There are a handful of extremely funny, laugh-out-loud moments in 'Anchorman 2: The Legend Continues.' One happens early – the reveal that David Koechner now runs a cut-rate fast-food joint that saves money by serving fried bats (or, as he calls it, “chicken of the cave"). Another is a retread from the first film – a battle royale of news teams from various networks, but this time even more extreme. There's also great humor in what I suppose passes for “the point” of this movie – that lowest common denominator attitudes like those of Will Ferrell's Ron Burgundy are what inadvertently invented the cesspool of modern cable news.
Of course, what you will find funny is entirely dependent on your own taste, but these highlighted scenes (and several others, I must point out) really landed with me. It struck me later, as I was trying to piece together why the movie felt about six hours long, that these moments were all dependent on gags that could not have been ad-libbed. Ferrell, Koechner, Paul Rudd, Steve Carell and the rest of the gang are deservedly respected for their quick-thinking comedy chops. When they get together and riff, few can top them. The problem is that 'Anchorman 2' relies on this far, far too much. It's like a a dessert plate where mounds of fluffy whipped cream obscures the fact that, underneath, there's only a tiny bite of pie.
For a gal named Carrie White, she's sure got a lot of red on her.
Watching Kimberly Peirce's 'Carrie' is an odd experience. If you've seen Brian De Palma's version from 1976, this new version is - and there's really no point in denying this - like watching a cover band. There's a tweaked scene here and there (including a new, creepy-as-heck opening) plus the addition of cell phones and references to 'Dancing With The Stars.' This remake, more than most, really feels like hitting the same marks. It may be a peculiarity specific to 'Carrie,' because, let's face it, not a whole heck of a lot happens in this story. Considering most moviegoers' familiarity, there's plenty of room to stew and think, "Why is this considered such a classic?"
With piracy drama 'Captain Phillips,' Paul Greengrass ('Bloody Sunday,' 'United 93') has defended his ground as the go-to man for tragic, reality-based pressure-cooker films. The dude really knows how to get your palms sweaty, even when you kinda-sorta know how things are going to end up. Note to self: don't take your cargo ship through the Somali Basin if you don't have to.
Greengrass is also the director of the best two 'Bourne' movies ('Supremacy' and 'Ultimatum') and just as Matt Damon glided through those films as the steely, mixed-martial killing machine, Tom Hanks' center-seat performance here is a master class in keeping it cool.
'We're the Millers' is a vexing film. It's just funny enough to keep from being truly bad, but too preposterous and predictable to be anything close to good. For every laugh there's something that will make you want to hurl an object at the screen. When it flubs, it flubs hard, allowing each of the four main characters a chance to embarrass themselves. And yet, if you wait 'til the next scene, there's the possibility that whoever just served up a would-be joke in a humiliating fashion will do something inspired. As such, 'We're the Millers' wins some respect for at least being a very odd moviegoing experience.
Here's one of my favorite jokes of all time. There's no punchline, it's just a sentence. "I've been rich and miserable, and I've been poor and miserable. And I'll tell ya: rich is better."
I don't know if this is what director Neill Blomkamp had in mind as the ultimate message of 'Elysium,' his visually stunning follow-up to 'District 9,' but beneath the dazzling spectacle, there isn't much else beyond that aphorism to cling to.
I loved 'Rango,' the last time Johnny Depp and Gore Verbinski offered up a madcap spin on the Western. I basically enjoyed 'John Carter,' last year's Western-infused would-be space epic, which, not coincidentally, was the last time Walt Disney stock holders had to reach for a shaker of Tums.
However, 'The Lone Ranger,' this new spazzed-out Western from Depp, Verbinski and Disney, takes unusual and unlikely measures to ensure that audiences have a miserable time. There are momentary flashes of amusement, but it is jumbled, tone-deaf and uninteresting. If I wanted to be kind I'd call it dull and ephemeral, but there are long stretches that seem to strive to be annoying - almost anti-entertainment. The only thing 'The Lone Ranger' has going for it is a long life as to go-to description how not to make a blockbusters movie - this generation's 'Last Action Hero.'
That's what 'Arrested Development' star Tony Hale shouts from the back of Melissa McCarthy's broken down jalopy of a police car as she goes through the motions of an uninteresting chase sequence.
"Hoo boy," I mutter. "We're in for another 'Identity Thief' here" - a movie where physical comedy and riff-heavy music cues will have to suffice instead of any real wit. But something happens about 10 minutes into 'The Heat,' the latest comedy from 'Bridesmaids' director Paul Feig. McCarthy's Detective Mullins loudly and brashly bursts into a room and meets Sandra Bullock's Special Agent Ashburn.
The chemical reaction is instantaneous. McCarthy and Bullock, both naturally funny people, feed off one another and crackle as one of the best comedy pairings since John Cleese and Michael Palin. 'The Heat' is a decent movie; McCarthy and Bullock are outstanding.
The title is 'World War Z,' but I can think up two other letters: "O" and "K."
'World War Z' is okay because it zips along with the fury of a computer-generated cascade of fast zombies. 'World War Z' is okay because Brad Pitt is a great leading man, even if his character has no depth. 'World War Z' is okay because there is always a fatalistic draw to see our social order tumble and great cities reduced to cinders.
It is also, unfortunately, merely okay because there's nothing in this movie you haven't seen before.
With 'Star Trek Into Darkness,' Abrams' follow up to the 2009 'Star Trek' reboot (or continuation of the series, if you are Spock Prime) he has solidified his position as a master of propulsive, visceral filmmaking. Dude knows where to put the camera, when the music should swell, when the characters should zing each another or when they should project pathos to the cheap seats. The 'Star Wars' films are mostly gut and little brains and, unfortunately, that is what we have here. The movie still works as an exemplary thrill ride – I laughed, I cried, I cheered – but woe be to anyone who gets caught in a conversation afterwards trying to explain the overly complicated and, at times, silly plot. If you expect something a little sharper out of 'Star Trek' you may come away with some mixed emotions.
My disdain of the 'Scary Movie' franchise came early. I distinctly recall seeing the 'Scary Movie 2' poster, which featured Kathleen Robertson wearing a t-shirt that says "I See Dead People." This isn't a joke. It's just a reference. It isn't clever, it isn't witty - it's just saying a thing from another movie. It's not funny.
Almost 10 years later, 'Scary Movie 5' still suffers from this debilitating problem. There is absolutely nothing funny about going 'Inception'-style into Christian Grey's S&M room and having Mike Tyson show up. Yet, if you are somehow able to ignore the lowest common denominator pop culture appearances (I hesitate to even call them jokes) there are a great number of truly amusing gags and examples of rapid fire dialogue zings. Put bluntly: when the film is freed from the shackles of its referencing mandate, there's some good, dopey humor in here. Much to my surprise, I laughed out loud a good half-dozen times.
Nobody asked for this movie. But someone was going to make it. I'm just glad it was Matthew Johnson, a young (but not as young as he looks!) Canadian director/co-writer/co-star who has the chutzpah to take on a really difficult subject and the chops to deliver without coming off as crass or exploitative. There are plenty who will refuse to give 'The Dirties' the time of day, and that's somewhat understandable, but if you believe that, in order to correct a problem it must first be discussed, 'The Dirties' is, I feel, a noble mix of entertainment and social importance.
It is every 16 year-old's rite of passage to sneak into an R-rated slasher, get grossed out by blood, turned on by boobs and shout back at the screen. To that end, 'Texas Chainsaw 3D' is a worthy claimant to the franchise.
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