles!
Just a little bit dull.
The screenplay, by Matt Bai (from his source book), Jay Carson (a Clinton staffer) and director Jason Reitman might align with the history, but the big problem is that the story’s just a little bit dull, particularly by today’s levels of scandal. This suffers the same fate as “House of Cards” (even before the Kevin Spacey allegations) in that the shocking realities of the Trump-era have progressively neutered the shock-factor of the fiction: to the point where it starts to become boring. Here, only once or twice does the screenplay hit a winning beat: for me, it was the scenes between Donna Rice and Irene Kelly and the dramatic press conference towards the end of the film. The rest of the time, the screenplay was perfectly serviceable but nothing spectacular.
When is a politician’s personal life private?
A core tenet of the film is Hart’s view that politics should be about the policies and not about the personality. Looking at the subject nowadays, it’s clearly a ridiculously idealistic viewpoint. Of course it matters. Politicians need to be trusted by their constituents (yeah, like that’s the case in the UK and the US at the moment!) and whether or not they slap their wives around or sleep with farm animals is clearly a material factor in that relationship. But this was clearly not as much the case in the 70’s as it is today, and the suggestion is that the Hart case was a turning point and a wake-up call to politicians around the world. (An interesting article by the Washington Post itself points out that this is also a simplistic view: that Hart should have been well aware of the dangerous game he was playing.)
Fidelity in politics.
Do you think that powerful politicos are driven to infidelity because they are powerful? Or that it is a characteristic of men who have the charisma to become political leaders in the first place? Such was the discussion my wife and I had in the car home after this film. Nature or political nurture? I’m still not sure.
It’s worth pointing out that to this day both Hart and Rice (interestingly, an alleged ex-girlfriend of Eagles front-man Don Henley) stick to their story that they never had sex.
Final thoughts.
The film’s perfectly watchable, has great acting, but is a little bit of a non-event. The end titles came and I thought “OK, that’s that then”…. nothing more. If you’re a fan of this style of historical political film then you probably won’t be disappointed by it; if not, probably best to wait and catch this on the TV.