Month: September 2021

Today’s quick review: Wayne’s World. Wayne Campbell (Mike Myers) and Garth Algar (Dana Carvey) are a pair of dim-witted friends who run a public access show out of Wayne’s basement in Aurora, Illinois. They get an unexpected chance at stardom when Benjamin Oliver (Rob Lowe) offers to buy the rights to their show. But they’re shocked to learn that Benjamin has ulterior motives when he makes a move on Cassandra (Tia Carrere), the girl of Wayne’s dreams.

Wayne’s World is a comedy starring Mike Myers and Dana Carvey. Wayne’s World is a glimpse into the lives of Wayne and Garth, whose lowbrow humor and fun-loving attitude have made them local celebrities. The comedic talents of the movie’s two stars, a script that experiments with a variety of types of humor, and a serviceable plot are enough to make Wayne’s World an enjoyable watch with a fair amount of cult appeal.

Wayne’s World leans heavily on its characters. Wayne Campbell is a slacker who loves the simple things in life: rock music, partying, and beautiful women. Garth Algar is his awkward, excitable best friend and the source of the movie’s weirder humor. The characters are one-dimensional but easy to like. Their antics are the foundation of the movie, and their unique perspective on life gives Wayne’s World a very distinctive flavor.

Aside from its main characters, Wayne’s World is a comedy grab bag that reflects Mike Myers’ sense of humor. The movie loves to play with the nature of its medium, with characters talking directly to the camera, referencing the subtitles, and pushing product placement. However, the jokes don’t hit quite as hard as in some of Myers’ other work. Wayne’s World is easy to quote and shows plenty of creativity, but a few of its jokes simply peter out.

Wayne’s World is an upbeat comedy and a solid pick for anyone who enjoys Mike Myers’ sense of humor. The majority of viewers will find it to be a partial success, with a favorable ratio of memorable gags to minor missteps. For a minority of viewers, the jokes, characters, and references will strike the right chord and make Wayne’s Word an instant classic. In either case, Wayne’s World is a unique comedy that’s worth taking a chance on.

For a wilder, more earnest comedy with a similar pair of leads, try Bill and Ted’s Excellent Adventure. For a fake documentary with a similar sense of humor, try This is Spinal Tap. For a further evolution of Mike Myers’ humor, try the Austin Powers movies. For a raunchier comedy about two slackers selling out, try BASEketball.

7.0 out of 10 on IMDB. I give it the same for memorable characters and an inventive sense of humor.

“Go have no fun somewhere else.” —Conrad

Today’s quick review: The Cat in the Hat. Left bored at home while their mother (Kelly Preston) is at work, Conrad (Spencer Breslin) and Sally (Dakota Fanning) receive a surprise visit from the Cat in the Hat (Mike Myers), a six-foot-tall talking cat with a knack for mischief. The Cat shows the kidshow to have fun, but in the process he makes a mess of the house, forcing Conrad and Sally to clean everything up before their mother gets home.

The Cat in the Hat is a family comedy based on the book by Doctor Seuss. Mike Myers stars as the titular cat, a fun-loving prankster with a bottomless bag of tricks. The Cat in the Hat aims to be a bouncy romp with a mixture of kid-oriented and adult humor. Its rapid-fire jokes and elaborate, colorful world are decent steps in this direction. But a grating lead, weak writing, and some questionable taste all contribute to a dubious watch.

The Cat in the Hat is too zany for its own good. It pours much of its effort into its costumes, sets, and special effects. But even though these give it the trappings of a Doctor Seuss book, the spirit isn’t there. The world feels artificial rather than whimsical. The humor is self-aware and often seems forced. Perhaps the subtlest loss is its story, which goes through the motions of a kids’ moral without ever being earnest.

Mike Myers is also a mixed bag. His outrageous style of humor seems like a good fit for the Cat in theory, but in practice it drags the movie off balance. Too much of the film is spent watching Myers play to the camera, a tendency made worse by the Cat’s constant digressions and laughter at his own jokes. There are some clever bits of dialogue tucked away here and there, but they’re sandwiched between rapid-fire jokes that mostly miss the mark.

Still, The Cat in the Hat carves out a niche for itself with its distinct visual style and off-the-wall humor, and the right viewer will enjoy what it has to offer. But most viewers will find that the movie rubs them the wrong way, either due to its surreal world, splotchy comedy, or lack of heart. Devotees of Mike Myers may want to give it a shot, but most people will be better off skipping it.

For a more iconic adaptation of a Doctor Seuss book, try the original How the Grinch Stole Christmas. For a kids’ action movie set in another colorful world, try Speed Racer. For a comedy with a similar story, a more grounded setting, and a lot more heart, try Home Alone. For one with a similar setup and more constrained fantasy, try The Christmas Chronicles. For whimsy done right, try Willy Wonka and the Chocolate Factory.

3.9 out of 10 on IMDB. I give it a 5.0 for poor decisions made in a unique style.

Today’s quick review: How the Grinch Stole Christmas. Just outside Whoville, the Grinch (Jim Carrey) broods in his lair. Christmas is approaching, and with it all the gift-giving, singing, and celebration that he loathes. Unable to take it any longer, the Grinch sets out to terrorize Whoville and ruin Christmas for the Whos. But one little girl, Cindy Lou Who (Taylor Momsen), sets out to prove that the Grinch has goodness in his heart.

How the Grinch Stole Christmas is a family Christmas comedy based on the book by Dr. Seuss. Jim Carrey stars as the Grinch, a green, furry misanthrope who hates Christmas most of all. How the Grinch Stole Christmas is an elaboration of the classic story, fleshed out with new characters, a larger role for Cindy Lou Who, and a backstory for the Grinch. The movie goes all-in on Jim Carrey’s cartoonish performance and a lavish, Seuss-inspired world.

Jim Carrey’s performance is the lynchpin of the movie. His rendition of the Grinch is a surly spin on his usual comedy persona. Exaggerated slapstick, rapid-fire quips and insults, and all manner of childish villainy form the Grinch’s repertoire. But the Grinch’s antics can be overpowering, and anyone who dislikes Jim Carrey’s style of humor will have a hard time getting through the film. The jokes are crude and manic, but often entertaining.

The other distinctive feature of How the Grinch Stole Christmas is its world. The movie goes to great lengths to replicate the cartoonish designs of Dr. Seuss in live action. The sheer effort that goes into its sets, props, and makeup is remarkable, but their net effect is dubious. Seuss’ designs lose some of their charm in the transition to live action. For all the care put into crafting the movie’s visuals, they can still come across as unsettling.

How much you enjoy How the Grinch Stole Christmas will depend on whether you enjoy its quirky style. Fans of Jim Carrey in the mood for something madcap and occasionally heartwarming will find it to be a fine pick, a creative adaptation that makes good use of its star’s unique talents. But the movie may be too much of a stretch for some viewers. Those who dislike Carrey or would prefer a more subdued family comedy should look elsewhere.

For a similar live-action adaptation of Dr. Seuss, try The Cat in the Hat. For another family comedy about a misunderstood loner, try Megamind or Up. For another outrageous comedy from Jim Carrey, try The Mask.

6.1 out of 10 on IMDB. I give it a 6.5 for an elaborate production with polarizing results.

Today’s quick review: The Bishop’s Wife. Bishop Henry Brougham (David Niven) has his hands full gathering donations for his new cathedral. Forced to spend his time courting wealthy donors, Henry has been neglecting his old parishioners and his wife Julia (Loretta Young). His prayers for help are answered by the arrival of Dudley (Cary Grant), a kindly angel who sets about taking care of Henry’s family for him, much to the bishop’s chagrin.

The Bishop’s Wife is a classic drama about an angel sent to save an overworked bishop’s struggling marriage. The Bishop’s Wife takes a calm look at pride, the human condition, and what really matters in life. Through simple kindness and a couple of minor miracles, Dudley restores joy to the lives of Julia, Henry, and those around them. The Bishop’s Wife is a touching movie whose excellent acting and powerful themes make it an enduring classic.

The Bishop’s Wife is a rarity: an uplifting film that doesn’t rely on heavy drama to get its point across. The stakes are modest. No lives are on the line, only the happiness of a husband and wife who love one another. Yet The Bishop’s Wife treats this humble matter with the respect it deserves. The film is never petty or mocking. It sets out to show the beauty in its characters’ lives, and it does so with grace, patience, and gentle affability.

What conflict there is takes a subtler form. Henry is torn between the needs of his family and his calling to build a magnificent cathedral. Julia wants to support her husband in his work but longs for the days when they spent time together. Dudley intervenes by giving Julia the companionship she needs and Henry the advice he isn’t ready to hear. These simple tensions are all The Bishop’s Wife needs to tell a rich and human story.

The Bishop’s Wife is an unusually uplifting drama that earns its place as a holiday classic. Not everyone will appreciate what it has to offer; its slow pacing, tame humor, and unshakable optimism are a far cry from what the typical Christmas comedy or life-affirming drama brings to the table. But those who are used to the subdued storytelling of the classics will find The Bishop’s Wife to be a hidden gem, a well-crafted film without a trace of cynicism.

For a classic romantic comedy that also puts Cary Grant to good use, try The Philadelphia Story. For a classic comedy with some of the same spirit about it, try Harvey. For a family musical with a miraculous lead, try Mary Poppins.

7.6 out of 10 on IMDB. I give it a 7.5 to 8.0 for a beautiful story and excellent performances.

Today’s quick review: Klaus. Banished to the remote town of Smeerensburg by his father, postman Jesper Johanssen (Jason Schwartzman) has one year to set up a thriving post office or be cut off from the family fortune. As Jesper wrestles with cold weather and mean-spirited locals, he’s inspired by Klaus (J.K. Simmons), a reclusive woodsman with a house full of toys, to start a gift-giving tradition that has unexpected effects on Jesper and the town.

Klaus is an animated family comedy that tells the story of how some of the most widespread Christmas traditions came to be. The story begins with Jesper, a spoiled and self-centered young man whose father forces him into the Postal Service to help him build character. Jesper comes up with a scam to get the postal traffic he needs to end his exile: having the local children write letters to Klaus asking for toys.

This premise forms the basis of a heartwarming tale about a selfish man learning to care about others. The broad strokes of the plot are predictable, a story about growth and redemption that fits the pattern of coutnless other family films. But Klaus seems to take joy in the telling of its story. The details are creative, with a rich world and clever explanations for Christmas lore, and the beats of the story are handled with warmth and care.

The animation shows the same level of craftsmanship. Klaus has a gorgeous visual style that’s cartoonish enough to support the film’s comedy but has a soft, storybook texture that makes the film seem like a living classic. The designs would fit right in with the animated movies from Disney in the 90s and early 2000s, but Klaus takes the style one step farther, with detailed backgrounds, subtler use of light and shadow, and an expanded color palette.

Klaus is a charming Christmas movie with a simple story, an enjoyable sense of humor, and a keen eye for detail. There are places where Klaus could have been more original with its story or used a lighter touch to convey its emotions. But these minor issues barely register when put next to the film’s major strengths. Klaus is well worth a watch for anyone who could use an uplifting, heartfelt story with beautiful animation.

For an animated family comedy with a similar character arc, try The Emperor’s New Groove or The Road to El Dorado. For a Disney movie with some of the same heart, try Lilo & Stitch. For a musical about a scam that takes on a life of its own, try The Music Man.

8.3 out of 10 on IMDB. I give it a 7.5 to 8.0 for gorgeous animation and a thoroughly charming story.

“I’ve got a bad feeling about this.” —Lando Calrissian

Today’s quick review: Star Wars: Episode IX – The Rise of Skywalker. Tracking the source of an ominous, galaxy-wide broadcast, Kylo Ren (Adam Driver) locates a hidden planet where a shadowy figure offers him unlimited power. Meanwhile, the Resistance receives word that the First Order is planning a major offensive. Rey (Daisy Ridley), Finn (John Boyega), and Poe (Oscar Isaac) must travel across the galaxy to put a stop to the First Order’s plans.

Star Wars: Episode IX – The Rise of Skywalker is a sci-fi action adventure movie and the final film in the Star Wars sequel trilogy. Episode IX tackles the monumental task of not only wrapping up the stories of Rey, Kylo, Finn, and Poe but sending off the eleven-movie franchise. Episode IX leans heavily into the series’ sense of adventure and raises the stakes for the finale. However, this comes at the cost of the film’s pacing and sense of proportion.

The Rise of Skywalker’s greatest strength is its sesne of adventure. The film dives right into a galaxy-spanning journey that moves quickly, shows off new corners of the universe, and gives its characters plenty of time to interact. The combination of likable characters, a rich world, big-budget CGI action, and Easter eggs and shout-outs for fans of the series make The Rise of Skywalker a fun ride for anyone who’s willing to buy into its plot.

The Rise of Skywalker also does a great job with its character dynamics. Finn and Poe are the glue that holds the movie together, a pair of heroes with excellent banter and plenty to do. The rivalry between Rey and Kylo reaches its climax, with new revelations and further development for both of them. But the dark horse of the film is C-3PO (Anthony Daniels), who steals the show with some of the best comedic moments in the history of the franchise.

In terms of story, The Rise of Skywalker is a jumbled attempt to wrap up not only a trilogy but an eleven-movie saga. The movie takes drastic measures to get the story where it needs to go, including explicitly walking back some of the narrative decisions made in The Last Jedi. The moves it makes are not elegant, but they are effective. The Rise of Skywalker is a definitive ending for the Star Wars saga that accomplishes most of what it needs to.

The Rise of Skywalker has to pay a heavy price for all of this. The shift in tone and direction from The Last Jedi is extremely jarring, with a few lines that will rub salt in the wound for fans of the previous film. Many of The Rise of Skywalker’s key plot points come from nowhere as the movie tries to make a new conflict from whole cloth. The movie also has to rush to fit everything in, leading to a breakneck plot with little time to breathe.

There are other issues with The Rise of Skywalker, namely its sense of scale and relation to other Star Wars movies. The conflict is almost too large for its own good, throwing away logic and proportion in favor of rasied stakes and spectacle. The film is transparent in its reliance on nostalgia and borders on sheer pandering in a few places. The script also feels somewhat strained, especially surrounding the posthumous appearance of Carrie Fisher.

Star Wars: Episode IX – The Rise of Skywalker is a maelstrom of competing goals and influences. How much you get out of the movie will depend heavily on your tastes and expectations. For the wrong viewer, The Rise of Skywalker will be difficult to watch. Fans of The Last Jedi will dislike almost all of its plot and character decisions, while Star Wars fans in general may find that it tries too hard to cash in on nostalgia for the original trilogy.

On the other hand, those who enjoy Star Wars for the action, adventure, and humor will find The Rise of Skywalker to be a wild, enjoyable ride with clear flaws but plenty of strengths to make up for them. For the right viewer, it’s a jam-packed love letter to the franchise that tries to make the most of the hand it’s dealt. Those who are willing to temper their expectations and roll with the punches will end up having a fun time.

7.0 out of 10 on IMDB. I give it a 7.5 for likable characters, lots of action, and a contentious story; your score will vary drastically depending on your expectations for the film.

Today’s quick review: Christmas with the Kranks. With their daughter (Julie Gonzalo) away for the holidays, Luther (Tim Allen) and Nora (Jamie Lee Curtis) Krank decide to spare themselves the hassle of celebrating Christmas and treat themselves to a Caribbean cruise instead. But their attempt to avoid everything related to Christmas makes them the black sheep of their festive neighborhood, especially in the eyes of Vic Frohmeyer (Dan Aykroyd).

Christmas with the Kranks is a family comedy about a couple trying their best to skip Christmas, in spite of holiday interference from their friends and neighbors. Luther and Nora swear off the temptations of parties, decorations, and caroling while they count the days until their cruise. Christmas with the Kranks pokes fun at the holiday season and its excesses. Light humor, well-matched leads, and a predictable plot make it a fun but shallow watch.

Christmas with the Kranks sticks to the basics but handles them fairly well. Tim Allen and Jamie Lee Curtis are a natural fit for one another, capturing the love, the bickering, and the eccentricities of a happy marriage. Their conflict with their neighbors takes the stresses of the holiday season and cranks them up to comedic proportions. And like most Christmas comedies, Christmas with the Kranks is optimistic and free from any serious drama.

Still, Christmas with the Kranks won’t appeal to everyone. The movie depends heavily on its main characters, so viewers who dislike either Luther or Nora won’t get much out of it. The premise and the way it plays out will rub some viewers the wrong way, especially given how both sides of the conflict are made to look foolish. The plot has a few nice moments but doesn’t have any real surprises, a generic comedy that doesn’t leave a lasting impression.

Christmas with the Kranks is worth a watch for fans of family comedies who are looking for something safe. Neither Christmas with the Kranks’ premise nor its sense of humor are strong enough to win over skeptical viewers, and it’s missing the charm and creativity of the seasonal classics. But viewers who are just looking for a light, pleasant holiday watch may want to give it a shot.

For a more slapstick-heavy family comedy about Christmas in the suburbs, try Home Alone. For a more cartoonish plot against Christmas, try one of the versions of How the Grinch Stole Christmas.

5.3 out of 10 on IMDB. I give it a 6.0 to 6.5 for good leads and a decent sense of humor held back by a formulaic story with a hit-or-miss premise.

Today’s quick review: Reindeer Games. Rudy Duncan (Ben Affleck) lands himself in trouble when he decides to pose as his dead cellmate, Nick Cassidy (James Frain), when he’s released from prison. Rudy picks up where Nick left off with Ashley Mercer (Charlize Theron), a woman who wrote to Nick in prison. But their relationship takes a dire turn when Ashley’s brother Gabriel (Gary Sinise) forces Rudy to rob the casino where Nick used to work.

Reindeer Games is a crime drmaa about an ex-convict caught in a dangerous situation due to a case of mistaken identity. Rudy must continue to pose as Nuck long enough to escape from Gabriel, all while planning to rob a casino he doesn’t know the first thing about. Reindeer Games gets quite a bit of mileage from its premise. Rudy’s quick thinking in a tricky and constantly evolving situation is enough to make the movie an interesting watch.

Still, Reindeer Games has to bend over backwards to make its premise work. The number of coincidences and bad decisions needed to force Rudy into the robbery strains credulity. The movie constantly has to walk a tightrope between giving Rudy the room he needs to maneuver and keeping him on the short leash the plot requires. To its credit, Reindeer Games tries to tie everything together in a cohesive package, but it goes for one plot twist too many.

The result is a fairly enjoyable crime drama that doesn’t stand up to close scrutiny. Reindeer Games is a decent pick for those looking for a plot-driven crime movie with snatches of black comedy. But in spite of a promising start, its plot doesn’t hang together well enough to make good on its premise, and neither its dialogue nor its characters are strong enough to pick up the slack. Critical viewers will want to steer clear.

For a more elaborate crime drama about a case of mistaken identity, try Lucky Number Slevin. For a crime comedy with some of the same elements, try Trapped in Paradise. For one with a somewhat similar setup and a greater focus on romance, try Out of Sight.

5.8 out of 10 on IMDB. I give it a 6.5 for the makings of a good plot, but with a shaky follow-through.

Today’s quick review: The Bourne Legacy. After Jason Bourne reveals the existence of the CIA’s Operation Blackbriar, Eric Byer (Edward Norton), one of the program’s architects, hurries to cover up the existence of a group of related programs for training and deploying assassins. Caught in the cover-up are Aaron Cross (Jeremy Renner), one of the assassins, and Dr. Marta Shearing (Rachel Weisz), the only person who can get him the medication he needs.

The Bourne Legacy is an action thriller and the fourth film in the Bourne series. The Bourne Legacy introduces a new protagonist, Aaron Cross, who must deal with the fallout of Jason Bourne’s actions during the original trilogy. The movie opens the door to an even larger conspiracy, expanding the scope of the CIA programs that gave rise to Bourne. However, its attempts to replicate the success of the previous films fall short.

The Bourne Legacy runs into issues with its plot, pacing, and lead characters. The early part of the movie is spent revisiting the events of The Bourne Ultimatum, as seen from the perspective of Byer and his co-conspirators, leading to a slow start weighed down with exposition. The premise of the movie undercuts Bourne’s accomplishments in the previous film, and neither Aaron nor Marta are compelling enough characters to make the new conspiracy matter.

The Bourne Legacy still has the makings of a decent action thriller, even with these flaws. There’s a fair amount of action, with a focus on the series staples of close-quarters brawling and sprawling chases through urban environments. Aaron Cross is a nice counterpoint to Jason Bourne, at least on paper, a talkative operative who has become dependent on his chemical enhancements. However, his journey isn’t as bold or as meaningful as Bourne’s.

Give The Bourne Legacy a shot when you’re in the mood for action and aren’t too worried about plot. The Bourne Legacy has a fine premise and makes an honest attempt to follow up the original trilogy, but it’s missing the high quality and deft touch of its predecessors. Those interested in a bit of action for its own sake will find it to be a serviceable watch. Those hoping for a worthy successor to the Bourne trilogy will want to give it a pass.

For another action thriller in the same vein, try Shooter or Enemy of the State. For a plot-focused thriller about CIA indiscretions, try Spy Game. For a superhero movie with some of the same elements, try Captain America: The First Avenger or Captain America: The Winter Soldier.

6.7 out of 10 on IMDB. I give it a 6.5 to 7.0 for good action and a reasonable setup, hurt somewhat by its pacing, characters, and plot decisions.

Today’s quick review: The Bourne Ultimatum. Six weeks after ex-assassin Jason Bourne (Matt Damon) was forced out of hiding, he continues his search for answers about the CIA program that trained him. His search takes him to London, where a journalist (Paddy Considine) has been digging into Operation Blackbriar. But their meeting catches the attention of Noah Vosen (David Strathairn), who sets out to protect the CIA’s secrets by any means necessary.

The Bourne Ultimatum is an action thriller and the third film in the Bourne series. The Bourne Ultimatum digs even further into the past of amnesiac assassin Jason Bourne, this time going all the way back to his original training. The film continues the series’ tradition of winding plotlines, hidden secrets, and tense fights and chases. The Bourne Ultimatum is another strong entry into the action thriller genre and a worthy conclusion to the trilogy.

The Bourne Ultimatum has its work cut out for it tying up the plot threads from the previous two films. The film digs deeper into the internal politics of the CIA, including the true extent of the program that produced Bourne and the conflict over how to best deal with him. The Bourne Ultimatum does a skillful job of raising the stakes for the series, referencing the events of prior films, and pushing the story towards a satisfying conclusion.

Aside from these slight changes in focus, The Bourne Ultimatum relies on the same tried-and-true techniques that made the previous two films successful. Jason Bourne is an unusually resourceful protagonist. The action sequences are as much about quick thinking as they are brute force, making their outcomes unpredictable and keeping the audience glued to the screen. The plot is similarly engaging, with sharp twists and interesting revelations.

The Bourne Ultimatum is well worth a watch for anyone who enjoyed the previous two films in the series. The Bourne Ultimatum fits comfortably with its predecessors as among the best the action thriller genre has to offer. Not only does it make for a satisfying watch on its own merits, but it achieves the difficult feat of wrapping up Bourne’s story in a way that’s worth the build-up. Fans of the serious side of the action genre won’t want to miss it.

8.0 out of 10 on IMDB. I give it a 7.5 to 8.0 for strong action, an impressive plot, and a worthy send-off for its lead character.