Month: July 2020

Today’s quick review: Year One. After eating the forbidden fruit, Zed (Jack Black) is kicked out of his primitive tribe with his friend Oh (Michael Cera). The two cavemen wander into an unfamiliar world and meet its strange inhabitants, including Cain (David Cross), Abraham (Hank Azaria), and Sargon (Vinnie Jones). But when their former tribemates are enslaved, Zed and Oh must journey to the hedonistic city of Sodom to save them.

Year One is a comedy set in a pastiche of the ancient world. Zed and Oh blunder from one quasi-Biblical situation to another, encountering a number of familiar names and places along the way. Year One’s loose premise and talented leads give the film some legs, setting it up to be a clever, irreverent spoof of mankind’s early days. However, its rambling story, aggressively lowbrow humor, and unlikable characters keep it from realizing its potential.

Year One’s cast is its best feature. Jack Black and Michael Cera play off each other well. Both comedians adopt their usual roles: Zed is a liar and a womanizer with an inflated opinion of himself, while Oh is a shy, intelligent young man with poor social skills. David Cross joins them as their on again, off again companion, the unstable murderer Cain. The three are a natural fit together, and their interactions give the film its best comedy.

However, the movie’s execution leaves something to be desired. The jokes are split between cracks about sex and shots at the Old Testament, but Year One doesn’t have anything clever to say about either. The tone is crass throughout. On the story and character side, Year One is insubstantial. The film’s meandering plot and unserious setting are fine for comedy purposes, but they don’t give it much to fall back on when its comedy misses the mark.

Year One might be worth a shot for fans of Jack Black’s loose comedic style, but other viewers will want to steer clear. Year One has modest comedic value, but its many missteps leave it badly outclassed by other comedies. For a comedy with a similar setting and a soccer bent, try Early Man. For an ancient action adventure, try 10,000 B.C. For a Jack Black comedy with more heart, try Nacho Libre or Be Kind Rewind.

4.9 out of 10 on IMDB. I give it a 5.5 for a good cast working with crude material that misses the mark.

Today’s quick review: The Whole Ten Yards. Mild-mannered dentist Oz Oseransky (Matthew Perry) has another brush with the world of crime when a vengeful Lazlo Gogolak (Kevin Pollak), freshly released from prison, kidnaps Oz’s wife Cynthia (Natasha Henstridge). Oz flees to Mexico to ask for the help of his friend Jimmy “the Tulip” Tudeski (Bruce Willis), a retired hitman now living a quiet, domestic life with his wife Jill (Amanda Peet).

The Whole Ten Yards is a crime comedy that reunites two couples with a tangled criminal history. The Whole Ten Yards picks up several years after The Whole Ten Yards, with the release of mob boss Lazlo Gogolak from prison. The movie has some of the same charm as The Whole Nine Yards, but it lacks the original’s intricate plot and delicate comedic touch. The result is a decent comedy with a good cast but not much vision.

The Whole Ten Yards shifts to a more overt style of comedy that comes at the expense of its characters. Where the first film was careful to keep a dry edge on its humor, the sequel opts for cheaper jokes and more exaggerated characters. Oz and Jimmy shift into caricatures of their former selves, while newcomer Lazlo is a quirky, over-the-top version of his son Janni from the first film. The plot also has less of a clear direction than the first one.

Still, the cast and the character dynamics partially make up for some of the film’s missteps. Neither the story nor the humor is quite as sharp as in the original, but Oz and Jerry make a fun duo, the supporting cast adds nicely to the chaos, and the film’s many absurd situations earn some laughs. The Whole Ten Yards lacks the nuance it needs, but it still has something to offer as a comedy, thanks primarily to a good cast in interesting roles.

Watch The Whole Ten Yards when you’re in the mood for a light comedy with vivid characters that doesn’t take itself too seriously. The story won’t make much sense to those who haven’t seen the original, but those who have may want to give the sequel a shot. Steer clear if you’re looking for a comedic masterpiece. For a more robust take on the same characters, try The Whole Nine Yards. For a crime spoof, try Johnny Dangerously or Mafia!.

5.5 out of 10 on IMDB. I give it a 6.0 6.5 for a credible but noticeably flawed attempt at recapturing the spark of the original.

Today’s quick review: The Whole Nine Yards. Oz Oseransky (Matthew Perry), a Montreal dentist trapped in a bad marriage, gets an unpleasant shock when notorious hitman Jimmy “the Tulip” Tudeski (Bruce Willis) moves in next door. Oz soon finds himself caught between his new neighbor and Janni Gogolak (Kevin Pollak), the Chicago crime boss who wants him dead. Oz must decide whether to side with Jimmy or Janni while trying to not to get himself killed.

The Whole Nine Yards is a crime comedy that pairs a hapless dentist with an incognito hitman. The two strike up an odd friendship made even stranger by Oz’s thoroughly justified fear of Jimmy. The Whole Nine Yards takes an otherwise simple premise and spins it into a nicely complicated story with a large cast, plenty of humor, and the craftsmanship to back it up. The result is a well-judged comedy that plays directly to its actors’ strengths.

The Whole Nine Yards’ greatest strength is its cast. Matthew Perry stars as Oz, a nice man whose panic gives the film much of its comedy. Bruce Willis co-stars as Jimmy, a dangerous hitman with a friendly demeanor and a curious set of principles. They are joined by a talented supporting cast that includes Jimmy’s estranged wife Cynthia (Natasha Henstridge), Oz’s assistant Jill (Amanda Peet), and Janni’s muscle Frankie (Michael Clarke Duncan).

The plot is a complicated affair involving schemes, shifting alliances, a life insurance policy, dental fraud, a couple of tangled romances, and $10 million that’s only a few murders away. The Whole Nine Yards uses its chaotic plot to drag Oz deeper into a world of crime that he’s ill-equipped to navigate. Oz’s chivalry, his sense of self-preservation, and his feelings for the people around him all contribute to a protagonist who’s easy to like.

Watch The Whole Nine Yards when you’re looking for well-balanced comedy with a good mix of plot, character, and humor. The Whole Nine Yards doesn’t excel in any area in particular, but its honest comedy and sense of proportion make it a pleasant, entertaining watch. For a spy comedy with a similar comedic pairing, try The In-Laws. For a goofier crime comedy with a similar sense of humor, try Johnny Dangerously.

6.7 out of 10 on IMDB. I give it a 7.0 for putting a great cast to good use.

Today’s quick review: Cold Pursuit. Following the death of his son, Nels Coxman (Liam Neeson), a quiet, upstanding citizen of Kehoe, Colorado, sets out to get his revenge on the drug dealers responsible. Nels methodically works his way up the chain of command towards Viking (Tom Bateman), the man in charge of the operation. But his actions have unexpected consequences for Colorado’s criminal underworld and soon escalate into a full-blown drug war.

Cold Pursuit is a crime drama and a black comedy about one man’s sprawling quest for revenge. The movie’s linear premise and dry style gradually give way to a complex plot that pits half a dozen factions against each other in a conflict fueled by greed, misinformation, and revenge. Cold Pursuit delivers plenty of twists and a steady stream of understated, somewhat macabre humor. However, its slow start and odd tone make it an unusual pick.

To its credit, Cold Pursuit puts together a story that’s fascinating to track and difficult to predict. The plot is not a tightly wound masterpiece of foreshadowing and revelation, but rather a chaotic free-for-all with just enough serendipity to tie everything together. The episodes of the plot are short, quirky, and usually punctuated with murder. Their effects ripple through the rest of the cast, prompting another round of actions and consequences.

Cold Pursuit makes for an odd watch. It is not an action movie, in spite of its revenge-based premise. It does qualify as a black comedy, but it seems to ease into its humor of the course of the film, starting with subtle incongruities and ramping up into outrageous situations driven by its plot. Liam Neeson makes for an unusual protagonist in Nels Coxman, a helpful but socially awkward man who takes a brutal but practical approach to his mission.

Give Cold Pursuit a shot when you want to taste the peculiar side of the crime genre. Its understated humor, lack of action, and slow pacing make it a poor fit for the usual crime fan. But those willing to venture off the beaten path will appreciate its complex plot, quirky tone, and touches of dark comedy. Cold Pursuit lacks the artistry to stand with the best of the genre, but it’s a fine pick for fans of what it’s offering.

For an understated black comedy in a similar vein, try Fargo. For a punchier crime comedy with a similarly convoluted plot, try Snatch or Lock, Stock, and Two Smoking Barrels. For a crime comedy with more of a master plan, try Lucky Number Slevin. For a more action-packed Liam Neeson thriller, try Non-Stop.

6.7 out of 10 on IMDB. I give it a 6.5 to 7.0 for an odd but effective mix of criminal escapades and dry humor.

Today’s quick review: The In-Laws. Dr. Jerry Peyser (Albert Brooks), an uptight podiatrist, has his hands full preparing for his daughter’s wedding when he finally meets the father of the groom: Steven Tobias (Michael Douglas), a spontaneous man who claims to be a deep cover CIA agent. Due to a string of accidents, Jerry gets roped into Steven’s latest mission, brokering a deal with an international smuggler (David Suchet) for a stolen nuclear submarine.

The In-Laws is a spy comedy about a risk-averse doctor who’s dragged into the world of espionage when his daughter marries the son of a spy. The movie pairs Albert Brooks and Michael Douglas as two complete opposites who have to work together to complete a dangerous mission, stay ahead of the FBI, and make sure the wedding goes off without a hitch. The In-Laws features an interesting premise and a decent plot, but its actual comedy is a mixed bag.

The In-Laws does better in the broad strokes than in the particulars. Michael Douglas and Albert Brooks are cast reasonably well, with Douglas as a charismatic but unreliable spy and Brooks as his nervous, unwitting partner. The story focuses primarily on Steven’s mission, but it saves room for some wedding jitters and a touch of action. The bulk of the humor comes from Jerry being thrust into situations he’s unprepared for, with the expected results.

However, The In-Laws doesn’t have the delicate touch needed to make the most of its premise. The comedy consistently aims for low-hanging fruit, opting for obvious, accessible gags rather than anything deadpan or subtle. Neither Jerry nor Steven is likable enough to give the film much heart; Jerry in particular is more of a walking punchline than a full character. The spy side of the world works well enough, but it’s neither original nor clever.

Watch The In-Laws when you’re in the mood for some breezy, popcorn comedy and aren’t too concerned about imperfections. The In-Laws does not have the skill it needs to follow through on its comedic setup, and its lowbrow humor won’t appeal to everyone. But those looking for a quick, simple romp may want to give it a shot.

For a more skillful, deadpan take on the same premise, try the original version of The In-Laws. For a crime comedy with a similar premise, try The Whole Nine Yards. For a spy comedy that dabbles in similar territory, try The Man from U.N.C.L.E. or Get Smart.

5.7 out of 10 on IMDB. I give it a 6.0 to 6.5 for decent comedy that’s lacking finesse.

“Serpentine!” —Vince Ricardo

Today’s quick review: The In-Laws. With just days to go until his daughter’s wedding, mild-mannered dentist Sheldon Kornpett (Alan Arkin) finally meets the groom’s father: Vince Ricardo (Peter Falk), an affable man with a mysterious profession. Sheldon agrees to do Vince a favor and soon finds himself tangled in a web of international intrigue, Vince’s unwilling accomplice in an unsanctioned CIA operation to sell engravings stolen from the U.S. Mint.

The In-Laws is a spy comedy that pairs an ordinary family man with a shady consultant who may or may not be working for the CIA. Sheldon’s attempts to get to know Vince backfire spectacularly as he gets drawn into Vince’s dubious escapades. An inventive premise, sharp writing, and an excellent pair of leads make The In-Laws a light and thoroughly entertaining comedy. However, the film relies on a particular flavor of humor that not everyone will enjoy.

What makes The In-Laws shine is its leads. Peter Falk delivers a spectacular performance as Vince. His friendly personality, questionable competence, and casual approach to dangerous situations are exactly what the film needs to lure Sheldon in over his head. Alan Arkin delivers an equally outstanding performance as Sheldon, a sympathetic man whose increasingly frantic reactions to the chaos around him form the other half of the film’s comedy.

The In-Laws has the script to support its leads. The plot escalates from family dinner to international caper with surprising ease, carried along by a string of half-truths and not-so-reasonable requests from Vince. The jokes are clever, understated, and delivered with skill. The tone remains light in spite of the odd bit of theft or murder. The In-Laws hits the exact target it’s aiming for: wry comedy with deadpan delivery and a dash of adventure.

Try The In-Laws when you’re in the mood for something clever and light-hearted. Its likable leads and mirthful chaos make it a refreshing comedy for the right viewer. Skip it if you dislike Peter Falk or Alan Arkin, or if you prefer more modern varieties of comedy. For a modern take on the same premise, try the remake. For a crime comedy in a similar vein, try The Whole Nine Yards. For another spy comedy with Alan Arkin, try Get Smart.

7.3 out of 10 on IMDB. I give it a 7.0 to 7.5 for a charming premise and an excellent comedy duo.

“What an absolutely marvelous idea.” —Ivan Dragomiloff

Today’s quick review: The Assassination Bureau. Early in the 20th century, aspiring journalist Sonya Winter (Diana Rigg) hires the Assassination Bureau to kill a very special target: Ivan Dragomiloff (Oliver Reed), the Bureau’s own chairman. Seeing an opportunity to clean house, Ivan accepts Sonya’s proposal and goes on the run, traveling across Europe to kill the assassins sent by Lord Bostwick (Telly Savalas), the Bureau’s ambitious vice chairman.

The Assassination Bureau is a classic comedy about a clandestine organization that turns the messy job of assassination into a professional affair. Diana Rigg stars as Miss Winter, a journalist who undertakes to put an end to the Bureau by cutting off its head. Oliver Reed plays opposite her as Ivan Dragomiloff, the Bureau’s suave and beguiling chairman, who uses her challenge as an excuse to purge the Bureau of its more mercenary members.

Romance, adventure, and a dusting of comedy ensue as Sonya and Ivan tour Europe, staying one step ahead of Ivan’s would-be assassins. The film makes light of murder by treating it with the genteel manners of the European upper crust. Assassination turns into a battle of wits: Ivan’s weapons and disguises against the vast resources of his Bureau. This inventive premise provides the backbone for a light, unqiue comedy with a bit of everything.

The Assassination Bureau does have a few faults that diminish its effectiveness. Oliver Reed has the grace and the bearing for the role of Ivan, but he never wears it effortlessly. The debonair charm that’s meant to tie the movie together only appears in small doses. The story itself is fun but not especially memorable. The Assassination Bureau has enough style to sell its unique flavor of adventure, but not enough to make the film sparkle.

The Assassination Bureau is a solid pick for fans of classic comedy. Its amusing premise, antagonistc romance, and gentlemanly sense of adventure all make it a film with a distinct identity and plenty to offer. However, it lacks the quality it needs to truly excel, leaving it merely a decent watch that won’t win many converts. For a classic comedy with better writing and a similar style of romance, try Charade or How to Steal a Million.

6.8 out of 10 on IMDB. I give it a 7.0 for a creative premise with decent execution.

Today’s quick review: Those Magnificent Men in Their Flying Machines. To cement Britain’s place at the forefront of aviation, pilot Richard Mays (James Fox) convinces Lord Rawnsley (Robert Morley) to sponsor an air race from London to Paris. Aviators from all across the globe come to compete. But Richard meets an unexpected challenge in Orvil Newton (Stuart Whitman), a Yankee pilot who catches the eye of Richard’s girlfriend Patricia (Sarah Miles).

Those Magnificent Men in Their Flying Machines is a classic ensemble comedy about an air race at the dawn of aviation. The movie pokes gentle fun at the development of heavier-than-air flight and the political and cultural landscape of the early 20th century. Improbable aircraft, national rivalries, and light slapstick are the movie’s bread and butter. However, the film’s somewhat thin characters and writing mean that it won’t appeal to everyone.

Those Magnificent Men in Their Flying Machines draws much of its humor from its colorful cast of characters. The pilots include Colonel Holstein (Gert Frobe), a puffed-up German officer; Pierre Dubois (Jean-Pierre Cassel), an easygoing Frenchman; Emilio Ponticelli (Alberto Sordi), an Italian hero; and Sir Percy (Terry-Thomas), a cheating British aristocrat. No single character is brilliant, but their comical antics make them easy to like.

The story itself is thin but serviceable. The movie never concerns itself with heavy drama or high tension, instead taking a lax, farcical approach to its story. The air race doesn’t start until fairly late in the movie. The time until then is spent on the pilots’ preparations, comedic digressions that let the movie indulge in aerial slapstick. The humor isn’t spectacular, but the light tone and lively cast help it earn some honest laughs.

Give Those Magnificent Men in Their Flying Machines a try when you’re in the mood for something fun and carefree. The movie’s unusual premise and competent execution make it a worthy pick for fans of classic comedies. Those looking for sharper writing or deeper characters should look elsewhere. For a comedy with a similar tone and premise, try The Great Race. For an even more chaotic ensemble comedy, try It’s a Mad, Mad, Mad, Mad World.

7.0 out of 10 on IMDB. I give it the same for pleasant humor and a fruitful premise.

Today’s quick review: The Great Race. At the dawn of the twentieth century, popular daredevil The Great Leslie (Tony Curtis) proposes a race around the world as a publicity stunt. His rival Professor Fate (Jack Lemmon) sees the race as a personal challenge and enters along with his accomplice Max (Peter Falk). Their automotive duel is disrupted by a late entrant: Maggie Dubois (Natalie Wood), a reporter who’s determined to cover the race from the inside.

The Great Race is a classic comedy with a star-studded cast and a sweeping plot. The Great Race taps into the heroism, villainy, and sense of adventure found in early 20th-century serials. Tony Curtis stars as the valiant and talented Leslie. Jack Lemmon co-stars as Professor Fate, a scoundrel who uses elaborate gadgets and underhanded tactics to win. Natalie Wood rounds out the trio as Maggie Dubois, a strong-willed suffragette who enters the race too.

The Great Race uses its globe-spanning race as an excuse to dole out slapstick in great heaps. The movie relies heavily on a comedy staple: Professor Fate and Max try to cheat to get ahead, only for it to blow up in their faces. The Great Race never goes far beyond this formula, but the race’s variety of locales and situations help keep things fresh. The movie does not offer much in the way of depth, but fans of cartoonish humor will enjoy themselves.

However, The Great Race suffers from a few issues that will narrow its appeal. The story drags on longer than it needs to, filling its time with long digressions that have little to do with the race proper, such as a brawl in a Western town, an Arctic escapade, or a case of mistaken identity in Europe. These episodes hold some amusement on their own, but they hurt the movie’s momentum and turn its premise into merely a thin unifying thread.

How much you get out of The Great Race will depend on how much you like the slapstick comedies of old. At its best, The Great Race is a spirited, comedic tribute to an era of noble heroes and dastardly villains. At its worst, it is a drawn-out slog with thin characters and repetitive situations. Those who are willing to trade nuance and concision for simple fun will enjoy the film. But its particular flavor of comedy won’t appeal to everyone.

For another classic comedy with a similar premise, try Those Magnificent Men in Their Flying Machines. For an adventure with the same sort of spirit, try Around the World in 80 Days. For a classic madcap comedy with a more elaborate plot and a sharper script, try It’s a Mad, Mad, Mad, Mad World. For a long-distance race without the comedic aspects, try Hidalgo. For a period comedy with a similar flavor of romance, try The Assassination Bureau.

7.3 out of 10 on IMDB. I give it a 6.5 to 7.0 for a talented cast and some decent laughs, hurt somewhat by its slow pacing and cartoonish nature.

“I did nothing. The pavement was his enemy.” —Julius Benedict

Today’s quick review: Twins. Julius Benedict (Arnold Schwarzenegger) is the product of a genetic engineering program that made him a genius and a peak physical specimen. Raised in isolation, Julius ventures into Los Angeles when he learns that he has a twin brother: Vincent (Danny DeVito), a dishonest scoundrel with none of his brother’s gifts. As the two men get to know each other, they wind up taking a cross-country trip to search for their mother.

Twins is a buddy comedy starring Arnold Schwarzenegger and Danny DeVito as an unlikely pair of brothers. Twins contrasts Julius’ optimism, intellect, and innocence about the world with Vincent’s cynicism, dirty dealing, and knack for getting into trouble. The film gets a fair amount of mileage out of this premise, using both DeVito and Schwarzenegger to good comedic effect. But its odd premise and eclectic plot make Twins something of a stretch.

Twins is at its best when it’s playing Danny DeVito and Arnold Schwarzenegger off one another. DeVito’s Vincent is a liar and a thief with just enough charm to be likable. His attempts to take advantage of his newfound twin brother give the film both a reliable source of comedy and an emotional core for it to work with. The humor is unsophisticated but entertaining, primarily consisting of jokes about Julius’ size, his naivety, or Vincent’s hustles.

The downside of Twins’ premise is that it takes a lot of effort to set up. Twins goes to great lengths to establish Julius’ gifts, Vincent’s schemes, the program that made them, and the road trip that forms the second half of the movie. Murderous thugs, industrial espionage, long-kept secrets, and even a dash of romance all factor into Twins’ story. These never get in the way of the film’s comedy, but they do keep it from being elegant or cohesive.

Give Twins a shot when you’re in the mood for straightforward buddy humor with no strings attached. Twins has to work hard to make its jumble of ideas fit together, but the end result is a fun, serviceable comedy that’s far from spectacular but reaches its modest goals. Skip it if you’re looking for something highbrow or subtle. For a more raucous buddy comedy, try Kingpin. For one with more focus on action, try Rush Hour.

6.0 out of 10 on IMDB. I give it a 6.5 for decent comedy offset by an overly tangled story.