Author: Stan

Today’s quick review: Oscar. To honor the dying wish of his father, Angelo “Snaps” Provolone (Sylvester Stallone) vows to put his life of crime behind him and turn his bootlegging empire into a legitimate business. But on the day Snaps is set to make the switch, his household is thrown into chaos when Anthony Rossano (Vincent Spano), his double-dealing accountant, confesses his love for Snaps’ rebellious daughter Lisa (Marisa Tomei).

Oscar is a crime comedy about a Prohibition-era gangster trying to go legitimate. The movie takes place in Snaps’ palatial home over the course of his last morning as a criminal. What starts as simple preparation for a meeting with his new business partners turns into a tangled mess as Snaps finds out that his daughter has a suitor—and the suitor has $50,000 of Snaps’ money. A cavalcade of coincidences, schemes, and misunderstandings ensues.

Oscar has a small bag of tricks but finds creative ways to use them. The same gags are repeated over and over throughout the movie, but each time as part of a more elaborate scenario. The result is basic comedy that builds on itself nicely as the complications pile up. Sylvester Stallone is the glue that holds the movie together, delivering a suitably harried performance as Snaps, and he’s complemented nicely by the supporting cast.

Still, Oscar won’t appeal to everyone. The movie puts in a lot of footwork to earn its laughs, and not every viewer will have the patience to keep track of its large cast of characters. The humor itself is fun enough, but it’s not as sharply written as the best comedies done in the same style. As such, Oscar is consistently entertaining for a viewer willing to meet it halfway, but it never does anything impressive enough to win over a skeptic.

Oscar is worth a watch for those who enjoy sprawling, madcap comedies. The script never rises to the peak of the genre, but it turns simple building blocks into a satisfying tower of jokes and plot twists. Those in the mood for a light comedy with clean execution will find Oscar to be a good pick. Those hoping for more superlative comedy or a story with more payoff may want to try something else.

For an even less serious Prohibition-era crime comedy, try Johnny Dangerously. For a musical comedy with a similar sense of chaos, try A Funny Thing Happened on the Way to the Forum. For a romantic comedy about an important day in a well-to-do household, try The Philadelphia Story. For an absurd crime comedy with a whodunit twist, try Clue.

6.5 out of 10 on IMDB. I give it the same for solid comedy.

Today’s quick review: Mo’ Money. Johnny Stewart (Damon Wayans) spends his days running scams with his brother Seymour (Marlon Wayans), but he knows that it’s just a matter of time before he’s sent back to jail. He gets a shot at legitimacy when, while trying to impress Amber (Stacey Dash), he lands a job at a credit card company. However, old habits die hard, and Johnny soon finds himself caught up in a dangerous credit card scam.

Mo’ Money is a crime comedy about a grifter trying to change his ways, or at least stop getting caught. Damon Wayans stars as Johnny Stewart, a clever man with a criminal past who has to navigate the fine line between being in jail and being broke. Mo’ Money is a light comedy about Johnny’s attempts to find a job, woo Amber, and fight off temptation. Energetic performances and a well-constructed plot make Mo’ Money a fairly enjoyable watch.

Mo’ Money’s greatest strength is its main character. Johnny Stewart is not one of the all-time greats of the genre, but Damon Wayans fits the role well. Even more importantly, he pulls off the difficult trick of making Johnny likable in spite of his dishonesty. The combination of smart hustles, persistence, and a pesky honest streak is enough to make Johnny a character worth investing time in, which in turn holds the movie together.

As far as story is concerned, Mo’ Money has just what it needs. Johnny’s criminal background, his romantic life, and his new job give the movie a few different plot threads to work with, while a police investigation into a cover-up at his company rounds out the plot nicely. The story hits a nice balance, with enough variety to keep from getting stale but enough consistency to feel coherent.

How much you get out of Mo’ Money will depend on how much you like its characters, but it has enough going on to be worth a shot for those who are in the mood for it. If you like the sound of petty crime, bad decisions, and a bit of story to go with them, give Mo’ Money a try. If you’re looking for laugh-out-loud comedy, a masterful plot, or emotional depth, give it a pass.

For another comedy about a grifter who gets in over his head, try Money Talks. For a more uplifting comedy about turning around from a criminal past, try The Upside. For a parody that doubles down on a similar set of caricatures, try I’m Gonna Git You Sucka.

5.5 out of 10 on IMDB. I give it a 6.0 to 6.5 for fun characters and a decent plot without the raw quality of execution to take them farther.

Today’s quick review: Mad Money. After falling on hard times, Bridget Cardigan (Diane Keaton) takes a job as a janitor at the Federal Reserve. There she hatches a bold plan to solve her money problems once and for all: by stealing the worn-out cash scheduled for destruction. But to pull it off, she will need the help of fellow employees Nina Brewster (Queen Latifah), a struggling single mother, and Jackie Truman (Katie Holmes), a free spirit.

Mad Money is a crime comedy about three women with a foolproof plan to make them rich. Together, Bridget, Nina, and Jackie figure out a way to rob one of the most secure places in the country by stealing money that officially no longer exists. Mad Money is a light, creative caper about the allure of money and the difficulty of earning it the honest way. An original premise and a trio of likable leads are enough to make Mad Money a fun watch.

Mad Money has two factors that set it apart from the typical heist flick: its unlikely band of thieves, and the victimless nature of the crime. Bridget, Nina, and Jackie are all amateurs and are hardly cut out for a life of crime. It’s only through careful planning and by exploiting holes in the bank’s stringent security that they’re able to make the heist work. But unlike most heists, the plan can be repeated indefinitely—if they don’t get caught.

The other major part of the story is what the women do once they have the cash. Even though they start with good intentions and a fixed goal in mind, the temptation is there to keep stealing money and spend it in irresponsible ways. The fine line between getting rich and getting caught gives the movie the right amount of tension to work with. And though the story can be a little predictable, it is scoped and paced just right for Mad Money’s premise.

Mad Money is a solid pick when you’re in the mood for a low-stakes caper with a light tone. The script isn’t as sharp as some other comedies, but the movie gets by on its charm and creativity. Those who are open to some innocent fun will find it to be a simple, breezy popcorn watch. Those hoping for quotable dialogue, flashy tactics, or razor-sharp tension will want to look elsewhere.

For a crime comedy with the same spirit, try Going in Style or The Maiden Heist. For a more flashy burglary with a female crew, try Ocean’s Eight. For another comedy about amateur thieves with grand plans, try Tower Heist.

5.8 out of 10 on IMDB. I give it a 6.5 for modest, enjoyable comedy.

Today’s quick review: Breaking the Bank. Charles Bunbury (Kelsey Grammer) is the chairman of Tuftons, a bank that his been in his wife’s (Tamsin Greig) family for over 200 years. But when a bad investment decision leaves Tuftons vulnerable to a takeover bid, Charles abruptly finds himself with no job, no wife, and no prayer of getting them back. Charles must work his way up from the bottom to regain his dignity and make amends for his mistakes.

Breaking the Bank is a comedy about a banker who loses it all after a risky decision. Kelsey Grammer stars as Charles Bunbury, whose affable personality hides the fact that he knows next to nothing about banking. The movie gets most of its humor from dropping Charles into situations he isn’t prepared to handle, whether it’s courting a buyer for the bank (John Michael Higgins) or making peace between his top employees (Matthew Horne and Danny Morgan).

However, in spite of a promising setup, Breaking the Bank has a hard time taking its story where it wants to go. The movie is filled with false starts as Charles tries and fails to salvage the pieces of his life. His constant jokes and deflections make him endearing at first, but they quickly wear thin. The combination of halting character growth and witticisms that aren’t meant to be funny ultimately make Charles a hard character to root for.

These flaws are enough to hamstring what would otherwise be a charming comedy. The wittier parts of Charles’ personality, the basic trajectory of his comeback attempt, and the financial misadventures along the way do give Breaking the Bank some good material to work with. But the way the movie handles its plot and main character keeps it from finding true success. The result is a patchy watch with some decent scenes but limited payoff overall.

For a drama that tells a similar story with more style, try Wall Street: Money Never Sleeps. For a more factual comedy about banking malfeasance, try The Big Short.

4.8 out of 10 on IMDB. I give it a 5.5 for modest potential let down by weak execution.

Today’s quick review: The Goods: Live Hard, Sell Hard. Freelance car salesman Don Ready (Jeremy Piven) travels around the country with his team (Kathryn Hahn, Ving Rhames, and David Koechner), making the sales that the locals can’t handle. For his latest job, Don and his team are called to Temecula, California, where Ben Selleck (James Brolin) needs to sell over two hundred cars in one weekend to save his struggling dealership.

The Goods: Live Hard, Sell Hard is a raunchy comedy about a car salesman whose bold tactics have made him a success at the expense of his personal life. Over the course of a holiday weekend, Don Ready uses every trick in his arsenal to keep Ben’s business alive and prove himself to Ben’s daughter Ivy (Jordana Spiro). The Goods aims to be a boisterous comedy full of outrageous situations and bad decisions, but both its taste and execution fall short.

The Goods aims low with its humor. The jokes are crude and explicit, with questionable content that will make sensitive viewers very uncomfortable. The movie does earn some modest laughs from Don’s slick sales tactics and the sheer audacity of some of its jokes, but the humor is inconsistent. Even when the movie is firing on all cylinders, it never manages to break free of its worst ideas, leaving it a string of hit-or-miss gags and little more.

Nor does The Goods have the story needed to pick up the slack. The movie makes a passing nod at character growth for Don, but it cashes in his personal development for laughs at every opportunity. Normally, this would be a favorable trade for a comedy, letting the film play to its strengths without getting bogged down with drama. But in this case, letting Don’s story play out naturally would have given The Goods some much-needed heart.

The Goods: Live Hard, Sell Hard will appeal to fans of a certain style of raunchy, irreverent comedy. To the movie’s credit, it has a talented cast and a script that isn’t afraid to run with even its most ridiculous jokes. For the right viewer, these qualities will make it pure, unadulterated fun. But the movie’s unreliable comedy and minimal amount of story mean that its best features largely go to waste. Most viewers will want to steer clear.

For an underdog sports comedy with similar flaws, try The Benchwarmers. For a comedy that’s as explicit, more violent, and similarly unreliable, try Game Over, Man!. For a comedy that takes the same ridiculousness and puts it to better use, try Dodgeball or Hot Rod. For a more memorable comedy about hedonism and high-pressure sales tactics, try The Wolf of Wall Street.

5.8 out of 10 on IMDB. I give it a 5.5 for crude comedy with mixed execution.

Today’s quick review: Hit and Run. When Annie (Kristen Bell) gets offered her dream job, her boyfriend Charlie (Dax Shepard), an ex-criminal in Witness Protection, decides to leave the safety of their small town and go with her to Los Angeles. But before they can get there, Annie’s ex-boyfriend Gil (Michael Rosenbaum) figures out Charlie’s real name and uses it to get in touch with Alexander Dmitri (Bradley Cooper), the man Charlie put behind bars.

Hit and Run is a romantic crime comedy about a reformed criminal whose past catches up with him at the worst possible time. Dax Shepard and Kristen Bell star as Charlie and Annie, an idyllic couple on a road trip to start a new life. The only things standing in their way are Charlie’s secrets, Alex and his gang, and a bumbling U.S. Marshal (Tom Arnold) who wants them to stay. The film’s chaotic plot and decent stunts are offset by its hit-or-miss humor.

Hit and Run has two main features going for it: Charlie and Annie’s relationship, and its stunt driving. Charlie and Annie are fine characters on their own, but their relationship is what holds the movie together. Even at their worst, the couple are easy to root for and genuinely seem to make each other happy. Hit and Run also gets good mileage out of its car chases, which are an excuse to show off some impressive vehicles performing in tricky situations.

But Hit and Run misplays its hand when it comes to comedy. The script goes off on odd tangents every few minutes, following its characters down weird conversational rabbit holes that are sometimes charming and sometimes just uncomfortable. The jokes are cruder than they need to be yet lack the punch of good shock humor. To top it all off, the movie tries to juggle the moral high ground between its characters in a way that feels forced.

None of this takes away from a cute relationship and a fairly interesting plot, but it does keep Hit and Run from reaching its full potential. Those who are willing to put up with a few rough patches may want to take a chance on the movie. Though not a standout, Hit and Run does bring something to the table. But viewers who are sensitive to crude humor or simply want something with a tighter script will want to look elsewhere.

For a crime drama about a criminal whose past catches up with him, try A History of Violence. For a budget action movie about a man in Witness Protection, try Fire with Fire. For a crime comedy with sharper writing and an even more chaotic plot, try Burn After Reading. For a more twisted comedy with similar story elements, try 68 Kill.

6.1 out of 10 on IMDB. I give it a 6.0 to 6.5 for a fine setup held back by a patchy script.

Today’s quick review: Blood Father. John Link (Mel Gibson), an ex-convict and recovering alcoholic, has been trying to pick up the pieces of his life with the help of Kirby (William H. Macy), his sponsor and closest friend. But his quiet lifestyle is thrown into chaos when his runaway daughter Lydia (Erin Moriarty) returns home with a group of cartel killers hot on her heels. Now John must use the skills he thought he put behind him to keep her safe.

Blood Father is a crime thriller about a reformed criminal trying to protect his daughter. Blood Father takes a broken family and puts them through the wringer as Lydia’s irresponsible decisions come back to bite her. The movie has a few bursts of well-placed action, but its chief appeal is seeing John take control of a dire situation. Blood Father does quite a bit with the tools at its disposal, but it’s outclassed by other films with similar premises.

Blood Father has a modest scope, but it handles itself well. The plot revolves around John, Lydia, and the enemies she made by shooting her abusive boyfriend Jonah (Diego Luna). The running themes of overcoming addiction and moving past one’s mistakes give the movie some nice material to work with. And although the relationship between John and Lydia is not as moving as it could have been, John is willing to do whatever it takes to protect her.

All that Blood Father is really missing is the extra push it needs to stand out. What action there is fits the story, and it’s satisfying to see John finally cut loose. But the movie never commits to it, leaving it a step behind the thrillers where action is the main focus. The same goes for its story. Blood Father has an interesting setup and a few good character moments, but it’s missing the fine touch needed to capture the viewer’s emotions.

As such, Blood Father will be a solid pick for those used to budget crime movies and on the thin side for anyone else. Those looking for something quick and sober, with some fine character work, a capable protagonist, and a smattering of action, should look no farther. Those looking for something more substantial, with an expert emotional arc, big stunts, or an elaborate story, will want to steer clear.

For a much gorier action movie with a similar premise, try Rambo: Last Blood. For a tense thriller about a war with a drug cartel, try Sicario. For a lighter crime movie starring Mel Gibson, try Get the Gringo. For a budget action movie that uses a similar premise to less effect, try The Prince. For a deeper dive into drug addiction, try Requiem for a Dream.

6.4 out of 10 on IMDB. I give it a 6.5 for a good mix of story and tension.

Today’s quick review: Term Life. Nick Barrow (Vince Vaughn) is a career criminal who plans heists and sells them to other criminals to pull off. He lands in hot water when one of his clients is murdered, putting a vengeful drug lord (Jordi Molla) on his trail. Now Nick must stay off the grid while he looks for the real killer, all while trying to patch up his relationship with his estranged teenage daughter Cate (Hailee Steinfeld).

Term Life is a crime thriller about a professional criminal forced to pick up the pieces of his professional and personal lives in the wake of a job gone wrong. Vince Vaughn stars as Nick Barrow, who must use all his wits to figure out who set him up and why. Term Life combines a crime-genre plot with a personal story about a father regaining the trust of his daughter. In spite of a promising setup, the movie’s execution falls somewhat flat.

Term Life lives and dies with its main character, and unfortunately, Nick Barrow is not quite up to the challenge. The character works fine on paper, a more grounded version of a criminal mastermind who has a sharp mind and a compelling set of problems. However, Vince Vaughn is a rough fit for the role, turning in a dry performance that has none of his usual flair. The result is a movie centered around a character who’s hard to invest in.

Even with this handicap, Term Life makes a good showing of it. The plot progresses quite nicely, with opportunities for Nick to think his way out of trouble, and the finale is about as well-constructed as one could hope for. The relationship between Nick and Cate gets off to a slow start, but it eventually comes into its own as Nick starts to show her the tricks of his trade. Nick even overcomes some of his woodenness as the story goes on.

Term Life is a flawed movie, but it may be worth a shot for fans of the crime genre. Trouble getting Nick out of the starting gate ruins the movie’s chance at having a real impact on the viewer, but it does manage to salvage its story and, to a lesser extent, its characters as the movie goes on. Viewers with exacting standards should stay away. Those willing to overlook Vaughn’s performance for the sake of a crime flick should consider it.

For a more thrilling budget crime movie with a similar setup, try Wheelman. For a more thoughtful drama about a criminal reconnecting with his estranged daughter, try Matchstick Men. For a similar pairing with more distinctive characters, try The Professional. For a comedic heist movie set in a similar world, try The Art of the Steal.

5.5 out of 10 on IMDB. I give it a 6.0 to 6.5 for a fine setup let down by a mediocre lead.

Today’s quick review: Haywire. Mallory Kane (Gina Carano) is one of the best private operatives in the intelligence business and the only reason her struggling employer Kenneth (Ewan McGregor) still has a company. Hot on the heels of a job in Barcelona, Kenneth convinces her to go to Dublin and work with Paul (Michael Fassbender), a British agent, on an undercover operation. But when the job goes south, Mallory is forced to strike out on her own.

Haywire is an action thriller from director Steven Soderbergh. Gina Carano stars as Mallory Kane, a savvy special operative who finds herself caught in a web of danger and deception. Haywire has a typical thriller setup, but the plot is handled well, Mallory is a capable protagonist, and the movie has a few good twists up its sleeve. The fight choreography is fast-paced and weighty, centered around some impressive stunt work by Gina Carano.

Haywire also has some subtler touches that help give it an identity of its own. A jazzy soundtrack, nonlinear storytelling, and a couple of well-placed montages show more thought than the typical action flick. The tradeoff is that nothing else about the film is groundbreaking. The plot falls within the established bounds of the action genre, the fight scenes are engaging but not unique, and Mallory makes for a solid protagonist but not a memorable one.

The end result is a movie that will appeal to action fans but won’t win over any skeptics. Haywire is a competent thriller that delivers on both plot and action, as well as a few minor stylistic touches to call its own. Viewers who are content with that will want to give it a shot. But those who are looking for something unexpected, with bigger thrills or a flashier main character, may want to keep looking.

For another action thriller in the same vein, try Close. For a more revolutionary action thriller with some of the same elements, try The Bourne Identity. For a more stylized action movie about a female agent paired with a partner she’s not sure she can trust, try Atomic Blonde. For a gritty, low-budget action movie with tight, brutal fights and a similar setup, try All the Devil’s Men.

5.8 out of 10 on IMDB. I give it a 6.5 for strong fights and a fairly interesting plot.

Today’s quick review: Bloodshot. Ray Garrison (Vin Diesel), a talented soldier, gets a second chance at life when Dr. Emil Harting (Guy Pearce) brings him back from the dead with a cybernetically enhanced body. Equipped with nanites that give him strength, speed, and extraordinary regenerative power, Ray sets out to get his revenge on Martin Axe (Toby Kebbell), the man who killed him and murdered his wife Gina (Talulah Riley).

Bloodshot is a superhero action movie based on the character from Valiant Comics. Vin Diesel stars as Bloodshot, a superpowered soldier on a mission for revenge. Bloodshot delivers what action fans will want in a popcorn flick: lots of fights, a fast-paced plot, and an unstoppable hero. The movie never manages to break free of the cliches of the genre, but it executes them well enough to be entertaining and sprinkles in a few flourishes of its own.

Fittingly enough, Bloodshot’s greatest strength is its action. The stunts are a mixture of action movie staples—heavy ordnance, car chases, and slow motion—and CGI-fueled brawls that show off Ray’s regenerative capabilities. There’s nothing that can rival the top tier of superhero movies, but the fights are weighty and well-choreographed. Decent fundamentals and a couple of creative setups should be enough to please most action fans.

Bloodshot is on shakier ground when it comes to its story. The movie starts generic and tries to piece together an identity as it goes along. In this it is only partially successful. Bloodshot does get more interesting as its plot builds up steam and its better character designs come into play, but it never quite shakes its budget mentality. There’s very little character development and only the minimum amount of story needed to reach the credits.

Bloodshot will appeal to viewers who care about action and nothing more. For what it is, it’s a fine watch, with a basic but effective plot and some solid action scenes to work with. But its reluctance to carve out an identity of its own makes it hard to invest in. Instead of an excessive, stylish romp, Bloodshot is a bread-and-butter sci-fi action movie with only a handful of ideas to call its own. Those hoping for something richer should skip it.

For a similar flavor of CGI-fueled action done with more skill and imagination, try Alita: Battle Angel. For action in a similar vein but with more black humor, try Venom. For a budget action movie about an operative brought back from the dead, try 24 Hours to Live. For a villain with a similar power set as Bloodshot, try Terminator 2: Judgment Day or Terminator: Dark Fate.

5.6 out of 10 on IMDB. I give it a 6.5 for serviceable action and a mediocre story.