Braver dad than me (Taken with instagram)
WE BOUGHT A ZOO
In this adaptation of Benjamin Mee’s memoir about buying and saving a run-down zoo, the locale shifts from Britain to southern California. However, the wacky spirit of the original is retained, complete with escaped tigers and a zoo crew of misfits. (Netflix)
I have an unabashed, is-it-really-platonic? kind of love for Cameron Crowe. Fast Times at Ridgemont High came into my line of sight in 9th grade and became my ideal high school experience (it didn’t pan out in any similar fashion but whatevs). Jerry Maguire is probably #6 on my all-time list, if it’s not in the top 5. Almost Famous is a fantastic movie and I was absolutely floored the first time I saw Vanilla Sky, a movie that most seem to have either disliked or outright hated. I think it’s incredible. But that came out in, what, 2001? His only film since has been Elizabethtown and I prefer to pretend that never happened.
So I was nervous about WE BOUGHT A ZOO. It didn’t feel Cameron Crowe enough for me. It looked like he was still stuck in this decade-long slump, with his best days far behind him. That’s a sad fate for a guy with so much talent, especially whose films have meant so much to me.
But I’m happy to report that it doesn’t suck! It’s even quite good! It’s not on the level of any of his early stuff, but it sure as hell washed away the stink of Orlando Bloom and Kirsten Dunst’s who-gives-a-shit faux Garden State.
Matt Damon is surprisingly perfect in a Crowe film. He’s a great actor and he’s beyond likable. The movie is about his struggle to make a new life with his kids after his wife’s death and you want nothing more than for him to find absolute happiness. And yeah it’s a movie filled with kids and animals so there’s a bright red laser sight pointed at your heart throughout the whole thing but this time it works and it had me from the start (I came close Zellwegging, sorry).
This still isn’t the Cameron Crowe that I came to love growing up, but it’s far better than I’d expected. He’s still got a little ways to go, but the guy is back on track to greatness. That’s exciting.
4 out of 5 Koko B. Ware and Frankies
TAMARA DREWE
After undergoing plastic surgery and a complete fashion makeover, suddenly sexy journalist Tamara (Gemma Arterton) triumphantly returns to her tiny hometown, where she exploits her irresistible appeal by recklessly toying with others’ emotions and breaking hearts. Adapted from a comic strip by Posy Simmonds, this Stephen Frears-directed comedy explores themes such as unrequited loved, envy and lust. (Netflix)
I honestly can’t tell you why I watched TAMARA DREWE. It’s a mom movie of the highest order. Just a pair of travelling pants away from joining the Ya-Yas (those are things, right?)
British people? Old British people? Countryside retreats? Unrequited love? Envy? Lust? What the hell is wrong with me? I may as well have popped this in between chapters of Fifty Shades of Grey with a Crantini and some Activia.
The worst part: I kind of enjoyed it.
It’s charming as hell (as are most things British) and filled with just enough character twists to keep me interested throughout. Plus, Gemma Arterton is way easier to watch than your average Katherines Heigl or Kates Hudson.
I don’t know that I’d necessarily recommend you go out of your way to watch this but if you’re hanging out with Mom one Sunday afternoon and she suggests checking it out, it won’t be the worst thing she’s ever subjected you to.
3 out of 5 Tamara Murphys
THE HANGOVER: PART II
In this booze- and laugh-soaked sequel to The Hangover, the buddies from the earlier film’s bachelor party reunite for a wedding trip to Thailand where one of them, Stu Price (Ed Helms), is planning to tie the knot. Stu is determined that his own pre-wedding party should be a restrained and dignified affair, but between the habits of his friends and the multiple distractions of Bangkok, fate has other plans in store for him. Todd Phillips directs. (Netflix)
Let’s talk about The Hangover: Part II, or as I like to call it Hurry This Shit Up So I Can Go Cash This: The Motion Picture, shall we?
I understand why this movie was made. The original is the highest-grossing R-rated comedy of all time. This was guaranteed to make money. But seriously, could they have at least tried? “It’s funny because Asia” is not enough of a plot to warrant this sequel. I wasn’t expecting a lot from this movie, which is why I’ve waited a year to see it. But I’ll be F’d by a Thai ladyboy if I wasn’t at least hoping for SOMETHING worthwhile.
Now, I was never a huge fan of the original Hangover. To me, a great comedy is when every aspect of the film works together to create something funny. Every scene, every character, every storyline, it all has to be there. Zach Galifianakis was hilarious in the first movie, but without his character there is literally NOTHING special about that film. None of the other characters are remotely interesting enough to be funny on their own and every little subplot felt tired. Every single laugh I got out of that movie came directly from something Zach did.
In the sequel, it’s THE EXACT SAME MOVIE except now there’s a language barrier. This is as by-the-numbers as it gets. Gus Van Sant’s Psycho remake took more creative liberties than this thing. There were a few times when I found myself laughing, but even sweet, dear, reliable Zach couldn’t deliver enough to save things.
The one thing I did appreciate about it was the tone. It’s dark. Way darker than the original. I got the sense that Todd Phillips and co. were a little pissed at the studio for making them make this movie (not a sequel in general, but this super-accelerated-cash-grab version of it) so they decided to air their grievances by making it as depraved as they commercially could get away with. I’ve heard that the plans for the 3rd film feature a dramatically different tone and story than the first two, so maybe the black cloud that hung over this plot is foreshadowing that finale.
I hope that’s how it goes, anyway, because otherwise it means that this movie was made in this way for nothing other than money. And if that’s the case, I’d like mine back.
2 out of 5 Drugged Stephanie McMahons
An embarrassing admission = Instant net cred
This is my friend Joey and that’s his real hair.
Joey has his own tumblr called Story Fragments.
He was also a co-creator of Blommit and is currently helping me to air out the internet with You Look Like You Smell Like.
BUT ALL OF THAT PALES IN COMPARISON TO TODAY
Today Joey is an official McSweener (McSweenist?) with An Open Letter to Myself the Day After the 2004 Presidential Election.
Take a minute and check it out. If nothing else it will give you one more reason to hate George W. Bush for horrifically and temporarily corrupting the mind of an otherwise more or less decent young fella.
Give The Flicksation Podcast a Chance, Would You?!?!
Do these guys a solid, and yourself some good, and check out their podcast. It’s good ear eats.
Head over and listen to The Flicksation Podcast on iTunes.
Subscribe, then help us out by giving us a lofty star rating and positive Customer Review.
We put a lot of time and effort into the show and would really appreciate the help!
Daniel Plainview likes us and he hates people!
TRANSCENDENT MAN
Inventor and futurist Ray Kurzweil is the subject of this documentary that follows him on a world speaking tour in which he expounds on his ideas about the merging of man and machine, which he predicts will occur in the not-so-distant future. The visionary who invented the first text-to-speech synthesizer and much more raises eyebrows here with his wildly optimistic views of a technology-enhanced future. (Netflix)
I didn’t know a lot about Ray Kurzweil before watching TRANSCENDENT MAN. I’ve got a friend who’s far more scientifically inclined than I am. He told me about the idea of The Singularity before. I knew that it was essentially the hypothetical theory of a real life Terminator or Matrix scenario. I’m glad I watched this film.
Kurzweil is a fascinating guy. He’s obviously a genius and the fact that most of his predictions about technology so far have come true leads me to believe that what he says about The Singularity could very well do the same. He’s convinced that within the next few decades humans and technology will reach a meeting point where we literally become one. Blood cell-sized machines will be implanted within our bodies and thus humans will be able to download unlimited intelligence and even cures to diseases. Kurzweil predicts that by 2029 a machine will reach a human level of consciousness, signaling the dawn of a new era of enlightenment between man and machine.
A lot of this sounds far fetched but hearing him describe it all is legitimately convincing and captivating. By the same token, the movie also interviews a number of other scientists who look at his theory from a different perspective. Some say that his view of the future is absolutely correct, but it won’t happen in our lifetimes. Others say that he’s too optimistic. They believe that The Singularity will be the beginning of the end for the human race, that it will lead to technology’s takeover of the planet.
The movie does a fantastic job of presenting both of these arguments in an equal light. Kurzweil is never lifted to any messianic heights by the film, but he’s also not pointed at as some crackpot sci-fi conspirator. His detractors are equally respected by the film. Everyone comes off incredibly reasonable and rational. It’s a near perfect documentary in that sense. It presents two sides but never veers too closely to one side. It makes you think hard about both arguments.
I have no idea whether or not The Singularity is something that will come to fruition within my lifetime. But it’s on my radar now. Whether or not the future it creates will be exciting or terrifying is up for debate, but it will definitely be interesting.
4 out of 5 York Foundations
THE EXTRA MAN
Forced to quit his prep school job after a humiliating incident, would-be dramatist Louis Ives (Paul Dano) heads to New York City, where he rents a room from has-been playwright Henry Harrison (Kevin Kline) — who earns a living escorting rich dowagers about town. Despite their huge age difference, the two develop a bond as Henry takes Louis under his wing and leads him on a series of wild adventures. Katie Holmes and John C. Reilly also star. (Netflix)
Kevin Kline isn’t exactly as visible as he used to be in Hollywood. It’s a shame too because he’s a great actor, one whose single presence can elevate an otherwise dull movie. That’s the case with THE EXTRA MAN.
Kline is chewing scenery faster than Pac-Man in this role of an actor-turned-gigolo. He’s a flamboyant dandy stuck in the 21st Century and it’s all a lot of fun to watch. Paul Dano, as his subdued apprentice, is a great counter to Kline’s over-the-top character.
As good as those two are, the real show stealer (as usual) is John C. Riley as Kline’s enigmatic friend. His huge hair, facial hair, and cartoonishly high voice brought the movie up to 11 each time he was on screen.
And this movie needed that boost. An adaptation of a Jonathan Ames novel, it wasn’t terribly exciting on its own. Try as they might, the fantastic cast couldn’t do enough to salvage the otherwise uninteresting screenplay.
2.5 out of 5 “Gigolo” Jimmy Del Ray
PETE SMALLS IS DEAD
Former screenwriter KC Monk is in exile back East, where he runs a decrepit laundromat and lives with his dog, Buddha. But a loan shark kidnaps Buddha and KC has to help his eccentric pal Jack carry out his convoluted plan to acquire the ransom. (Netflix)
I know that I could possibly be the last remaining red-blooded American Millennial male who has yet to watch a single episode of Game of Thrones. I’m too cheap for HBO, too lazy to download the whole series and Netflix is taking its sweet ass time delivering the season 1 DVDs to my house. But, I still love the shit out of some Dinklage.
So when I see a film that prominently features him in the lead, I’m sold. PETE SMALLS IS DEAD did a great job of grabbing my attention with that bit of casting. Along with Tim Roth and Steve Buscemi, it was like a siren calling me closer.
And just like a siren, it pulled me straight into a pile of rocks.
I’m sure there’s a better movie in here somewhere. Director, Alexandre Rockwell also worked with Buscemi and the Dink (New band name? New band name.) in his movie, 13 Moons. This one reminded me a lot of that, and a lot of other straight-to-DVD quirky capers. They all fall flat. They’re never quite quirky or caper-y enough to really make an impact in my viewing memory. They just happen.
The casts in these movies are always good, and worth checking out if you’re a fan of those involved. But don’t expect this one to end up on your all-time list, or even your all-May-2012 list.
3 out of 5 Shorty Smalls
Greatest show on earth - ROH in RVA (Taken with instagram)
TAKE ME HOME TONIGHT
Amid the goings-on at a raucous Labor Day party, brilliant but underemployed Matt Franklin learns a slew of lessons about life and love in the financial boom of the late 1980s in this ensemble-cast film from the writers of “That ’70s Show.” (Netflix)
TAKE ME HOME TONIGHT sat on the shelf for a few years before finally getting released. This, despite starring Topher Grace and Anna Farris and coming from the creative team behind That 70’s Show.
I understand why after seeing it. It’s not particularly bad; it’s just not special in any kind of way. It’s a perfectly serviceable direct-to-dvd 80’s tribute. But instead it was held off and quietly thrown into theaters where it just died.
I’m not crying over its failure either. Just as it’s not that bad, it’s also not that good. The actors are all fine in their roles and it’s admittedly fun to revisit a decade as ridiculous as the 1980’s. But again, there was nothing special about it. This kind of movie has been made countless times before and the vast majority of those attempts were way better.
I like Grace and Farris a lot, but neither one of them has done anything yet that really makes me think they’re movie stars. I feel like they’re both perfect fits for TV, and if this movie had been made-for-TBS, it would have been a perfect fit too.
2 out of 5 Oh so 80’s Dolph Ziggler t-shirts
I’M STILL HERE
In 2008, Oscar nominee Joaquin Phoenix walked away from acting to pursue a rap career, an inexplicably bizarre detour captured in gritty detail in this “documentary” directed by Phoenix’s brother-in-law, Casey Affleck. Some speculated Phoenix’s behavior was part of a well-orchestrated hoax — or, even worse, a mental breakdown. But some of the film’s graphic footage suggests it could have been a little of both. (Netflix)
I guess sometimes the hoaxes just get away from you. At least that’s what I assume happened with I’M STILL HERE. The documentary chronicling Joaquin Phoenix’s descent into hip-hop obscurity was a ruse all along. Phoenix and Casey Affleck admitted it right before the movie came out. They wanted to pull a stunt that would examine how far our culture would go with watching a celebrity self-destruct.
It’s a solid thesis and the movie starts off strong, but in the end it feels like they lost control and had to keep upping the ante of the footage. It ultimately winds up at a point where I genuinely just didn’t care anymore. I was sick of the 90 previous minutes of warbled mumbling I’d sat through and wanted nothing more than for it to end.
I appreciate their commitment to the gimmick, but I think the movie would have been better had they not come clean about it literally within weeks of its debut. Let the public wonder. That was the whole point of experiment, to keep people guessing and watching. They should have released the movie and then 2, 3, 6 months later have Joaquin announce that he was just going through some shit, he’s clean now and he’s back. It would have worked. The public forgives celebrities. And it would have let the movie actually mean something, at least for a little while. Coming clean so early took away all of the mystique and any potential impact.
Of course none of that matters to me since I watched it 2 years after the fact but still. I like to think it would have made it better. At least then I could justify the 90 minutes I lost.
2.5 out of 5 Necro Butchers
FINAL DESTINATION 5
Death still isn’t satisfied in the fifth installment of this cult horror franchise, setting out to claim the lives of shaken co-workers who cheated him when they heeded a colleague’s premonition about an unstable suspension bridge. (Netflix)
I wasn’t a huge fan of the original Final Destination. I LOVE the 2nd one. I snuck in and saw about 30 minutes of the 3rd movie, in between showings of The Hills Have Eyes and…Failure to Launch. I skipped the fourth entirely. So I didn’t have a lot invested in the franchise when I sat down to watch FINAL DESTINATION 5. I heard enough good things, mostly that it was the best film in the series since FD2, that I figured it was worth a shot.
Right choice, Alex! This movie was great! In the most hilariously, blood-splatteringly, blatantly-cheesing-it-up-for-3-dimensionally way possible, it was great!
I don’t think it tops FD2 (nothing will ever surpass a 15-year-old kid getting ‘sploded to death by falling window pane), but it sure came close. The opening bridge disaster is a laugh-out-loud series of increasingly over the top deaths, far bloodier than any real bridge collapse has any right to be. And the deaths that follow are equally as entertaining, albeit on smaller scales. One scene in particular at a gymnastics event is genuinely one of the tensest set pieces I’ve ever seen. I was squirming. Most movies don’t get to me like that.
If you like horror flicks, this is a fun one. It’s full of little winks to the rest of the series, and the ending is perfect. Set aside a Friday night. Watch the original movie to set the tone, then follow that up with FD2 and this. I’ll bring drinks.
4 out of 5 Undertaker/FD5 WWE.com Cross-Promotions
