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Better (2023)
craps out at the end
Noteworthy for performance of Leila Farzad, not much else. Twist on cop vs criminal. Bad ending. 6.3, if you like the Brit born Iranian actress. 5.6 if you dont. Or pass. Complete washout halfway through last episode. But up until then, it's a solid 6.9. If you like, Leila Farzad.
"Just like every cop's a criminal, and all the sinners saints. My friends just call me..."
And I was so hopeful. May I suggest an obscure crime drama, on Amazon books, "North of Likely" which delivers a solid ending to the cop trying to fight his way back to the right side theme.
But, as BBC goes, this experiment may have been bogged down in its own need to appease the diversity parade and be PC enough for the social censors. Or, the writers can't write an ending.
Feels like it could go longer. But the lukewarm response, I imagine, based upon the aforementioned, may preclude that.
Law & Order: Organized Crime (2021)
JET skis for me
Denis Leary and far too little of Jennifer , I have the picture of Dorian Grey, Beals make this season shine for me, as well as story, goofs, playfulness, and Ainsley Seiger, OMG, first white actress I've crushed since the 90s and. Mira...not that she's any Sorvino, but. . . The Goth brainy techie computer geek character has never worked better for me. Please wind up undercover, or in a no-tell motel with Stabler, exploring Daddy issues.
Srsly, best Law and Order of any alphabet in years.,maybe harkening back to Criminal Intent, and Kathryn Erbe's double entendres.
Even the stereotypes aren't too grossly irritating, like speedbumps on a long hill in the rain at night.
Get some!
Table 19 (2017)
perfectly serviceable
and somewhat intelligent romcon. I don't know why it didn't get any love from critics, especially with the young and veteran talents of Anna Kendrick and Lisa Kudrow . Solid seven. . . .For peeps who want a dramedy as opposed to a laugh riot. "Wedding Crashers," it ain't.
Word of caution: It's a little rocky through the first twenty minutes, but the last three quarters of the film make that set up well worthwhile. Since it's an ensemble piece, there's some scenes well spent sketching all the characters seated in the no-man's land of table 19. But this investment will pay off sweetly in the end.
Nightcrawler (2014)
Definitely Not a Date movie.
Unless your date is Aileen Wuornos. Finally, a film that creeps you out with its failing-as-a-human main character. Saying this is a modern day "Taxi Driver" is not over reaching, though it lacks the extraordinary photography and musical score of that great film. While there is violence and gore, what is refreshing is none of it feels the least bit gratuitous. Nor is it the ultimate creep factor. Mr. Jake Gyllenhaal's performance is actually what kept me, literally, on the edge of my seat. Was Jake Gyllenhaal in every scene or did it just feel that way? His character is a monster—the kind of mad fiend who succeeds in today's society.
There are many implausibilities, things glossed over, and holes in plot and development. However, the premise and underlying tone, as delivered by Jake Gyllenhaal and his supportive cast, never falters or fails to stay glued to its sick and twisted point. Sadly, dark sardonic comedy is such a lost art in cinema that I found myself to be the only one laughing in the theater on a Saturday night.
Look for Mr. Gyllenhaal to excel in lesser awards shows for this performance. The academy could nominate—it's the right release date to be taken seriously. But he will not get Oscar. Not for his lack, but the director is just too green filling out all the little things that would have raised up "Nightcrawler" from my-goodness to Greatness. No offense to Mr. Gilroy. As a directorial debut, from his own script, I am quite eager to see more. Perhaps he was one DP and one composer, plus a few glitches in the third act short of a home run.
Scorpion (2014)
Implausible, yes!; Fun for the family, yes!
In the vein of Alias, this show is rather implausible, but makes a point of being fun. Perhaps the producers need to make it more clear that this is a family show. For once it was refreshing to not see the dark, foreboding, violent, bloody messes that predominate in prime time. I know you can't stand up in a car doing 200 mph, the same as I know that Jennifer Garner can't skydive from the umpteenth floor into a dinky pool and step out like a goddess, wearing a priceless necklace dripping diamonds off her ankle.
It is a fantasy. Not reality. People are so obsessed with reality TV these days that they want, what!, nothing but by-the-book procedurals that never deviate from the scientific, social-political facts?
Obviously, the kid and the mom are going to get in on the solving-the-puzzle-to-save-the world action. And some of the cozy characters will become less cartoonish and more like the geek-next-door. I liked it. Scorpion is a real geek squad fantasy adventure.
Look at the rampant implausibility factors in the following popular shows: Person Of Interest, Blacklist, the late Dexter, the former Alias, Elementary, Nikita, and on and on. Why you so mad, bro's? It's not meant to be taken seriously, or a strict lesson in aerodynamics, computer software, thermodynamics, or anything else.
Perhaps the producers have failed to creatively inform their audience that this is family fantasy fun and not meant to be digested as the truth. Scorpion is almost camp. I thought it was refreshing as hell, without asking me to accept ghosts, ghouls, goblins, and what not, as in Sleepy Hollow, or Grimm.
I want more. Unfortunately, with so many calling for its head, it will probably get canceled so we can have CSI: the Moon, or NCNM: New Guinea. Or another Survivor series set on an Island (ooooh)...that is scripted and faked and manufactured Reality.
Try some imagination mixed with heart for once in your lives. The real maladjusted, humorless geeks are the ones who have climbed on the safe bandwagon pointing out the scientific holes in the show. That's right. There is some cheese between that bread. And your point is?
3 Days to Kill (2014)
Besson and McG do American Secret Agent in Paris...right!
Good B film that takes chances, gets kind of jumbled up, and then delivers in the end
like B movie is supposed to. Costner is believable with his husky voice and air of fatigue, but he sure can deliver a huge dose of whoop-ass for a guy in his late 60s who's dying of lung cancer and under the effects of an experimental drug that comes in one of those oversized syringes in a cool case like in a sci-fi movie.
Yeah, that is just one of the highly improbable points. Do I care? Hell no. It's a weird, interesting story line with good supporting performances from Heard and Steinfeld. The music video tricks don't bother me at all, and at times they even work. Especially when coupled with the Luc Besson vision that has been delivering quirky films with tarnished heroes trying to save adolescent girlhood for over two decades.
Costner is far more convincing here in this smaller ticket than the big studio ticket ride, "Draft Day," which you could see was going nowhere in a hurry, and could tell exactly how it was going to end about thirty minutes in. Such is not the case here at all.
Amber Heard could peel paint. In America, she's the mousy Girl Scout agent who will do exactly as told. But after she comes to Paris, she starts wearing latex dresses, oh my, driving her Maserati like a champion at Le Mans, and has the dry, sociopathic charm of the best femme fatales we have come to know and love since time noir. Me-ow!
I must say this, (spoiler alert) in terms of the unbelievability quotient--which, most of the time, as previously mentioned, I simply do not mind because it is a slick, fun ride--but to think that a super young hottie like Heard's character, Delay, would be ROMANTICALLY attracted to the wrinkled, though adorable bad-ass Costner character, Renner, is one suspension of disbelief over the line. The fact that she would toy with him, and tease him just to see him fall from grace (with his rehab project with daughter and wife) is believable. (end spoiler alert)
Working in the illegal immigrant squatter thing, and the bizarre French laws surrounding that was just one of many Besson-style story arcs that he has been spinning into his inimitable action adventure films from the get go.
Overall, for Costner and all parties involved, especially if you happen to be a guy like me, this is a much better film than the yawning "Draft Day."
And it won't feel like it took three days to watch it, or just killing time.
Draft Day (2014)
Cap Manager
Speaking of Cap Managers, the mythical–-in reality nonexistent—-job title of Jennifer Garner's character, I wonder why a Cap Manager didn't just come in and say, "No, we are not going to waste forty to fifty million on this movie and pray it does well..." Where would it do well? Overseas? Asia? China? Europe? None of these sensible people could care less about the boring business machinations of a mono megalomaniac and his cynical/ wet dish rag/ tension-producing-for-the-vacant-script boss.
Must Jennifer Garner always play the stern, throw a wet blanket on the fire of wild Bill Costner character redux, like she did in Juno, Dallas Buyer's Club, et.al.
Personally, I haven't liked her in anything since 13 going on 30. Wow, that was a long time ago. So, she still manages to land forgettable roles in good pictures. But, is it her or the script that prevents her from portraying any kind of memorable supporting character? Bit of both I would imagine.
Meanwhile, the script does not even come close to portraying the NFL today, tomorrow, next year, or anywhere but perhaps in some weird, parallel universe where if you say something with a lot of conviction on the phone, eventually everyone just bends to your will. Sort of.
And that's the end.
Wow. So glad I saw it on the discount.
Has Costner made anything other than a total flop the last ten years or so? Seriously. Perhaps now we can finally look at the next Costner film as a seal of bland mediocrity at best.
At least with Mrs. Garner-Affleck, we can see her supporting role as a sign it's fifty fifty that the movie will be good.
(Actually, I forgot that I liked her in the horrid Arthur opposite Russell Brand, where their what-seemed-to-be-genuine dislike for each other really worked for me.) At least she's not coming out with another sad rom-com every April anymore like laying a rotten Easter Egg. Thank god for 42. I'd like to see her go back to action adventure and a big steaming bowl of whoop ass.
Meanwhile, Kevin should go back to inventing oil spill removing machines, saving the world from BP and other corporate evils, and leave the heavy lifting of acting, and make believe to CIA shills like Mr. Affleck and his wife.
I'd give Cap Manager, whoops, I mean, Draft Day (is there a draft in here) a solid five. But, honesty, who even cares.
Not me and over a billion Chinese.
We're the Millers (2013)
solid summer road trip movie
I've seen both films released locally on my birthday, August 9th, and while I felt that "Elysium" was a long mile better than "Total Recall," released last year on August ninth, I must admit, in spite of all my reservations before entering the theater,"...Millers" deserved a Fourth-of-July weekend release. I mean, who decides these things. It's obvious, too, it's got legs, more than what Aniston can offer, as it had earned over 90 million as of the latest box office figures, while "Elysium," probably getting as many or more screens, had faded to 69 mil'.
And given the obvious Fourth-of-July tie in for the first of three climaxes, all of which are good, it's just bizarre to me that this film was pushed back to August 9th, where they release the films that are second tier at best.
Granted, Aniston is about as believable as a stripper as she would be as a country singer or secret agent, but, she shines in so many other areas of comedic ensemble, deliver-the-line-and-get-out-of-there acting that she has honed over the decades, that one can easily forgive her stereotyped stripper moves. Sudeikis is given more of a chance to flex his considerable talent, and he is truly believable in every aspect of his character. This film is a solid step forward for him in an already impressive comedic career.
As with most road movies, the plot twists and turns require more than a little leap of faith, but our genuine caring for all four of the "Millers" makes us want to stretch out our suspension-of-disbelief the extra long summer highway mile. Wacky, warm, gross, guttural, shocking (and it takes a lot to shock me) fun that's like pure carnival cotton candy. Melts in the mouth, empties the brain pan, and I get to forget all about it after it's gone.
Take the one hour and forty minute ride. I can tell when I like a movie. Unlike "Elysium," after "
The Millers," I stayed for all the credits, and left the theater with a little spring in my step.
Excellent work from a great cast plus good writing and direction. Now someone tell me why it was pushed back to an August release? Was it just too much fun for the Fourth? Producers surely lost some money out of the gate by holding it back. I'm sure it will continue to earn overseas and in rental and HD. But the accountants should not have "counted to three" on its release.
So here's a tarantula on your balls. Only summer movie I have really liked so far. "Millers" is lite but satisfying.
Young Adult (2011)
Charlize Theron's character, Mavis, is impossible to care about
I, too, was excited to see that this was produced by the same team, Jason Reitman and Diablo Cody, who brought us, "Juno." I was delighted by Ellen Page's breakout performance in that film. From the beginning, I cared about her plight (single/pregnant, young, confused), and wanted things to work out for her. In screen writing 101, they teach you to establish a caring link between audience and hero or protagonist, usually accomplished by placing the character in some physical or emotional jeopardy early on.
Well, the only jeopardy here is that Charlize Theron's character, Mavis (sounds like Avis, "We're number one!"), will continue to be an insufferable, vain, egotistical, selfish, self-centered psychic vampire, and we, the poor, hapless audience who spent eleven bucks to see this, will have to continue to suffer her serial killer persona. Seriously, make no mistake: Charlize has simply resurrected Aileen Wuornos—a pretty face hiding her sociopathic mind.
(IMDb's spellcheck says sociopathic is a misspelled word...which is wrong. Sociopathic is a CORRECT adjective, as in a word used to modify a noun. Real writers spellcheck the spellcheckers. Leave it alone! )
If you want to inflict this type of self-harm, you can go out and find a hundred women, at any fashion bar in LA, who are willing to bore you to death with their self-obsession, then beat you up for not caring, and kick you to the curb. Or you can try heroin—cheaper, more pleasurable, and you won't care you're not getting laid.
No surprise this whimpered at the box office. Word of mouth must have been as brutal as Mavis: Avoid at all costs, unless you are a masochist who needs the abuse. I suspect this will notch equal mediocrity on Blu-Ray, in spite of Charlize's star power.
Is she a great actress? Who cares...that she successfully captured the soulless existence of the beautiful and brainy, successful American woman whose biological clock has, thankfully, nearly stopped ticking. I would rather nail-gun my penis to a board than watch her in this film again, even though Patton Oswalt, once again, (as in the last season of, "United States...") rose above the material to a smiley-faced little Patton heaven in the clouds above...this miserable motion picture.
Off with her head! Better off dead!, dear Mavis (rhymes with Avis, "We're number one!").