Month: November 2020

Today’s quick review: Hot Rod. Rod Kimble (Andy Samberg) has always dreamed of being a motorcycle daredevil like his father, but so far he’s had no luck. His stunts are abysmal, his only fans are his friends, and he has yet to earn the respect of his stepfather Frank (Ian McShane). But when Frank is diagnosed with a heart condition, Rod jumps on the opportunity to prove himself by using his stunts to raise money for Frank’s surgery.

Hot Rod is an underdog comedy about an aspiring daredevil who must take his skills to the next level in order to save his stepfather. The film gets much of its humor from Rod, an offbeat character with a childish personality and delusions of grandeur. Together with Denise (Isla Fisher), the girl next door, and his other friends (Bill Hader, Danny McBride, and Jorma Taccone), Rod plans a series of stunts to take his small town by storm.

Hot Rod has a different rhythm to it than most other comedies. The gags are a cross between the ridiculous and the awkward. Rod and his friends are well-intentioned losers who are prone to making strange noises, going off on mundane tangents, and treating Rod’s daredevil career with far more seriousness than it is due. The scenes have an unusual sense of timing and tend to end abruptly after the punchline has been delivered.

How well this style of comedy works depends heavily on the viewer’s taste. For a viewer who’s on the right wavelength, Hot Rod will be a rare and hilarious treat. But for a general audience, many of the jokes will feel mistimed or flat. Hot Rod hits the target it’s aiming at, but doing so limits its appeal. Those who click with Andy Samberg’s specific comedic style will enjoy themselves immensely. Most others will walk away disappointed.

For an underdog story with a similar sense of humor, try Nacho Libre. For a similar blend of awkward comedy and heart, try Brigsby Bear. For a more accessible comedy in the same vein, try Super Troopers or Dodgeball.

6.7 out of 10 on IMDB. I give it a 6.0 to 6.5 for hit-or-miss comedy with considerable upshot potential.

Today’s quick review: The Girl from the Naked Eye. To pay off his gambling debts, Jake (Jason Yee) works as a driver and muscle for the Naked Eye, a strip club run by Simon (Ron Yuan). There he befriends Sandy (Samantha Streets), a young prostitute working for Simon, and looks for a way to get her out of the dangerous business. But when Sandy is murdered, Jake must fight his way through a list of her clients to find the culprit.

The Girl from the Naked Eye is a budget action movie with noir influences. The movie presents itself as a hard-boiled detective story, following Jake as he hunts for the killer of a woman who was close to him. But the way the story plays out is closer to a typical action film, with Jake using his fists rather than his brain to solve most of his problems. Unfortunately, a low budget and a few major missteps keep it from reaching either ideal.

The noir side of the movie consists of Jake’s narration, gloomy city streets, and the tragic quasi-romance between Jake and Sandy. In spite of these trappings, The Girl from the Naked Eye has none of the appeal of a true noir. The mystery barely qualifies as such, since there are few suspects and barely any clues. Jake makes for a shallow protagonist, so his narration falls flat, and the writing doesn’t carry much dramatic weight.

The action side of the movie fares no better. The fights are poorly choreographed by genre standards, with a few passable moments but no impressive ones. The gunplay is plentiful but inconsequential. The action is also poorly justified by the story. A repeated pattern is for Jake to hunt down a lead, pick a fight, and battle his way out of the building. However, the fights are barely set up, and Jake hurts his investigation by starting them.

The Girl from the Naked Eye has issues with its execution that go beyond its failings as a noir and as an action flick. The film is packed with sex and swearing that serves no concrete purpose. Incongruous moments of comedy undermine the serious tone it seems to be aiming for. The soundtrack is cheaply produced and distracting, with none of the intensity that an action film should presumably have.

The movie’s one redeeming quality is its sincerity. Buried deep within it is a story that’s meant to be touching, and the movie tries to bring it to life as best it can. There’s a friendliness to Jake, Sandy, and the others that belies all the sex, violence, and sleaze. The characters are far from compelling, but they’re hard to hate. Everything from the action to the dialogue shows traces of the movie The Girl from the Naked Eye was meant to be.

The Girl from the Naked Eye is a movie that falls well short of the target it’s aiming for. Weak action and writing, tonal inconsistencies, and a slew of minor shortcomings make it a poor pick for all but the most dedicated viewers. The movie holds some value in the form of its sincerity and its mixed successes, but its failings are significant enough that few viewers will get much value from it. Try it only for its mistakes.

For a noir-influenced drama that’s dark, stylized, and much more successful with what it tries to do, try Sin City. For a violent comedy that does more with its seamy subject matter, try Deadpool. For a dark, brutal tale of revenge, try Old Boy. For a budget action flick with similar flaws but somewhat better action, try The Hard Way or The Debt Collector. For a budget crime movie with similar issues and more charm, try Checkmate.

4.9 out of 10 on IMDB. I give it a 4.0 for poor execution of an earnest vision.

Today’s quick review: Love on Delivery. Delivery boy He Jin Yin (Stephen Chow) is a nice guy, but he’s too much of a coward for Li (Christy Chung), a martial arts student who wants to date a man who’s brave and heroic. To win her heart, Jin Yin hires a shady shopkeeper (Ng Man-Tat) to teach him how to fight. Armed with an array of unconventional techniques, he sets out to prove himself by defending Li from Grizzly (Joe Cheng), her boorish suitor.

Love on Delivery is a martial arts comedy starring Stephen Chow. Love on Delivery pits a sweet, hapless delivery boy against his stronger, better trained romantic rival in a fight for the heart of his soulmate. The movie offers energetic comedy and a breezy tone. Its talented cast, their sharp interactions, a bevy of rapid-fire jokes, and a healthy dose of slapstick make Love on Delivery a treat for the right viewer.

Love on Delivery works humor into even its smallest moments. Hardly a second goes by without a joke of one form or another, and nearly all of them hit the mark. Stephen Chow leads a lively cast with great chemistry and impeccable comedic timing. The film is packed with vivid characters, petty scams, over-the-top situations, and martial arts-esque slapstick. Fans of absurd, goofy, and light-hearted fun will find plenty to love.

The one drawback to so much comedy is that Love on Delivery doesn’t take anything seriously. The plot is simple and breezy, a parody of countless other martial arts movies and love stories. The action is geared more towards humor than spectacle, with unconventional gimmicks but little in the way of traditional martial arts. There’s no hidden depth to the film, just a likable hero who fumbles his way through a series of setbacks and triumphs.

Love on Delivery is a strong pick for fans of the ridiculous side of the comedy genre. Its particular flavor of comedy won’t match everyone’s tastes, but those looking for something simple, pure, and joyful should give it a shot. Steer clear if you’re looking for real drama, dry humor, or harder-hitting action.

For another Stephen Chow comedy with even more action and heart, try Kung Fu Hustle. For another one in the same vein, try Shaolin Soccer or Justice, My Foot!. For the equivalent style of American comedy, try Airplane!, The Naked Gun, or Hot Shots!.

6.9 out of 10 on IMDB. I give it a 7.0 to 7.5 for creative, sharply delivered comedy.

Today’s quick review: Pokemon Detective Pikachu. After his father Harry, a police detective, dies in a car crash, Tim Goodman (Justice Smith) travels to Ryme City, a city where humans and Pokemon work together, to wrap up his affairs. There Tim runs into his father’s former partner: a talking Pikachu (Ryan Reynolds) with amnesia who insists Harry isn’t dead. To find his father, Tim must work with Pikachu to solve his father’s final case.

Pokemon Detective Pikachu is a family comedy adventure based on the video game from Nintendo. Pokemon Detective Pikachu marks the live-action debut of the Pokemon universe, bringing dozens of the colorful monsters to life using modern CGI. The movie provides an inventive take on the world of Pokemon and makes good use of Ryan Reynolds’ comedic talents. However, a mediocre plot and supporting cast temper the story’s effectiveness.

Pokemon Detective Pikachu has two major draws: Pokemon and Ryan Reynolds. The film goes to great lengths to adapt the franchise for the big screen, inventing a bustling metropolis with as many Pokemon as humans. Series staples like battles, gyms, and Poke Balls are either absent or downplayed. Instead the film focuses on the relationship between humans and Pokemon, though it squeezes in a fair amount of action as well.

Ryan Reynolds carries the film on the comedy side, delivering a spirited performance and jokes that hit from unexpected directions. Justice Smith makes for a serviceable straight man as Tim Goodman, but he’s a shade too serious and too passive to drive the film on his own. The rest of the cast includes Bill Nighy and Ken Watanabe in supporting roles, plus Kathryn Newton as a young reporter interested in Tim’s case, but none of them are outstanding.

Pokemon Detective Pikachu has a few other issues that keep it from reaching its full potential. The plot works well enough for a kids’ movie, but it has to spoon-feed clues to Tim and Pikachu to keep things moving. Subtle issues with the direction keep a few of the jokes from landing the way they could. The realistic CGI is also a double-edged sword. Not every Pokemon makes the transition gracefully, though the film makes a credible effort.

Pokemon Detective Pikachu is worth a shot for any fans of the Pokemon series who are willing to give the film’s special effects and setting a chance. The film doesn’t excel at action or storytelling, but its unique world and entertaining humor make it a fun pick nonetheless. Those who are less familiar with the Pokemon franchise should approach with caution; even though the setting is novel, the film is easier to follow if you know the Pokemon.

For a family comedy adventure with a bustling setting and some of the same energy, try Spider-Man: Into the Spider-Verse. For a much darker comedy with a similar plot and more action, try Venom.

7.0 out of 10 on IMDB. I give it the same for an excellent comedic lead, a creative world, and a mediocre story.

Today’s quick review: The Pagemaster. Ten-year-old Richard Tyler (Macaulay Culkin) has to face his fears when a heavy storm forces him to take shelter in a local library, where he stumbles into a fantastical world of literary peril. To get to the exit, Richard will need the guidance of the Pagemaster (Christopher Lloyd) and the help of Adventure (Patrick Stewart), Fantasy (Whoopi Goldberg), and Horror (Frank Welker), a trio of talking books.

The Pagemaster is a family fantasy adventure that mixes live action with animation. The Pagemaster is a love letter to literary fiction in all its forms, putting a literal spin on the metaphor of getting lost in a book. With his new friends, Richard must brave a slew of literary characters and situations to escape back to the real world. However, in spite of the film’s pure intentions, its execution leaves something to be desired.

The Pagemaster fails to make the most of a creative premise. The plot is a linear trek through the genres of fiction and leans heavily on references to the classics. The fast pace of the story does more harm than good, whisking Richard and the others away from each new location as soon as they have arrived. What’s more, there’s no sense of purpose or cohesion to the world. It is simply a vehicle for the film to expound upon the virtues of books.

Other missteps include an underused vocal cast and a shockingly dark tone for a kids’ movie. Patrick Stewart, Whoopi Goldberg, and Frank Welker turn in colorful performances and get plenty of screen time, but they’re hurt by one-dimensional characters and overly kid-friendly writing. For their part, Christopher Lloyd and Leonard Nimoy are barely present at all. The animation style is more raggedy than wondrous, used to shock rather than delight.

The Pagemaster still has a few things to offer, including its inventive premise, earnest love of fiction, and cast of familiar voices. But it lacks the substance or charm to appeal to an adult audience, while its darker moments make it a dubious pick for kids. The Pagemaster could be magical for the right viewer, but most will find that it falls short of the mark. For live-action fantasy adventure in a similar vein, try Time Bandits.

6.0 out of 10 on IMDB. I give it a 6.0 to 6.5 for decent creativity and a talented cast, let down by a weak story and tonal issues.

Today’s quick review: Justice League vs the Fatal Five. The Justice League, led by Superman (George Newbern), Wonder Woman (Susan Eisenberg), and Batman (Kevin Conroy), face a threat from the future when the Fatal Five travel back from the 31st century. The League’s only lead is Thomas Kallor (Elyes Gabel), alias Starboy, a time traveler who warns them that the Five’s plan hinges on Jessica Cruz (Diane Guerrero), the newest Green Lantern.

Justice League vs the Fatal Five is an animated superhero movie set in the DC Animated Universe. The movie revists the version of the Justice League from the early 2000s TV show, who are now training a new generation of superheroes. The story showcases the Fatal Five, the 31st-century foes of the Legion of Super-Heroes, who have traveled back in time to free their leader from her prison. Well-balanced execution makes the movie an enjoyable pick.

Justice League vs the Fatal Five strikes a healthy balance between high-stakes superhero action and smaller, more personal stories. The personal side of the film centers on Thomas Kallor, whose trip to the past has left him mentally unstable, and Jessica Cruz, a young hero struggling to overcome her fears. Their stories are told tactfully and worked into the main plot in organic ways, giving the film just enough of an emotional core to ground it.

Beyond the arcs of these two characters, Justice League vs the Fatal Five is standard superhero fare. The plot is a straightforward conflict between powerful heroes and villains. The action scenes aren’t the sharpest the genre has to offer, but the large cast of heroes gives them plenty of variety, with enough action to give each hero a chance to shine. The animation style is simple, clean, and consistent, eschewing flash for substance.

Give Justice League vs the Fatal Five a shot if you’re a fan of the superhero genre in general, and especially if you’re a fan of the DC Animated Universe. Justice League vs the Fatal Five is a well-rounded pick that has a little bit of everything superhero fans are looking for. Skip it if you’re looking for a film that goes all-in on one or two aspects of the genre, or if you’re not a fan of it period.

For a DC superhero adventure in a similar vein, try Justice League vs. Teen Titans, Teen Titans: The Judas Contract, or Justice League: War. For a pared-down superhero movie with similar plot elements, try Superman: Unbound.

6.5 out of 10 on IMDB. I give it a 7.0 for basic but cleanly executed superhero action.

Today’s quick review: Fire with Fire. After witnessing gang leader David Hagan (Vincent D’Onofrio) commit murder, Long Beach firefighter Jeremy Coleman (Josh Duhamel) agrees to testify against him to help Lt. Mike Cella (Bruce Willis). Jeremy goes into Witness Protection under the watch of Deputy Talia Durham (Rosario Dawson) to stay safe until the trial. But when Hagan threatens Jeremy’s loved ones, he decides to take justice into his own hands.

Fire with Fire is a budget action movie about a fireman who takes on a neo-Nazi gang to protect those closest to him. Fire with Fire does not make for an especially memorable watch; neither its premise nor its action stand out in the crowded action genre. But the film makes smart use of the resources at its disposal, and its busy plot, familiar supporting cast, and simple but effective characters make it a modest but enjoyable entry into the genre.

Unusually for an action movie, Fire with Fire has an amateur protagonist. Jeremy is a skilled firefighter but a rookie action hero, and it shows in the risky, slapdash way he goes about fighting Hagan. His mistakes make him a more sympathetic character, and they play to Josh Duhamel’s strengths, rather than forcing him into the role of an unstoppable killing machine. With this character choice, Fire with Fire sidesteps its biggest potential pitfall.

Beyond this, Fire with Fire is a basic but competent execution of the action formula. The plot has more complexity than most budget picks and manages to keep Jeremy busy throughout the film. The supporting cast includes Bruce Willis, Rosario Dawson, Vincent D’Onofrio, Curtis “50 Cent” Jackson, and Vinnie Jones. While none of them shine, they do round out the film nicely. As for action, Fire with Fire has what it needs but with no frills.

Fire with Fire is a serviceable pick if you’re a fan of the budget action genre. Fire with Fire lacks the spectacle to truly impress as an action movie, and neither its characters nor its plot are enough to make it a moving watch. But within the limits of what the film is capable of, it’s a tidy, enjoyable watch that avoids any major mistakes. For a tale of vigilante justice with more flavor, try The Boondock Saints.

5.6 out of 10 on IMDB. I give it a 6.0 to 6.5 for modest amounts of action and story.

Today’s quick review: Hero. At the turn of the 20th century, Ma Wing Jing (Kaneshiro Takeshi) and his brother Tai Cheung (Yuen Wah) make their way from the country to Shanghai in search of better prospects. Wing Jing’s ambition and martial arts prowess soon catch the attention of crime kingpin Tam See (Yuen Biao), who takes the young man under his wing. But power comes with a cost, and Wing Jing soon finds himself surrounded by enemies on all sides.

Hero is a Chinese crime drama and martial arts movie with a dash of comedy mixed in. The film follows Ma Wing Jing as he climbs from day laborer to one of Tam See’s closest allies and friends. Along the way, he faces the machinations of rival gangster Yang Shaung (Yuen Tak); the dubious attentions of Yam Yeung Tien (Valerie Chow), Tam See’s ex-lover; and a budding romance with Kim Ling Tze (Hsuan Jessica Hester), an enchanting singer.

Hero winds up being a mishmash of different tones and plot threads. The core of the movie is crime drama, charting Wing Jing’s role in the struggle between Tam See and Yang Shaung for control of Shanghai. But Hero never delves too deeply into the logistics or the morality of Wing Jing’s criminal career. Instead it bounces haphazardly between his ambitions, his romantic life, a touch of action, and a smattering of comedy.

Unfortunately, Hero is not especially skilled at any of these. The action is hurt by choppy, close camerawork, and what imagination it has largely goes to waste. The plot misses a few opportunities by skimming over the details of Wing Jing’s rise, and its breakneck pacing hurts the film’s attempts at drama. The comedy actually does hit the mark a fair amount of the time, but it tends to be wedged awkwardly between more serious moments.

The end result is a spirited but eclectic watch that lacks the skill to make its story, action, and humor work together. Those who don’t mind a little unnevenness may want to give it a shot for some honest and varied fun. But those hoping to be impressed by the film’s story, comedy, or action will want to give it a miss. For a more compelling tale of criminal enterprise, try Chasing the Dragon. For a better martial arts comedy, try Kung Fu Hustle.

6.4 out of 10 on IMDB. I give it a 6.0 for modest potential lacking the consistency to be effective.

Today’s quick review: Accident. Brain (Louis Koo) is a very special kind of hit man. For the right price, he and his crew (Michelle Ye, Feng Tsui Fan, and Lam Suet) will stage a murder that’s indistinguishable from an accident. Careful planning and absolute secrecy have kept Brain and his crew alive and undetected. But when accidents begin to happen to them, Brain suspects the work of a rival killer and must go to great lengths to stop him.

Accident is a Chinese crime drama and mystery that revolves around one question: Is Brain being beaten at his own game, or is his crew falling victim to genuine accidents? Accident dives deep into the process of planning a murder and the secrecy required to cover it up. The logistics of Brain’s operation and a well-handled mystery help the movie make good on its premise. However, the nature of the story limits it to somewhat narrow appeal.

Accident thrives on uncertainty. From the moment Brain’s plans begin to go sideways, he suspects the work of another killer. Already cautious, his preparations reach paranoids heights in an attempt to catch whoever is targeting him. But by the nature of his work, actual proof is hard to come by, turning his life into a maze of unconfirmed suspicions. This central mystery is the film’s best feature and dovetails perfectly with its premise.

Accident does not offer much else, though. The characters are drawn well, but not quite well enough to get attached to. The vagueness of the threat against Brain and his team serves to build the mystery, but it robs the plot of top-down direction. The tone of the film is serious, verging on dark, and its uplifting moments are few and far between. The result is a fascinating intellectual exercise that’s a little short on conventional apppeal.

Try Accident when you’re in the mood for something that’s clever, original, and filled with diffuse suspense. Accident’s unusual premise keeps it from tapping into the staples of the crime genre, so viewers who aren’t on board with the central mystery will find little to latch onto. But its originality and solid execution make it a fine pick for the curious. For an action movie about a hitman with the same modus operandi, try The Mechanic.

6.6 out of 10 on IMDB. I give it a 6.5 to 7.0 for a cat-and-mouse game with only one side.

Today’s quick review: Mojave. Dissatisfied with his life of celebrity, Tom (Garrett Hedlund) goes to the Mojave Desert to find himself. Instead he finds Jack (Oscar Isaac), a talkative stranger with a philosophical bent and a sinister air. Their fireside conversation escalates into violence and ends with Tom making a costly mistake. Returning to Hollywood, Tom tries to put the event behind him, only for its consequences to follow him home.

Mojave is a minimalistic crime drama about two men who meet in the desert and quickly become bitter enemies. Mojave is a gritty examination of the darker side of humanity and what someone is capable of if pushed. The movie walks a fine line between captivating and vacuous. Capable acting and writing, as well as a fair amount of tension, help Mojave achieve the tone it’s going for, but the nature of the premise makes the movie hit-or-miss.

Mojave leans heavily on its two leads. Garrett Hedlund stars as Tom, an actor fed up with his fame. He is laconic, tenacious, and surprisingly resourceful, a morally grey protagonist who acts in his own self-interest. Oscar Isaac cuts a curious figure as Jack: alternately quirky and menacing, with a fascinatingly skewed perspective on life and the warped charisma to pull it off. The two are evenly matched in terms of wits and temperament.

Much like the characters, the plot carefully pursues a specific vision. Mojave has a peculiar sort of suspense to it that’s less about an immediate threat than danger just over the horizon. The repercussions of Tom’s trip to the desert gradually box him in, forcing him to take desperate action just to avoid being trapped completely. The plot is clever and hard to predict, with a few good reversals and the right amount of tension.

Mojave’s chief drawback is that it is narrow. A viewer who can’t overlook Tom’s moral failings to invest in him as a character won’t get much out of the movie. A viewer who dislikes Jack’s pseudo-philosophical ramblings will miss out as well. The same goes for viewers who are looking for a plot with a clear ending in mind, a crime drama the presents a full mystery rather than half-answered questions, or a more uplifting portrait of humanity.

Mojave aims for a specific target, and a combination of skilled acting and capable writing bring it very close. Whether it hits the mark or sails past will come down to taste, but its quality makes it worth checking out for those interested in the dark, minimal, and cerebral. Skip it if you’re looking for a more expansive movie or one that sticks with safe bets.

For an even more violent crime drama with a similarly high degree of antagonism, try No Country for Old Men. For a minimalistic but tangled crime drama with similar appeal, try Blood Simple. For a purer cat-and-mouse game in a more restricted setting, try Sleuth. For a black comedy with similar themes, a lighter tone, and more eclectic plot, try Seven Psychopaths.

5.2 out of 10 on IMDB. I give it a 6.5 to 7.0 for reasonable execution of a slightly niche premise.