Search
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.
Midge (525 KP) rated The Nowhere Child in Books
Mar 11, 2019
Brilliant And Dark
“The Nowhere Child” is a debut psychological thriller by Christian White and it was so special! Several things cast their spell - my favourite genre; a very smart cover design; winner of the Victorian Premier Literary Award; and great ratings from the offset. It could only be a winner!
The book opens with an introduction to the main protagonist Kimberly (Kim) Leamy who is a photography teacher in Melbourne, Australia. Twenty-six years earlier, Sammy Went, a two-year-old girl vanished from her home in Manson, Kentucky. James Finn, an American accountant who contacts Kim is convinced she was that child, kidnapped just after her birthday. She cannot believe the woman who raised her crossed international lines to steal a toddler.
Jack and Molly Went’s daughter Sammy disappeared from their Kentucky home in 1990. Already estranged, the couple drifted further apart as time passed. Jack did his best to raise and protect his other daughter and son while Molly found solace in her faith. The Church of the Light Within, a Pentecostal fundamentalist group who handle poisonous snakes as part of their worship, provided that faith.
Now, with proof that she and Sammy are in fact the same person, Kim travels to America to reunite with a family she never knew she had and to solve the mystery of her abduction that will take her deep into the dark heart of religious fanaticism.
For me, Christian White’s writing is captivating and extremely well structured. Although the theme of a child being stolen is not particularly original, the clever telling of this story made it a joy to read. The chapters alternate between the past and the present, maintaining the reader’s attention. The chapters narrated in the past explore the impact of Sammy’s disappearance on her family and the community in which they live. The other chapters follow Kim’s pathway of discovery to the truth about her past.
The most gripping parts of “The Nowhere Child” were the chapters about the past, as the author unearthed long-buried secrets of Kim’s grieving family. It seemed that nearly every character from her past had something they wanted to be kept hidden. Revelations were made that included identity, betrayal, secrets, loss and a sinister cult. A tense story of menace and suspense, the story held my interest from start to finish and the way in which Christian White brought everything to a conclusion was just fabulous.
I loved “The Nowhere Child” and I would recommend it to anyone who likes this genre. It has left me eager to read more from this author in the future.
Thank you to #NetGalley, and HarperCollins UK for a free ARC of #NowhereChild in exchange for a voluntary, honest review.
The book opens with an introduction to the main protagonist Kimberly (Kim) Leamy who is a photography teacher in Melbourne, Australia. Twenty-six years earlier, Sammy Went, a two-year-old girl vanished from her home in Manson, Kentucky. James Finn, an American accountant who contacts Kim is convinced she was that child, kidnapped just after her birthday. She cannot believe the woman who raised her crossed international lines to steal a toddler.
Jack and Molly Went’s daughter Sammy disappeared from their Kentucky home in 1990. Already estranged, the couple drifted further apart as time passed. Jack did his best to raise and protect his other daughter and son while Molly found solace in her faith. The Church of the Light Within, a Pentecostal fundamentalist group who handle poisonous snakes as part of their worship, provided that faith.
Now, with proof that she and Sammy are in fact the same person, Kim travels to America to reunite with a family she never knew she had and to solve the mystery of her abduction that will take her deep into the dark heart of religious fanaticism.
For me, Christian White’s writing is captivating and extremely well structured. Although the theme of a child being stolen is not particularly original, the clever telling of this story made it a joy to read. The chapters alternate between the past and the present, maintaining the reader’s attention. The chapters narrated in the past explore the impact of Sammy’s disappearance on her family and the community in which they live. The other chapters follow Kim’s pathway of discovery to the truth about her past.
The most gripping parts of “The Nowhere Child” were the chapters about the past, as the author unearthed long-buried secrets of Kim’s grieving family. It seemed that nearly every character from her past had something they wanted to be kept hidden. Revelations were made that included identity, betrayal, secrets, loss and a sinister cult. A tense story of menace and suspense, the story held my interest from start to finish and the way in which Christian White brought everything to a conclusion was just fabulous.
I loved “The Nowhere Child” and I would recommend it to anyone who likes this genre. It has left me eager to read more from this author in the future.
Thank you to #NetGalley, and HarperCollins UK for a free ARC of #NowhereChild in exchange for a voluntary, honest review.
Defiance (Rise of the Iliri #3)
9.0
Rate It
Book
HER ONLY CHOICE IS TO CHANGE HER WORLD… Salryc Luxx came to the Black Blades as ignorant of her...
Rugby League Live 2: Gold Edition
Games and Sports
App
AN INTENSE RUGBY LEAGUE EXPERIENCE!!! The ultimate iPhone & iPad rugby league experience! Tru...
Goddess in the Stacks (553 KP) rated The Girl Who Drank the Moon in Books
Sep 12, 2018
I adore this cover. It was what first caught my eye when people started talking about this book, and then to find out it was a fairytale about a girl, a witch, and a dragon? I was sold. The trouble was getting my hands on it! But it has finally worked its way through the long line of other people who wanted to read it at my library, and I got to check it out. I've labeled it YA Fantasy, but it's actually pretty close to middle-grade Fantasy. Definitely something younger readers could understand, but enough meat in it for older readers who like fairy tales to enjoy it as well.
I would argue that the main character is not, in fact, the titular one, but the forest witch, Xan. Xan has been rescuing the babies left outside the Protectorate for many, many years, thinking the parents were abandoning them willfully, not that they were bullied into "sacrificing" wanted children. She'd cluck, take the babies, and deliver them to towns on the other side of the forest, where the villagers knew and loved her and cherished the children, calling them blessed and Star-Children. Meanwhile, the people of the Protectorate lived their days under a gray haze of misery, ruled by a Council who cared only for themselves and used Xan and the forest as a scare tactic.
Into this world Luna is born, and her mother refuses to give her up to be sacrificed, and goes "mad" when she is forced to. She is imprisoned in a tower, watched by fearsome nuns, while the oblivious Xan spirits her daughter away. On the journey, Xan winds up wandering instead of going straight to a village, and accidentally feeds Luna moonlight instead of starlight. Realizing the girl would be too much for a normal family to raise, she takes her home. (She also can't bear the thought of giving this particular child up.) She raises Luna as a granddaughter.
But Luna's mother wants her back, and some of the people of the Protectorate have started to wise up to the Council's games, and the plot really begins.
I really enjoyed this book - the characters were fun, the emotional conflicts were realistic, and the world-building was cute. This would actually be an excellent book to read to a child as a bedtime story, one chapter a night. (My parents read to us that way, working through Laura Ingalls Wilder, The Chronicles of Narnia, Tolkien, and Anne of Green Gables.) Adorable book, gorgeous cover. Slightly simplistic, but it strikes a perfect balance between a middle-grade read and something adults will still enjoy.
You can find all my reviews at http://goddessinthestacks.com
I would argue that the main character is not, in fact, the titular one, but the forest witch, Xan. Xan has been rescuing the babies left outside the Protectorate for many, many years, thinking the parents were abandoning them willfully, not that they were bullied into "sacrificing" wanted children. She'd cluck, take the babies, and deliver them to towns on the other side of the forest, where the villagers knew and loved her and cherished the children, calling them blessed and Star-Children. Meanwhile, the people of the Protectorate lived their days under a gray haze of misery, ruled by a Council who cared only for themselves and used Xan and the forest as a scare tactic.
Into this world Luna is born, and her mother refuses to give her up to be sacrificed, and goes "mad" when she is forced to. She is imprisoned in a tower, watched by fearsome nuns, while the oblivious Xan spirits her daughter away. On the journey, Xan winds up wandering instead of going straight to a village, and accidentally feeds Luna moonlight instead of starlight. Realizing the girl would be too much for a normal family to raise, she takes her home. (She also can't bear the thought of giving this particular child up.) She raises Luna as a granddaughter.
But Luna's mother wants her back, and some of the people of the Protectorate have started to wise up to the Council's games, and the plot really begins.
I really enjoyed this book - the characters were fun, the emotional conflicts were realistic, and the world-building was cute. This would actually be an excellent book to read to a child as a bedtime story, one chapter a night. (My parents read to us that way, working through Laura Ingalls Wilder, The Chronicles of Narnia, Tolkien, and Anne of Green Gables.) Adorable book, gorgeous cover. Slightly simplistic, but it strikes a perfect balance between a middle-grade read and something adults will still enjoy.
You can find all my reviews at http://goddessinthestacks.com
Gareth von Kallenbach (980 KP) rated Mary Poppins Returns (2018) in Movies
Jun 19, 2019
Following up a beloved classic is never easy task but that is what Disney is attempting to do with “Mary Poppins Returns”. This time out Emily Blunt takes on the magical umbrella of the no-nonsense but whimsical Nanny made famous by the series of books by PL Travers and of course the beloved classic starring Julie Andrews and Dick Van Dyke.
When hardship strikes the Banks family; Mary returns to assist Michael and Jane as well is Michael’s young children in much the magical way that she helped Michael and Jane all those years ago.
Joining her is local lamplighter Jack (Lin-Manuel Miranda), who remembers Mary and Jane Banks from his childhood.
Shocked that Mary has returned after all these years and not looking a day older; Michael Michaels three younger children are with delay on a magical adventure that only Mary Poppins can provide. Along the way they will dabble in animated environments, meet all manner of quirky characters, and of course bring the house down with magical and show stopping musical numbers as they attempt to help Michael and Jane save their beloved family home from ruthless bankers.
The film captures much of the joy and magic that you remember from the characters and it is likely to evoke an emotional response from you throughout the film.
Blunt does an amazing job taking over the role and her singing and dancing is very impressive. Miranda while struggling much as Van Dyke did with the Cockney accent; throws himself into the various musical numbers with passion and energy that helps take the scenes to a new level.
As I was watching the film and enjoying it thoroughly; I thought to myself the only real quality it lacked where the show stopping tunes that made the original such an unforgettable event. The Sherman Brothers set an impossibly high standard to follow as the score for the original film is peppered with Disney mainstays that have endured the test of time. No sooner had I thought that to myself; than to amazing musical numbers lit up the second half of the film to the point where I found myself not only humming one of them after the screening, but singing parts of them for several weeks after.
“Mary Poppins Returns” is a magical and musical film that the entire family can enjoy and takes viewers back to the simpler and nostalgic times of old. Let us hope that there will be new adventures for Mary to grace the cinema screen in the not-too-distant future as her absence has been far too long and dearly missed.
http://sknr.net/2018/12/12/mary-poppins-returns/
When hardship strikes the Banks family; Mary returns to assist Michael and Jane as well is Michael’s young children in much the magical way that she helped Michael and Jane all those years ago.
Joining her is local lamplighter Jack (Lin-Manuel Miranda), who remembers Mary and Jane Banks from his childhood.
Shocked that Mary has returned after all these years and not looking a day older; Michael Michaels three younger children are with delay on a magical adventure that only Mary Poppins can provide. Along the way they will dabble in animated environments, meet all manner of quirky characters, and of course bring the house down with magical and show stopping musical numbers as they attempt to help Michael and Jane save their beloved family home from ruthless bankers.
The film captures much of the joy and magic that you remember from the characters and it is likely to evoke an emotional response from you throughout the film.
Blunt does an amazing job taking over the role and her singing and dancing is very impressive. Miranda while struggling much as Van Dyke did with the Cockney accent; throws himself into the various musical numbers with passion and energy that helps take the scenes to a new level.
As I was watching the film and enjoying it thoroughly; I thought to myself the only real quality it lacked where the show stopping tunes that made the original such an unforgettable event. The Sherman Brothers set an impossibly high standard to follow as the score for the original film is peppered with Disney mainstays that have endured the test of time. No sooner had I thought that to myself; than to amazing musical numbers lit up the second half of the film to the point where I found myself not only humming one of them after the screening, but singing parts of them for several weeks after.
“Mary Poppins Returns” is a magical and musical film that the entire family can enjoy and takes viewers back to the simpler and nostalgic times of old. Let us hope that there will be new adventures for Mary to grace the cinema screen in the not-too-distant future as her absence has been far too long and dearly missed.
http://sknr.net/2018/12/12/mary-poppins-returns/
Emma @ The Movies (1786 KP) rated Destroyer (2018) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
It feels like Nicole Kidman has been making a big screen comeback recently. I enjoyed Aquaman and The Upside, we're also looking forward to seeing her in Boy Erased next month. I was aware that this one was going to be a little... different shall we say? But I hadn't read up much about it. It's a very surprising role to see her in.
Days after seeing Destroyer I'm still not any clearer about the whole thing. It almost felt like it had gritty TV crime drama potential but as a film I was a little underwhelmed.
I spent a long time wondering if I had missed something, the ending caused me the following reaction... "wait... oh... huh." I'm not sure that the way it tied itself up worked. It left me a little confused, not because the story didn't make sense but because of the way the film had been organised.
The main character, Erin, takes some pretty extreme measures during the film because of our bad guy. But out bad guy doesn't seem to warrant that behaviour. Sure he's a little nuts but as a catalyst for the messed up things she does I didn't find it to be very believable.
Kidman puts on a good show as you'd expect, trying to get past that hair and make-up though... I spent the first 30 minutes getting annoyed by it. I honestly don't know if I'm annoyed because it's bad or annoyed because it feels like they've disfigured Nicole Kidman.
The story is very familiar, a cop's past comes back to haunt them isn't new territory. Kidman takes on a very strong role and I can't deny she put some oomph into it but it's just another sort of okay film. Some less dramatic hair and make-up, a more organised timeline and a little more thought for the bad guy and I think I could have seen myself giving this four stars.
[As an after thought... the guy behind me at the screening kept laughing. Proper comedy gaffawing. I have to guess he was laughing at the violence being over the top because there wasn't anything amusing in it. I've seem films that are worse in that aspect though so I'm really just shrugging my shoulders about it.]
What you should do
There are other films that do much the same as this, but seeing Nicole Kidman as Erin Bell was an eye opener that you might benefit from seeing once.
Movie thing you wish you could take home
I would like whatever Nicole Kidman has that makes her naturally look like she's no older that Sebastian Stan.
Days after seeing Destroyer I'm still not any clearer about the whole thing. It almost felt like it had gritty TV crime drama potential but as a film I was a little underwhelmed.
I spent a long time wondering if I had missed something, the ending caused me the following reaction... "wait... oh... huh." I'm not sure that the way it tied itself up worked. It left me a little confused, not because the story didn't make sense but because of the way the film had been organised.
The main character, Erin, takes some pretty extreme measures during the film because of our bad guy. But out bad guy doesn't seem to warrant that behaviour. Sure he's a little nuts but as a catalyst for the messed up things she does I didn't find it to be very believable.
Kidman puts on a good show as you'd expect, trying to get past that hair and make-up though... I spent the first 30 minutes getting annoyed by it. I honestly don't know if I'm annoyed because it's bad or annoyed because it feels like they've disfigured Nicole Kidman.
The story is very familiar, a cop's past comes back to haunt them isn't new territory. Kidman takes on a very strong role and I can't deny she put some oomph into it but it's just another sort of okay film. Some less dramatic hair and make-up, a more organised timeline and a little more thought for the bad guy and I think I could have seen myself giving this four stars.
[As an after thought... the guy behind me at the screening kept laughing. Proper comedy gaffawing. I have to guess he was laughing at the violence being over the top because there wasn't anything amusing in it. I've seem films that are worse in that aspect though so I'm really just shrugging my shoulders about it.]
What you should do
There are other films that do much the same as this, but seeing Nicole Kidman as Erin Bell was an eye opener that you might benefit from seeing once.
Movie thing you wish you could take home
I would like whatever Nicole Kidman has that makes her naturally look like she's no older that Sebastian Stan.
Emma @ The Movies (1786 KP) rated The Hustle (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
I love Anne Hathaway. I love Rebel Wilson. I love Dirty Rotten Scoundrels. I did not love this.
Penny is a small-time con artist who decides to head to Europe to change things up a bit. Josephine is at the top of the con artist charts and is living very comfortably in Europe making a mint off the wealthy gentlemen who cross her path. When Penny stumbles onto her train she realises that the crass American could bring too much attention so she sets about sabotaging her plans. Penny is more resourceful than she seems though and soon makes her way back into Josephine's life.
I did laugh at a couple of points, but it really wasn't the bright and bubbly comedy I'd been hoping for. There are some definite hangovers that they've kept in that stick out in a modern film. The opening titles and some of the music are very reminiscent of older comedic movies and honestly seemed like a bad choice. You're remaking something, go the whole hog or don't bother.
Hathaway & Wilson do work well together as a comedy duo. The training montage was quite possibly the best bit and I enjoyed the teacher/student dynamic that they had. Beyond this though the film seemed to lack genuine comedy and instead relied on pratfalls. I don't know if it's just that it doesn't feel right that these two were doing this humour or that this humour doesn't have the same standing in films as it used to, but it left me disappointed.
Anne Hathaway is a stunning trickster with the accent of a stereotypical aristocrat. Listening to that in the trailers annoyed me, the film was no better. Admittedly it does change throughout to accommodate the con but it rears it's ugly head enough times to make you remember it.
Rebel Wilson was... Rebel Wilson, I'm not sure she had any other setting, and I don't think that matters for this. It's the perfect part for her and she actually does get some moments of seriousness to deal with. I think this was the perfect bit of casting.
I wish I could remember Dirty Rotten Scoundrels to see how much they kept but it has been a very long time since I watched it. Even without that memory I can tell you it isn't a fitting tribute to it, or to the genre sadly.
What you should do
At some point it'll stream and if there's nothing else to do it might be worth watching. I'm not sure you need to go out of your way to find it.
Movie thing you wish you could take home
I'll take some of the poise and agility that Josephine has, please and thank you.
Penny is a small-time con artist who decides to head to Europe to change things up a bit. Josephine is at the top of the con artist charts and is living very comfortably in Europe making a mint off the wealthy gentlemen who cross her path. When Penny stumbles onto her train she realises that the crass American could bring too much attention so she sets about sabotaging her plans. Penny is more resourceful than she seems though and soon makes her way back into Josephine's life.
I did laugh at a couple of points, but it really wasn't the bright and bubbly comedy I'd been hoping for. There are some definite hangovers that they've kept in that stick out in a modern film. The opening titles and some of the music are very reminiscent of older comedic movies and honestly seemed like a bad choice. You're remaking something, go the whole hog or don't bother.
Hathaway & Wilson do work well together as a comedy duo. The training montage was quite possibly the best bit and I enjoyed the teacher/student dynamic that they had. Beyond this though the film seemed to lack genuine comedy and instead relied on pratfalls. I don't know if it's just that it doesn't feel right that these two were doing this humour or that this humour doesn't have the same standing in films as it used to, but it left me disappointed.
Anne Hathaway is a stunning trickster with the accent of a stereotypical aristocrat. Listening to that in the trailers annoyed me, the film was no better. Admittedly it does change throughout to accommodate the con but it rears it's ugly head enough times to make you remember it.
Rebel Wilson was... Rebel Wilson, I'm not sure she had any other setting, and I don't think that matters for this. It's the perfect part for her and she actually does get some moments of seriousness to deal with. I think this was the perfect bit of casting.
I wish I could remember Dirty Rotten Scoundrels to see how much they kept but it has been a very long time since I watched it. Even without that memory I can tell you it isn't a fitting tribute to it, or to the genre sadly.
What you should do
At some point it'll stream and if there's nothing else to do it might be worth watching. I'm not sure you need to go out of your way to find it.
Movie thing you wish you could take home
I'll take some of the poise and agility that Josephine has, please and thank you.
JT (287 KP) rated The Grey (2012) in Movies
Mar 10, 2020
Director Joe Carnahan has a popular back catalogue. One that is considered his best to date is Narc. Of course he helmed the bat shit crazy, guns-a-blazing Smokin Aces and who could forget for a minute the over the top and some what bonkers reboot of The A-Team.
Here, Carnahan teams up with Liam Neeson once again, although it was very nearly Bradley Cooper, but we’re glad that Neeson got the gig! Neeson plays Ottway, a crack shot with a rifle whose job it is is to keep the many oil drilling workers off the menu from the local four legged carnivores.
When the plane transporting the crew back from the end of season crashes in Alaskan no man’s land, Neeson must battle the elements and inhospitable terrain to find safety – while at the same time avoiding a rather pissed off pack of hungry wolves. If there is anyone you’d want by your side in this type of situation (Bear Grylls not present) it’s Nesson. With a few choice words for his new found friends “nobody’s going to find us….and if we don’t move we’re all fucked!” They abandon what little is left of the plane and set out into the wilderness.
This is clearly not the best idea, and it’s not long before the group are picked off one by one as the race to safety intensifies. With the Alpha male calling the shots wolf side, it’s Neeson doing the same for the humans, as he battles with his own issues as well as those around him. A few nights opening up round the fire and you realise that these men have a significant reason to want to get home alive.
Neeson is level headed and cool, but then put into a situation like this you have to be. The film, lacking in any visual landscape must use the survivors to really build the story, and Carnahan delivers enough tension to the audience to keep them on a knife edge.
The action is integrated well into the emotional side of the plot and that makes the film all the more enjoyable, as by the end you feel for each and everyone of those guys. The scenes are a little more believable, no tanks shooting down planes here. Although we do wonder if Carnahan took inspiration from Cliffhanger for one particular scene.
The Grey packs an intense punch all the way through and it will play on the heart strings as well. Neeson is the stand-out but has a solid supporting cast who don’t let him carry the burden all the way through till the end.
Here, Carnahan teams up with Liam Neeson once again, although it was very nearly Bradley Cooper, but we’re glad that Neeson got the gig! Neeson plays Ottway, a crack shot with a rifle whose job it is is to keep the many oil drilling workers off the menu from the local four legged carnivores.
When the plane transporting the crew back from the end of season crashes in Alaskan no man’s land, Neeson must battle the elements and inhospitable terrain to find safety – while at the same time avoiding a rather pissed off pack of hungry wolves. If there is anyone you’d want by your side in this type of situation (Bear Grylls not present) it’s Nesson. With a few choice words for his new found friends “nobody’s going to find us….and if we don’t move we’re all fucked!” They abandon what little is left of the plane and set out into the wilderness.
This is clearly not the best idea, and it’s not long before the group are picked off one by one as the race to safety intensifies. With the Alpha male calling the shots wolf side, it’s Neeson doing the same for the humans, as he battles with his own issues as well as those around him. A few nights opening up round the fire and you realise that these men have a significant reason to want to get home alive.
Neeson is level headed and cool, but then put into a situation like this you have to be. The film, lacking in any visual landscape must use the survivors to really build the story, and Carnahan delivers enough tension to the audience to keep them on a knife edge.
The action is integrated well into the emotional side of the plot and that makes the film all the more enjoyable, as by the end you feel for each and everyone of those guys. The scenes are a little more believable, no tanks shooting down planes here. Although we do wonder if Carnahan took inspiration from Cliffhanger for one particular scene.
The Grey packs an intense punch all the way through and it will play on the heart strings as well. Neeson is the stand-out but has a solid supporting cast who don’t let him carry the burden all the way through till the end.
iTooch Français Langue Etrangère
Education and Reference
App
With more than 1,700 exercises, iTooch French as a Foreign Language is a new and fun way of...