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BankofMarquis (1832 KP) rated It (2017) in Movies
Feb 14, 2018
IT is very good
I met the clown and IT is...fascinating, gripping, thrilling, humorous, intense and good.
But...is it scary? Sure...scary enough, but this adaptation of Stephen King's bestseller is much, much more than a scary movie.
One of the best screen adaptations of a Stephen King book, ever, IT tells the story of a group of13 year olds in Derry, Maine (one of the main towns featured in a variety of King's stories). It is 1989 and children have been going missing at an alarming rate. The adults in the town seem impassive about this, and when the younger brother of one of the gang goes missing, this "Loser's Club" investigates. What they find is a horrifying evil at the center of it all.
Like the plot of this film, there is much, much more going on in this film than what that last paragraph suggests, for this story is not only about the mystery of the missing children, it is a loving look back at childhood, friendship, caring and bonding. Think of this film as STAND BY ME meets...well...a killer clown.
And the clown IS killer. As played by Bill Skarsgard (TV's THE CROWN), Pennywise The Dancing Clown is slyly sinister, drawing the children in as a spider would a fly. It is only when the children are close (and alone) does he drop the guise of niceness and pounce. This is an intense and terrifyingly terrific performance, keeping the fine line between realism and camp (a line that Tim Curry trounced all over in the TV Mini-series version of this material in the 1980's).
I'm a big fan of Stephen King's writing (having read nearly all of his books and short stories) and I walked out of the theater thinking "finally, someone figured out the right way to make a Stephen King thriller work on the screen" and that someone is Director Andy Muschietti (MAMA). He guides this film with a strong hand, not wavering in his vision or sense of purpose as to where (and how) he wants this story to go. He let's the young actor's lead this story, with Skargard's clown pouncing every now and then. This works well, especially when infusing something that is sorely lacking, typically, in these types of films - humor.
And the humor, mostly, falls into the hands of Richie Tozier (Finn Wolfhard, STRANGER THINGS). He is an absolute bright spot injecting just the wrong (or maybe it is right?) comment in a tense situation, just as a 13 year old boy would do. As part of the "Loser's Club", he holds a bright spot in keeping things together when the mood threatens to get too grim or dire. And grim and dire is what is following this set of "Loser's", a veritable "who's who" of loser stereotypes. There is the "fat kid", Ben Hanscome (Jeremy Ray Taylor, ANT-MAN, in a sweet performance), the "always sick kid with the overbearing mother", Eddie Kasbrak (Jack Dylan Grazer), the "Jewish kid", Stanley Uris (Wyatt Oleff) and the "Black Kid", Mike Hanlon (Chosen Jacobs).
But the heart and sole of this film is the two main leads of the "Loser's Club", Bill Denbrough (Jaeden Lieberher, star of two criminally under-viewed gems MIDNIGHT SPECIAL and ST. VINCENT) and Beverly Marsh (Sophia Lillis, a relative newcomer that bears watching in the future). Both are harboring deep, emotional scars - Bill blames himself for the death of his brother by Pennywise and Beverly is (wrongly) viewed as a 13 year old slut by school rumor and innuendo and is sexually harassed by her father. The relationship between these two and the rest of the Loser's Club is the real treat of this film and the actor's are up to the challenge to draw us in and care about what happens to them when they are, ultimately, separated and confronted by Pennywise.
I was surprised by how little graphic gore there was in this film (though there is plenty of blood) and there is a little too many "jump scares" for my taste, but these are quibbles for a very good, very intense "scary film".
I floated out of the cinema after seeing this film You'll float too.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank (ofMarquis)
But...is it scary? Sure...scary enough, but this adaptation of Stephen King's bestseller is much, much more than a scary movie.
One of the best screen adaptations of a Stephen King book, ever, IT tells the story of a group of13 year olds in Derry, Maine (one of the main towns featured in a variety of King's stories). It is 1989 and children have been going missing at an alarming rate. The adults in the town seem impassive about this, and when the younger brother of one of the gang goes missing, this "Loser's Club" investigates. What they find is a horrifying evil at the center of it all.
Like the plot of this film, there is much, much more going on in this film than what that last paragraph suggests, for this story is not only about the mystery of the missing children, it is a loving look back at childhood, friendship, caring and bonding. Think of this film as STAND BY ME meets...well...a killer clown.
And the clown IS killer. As played by Bill Skarsgard (TV's THE CROWN), Pennywise The Dancing Clown is slyly sinister, drawing the children in as a spider would a fly. It is only when the children are close (and alone) does he drop the guise of niceness and pounce. This is an intense and terrifyingly terrific performance, keeping the fine line between realism and camp (a line that Tim Curry trounced all over in the TV Mini-series version of this material in the 1980's).
I'm a big fan of Stephen King's writing (having read nearly all of his books and short stories) and I walked out of the theater thinking "finally, someone figured out the right way to make a Stephen King thriller work on the screen" and that someone is Director Andy Muschietti (MAMA). He guides this film with a strong hand, not wavering in his vision or sense of purpose as to where (and how) he wants this story to go. He let's the young actor's lead this story, with Skargard's clown pouncing every now and then. This works well, especially when infusing something that is sorely lacking, typically, in these types of films - humor.
And the humor, mostly, falls into the hands of Richie Tozier (Finn Wolfhard, STRANGER THINGS). He is an absolute bright spot injecting just the wrong (or maybe it is right?) comment in a tense situation, just as a 13 year old boy would do. As part of the "Loser's Club", he holds a bright spot in keeping things together when the mood threatens to get too grim or dire. And grim and dire is what is following this set of "Loser's", a veritable "who's who" of loser stereotypes. There is the "fat kid", Ben Hanscome (Jeremy Ray Taylor, ANT-MAN, in a sweet performance), the "always sick kid with the overbearing mother", Eddie Kasbrak (Jack Dylan Grazer), the "Jewish kid", Stanley Uris (Wyatt Oleff) and the "Black Kid", Mike Hanlon (Chosen Jacobs).
But the heart and sole of this film is the two main leads of the "Loser's Club", Bill Denbrough (Jaeden Lieberher, star of two criminally under-viewed gems MIDNIGHT SPECIAL and ST. VINCENT) and Beverly Marsh (Sophia Lillis, a relative newcomer that bears watching in the future). Both are harboring deep, emotional scars - Bill blames himself for the death of his brother by Pennywise and Beverly is (wrongly) viewed as a 13 year old slut by school rumor and innuendo and is sexually harassed by her father. The relationship between these two and the rest of the Loser's Club is the real treat of this film and the actor's are up to the challenge to draw us in and care about what happens to them when they are, ultimately, separated and confronted by Pennywise.
I was surprised by how little graphic gore there was in this film (though there is plenty of blood) and there is a little too many "jump scares" for my taste, but these are quibbles for a very good, very intense "scary film".
I floated out of the cinema after seeing this film You'll float too.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank (ofMarquis)
Gareth von Kallenbach (965 KP) rated Bewitched (2005) in Movies
Aug 14, 2019
Turning a classic television series into a feature film can be a risky proposition. While the built in audience of Baby Boomers and new fans of a show gained through reruns make remakes a potentially lucrative venture, the task of recasting classic characters and modernizing the story to today’s audiences is rife with hazards.
For example, for every remake that succeeds, such as The Adams Family, Starsky and Hutch, and The Brady Bunch, there are countless others that fail, like The Wild Wild West, Car 54 Where Are You and I-Spy.
Sadly the new film version of Bewitched falls into the latter category. It is so bad it begs the question as to why such talents like Nicole Kidman, Michael Caine, and Will Ferrell signed on.
The story centers on Isabel Bigelow (Nicole Kidman), a young woman who is anxious to set off on her own and leave the family structure behind her. While this is not so uncommon for most people, Isabel is a witch and her decision to live as a mortal without her powers is of great consternation to her father (Michael Caine).
Isabel is convinced she can find a man, and can live in happiness and love with a mortal. She wants no part of the shallow and wandering eye that makes up their lifestyle. Convinced his daughter will never be able to live without her powers, her father chides her for her frequent and casual use of powers to do everything from find and furnish her home to paying for everyday needs.
At roughly the same time, fading actor Jack Wyatt is about to sign up to play the male lead in a new television version of the classic Bewitched television series. With the gigantic failure of his recent film, Jack is in need of a hit. Not wanting to take any attention away from his star turn, Jack insists that the producers cast a complete unknown in the role of Samantha. He does not want anyone infringing upon his spotlight.
A chance encounter with Isabel leads to her being cast by Jack in the new series. Isabel is taken by Jack and when she learns the role is that of a witch, she signs aboard despite some reservations.
Naturally Jack and Isabel will hit it off, and yes there will be issues, particularly when Jack’s shallow nature becomes clear to Isabel, and this is to say nothing of Isabel’s true identity which in and of itself is an issue.
What starts as a good premise with a solid cast quickly dissolves into a disjointed mess thanks to a paper thin plot that is rife with plot holes, non-sequitors, and unresolved moments. One such example is the character of Iris Smythson (Shirley Mac Laine), who plays Endora on the show. It is at first hinted at that she too is a witch and then made obvious. However there is no conclusion to this revelation. We see that she has a power and uses it, but we never really get the why she is there, how she chose to live as she does, and how her relationship with Isabel’s father is going to be altered by this.
Another problem the show has is that Ferell is reduced to running around, over-acting to get laughs. The situations go on way to long, and things that are at first amusing, become tedious after a while. One such scene has Ferell’s character appearing nude on a live television appearance. It is something that is used to generate laughs but there is no setup to the scene and it plays out as a desperate attempt to get laughs.
The only thing that works is the charm of Kidman who, as the quirky Isabel, is delightful, as is the supporting work of Caine and Steve Carell as Uncle Arthur. Sadly they are the only good things in a film that became so bad that many in the audience at my press screener were voicing their disdain when we left the film. Perhaps Samantha can twitch her nose and make this one vanish, as there is precious little to redeem it.
For example, for every remake that succeeds, such as The Adams Family, Starsky and Hutch, and The Brady Bunch, there are countless others that fail, like The Wild Wild West, Car 54 Where Are You and I-Spy.
Sadly the new film version of Bewitched falls into the latter category. It is so bad it begs the question as to why such talents like Nicole Kidman, Michael Caine, and Will Ferrell signed on.
The story centers on Isabel Bigelow (Nicole Kidman), a young woman who is anxious to set off on her own and leave the family structure behind her. While this is not so uncommon for most people, Isabel is a witch and her decision to live as a mortal without her powers is of great consternation to her father (Michael Caine).
Isabel is convinced she can find a man, and can live in happiness and love with a mortal. She wants no part of the shallow and wandering eye that makes up their lifestyle. Convinced his daughter will never be able to live without her powers, her father chides her for her frequent and casual use of powers to do everything from find and furnish her home to paying for everyday needs.
At roughly the same time, fading actor Jack Wyatt is about to sign up to play the male lead in a new television version of the classic Bewitched television series. With the gigantic failure of his recent film, Jack is in need of a hit. Not wanting to take any attention away from his star turn, Jack insists that the producers cast a complete unknown in the role of Samantha. He does not want anyone infringing upon his spotlight.
A chance encounter with Isabel leads to her being cast by Jack in the new series. Isabel is taken by Jack and when she learns the role is that of a witch, she signs aboard despite some reservations.
Naturally Jack and Isabel will hit it off, and yes there will be issues, particularly when Jack’s shallow nature becomes clear to Isabel, and this is to say nothing of Isabel’s true identity which in and of itself is an issue.
What starts as a good premise with a solid cast quickly dissolves into a disjointed mess thanks to a paper thin plot that is rife with plot holes, non-sequitors, and unresolved moments. One such example is the character of Iris Smythson (Shirley Mac Laine), who plays Endora on the show. It is at first hinted at that she too is a witch and then made obvious. However there is no conclusion to this revelation. We see that she has a power and uses it, but we never really get the why she is there, how she chose to live as she does, and how her relationship with Isabel’s father is going to be altered by this.
Another problem the show has is that Ferell is reduced to running around, over-acting to get laughs. The situations go on way to long, and things that are at first amusing, become tedious after a while. One such scene has Ferell’s character appearing nude on a live television appearance. It is something that is used to generate laughs but there is no setup to the scene and it plays out as a desperate attempt to get laughs.
The only thing that works is the charm of Kidman who, as the quirky Isabel, is delightful, as is the supporting work of Caine and Steve Carell as Uncle Arthur. Sadly they are the only good things in a film that became so bad that many in the audience at my press screener were voicing their disdain when we left the film. Perhaps Samantha can twitch her nose and make this one vanish, as there is precious little to redeem it.
Gareth von Kallenbach (965 KP) rated Overlord (2018) in Movies
Jul 2, 2019
June 6, 1944 is the day known around the world as D-Day. This historic day marks the massive invasion of France by the allied forces in an effort to regain the country from the hands of Germany and push back the mighty German war machine all the way to Berlin. There have been many movies, books, and even videogames about the invasion over the years, so even the biggest war buffs might be wondering…really, they made yet another movie about D-Day? Well, the movie Overlord is quite a bit different from anything we have even seen previously. This movie is still about Operation Overlord but does not focus on the amphibious assault and instead shows us the missions leading up to it. Still not unique enough for you? Well, in Overlord we have all the battles, weaponry and Nazis of an excellent war film but in true J.J. Abrams fashion we now also have ZOMBIES!
Overlord focuses on a small unit tasked to take out a radio tower atop a church in a small village in France. The unit led by Corporal Ford (Wyatt Russell) and comprised of fresh out of paratrooper training Privates Boyce (Jovan Adepo), Rosenfeld (Dominic Applewhite) and Tibbet (John Magaro) are the only survivors of the doomed mission, but understand that if they do not complete it, then the allied invasion will be without crucial air support. During their trek to the church they meet a young French woman from the village named Chloe (Mathilde Ollivier) who offers to accompany them and assist in taking out the radio tower.
When the ragtag team reach the village, it immediately becomes apparent that everything is not as it should be. They go to Chloe’s house to formulate their plan and are greeted by howling and grunting coming from a closed door down the hallway. Chloe states that her aunt also lives in the house and is very “sick” after being taken to the church by a German soldier. At the same time, through a series of unfortunate events, Private Boyce discovers a brutal laboratory where other villagers are also being made “sick”.
For those who have seen the preview of Overlord and expect it to be war-based horror movie may be a little disappointed. While there certainly are horrific events, and plenty of scenes fighting the undead, Overlord is much more about the atrocities that the Nazi regime inflicted on innocents in an effort to purse the 1000-year-old Reich. J.J. Abrams spins a tale about how a small group of dedicated soldiers can pull out the impossible, even when there are hordes of Nazi soldiers and undead monsters standing in their way and does this in a spectacular and very believable way. The movie seems far more realistic than it should considering we are talking about zombie soldiers, but the events unfold as if they could actually happen. The movie is less The Walking Dead and more Saving Private Ryan, focusing not so much on the undead creatures themselves, but more the experimentation and mad-scientist efforts to create the ultimate super soldier. The story was outstanding and how they depicted everything from the soldiers to the zombies was top notch.
The movie is beautifully shot, standing tall next to other war epics such as Saving Private Ryan or Dunkirk. Even though the main plot of the film isn’t the invasion itself, it goes to astonishing detail to show how massive the invasion truly was. The opening scene is both epic and terrifying and the horrors of war are explored throughout. The acting was also superb, leading you to immediately care about the team and root for their success in the mission.
If it is not already clear, I absolutely loved this movie! They did a masterful job of blending the war/horror genre in such a way, that it never overly feels like one versus the other. It’s an action packed, edge of your seat thriller, with just enough jump scares included to remind you that it is billed as a horror movie. Overlord is a very unique take on an unfortunate time in history and it is one of the best movies I’ve seen in 2018.
Overlord focuses on a small unit tasked to take out a radio tower atop a church in a small village in France. The unit led by Corporal Ford (Wyatt Russell) and comprised of fresh out of paratrooper training Privates Boyce (Jovan Adepo), Rosenfeld (Dominic Applewhite) and Tibbet (John Magaro) are the only survivors of the doomed mission, but understand that if they do not complete it, then the allied invasion will be without crucial air support. During their trek to the church they meet a young French woman from the village named Chloe (Mathilde Ollivier) who offers to accompany them and assist in taking out the radio tower.
When the ragtag team reach the village, it immediately becomes apparent that everything is not as it should be. They go to Chloe’s house to formulate their plan and are greeted by howling and grunting coming from a closed door down the hallway. Chloe states that her aunt also lives in the house and is very “sick” after being taken to the church by a German soldier. At the same time, through a series of unfortunate events, Private Boyce discovers a brutal laboratory where other villagers are also being made “sick”.
For those who have seen the preview of Overlord and expect it to be war-based horror movie may be a little disappointed. While there certainly are horrific events, and plenty of scenes fighting the undead, Overlord is much more about the atrocities that the Nazi regime inflicted on innocents in an effort to purse the 1000-year-old Reich. J.J. Abrams spins a tale about how a small group of dedicated soldiers can pull out the impossible, even when there are hordes of Nazi soldiers and undead monsters standing in their way and does this in a spectacular and very believable way. The movie seems far more realistic than it should considering we are talking about zombie soldiers, but the events unfold as if they could actually happen. The movie is less The Walking Dead and more Saving Private Ryan, focusing not so much on the undead creatures themselves, but more the experimentation and mad-scientist efforts to create the ultimate super soldier. The story was outstanding and how they depicted everything from the soldiers to the zombies was top notch.
The movie is beautifully shot, standing tall next to other war epics such as Saving Private Ryan or Dunkirk. Even though the main plot of the film isn’t the invasion itself, it goes to astonishing detail to show how massive the invasion truly was. The opening scene is both epic and terrifying and the horrors of war are explored throughout. The acting was also superb, leading you to immediately care about the team and root for their success in the mission.
If it is not already clear, I absolutely loved this movie! They did a masterful job of blending the war/horror genre in such a way, that it never overly feels like one versus the other. It’s an action packed, edge of your seat thriller, with just enough jump scares included to remind you that it is billed as a horror movie. Overlord is a very unique take on an unfortunate time in history and it is one of the best movies I’ve seen in 2018.
Kirk Bage (1775 KP) rated I Am Not Okay With This in TV
Mar 3, 2020
Proof that Netflix can rule your life, in an OK way, I guess. Every time I have dropped in for the last two weeks, this is the show they went out of their way to push on me. I watched the trailer and thought hmm, I don’t get it… but after relentless publicity I ended up watching the entire first series within 36 hours of its release on February 26th. Which is easy enough to do, as the entire first series only lasts 2 1/2 hours, in 7 x 23 minute easy to swallow episodes. Another nice tactic for the attention deficient generation.
Based on the graphic novels of Charles Forsman, who also gave us The End of the F***ing World – an equally dark edged teen angst story, that has had 2 full seasons of similarly short episodes. It also continues the partnership of that series’ main director, British born Jonathon Entwistle, who seems happily stuck with this genre on his, as yet, limited CV. It stars the quirky charm of Sophia Lillis, best known from the It reboot movies, and Wyatt Oleff, also plucked from that franchise. And, oh yeah, it shares production credits with a small show called Stranger Things; so it has a pop culture pedigree 100% guaranteed to attract a young audience.
In terms of tone and direction, it does wobble at the beginning, but also shows a lot of promise, thanks largely to the watchability of Lillis, who is perfectly cast as a nervy, nerdy teen with a lot of smarts, but not too many friends. The humour is black, the satire subtle, and the delivery is disarmingly adult; on the surface this is a high school comedy, but underneath it is a fucked up, biting exploration of grief, paranoia and anger (mis)management – it pushes boundaries on content, visually and in use of language that only Netflix can endorse and get away with. Which of course is what audiences want!
The premise is that after the suicide of her father, 17 year old Sydney Novak is having some emotional issues beyond the normal teenage stuff of zits on your thighs. As she keeps a secret journal to document her worries and thoughts (heard in voice-over consistently, giving it a definite graphic novel thought bubble vibe) we are in from the start on the possibility she may have a dubious superpower linked to being pissed off.
It takes a while for that aspect to kick in, however, so don’t expect big, showy, superhero set pieces; this is a comedy drama that borrows from every teenage trope available, and is focussed more on the troubles of high school, a single mom and general growing pains. It is funny – I laughed, and found it a charming mix of something really modern feeling, but with retro vibes; it is clearly 2020, but could be 1985, a trick Stranger Things has taught them well.
Really, it is almost all over before it gets started, with these brief episode times – which is smart; no time to waste, so it moves along, and is always endearingly entertaining. In essence, what we have here is a 2 1/2 hour pilot show, chopped into bite sized chunks and released as a tease for the main show, which will be series 2. Think of it as an origin story, if you will. Undoubtedly, that 2nd series is already on the way. Early critical response is solid, and in about another month you will be hearing everyone and their cat talking about it, for sure.
The lack of originality didn’t massively bother me, as you could see what they were trying to do with it, and the large appeal is to recreate a teen world that feels familiar and comfortable, and then play with those preconceptions, choosing the right moments to flip it upside down. Which eventually it does. The final episode of seven is an absolute doozy! Talk about teasing cliff-hangers! They really know how to keep us hooked!
The best thing about it, by a country mile, is the obvious star quality of Sophia Lillis, who must surely use this as a stepping-stone to a fine career, if she can master the emotional scenes as well as the charming quirky ones, at which she already excels. She reminds me a lot of Ellen Page, without the unlikely gravitas… yet. There is time to mature. I will be there for season 2 for sure, so it will be exciting to find out where it all goes next – this is a big opportunity for a BIG little show. I am only half sure they won’t fuck it up…
Based on the graphic novels of Charles Forsman, who also gave us The End of the F***ing World – an equally dark edged teen angst story, that has had 2 full seasons of similarly short episodes. It also continues the partnership of that series’ main director, British born Jonathon Entwistle, who seems happily stuck with this genre on his, as yet, limited CV. It stars the quirky charm of Sophia Lillis, best known from the It reboot movies, and Wyatt Oleff, also plucked from that franchise. And, oh yeah, it shares production credits with a small show called Stranger Things; so it has a pop culture pedigree 100% guaranteed to attract a young audience.
In terms of tone and direction, it does wobble at the beginning, but also shows a lot of promise, thanks largely to the watchability of Lillis, who is perfectly cast as a nervy, nerdy teen with a lot of smarts, but not too many friends. The humour is black, the satire subtle, and the delivery is disarmingly adult; on the surface this is a high school comedy, but underneath it is a fucked up, biting exploration of grief, paranoia and anger (mis)management – it pushes boundaries on content, visually and in use of language that only Netflix can endorse and get away with. Which of course is what audiences want!
The premise is that after the suicide of her father, 17 year old Sydney Novak is having some emotional issues beyond the normal teenage stuff of zits on your thighs. As she keeps a secret journal to document her worries and thoughts (heard in voice-over consistently, giving it a definite graphic novel thought bubble vibe) we are in from the start on the possibility she may have a dubious superpower linked to being pissed off.
It takes a while for that aspect to kick in, however, so don’t expect big, showy, superhero set pieces; this is a comedy drama that borrows from every teenage trope available, and is focussed more on the troubles of high school, a single mom and general growing pains. It is funny – I laughed, and found it a charming mix of something really modern feeling, but with retro vibes; it is clearly 2020, but could be 1985, a trick Stranger Things has taught them well.
Really, it is almost all over before it gets started, with these brief episode times – which is smart; no time to waste, so it moves along, and is always endearingly entertaining. In essence, what we have here is a 2 1/2 hour pilot show, chopped into bite sized chunks and released as a tease for the main show, which will be series 2. Think of it as an origin story, if you will. Undoubtedly, that 2nd series is already on the way. Early critical response is solid, and in about another month you will be hearing everyone and their cat talking about it, for sure.
The lack of originality didn’t massively bother me, as you could see what they were trying to do with it, and the large appeal is to recreate a teen world that feels familiar and comfortable, and then play with those preconceptions, choosing the right moments to flip it upside down. Which eventually it does. The final episode of seven is an absolute doozy! Talk about teasing cliff-hangers! They really know how to keep us hooked!
The best thing about it, by a country mile, is the obvious star quality of Sophia Lillis, who must surely use this as a stepping-stone to a fine career, if she can master the emotional scenes as well as the charming quirky ones, at which she already excels. She reminds me a lot of Ellen Page, without the unlikely gravitas… yet. There is time to mature. I will be there for season 2 for sure, so it will be exciting to find out where it all goes next – this is a big opportunity for a BIG little show. I am only half sure they won’t fuck it up…
5 Minute Movie Guy (379 KP) rated 22 Jump Street (2014) in Movies
Jun 26, 2019 (Updated Jun 29, 2019)
22 Jump Street is ingeniously self-aware. (3 more)
It's a fun film with lots of laughs and good action.
Channing Tatum and Ice Cube are both hilarious.
It ends with an unforgettably awesome credits sequence.
22 Jump Street may be a familiar foray, but this summer bromance still manages to be loads of fun and is without a doubt one of the funniest movies of the year.
Officers Schmidt and Jenko are back again for the biggest bromance of the summer. Previously on the film 21 Jump Street, this pair of police officers went undercover, disguised as high school students, to stop the spread of a new drug that was being distributed throughout the campus. Their mission was a success, and now the buddy cop duo returns with a new assignment – or actually the same assignment – but this time they’re going to college! 22 Jump Street has essentially the same exact premise as its predecessor and shamelessly spares no expense in letting you know it. It’s a running joke throughout the film with characters blatantly reminding you of the similarities. It may be a familiar foray, but 22 Jump Street still manages to be loads of fun and is without a doubt one of the funniest movies of the year.
One of the strengths of 22 Jump Street is that it never takes itself too seriously. Right off the bat, it sarcastically sets the stage through a cheesy and overly-dramatic recap of the first film that feels like it’s straight out of a ‘90s TV series. The movie continues to poke fun at itself every step of the way, reminding you that the creators are very much in on the joke. Rather than coming off as a lazy rehash, 22 Jump Street’s self-awareness makes it feel fresh and inviting. The whole movie plays out like a fourth-wall-breaking inside-joke between the actors and the audience. It openly acknowledges that it’s silly and redundant, but in doing so, it encourages us to put that aside and just sit back and have a good time. All in all, I most certainly did have a good time, and 22 Jump Street ended up being far more funny and enjoyable than I ever expected.
As much as I liked the movie, I have to say that it’s awfully heavy on the bromance. Many of the jokes revolve around the relationship between Jonah Hill’s Schmidt and Channing Tatum’s Jenko, and it gets to be pretty excessive and overdone. While Schmidt struggles to fit in at college, Jenko is accepted with open arms and quickly befriends the star quarterback Zook, played by Wyatt Russell, who recruits him to join the university football team. This puts a serious strain on Schmidt and Jenko’s friendship, and the film revels in their troubled relationship, portraying them like a bickering couple. The problem, however, is that it continuously stresses this bromance to the point where it becomes more awkward than funny. Additionally, as Schmidt feels more and more out of place without Jenko, I think Jonah Hill similarly falls more and more out of place in this film.
Jonah Hill and Channing Tatum make for an adequate comedic pair, however I find that Hill struggles in scenes without his co-star. While I respect Hill as an actor, it’s Tatum that truly carries the film, further establishing himself as a Hollywood star. He’s not only the funnier of the two, but he’s also highly entertaining and a perfect fit for an action star. He’s a natural in the movie’s comical action sequences, which include car chases, shootouts, and a well-choreographed fight scene on the beaches of Cancun. The movie drags on through Hill’s mopey solo scenes, only to be reinvigorated by Tatum’s humor and enthusiasm. Though the two of them play well together, I can’t help but feel like perhaps Hill should consider sticking to more dramatic roles.
While some of Hill’s attempts at humor fall flat, most of the comedy in the movie does work. Ice Cube is a stand-out in his return as police captain Dickson and his short temper creates some of the movie’s more memorable scenes. Meanwhile Tatum’s Jenko makes for a perfectly lovable and amusing airhead. The movie is chock-full of clever self-referential jokes and has an elaborate credits scene that expertly basks in its own egotism. 22 Jump Street is a movie that knows full well what it is and is proud of it.
22 Jump Street may be more of the same, but it’s completely content with that and wagers that you will be too. It’s a fun and comical adventure through college, and is coincidentally one of the best comedies of the year.
(This review was originally posted at 5mmg.com on 12.2.14.)
One of the strengths of 22 Jump Street is that it never takes itself too seriously. Right off the bat, it sarcastically sets the stage through a cheesy and overly-dramatic recap of the first film that feels like it’s straight out of a ‘90s TV series. The movie continues to poke fun at itself every step of the way, reminding you that the creators are very much in on the joke. Rather than coming off as a lazy rehash, 22 Jump Street’s self-awareness makes it feel fresh and inviting. The whole movie plays out like a fourth-wall-breaking inside-joke between the actors and the audience. It openly acknowledges that it’s silly and redundant, but in doing so, it encourages us to put that aside and just sit back and have a good time. All in all, I most certainly did have a good time, and 22 Jump Street ended up being far more funny and enjoyable than I ever expected.
As much as I liked the movie, I have to say that it’s awfully heavy on the bromance. Many of the jokes revolve around the relationship between Jonah Hill’s Schmidt and Channing Tatum’s Jenko, and it gets to be pretty excessive and overdone. While Schmidt struggles to fit in at college, Jenko is accepted with open arms and quickly befriends the star quarterback Zook, played by Wyatt Russell, who recruits him to join the university football team. This puts a serious strain on Schmidt and Jenko’s friendship, and the film revels in their troubled relationship, portraying them like a bickering couple. The problem, however, is that it continuously stresses this bromance to the point where it becomes more awkward than funny. Additionally, as Schmidt feels more and more out of place without Jenko, I think Jonah Hill similarly falls more and more out of place in this film.
Jonah Hill and Channing Tatum make for an adequate comedic pair, however I find that Hill struggles in scenes without his co-star. While I respect Hill as an actor, it’s Tatum that truly carries the film, further establishing himself as a Hollywood star. He’s not only the funnier of the two, but he’s also highly entertaining and a perfect fit for an action star. He’s a natural in the movie’s comical action sequences, which include car chases, shootouts, and a well-choreographed fight scene on the beaches of Cancun. The movie drags on through Hill’s mopey solo scenes, only to be reinvigorated by Tatum’s humor and enthusiasm. Though the two of them play well together, I can’t help but feel like perhaps Hill should consider sticking to more dramatic roles.
While some of Hill’s attempts at humor fall flat, most of the comedy in the movie does work. Ice Cube is a stand-out in his return as police captain Dickson and his short temper creates some of the movie’s more memorable scenes. Meanwhile Tatum’s Jenko makes for a perfectly lovable and amusing airhead. The movie is chock-full of clever self-referential jokes and has an elaborate credits scene that expertly basks in its own egotism. 22 Jump Street is a movie that knows full well what it is and is proud of it.
22 Jump Street may be more of the same, but it’s completely content with that and wagers that you will be too. It’s a fun and comical adventure through college, and is coincidentally one of the best comedies of the year.
(This review was originally posted at 5mmg.com on 12.2.14.)
Gareth von Kallenbach (965 KP) rated It: Chapter Two (2019) in Movies
Sep 13, 2019
I’ve always been a fan of Stephen King movies, even some of those that were not particularly good or well received. For someone who is a fan you think that would inspire me to pick up at least one of his books to get a feel for what the author truly intended over the stripped down,
“Hollywood-ised” versions. I can’t put my finger on why I haven’t, it’s not because the size of many of his novels are daunting, it’s more that as a reader I’m just not a horror book fan. So when it comes to sitting in on a Stephen king movie I have to rely on the story by it’s modified merits then to compare and contrast what IT does well (or not).
Like many before me, my first movie experience of IT was the classic mini-series featuring an incredibly creepy (and non-CGI’d version) of Pennywise portrayed by the extremely talented Tim Curry.
I even went out and purchased the mini-series before I went to see the first chapter of the remake of IT, just to see how those two compared. IT: Chapter One introduced us in great depth to the teens of the original losers club. A group of misfits, who went on their own personal crusade to attack and kill the nefarious clown while saving one of their own. A strong pact was formed and an oath sworn that if IT ever returned to Derry that the group would once again join together to put a stop to IT for good.
IT: Chapter Two picks up 27 years later, the group has moved on with their lives, all except Mike (Isaiah Mustafa as an adult and Chosen Jacobs as a younger version) who has felt a sense of responsibility to watch over the town and research how to kill IT if IT were to ever return. A horrific killing of an adult at the fair and subsequent disappearances of children alert Mike that the plague that has befallen Derry for generations has returned to feed. Mike reaches out to each of the losers reminding them that something they have all feared has come to pass.
Each when notified experience a fear that is indescribable yet for some reason the groups memories of the past have become clouded.
The now adult losers (with several flashbacks featuring the original cast) come together to remind themselves of the past, and the pact they made to protect the future. Featuring a star studded cast, Mike, Bill (James McAvoy/Jaeden Martell), Beverly (Jessica Chastain/Sophia Lillis), Ben (Jay Ryan/Jeremy Ray Taylor), Richie (Bill Hader/Finn Wolfhard), Eddie (James Ransone/Jack Dylan Grazer) and Stanley (Andy Bean/Wyatt Oleff), must battle their lost memories, their fears and the very real danger if they are to save Derry and themselves.
IT: Chapter 2 continues the incredible character building that Chapter 1 began. Where each of the young actors were perfectly cast as their book counterparts, their adult versions could easily be mistaken for the grown-up versions. This is the area where IT shines the most, the story of the losers who have grown and moved away, yet still share the unescapable bond of friendship. While an older Bill struggles (much like Stephen King himself) to come up with good endings to his stories it’s what he writes at the end of IT: Chapter 2 that really sums up the movie as a whole. To summarize, there are no good friends or bad friends, there are only friends, and chapter 2 is an example of how you take a band of misfits and turn them into heroes.
Sadly, for all the things IT does from a character side, it tends to drag on and over CGI its monster side. Pennywise the clown (portrayed brilliantly by Bill Skarsgård) brings with him all the creepiness and fear that the movie needs, even posters of his maniacal self is promoting lawsuits in other countries due to his ability to scare small children. So, it seems a bit disheartening that the studio felt it was necessary to go overboard with their CGI budgets. Many scenes go from being creepy and scary to simply being silly when our favorite clown is turned into a giant naked hag like figure. This is where I felt the mini-series did a far better job, due to its limited budget and shorter time requirements it allowed for the viewers to imagine the evil and not see it thrown out for the world to see.
IT: Chapter 2 also drags out far longer than it needed to. Make sure you get your bathroom breaks in, because the film, not counting previews, is just about 10 minutes shy of being three hours. I’m normally not one to complain about the length of a movie, as I’d rather they tell the story they want instead of trying to compress it into a shorter run time. However, in this case, it seemed entirely wasted on an overabundance of clown mutations and an extremely drawn out final battle. It’s unfortunate, because one of the most unused (and potentially interesting characters) Henry Bowers (Teach Grant/Nicholas Hamilton) is given only a few minutes of screen time and ultimately adds nothing to the movie as a whole. As I stated earlier, I haven’t read the novel, but I have to assume that he played a far bigger role in the book.
As it stands in the movie, his character is both unnecessary and completely ineffective at whatever he was attempting to do. I think some of the time taken away from the battle scenes to flesh out his (or other supporting characters) would have be time better spent.
IT: Chapter 2 is a good movie, that with some reduced special effects and better time management is just shy of being a great movie. The story of the kids, now grown up, is one of forgiveness, bravery and love. It shows how true friendship can overcome distance and time and that those things never truly vanish, even if the particulars of what separated you in the first place is a bit fuzzy. Horror movies with outrageous budgets tend to lose the spirit of what makes a true horror movie scary…it’s rarely about the effects, and more about the imagination.
That’s what makes the books typically so much better than the movies, after all, each one of us imagines our own version of what truly scares us (although clowns tend to be scary regardless of how they are portrayed). IT: Chapter 2 provides a satisfying ending to a story that began a few years ago, it suffers a bit from its budget and its use of CGI effects, but it’s still a story of what all of us losers can accomplish if we band together.
“Hollywood-ised” versions. I can’t put my finger on why I haven’t, it’s not because the size of many of his novels are daunting, it’s more that as a reader I’m just not a horror book fan. So when it comes to sitting in on a Stephen king movie I have to rely on the story by it’s modified merits then to compare and contrast what IT does well (or not).
Like many before me, my first movie experience of IT was the classic mini-series featuring an incredibly creepy (and non-CGI’d version) of Pennywise portrayed by the extremely talented Tim Curry.
I even went out and purchased the mini-series before I went to see the first chapter of the remake of IT, just to see how those two compared. IT: Chapter One introduced us in great depth to the teens of the original losers club. A group of misfits, who went on their own personal crusade to attack and kill the nefarious clown while saving one of their own. A strong pact was formed and an oath sworn that if IT ever returned to Derry that the group would once again join together to put a stop to IT for good.
IT: Chapter Two picks up 27 years later, the group has moved on with their lives, all except Mike (Isaiah Mustafa as an adult and Chosen Jacobs as a younger version) who has felt a sense of responsibility to watch over the town and research how to kill IT if IT were to ever return. A horrific killing of an adult at the fair and subsequent disappearances of children alert Mike that the plague that has befallen Derry for generations has returned to feed. Mike reaches out to each of the losers reminding them that something they have all feared has come to pass.
Each when notified experience a fear that is indescribable yet for some reason the groups memories of the past have become clouded.
The now adult losers (with several flashbacks featuring the original cast) come together to remind themselves of the past, and the pact they made to protect the future. Featuring a star studded cast, Mike, Bill (James McAvoy/Jaeden Martell), Beverly (Jessica Chastain/Sophia Lillis), Ben (Jay Ryan/Jeremy Ray Taylor), Richie (Bill Hader/Finn Wolfhard), Eddie (James Ransone/Jack Dylan Grazer) and Stanley (Andy Bean/Wyatt Oleff), must battle their lost memories, their fears and the very real danger if they are to save Derry and themselves.
IT: Chapter 2 continues the incredible character building that Chapter 1 began. Where each of the young actors were perfectly cast as their book counterparts, their adult versions could easily be mistaken for the grown-up versions. This is the area where IT shines the most, the story of the losers who have grown and moved away, yet still share the unescapable bond of friendship. While an older Bill struggles (much like Stephen King himself) to come up with good endings to his stories it’s what he writes at the end of IT: Chapter 2 that really sums up the movie as a whole. To summarize, there are no good friends or bad friends, there are only friends, and chapter 2 is an example of how you take a band of misfits and turn them into heroes.
Sadly, for all the things IT does from a character side, it tends to drag on and over CGI its monster side. Pennywise the clown (portrayed brilliantly by Bill Skarsgård) brings with him all the creepiness and fear that the movie needs, even posters of his maniacal self is promoting lawsuits in other countries due to his ability to scare small children. So, it seems a bit disheartening that the studio felt it was necessary to go overboard with their CGI budgets. Many scenes go from being creepy and scary to simply being silly when our favorite clown is turned into a giant naked hag like figure. This is where I felt the mini-series did a far better job, due to its limited budget and shorter time requirements it allowed for the viewers to imagine the evil and not see it thrown out for the world to see.
IT: Chapter 2 also drags out far longer than it needed to. Make sure you get your bathroom breaks in, because the film, not counting previews, is just about 10 minutes shy of being three hours. I’m normally not one to complain about the length of a movie, as I’d rather they tell the story they want instead of trying to compress it into a shorter run time. However, in this case, it seemed entirely wasted on an overabundance of clown mutations and an extremely drawn out final battle. It’s unfortunate, because one of the most unused (and potentially interesting characters) Henry Bowers (Teach Grant/Nicholas Hamilton) is given only a few minutes of screen time and ultimately adds nothing to the movie as a whole. As I stated earlier, I haven’t read the novel, but I have to assume that he played a far bigger role in the book.
As it stands in the movie, his character is both unnecessary and completely ineffective at whatever he was attempting to do. I think some of the time taken away from the battle scenes to flesh out his (or other supporting characters) would have be time better spent.
IT: Chapter 2 is a good movie, that with some reduced special effects and better time management is just shy of being a great movie. The story of the kids, now grown up, is one of forgiveness, bravery and love. It shows how true friendship can overcome distance and time and that those things never truly vanish, even if the particulars of what separated you in the first place is a bit fuzzy. Horror movies with outrageous budgets tend to lose the spirit of what makes a true horror movie scary…it’s rarely about the effects, and more about the imagination.
That’s what makes the books typically so much better than the movies, after all, each one of us imagines our own version of what truly scares us (although clowns tend to be scary regardless of how they are portrayed). IT: Chapter 2 provides a satisfying ending to a story that began a few years ago, it suffers a bit from its budget and its use of CGI effects, but it’s still a story of what all of us losers can accomplish if we band together.