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Holmes and Watson (2018)
Holmes and Watson (2018)
2018 | Adventure, Comedy, Mystery
They can't all be winners
Well...they can't all be winners.

I know that Will Ferrell is an "acquired taste" - either you like the "all in" comedy of this man, or you don't. I happen to like Ferrell, his comedy has aged on me like a fine wine. I find that some of his most recent films like THE OTHER GUYS and THE HOUSE are very funny (maybe not as funny as ANCHORMAN...but what is). I think this comedian still has his fastball.

But, sometimes, wine doesn't age well, it turns into vinegar. And for Ferrell, this vinegar is the comedic dud that is HOLMES & WATSON.

Partnering with familiar on-screen partner John C. Reilly (who paired with Ferrell in films like STEP BROTHERS and TALLEDEGA NIGHTS) this film is a parody of the multitude of Sherlock Holmes films - this time showing that not only is Holmes and idiot but so is Watson. But, somehow, they manage to solve the crime and save the day anyway.

Ferrell is (typically) over-the-top and obtuse as Holmes. Usually, this combination works for him (see ANCHORMAN) but it just falls flat here. Same thing for John C. Reilly's Watson - he is just as over-the-top and obtuse and (I think) that's the beginning of the problem here. The two just bounce off each other without the joke landing on either of them - nor does it land of the audience.

Ralph Fiennes (Moriarty), Rebecca Hall (potential girlfriend), Rob Brydon (Inspector Lestrade) and Kelly Macdonald (Mrs. Hudson) all fair poorly with poor material to work with.

Writer/Director Etan (that's Etan, not Ethan) Cohen (IDIOCRACY) does nothing to help things here with either his writing or his direction. My only thought here is that he thought that Ferrell and Reilly could improvise themselves into a good film.

It didn't happen.

Letter Grade: C (because I guffawed out loud - despite myself - a couple of times)

4 stars (out of 10) and you can take that to the Bank(ofMarquis)
  
Josh and Hazel's Guide to Not Dating
Josh and Hazel's Guide to Not Dating
Christina Lauren | 2018 | Contemporary, Romance
8
8.0 (1 Ratings)
Book Rating
I've read a variety of Christina Lauren novels by now, and this was one of my favorites. For a short minute, I thought Hazel was going to be too zany and over the top for me, and then I got to know her. I then fell in love with her, and I was immediately rooting for our caring, funny, and yes, sometimes, crazy heroine. The best part was that Josh was great in his own reliable, sweet way, too. There's nothing better than a romance where you care for both partners. They were an excellent couple, and I wanted nothing more than to see Josh and Hazel get together. The two had wonderful chemistry and the whole book just had me grinning goofily.

Josh and Hazel are both damaged and wary, but not in that annoying way that has you rolling your eyes and wishing they'd just get over it all. Josh's girlfriend has hurt him and Hazel is constantly passed over by guys who think she's too over the top. Neither deserve this pain, and you quickly want them to get together and be healed. Of course it isn't that easy. When they come up with the double date angle (but not dating each other), laughter ensues, as well as some heartbreak.

There aren't too many side characters in this one: the focus is on Hazel and Josh, but I really enjoyed Hazel's mom, as well as Josh's sister, Emily. And there's plenty of fun to be had with some of the folks we encounter on the blind dates. Josh and Hazel seem so real; our writing duo capture them quite well. Hazel's zest for life coupled with her vulnerability, for instance, shine brightly. And Josh, well, I just wanted to hug him sometimes.

In the end this a really fun, sweet book. It's humorous yet realistic and tender. I adored Hazel and Josh-they were one of my favorite couples in a while. 4+ stars.
  
    Cover Orange

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    Make your day orange! Over 10 million iOS downloads! Join the party! :) - also available for iPad...

    Weed Firm: RePlanted

    Weed Firm: RePlanted

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    Weed Firm: RePlanted. The Vicious and Lawless Career of Mr. Ted Growing The updated version of the...

No Sleep 'Til Hammersmith by Motorhead
No Sleep 'Til Hammersmith by Motorhead
1981 | Rock
(0 Ratings)
Album Favorite

"When I first this record I thought, ""What's wrong with the singer's voice?"" The second time I heard it I thought, ""Fuck, that guy looks like he's a savage killer!"" By the third time I'd heard it and seen the video, I thought, ""I like these guys…"" You need the right amount of exposure to these kinds of possibilities. People have certain prejudices against certain bands based on how they look but unless you're open-minded, you never know what you're missing out on. On top of the actual music, Motörhead embodied a lifestyle too. If you looked at Phil 'Philthy Animal' Taylor, may his soul rest in peace, he looked like a punk. He was the embodiment of cool. The only other guy who ever had that for me was when Chris Cornell had long hair! You just thought, ""That guy has got it going on."" Looking at Lemmy, who looked like a badass biker, and then Fast Eddie's darkness, Motörhead was all so cool. People ask me so often to comment on Lemmy's death and I always try to switch it to a comment on his life. How about we celebrate his existence? I saw a picture of him the other day and I found myself just staring and missing him a lot. Lemmy never hurt anyone or anything as far as I know. He never had to back up that dangerous attitude with anything else, like some of the things you're seeing on the internet just now with people shouting offensive things from the stage. That's an interesting breed of frontman and Lemmy was never like that. He knew who he was. It's hard when you can't understand when someone you know is gone. They're here, then they're gone and it's final. One of the most important lessons in that is to love people that are important to you and just be nice to people. You never know how long they'll be around."

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Jon Bernthal recommended GoodFellas (1990) in Movies (curated)

 
GoodFellas (1990)
GoodFellas (1990)
1990 | Crime, Drama, Thriller

"""Alright, I’d say the first would have to be Goodfellas. I know that’s probably one you get a lot, but I remember it came out, and I was probably in about the 8th grade. Me and my buddy Dougie Thornel probably saw that at the theaters 30 times. I mean we would just go, and we would watch it, and then sit in the theater and watch it again. I can’t say enough good about it. It’s horrifying, it’s hilarious, it’s so unbelievably honest. Look, I mean, Scorsese is my favorite filmmaker. You know, the fact that I got the chance to work with him [on The Wolf of Wall Street] was sort of the mountaintop, the kind of crowning achievement of my career, and I don’t mean that in sort of how I’m perceived by the world. I just mean in terms of experience. My brief time on that movie really changed the way that I work as an actor. He’s one of these guys that makes you feel that anything is possible. I’ve studied in the Russian theater, and one of the main ways that we study was you get a scene and then you do a big improvisation about the scene and what the scene could be. That’s precisely how he worked. Each one of these scenes, you create this unbelievably vivid reality, you really take yourself to the place, and everybody feels like they are one hundred feet tall. It doesn’t matter whether you are background or whether you are craft services or anything, but everybody is so full of ideas. You make it on the day, and then he just sort of takes what he wants from that. I feel like that method of filmmaking that’s so Scorsese, so uniquely his, shines brightest in that movie. That sense of anything can happen at anytime, it’s happening right there in the moment. I think it really, really just shines brightest in that film, and that’s why it’s my favorite film."""

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Kenneth Lonergan recommended Dark Waters (2019) in Movies (curated)

 
Dark Waters (2019)
Dark Waters (2019)
2019 | Drama

"A lot of Todd Haynes’ “Dark Waters” is shot from a distance. Lots of squared-off rectangular compositions, lots of corners and windows, lots of flat tracking shots. The colors are muted, greenish-gray and black. In contrast to the imagery of other films in the good old American David vs. Goliath tradition, Todd sets his hero’s very human struggle with the giant corporation DuPont in a visual framework that always looks a lot more corporate than human. It’s a really interesting choice. The handheld camera-work and bleached deserts of “Erin Brockovich” are as far away as the lighted ceiling squares and shadowy parking garages of “All The President’s Men” — the two most-famous exemplars of this genre. Instead, “Dark Waters” looks expensive, angular, and soft-edged. Even the interpolated closeups of Mark Ruffalo as he uncovers one terrible secret after another never break or mottle the movie’s palette. If it’s not stretching the point, “Dark Waters” looks a bit like it was shot on, well, Teflon. It’s a chilly, chilling approach to a drawn-out, turbulent, often soul-crushing struggle. But it makes perfect sense, considering the size and character of the corporate culture Mark’s Robert Bilott both works in and pits himself again. He’s not building a lawsuit house by house from behind the wheel of a pickup truck; he’s a corporate lawyer pursuing a huge corporation from expensive corporate offices. And whenever the movie does linger over the human costs he’s trying to redress, the effect is as gruesome as a mutilated body on a slab in a very clean morgue. These choices are a stark reminder that ultimately, even Bilott’s spectacular, hard-won legal victory is a drop in DuPont’s bucket. And it speaks to the pervasive character of the problem (not to mention the chemicals in our drinking water) that even when the good guys gain some ground, the world Todd captures in this movie is one of cold grays, smooth edges and gleaming surfaces to which nothing ever sticks. Not yet, anyway."

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