Month: January 2022

Today’s quick review: Stakeout. Detectives Chris Lecce (Richard Dreyfuss) and Bill Reimers (Emilio Estevez) have a new assignment: staking out the home of Maria McGuire (Madeleine Stowe), the ex-girlfriend of escaped prisoner Richard “Stick” Montgomery (Aidan Quinn). As the nights drag on with no sign of Montgomery, Chris falls in love with Maria and decides to risk the assignment and his career by dating her under an assumed identity.

Stakeout is a crime comedy about a police stakeout complicated by the blooming relationship between one of the detectives and the target. The movie mixes a reasonably serious plot with low-stakes hijinks as Chris and Bill try to while away the time during their assignment. Natural chemistry between the two leads and a well-developed story make Stakeout a balanced and rewarding pick. However, there are other comedies with more to offer.

Stakeout does a good job of balancing humor and plot. Richard Dreyfuss and Emilio Estevez are a natural fit for one another, giving Chris and Bill’s interactions a friendly quality that makes them fun to watch. Their banter, practical jokes, and fooling around on the job give the movie a steady source of comedy. At the same time, their actions do have consequences, and their skills as police officers are soon put to the test.

Still, Stakeout is a modest movie that never tries to reach beyond its limits. The jokes are fun and organic, but rely heavily on the audience liking the characters. The romance is played well, but again, it’s nothing groundbreaking. Ultimately, Stakeout is a worthwhile pick that will earn some laughs but won’t leave too much of a lasting impression. Give it a shot if you’re in the mood for popcorn.

For more of the same, try the sequel: Another Stakeout. For a more dramatic movie about unintended love in a criminal context, try The Town. For a more raucous comedy about a cop with a sense of humor, try Beverly Hills Cop.

6.6 out of 10 on IMDB. I give it a 6.5 to 7.0 for good comedic fundamentals, including a well-matched lead duo.

Today’s quick review: Taking Care of Business. Jimmy Dworski (Jim Belushi), a popular inmate and a die-hard Cubs fan, breaks out of prison to see his team play in the World Series. Through a twist of fate, he finds a notebook belonging to Spencer Barnes (Charles Grodin), an overworked ad executive, and uses it to take his identity for a weekend of luxurious fun. While Jimmy lives it up, Spencer tries in vain to get the notebook and his life back.

Taking Care of Business is a comedy about an escaped prisoner who steps into the shoes of a successful businessman. Jim Belushi stars as Jimmy Dworski, a charismatic convict whose easy-going personality makes a mess of Spencer’s careful plans. Charles Grodin plays opposite him as Spencer, a high-strung businessman who has let his job take him away from his wife Elizabeth (Veronica Hamel). What follows is a basic but enjoyable comedy about trading places.

The best feature of the movie is its main character. Jimmy is a man of simple tastes. His friendly attitude and wholesome goals make him easy to root for, even if he falls short of the best fun-loving scoundrels the comedy genre has to offer. Taking Care of Business never finds anything spectacular to do with Jimmy, but his attempts to wring as much enjoyment as possible out of Spencer’s life are enough to make it a pleasant comedy.

The broad strokes of the story are predictable: Spencer is forced to re-examine his priorities, and Jimmy has to think on his feet to keep his actions from catching up with him. Even so, the execution is clean, leading to a fairly satisfying payoff. The same goes for the movie’s sense of humor. None of the individual jokes are all that strong, but their consistency, coupled with Jimmy Dworski’s character, manage to carry the film.

Taking Care of Business won’t impress viewers who are looking for an innovative, sharply written comedy, but it will entertain anyone looking for some light humor with a decent story attached to it. Taking Care of Business sticks to the basics, but it executes them well, making it a modest but enjoyable pick. Steer clear if you’re looking for something with bigger laughs or a more memorable story.

For another comedy about a drastic change in station, try Trading Places, Luck-Key, or The Family Man. For a more iconic comedy with a similar premise, try Ferris Bueller’s Day Off. For a more dramatic movie about a prisoner’s rebellion against an unjust warden, try The Last Castle or The Shawshank Redemption.

6.4 out of 10 on IMDB. I give it a 6.5 for simple but satisfying comedy.

Today’s quick review: Father Hood. Jack Charles (Patrick Swayze) is on his way to jail, but first he has one last score to make: a briefcase worth a quarter of a million dollars, just waiting for him to steal it. Stopping to rescue his children, Kelly (Sabrina Lloyd) and Eddie (Brian Bonsall), from an abusive foster care facility, Jack travels across the country in pursuit of his fortune and in the process gets to know his kids for the first time.

Father Hood is a crime comedy about a reckless criminal and his estranged children. Patrick Swayze stars as Jack Charles, a career criminal with selfish motives and no interest in his children, at least until circumstances force them back into his life. Father Hood aims to be a family comedy with some heart, focusing on Jack’s evolving relationship with Kelly and Eddie. However, shaky character work and a thin plot keep it from achieving its goal.

Father Hood’s main issue is that it doesn’t strike the right balance with its main character. Jack needs to split the difference between roguish and redeemable to make the story work, but the movie starts him off too selfish and irresponsible for the audience to really invest in. Patrick Swayze is a good pick for the role and puts Jack’s character in the right ballpark, but he spends most of the movie showing no interest in his children at all.

As such, Father Hood is missing one of the central pillars needed to support its story. Jack does get the chance to connect with his kids, but it comes too late to carry the viewer through the early parts of the film. Father Hood should be the charming tale of a self-centered man gradually learning to love his children; instead it’s an argument-filled road trip that only tacks on its character development near the end.

This isn’t to say that Father Hood is without its strengths, but they tend to be overshadowed by where it falls short. Jack, Kelly, and Eddie have the makings of a good family dynamic, even if Jack is a little too dismissive to make it click. The foster care portion of the plot is a fine core to build a story around, but the movie doesn’t handle it gracefully. Generally, the movie has the ingredients it needs but doesn’t combine them in the right ways.

Father Hood is a movie with a reasonable endpoint in mind, but it lacks the skill to get there. The movie has neither the main character nor the plot to support the kind of story it wants to tell. Without this backbone in place, the rest of the movie falls flat. There is still mild enjoyment to be had as Jack tries to brush off the cops and his children, but most viewers will find that they can do better without too much effort.

For a more cleanly executed movie about a father bonding with his son over the course of a cross-country roadtrip, try Over the Top. For a more dramatic story about a man who learns to put others before himself, try Rain Man. For a comedy about a crook who learns to get along with the child in his care, try Paper Moon.

4.9 out of 10 on IMDB. I give it a 5.5 for a story that falls short of its modest potential.

Today’s quick review: Disorganized Crime. Four criminals (Fred Gwynne, Ruben Blades, William Russ, and Lou Diamond Phillips) show up in a small Montana town only to find that Frank Salazar (Corbin Bersen), the man who called them all there, has gone missing. While the crew tries to piece together the bank robbery Frank had planned for them, Frank tries to escape the custody of the two police officers (Ed O’Neill and Daniel Roebuck) who arrested him.

Disorganized Crime is a crime comedy about a bank robbery that goes off the rails before it even begins. Four criminals must cope with the disappearance of their leader, figure out how to trust one another, and overcome a series of unlucky breaks to pull off a six-figure heist. In spite of its small-town setting, Disorganized Crime has an elaborate plot that gives its characters plenty to do. Even so, the movie’s sense of humor only takes it so far.

Disorganized Crime strikes the right balance with its plot. Bad luck dogs the characters throughout the movie, making a mess of even their most sensible plans. The chaos keeps the plot fresh and interesting, with none of the complacency that afflicts other low-stakes heist films. At the same time, the characters never lose their sense of agency. Seeing how they react and adapt to the setbacks along the way is Disorganized Crime’s best aspect.

However, Disorganized Crime does have its limitations. The movie never makes more than a few stabs at overt humor, instead relying on its odd situations and the frustration of its characters to carry the comedy. As a result, there are no individual jokes that stand out from the rest. The same goes for its story. Disorganized Crime has a flat structure that makes its twists unpredictable but also limits the movie’s ability to build to its finale.

Disorganized Crime is a solid heist movie that balances an engaging plot with a light tone. The movie does not manage its tension as well as it could have, and other comedies outclass it in terms of raw humor, but what’s there is enough to make Disorganized Crime a fun time. Viewers who enjoy seeeing a plan come together may want to give it a shot. Those hoping for something with either bigger laughs or higher stakes will want to steer clear.

For a crime movie with a similar setup and somewhat more drama, try Thunderbolt and Lightfoot. For a black comedy about a bank robbery that spirals out of control, try Flypaper. For a much darker, more violent movie about criminals forced to trust one another, try Reservoir Dogs.

6.4 out of 10 on IMDB. I give it a 6.5 for a solid script that’s missing the extra spark it needs to go farther.

Today’s quick review: Big Trouble. Eliot Arnold (Tim Allen), a divorced ad executive, gets caught up in a bizarre series of events when his son Matt (Ben Foster) plays a prank on Jenny (Zooey Deschanel), the stepdaughter of Miami arms dealer Arthur Herk (Stanley Tucci). As Eliot hits it off with Arthur’s wife Anna (Rene Russo), Arthur resorts to desperate measures to escape the violent consequences of stealing from his employers.

Big Trouble is a crime comedy with a sprawling plot and an ensemble cast. Big Trouble starts innocuously enough, following Eliot Arnold as he tries to patch things up with his teenage son. But within minutes, the situation has turned into a tangled, comedic messs involving an easygoing drifter, a pair of assassins, a suitcase bomb, and the Miami police. The movie’s creative writing and cast of familiar faces aren’t enough to make its comedy click.

Big Trouble works hard for a mediocre payoff. The plot is a jumble of mistakes, accidents, and coincidences where no one except the audience knows just what is going on. There are well over a dozen characters to keep track of, not to mention half a dozen plot threads that all interact with one another. The chaos should be the recipe for a wild comedy, but Big Trouble never figures out the right way to cash in on all of its hard work.

The result is a series of madcap situations that have lots going on, very little of it consequential. The large cast makes it hard to invest in any of the characters, while the plot is more convoluted than it needs to be. But to its credit, Big Trouble does a fine job with its moment-to-moment humor. The characters are colorful, the script is creative, and the movie can be fairly enjoyable when it’s just having fun and not building to a payoff.

The other point in Big Trouble’s favor is its enormous cast, which includes Tim Allen, Rene Russo, Stanley Tucci, Janeane Garofalo, Patrick Warburton, Zooey Deschanel, Dennis Farina, Johnny Knoxville, Andy Richter, Sofia Vergara, and Tom Sizemore. Not all of the actors are used to their full potential, but each one gets a couple of good moments, and their performances are the most reliable aspect of the film.

Big Trouble’s flaws keep it from standing with the greats of the comedy genre, but it has enough going on to be an amusing watch for the right viewer. Those in the mood for something short, light, and colorful will get the most to it, thanks to its solid cast and bizarre situations. Those hoping for tight writing and a carefully orchestrated comedic payoff will want to keep looking.

For a sharper crime comedy with a similarly convoluted plot, try Snatch, The Gentlemen, or Lock, Stock, and Two Smoking Barrels. For a ridiculous comedy that makes more out of fewer ingredients, try A Fish Called Wanda. For a crime comedy that has some of the same character dynamics, try Flypaper. For a crime drama with black comedy elements and a similar plot, try The Way of the Gun.

6.5 out of 10 on IMDB. I give it a 6.0 to 6.5 for loose but enjoyable comedy.

Today’s quick review: The Crew. Bobby Bartellemeo (Richard Dreyfuss), Joey “Bats” Pistella (Burt Reynolds), Tony “Mouth” Donato (Seymour Cassel), and Mike “The Brick” Donatelli (Dan Hedaya) used to be respected gangsters, but now they are only retirees living in Miami Beach. Itching for a taste of their old lifestyle, they decide to stage a fake murder to drive down their rent but accidentally run afoul of drug kingpin Raul Ventana (Miguel Sandoval).

The Crew is a crime comedy about four aging gangsters who get themselves in hot water when they pretend to kill the wrong person. What starts as an easy way to recapture some of their past glory quickly spirals out of control. The Crew takes a look at the pains of perks of aging through the eyes of Bobby and his friends. The movie features a nicely convoluted plot and a light tone, but its jokes and acting leave something to be desired.

The Crew fares the best with its story. The premise gives the movie a fair amount of material to work with, and the movie has a knack for coming up with unexpected consequences for its characters’ actions. The result is a caper-like plot that expands in scope as it goes along, eventually involving an untrustworthy stripper (Jennifer Tilly), her rich stepmother (Lainie Kazan), and a pair of Miami detectives (Carrie Anne-Moss and Jeremy Piven).

However, The Crew doesn’t have the comedic skill to capitalize on its creativity. The humor never quite hits its stride, relying on the relatively tame antics of Bobby and his friends for most of its laughs. The situations it comes up with are funny enough on their own to pick up some of the slack, but they can only take the movie so far. Likewise, the characters bring some energy to the film, but they aren’t the dynamos The Crew needs them to be.

The Crew is worth a watch if you’re in the mood for a caper and don’t care too much about polish. The movie’s clever ideas give it some potential, but it’s missing the tight script, skilled performances, and measured presentation style needed to make the most of what it’s got. As it is, The Crew is a fine little comedy for those with time to kill, but viewers looking for bigger laughs should look elsewhere.

For a similar comedy about aging criminals, try Stand Up Guys, The Maiden Heist, or Going in Style. For a more serious peek inside the mafia lifestyle, try Casino, Goodfellas, or Donnie Brasco. For a light crime comedy with more character, try The Whole Nine Yards.

5.6 out of 10 on IMDB. I give it a 6.0 for a decent plot and middling execution.

Today’s quick review: Where the Money Is. Carol (Linda Fiorentino), a nurse at an elder care facility, leads an ordinary life with her husband Wayne (Dermot Mulroney). She gets her chance at adventure when Henry Manning (Paul Newman), a bank robber left unresponsive after a stroke, is transferred to her care. Carol becomes suspicious that he’s faking and uses every trick at her disposal to get him to drop the ruse and take her with him on a job.

Where the Money Is is a crime movie that pairs an elderly bank robber with a clever nurse. Linda Fiorentino stars as Carol, whose curiosity is piqued by the arrival of Henry. For his part, Henry is a patient and resourceful man with a wealth of experience at his disposal. The partnership between the two leads to a tidy little caper that never gets too serious. However, the movie has less of an impact than its more ambitious counterparts.

Where the Money Is manages to be amusing without tipping over into full-blown comedy. The quasi-love triangle between Carol, her husband, and her new partner in crime adds some spice to the dialogue. The cat-and-mouse game between Carol and Henry leads to a few clever moments, while the robbery she eventually plans is novel, if not quite thrilling. Where the Money Is makes for a breezy watch that takes advantage of a charming premise.

The only trouble is that the movie doesn’t aim higher. The plot is linear, with a couple of distinct stages but no subplots to speak of. The banter between the characters is pleasant enough, but it never truly sparkles. The caper is well-suited to the characters’ skill set, but it lacks the sheer spectacle and tension of other crime movies. In general, Where the Money Is knows its limitations and never reaches beyond them, for better or worse.

Where the Money Is is a decent choice for anyone in the mood for a brief taste of the crime genre. Its unique premise and fairly capable execution are enough for it to carve out a place for itself, but it’s missing the heights of humor, romance, or thievery to make a lasting impression. Those looking for something more thrilling or more overtly funny may want to skip it.

For a more overt comedy about a trio of elderly bank robbers, try Going in Style. For a subdued comedy with a similar premise and a greater focus on romance, try The Old Man & the Gun. For a slightly more dramatic crime movie with a similar feel to it, try Thunderbolt and Lightfoot. For a more glamorous caper, try Ocean’s Eleven.

6.2 out of 10 on IMDB. I give it a 6.5 for modest charm.

Today’s quick review: At First Light. Sean (Theodore Pellerin), a teenager struggling to support his younger brother (Percy Hynes White) and their sick grandmother (Janet-Laine Green), finds himself at the center of a bizarre mystery when his estranged friend Alex (Stefanie Scott) has a close encounter with an alien presence. Suffering from amnesia and exhibiting strange powers, Alex turns to Sean to help her figure out what’s happening to her.

At First Light is a science fiction movie about an incident involving alien contact that permanently changes the lives of two teenagers. Alex and Sean must take care of one another as they try to make sense of Alex’s disappearance and the strange things happening to her since then. At First Light has well-drawn characters, a fairly engaging story, and overall sound craftsmanship, but it’s missing the payoff of other, similar sci-fi movies.

At First Light earns points simply by accomplishing what it sets out to do. The plot unfolds at a reasonable pace, escalating smoothly from teeneage drama to the mystery surrounding Alex. The characters aren’t outstanding, but they are ae good fit for the scope of the story, and their actors fit naturally into the roles. There isn’t much in the way of spectacle or special effects, but what little the movie has is used in the right places.

At First Light delivers enough answers for the story to hang together, but it still leaves the audience wanting more. The story builds to a clear finale without fully clarifying the stakes, and Sean and Alex wind up taking a fairly passive role in the plot. Without a major revelation to cap things off, At First Light has a hard time establishing its own identity. Its execution is fine, but its story doesn’t have anything special to set it apart.

At First Light has enough going on to engage science fiction fans but not enough to win over skeptical viewers. The movie has sound craftsmanship and makes good use of what appears to be a limited budget, but it doesn’t have the impact or originality to leave a lasting impression. Curious fans of budget sci-fi may want to give it a shot. Those looking for a deep, thrilling, or awe-inspiring watch will want to pass.

For antoher story about an alien encounter leading to extraordinary gifts, try Terminus, Phenomenon, or Chronicle. For a darker, stranger budget sci-fi movie with a similar setup, try The Signal.

5.5 out of 10 on IMDB. I give it a 6.0 to 6.5 for competent sci-fi without the unique angle to set it apart.

Today’s quick review: Sonic the Hedgehog. Sonic (Ben Schwartz), a blue hedgehog capable of incredible speed, has lived the last ten years of his life on Earth, trying to make a home for himself while keeping his existence a secret from humanity. But when his remarkable powers come to the attention of Dr. Robotnik (Jim Carrey), a brilliant but ruthless government scientist, Sonic must turn to Tom Wachowski (James Marsden), a small-town cop, for help.

Sonic the Hedgehog is a family adventure comedy based on the series of video games by Sega. Sonic the Hedgehog reimagines its titular character as an alien forced to live in hiding on Earth to keep his power away from those who would abuse it. The movie sticks to the reliable family adventure template of an otherworldly visitor on the run from the government. Within this framework, it manages to be an imaginative comedy with a fun sense of humor.

Sonic the Hedgehog sticks to the basics of its genre, but it executes them well. Sonic and Tom make for a solid comedy duo, with Sonic as a hyperactive, inquisitive speedster and Tom as his reluctant chaperone. Jim Carrey makes for a fine Dr. Robotnik. He trends a little too goofy at times but generally does a good job capturing the pettiness of the character. The humor is consistent enough to keep the movie entertaining from start to finish.

However, Sonic the Hedgehog misses a few opportunities to take its story farther. It’s cautious about adapting concepts from the video games, picking only the ideas it can fit into its story template. That leaves its world and its story underdeveloped compared to the creativity shown in its source material. Even taken on its own terms, the movie plays it a little too safe, raising questions about Sonic’s origins that it never dares to answer.

Sonic the Hedgehog is a light, enjoyable adventure that will appeal to younger audiences and those simply in the mood for something fun. The movie is a little too formulaic to let its source material shine, but an effective comedy duo and a fairly well-constructed story make it worth a watch for those curious. Those hoping for a groundbreaking story, a faithful adaptation of the games, or timeless humor will want to steer clear.

For a video game adaptation that takes bigger risks with its world-building and humor, try Detective Pikachu. For a science fiction adventure that pairs a human with a visitor from another planet, try E.T. the Extra-Terrestrial, Transformers, or The Iron Giant. For a much less successful family comedy that pairs a middle-aged man with a cartoonish creature, check out Woody Woodpecker. For a superhero movie with similar charm, try Shazam!.

6.9 out of 10 on IMDB. I give it a 6.5 to 7.0 for fun characters, a decent story, and a credible adaptation of difficult source material.

“I’m just a terrible person, I guess.” —Harley Quinn

Today’s quick review: Birds of Prey. After a nasty breakup with the Joker, Harley Quinn (Margot Robbie) sets out to prove to Gotham’s underworld that she can make it on her own. But her reckless decisions catch up with her when Roman Sionis (Ewan McGregor), a sadistic crime boss, strongarms her into recovering a stolen diamond from Cassandra Cain (Ella Jay Basco), a young pickpocket in the custody of the Gotham Police Department.

Birds of Prey is a black comedy and crime drama based on characters from DC Comics. A very loose sequel to Suicide Squad, Birds of Prey picks up with Harley Quinn as she tries to establish a new identity for herself, free from the Joker. Along for the ride are a grab bag of Gotham’s most dangerous women, including Detective Renee Montoya (Rosie Perez), Black Canary (Jurnee Smollet-Bell), and the vigilante known as Huntress (Mary Elizabeth Winstead).

Birds of Prey struggles to find the right balance between its sociopathic sense of humor and the borderline heroic story it wants to tell. Harley Quinn gets caught between three competing influences: her nascent attempts at heroism, her legacy as one of Gotham’s most hated criminals, and her obligations as the film’s quirky, devil-may-care narrator. The clash between them leads to a muddy character, in spite of a strong performance from Margot Robbie.

The script has other problems as well. The jokes are inconsistent, with a handful of solid hits mixed in with a fair number of whiffs. The supporting cast gets shortchanged by the film’s focus on Harley, undercutting a promising character in Black Canary and reducing the other characters to one-note gags. In general, the characters don’t seem up to the task of solving their own self-infliced problems, making it hard to invest in their struggles.

Still, Birds of Prey has a few points in its favor. The action isn’t as flashy as other entries in the superhero genre, but the fights are choreographed well and are consistently enjoyable. The performances of Margot Robbie, Ewan McGregor, and Jurnee Smollet-Bell show potential and could form the core of a more solidly constructed movie. And although the film as a whole suffers from tonal issues, its punchy presentation style gives it a distinct identity.

Birds of Prey is a jumbled movie that suffers from weak character work, an unremarkable plot, and humor that misses as often as it hits. There’s enough there for the right fan to latch onto, and its distinctive style and boisterous main character will let some viewers overlook its flaws. But Birds of Prey falls short of the comedic romp it’s trying to be, and those interested in the film may want to approach it with caution.

For another black comedy superhero movie starring Margot Robbie as Harley Quinn, try Suicide Squad. For a violent superhero comedy with a sharper sense of humor and a better lead character, try Deadpool. For a sprawling crime comedy about a stolen diamond, try Snatch. For a stylized action movie with fantasy elements and more likable characters, try Scott Pilgrim vs. the World.

6.6 out of 10 on IMDB. I give it a 6.5 for decent action offset by shaky characters and a weak story.