Category Archives: Comedy

04.27.24
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The Fall Guy

Colt Seavers, a down-and-out stuntman, must find the missing star of a new blockbuster film he’s doubling on, while (hopefully) winning the director (and his ex-girlfriend)’s affection back.

David Leitch continues to be a leading voice in action movies with his creative and passionate voice for action and comedy that often turns out star-studded and visually appealing. Much of the film’s charm comes from Ryan Gosling’s brilliant turn as Colt. Like his Oscar-nominated Ken in Barbie, Colt is a sad shell of a “cool guy” who’s too evidently madly in love. Gosling’s comedic timing is at the lightning speed of his Ken, or Holland March from The Nice Guys, and his big personality infuses Colt with a foolishly endearing heart. Emily Blunt also gives one of her most entertaining performances of late as the romantic lead, and Winston Duke is also loads of fun as Colt’s best friend and the film-within-a-film’s stunt coordinator, while Aaron Taylor-Johnson, Hannah Waddingham, and Stephanie Hsu also round out the stellar cast. Waddingham in particular is very extravagant but delightful as Gail, the producer of the film Colt’s working on.

The most clever and thrilling part of The Fall Guy is that Leitch makes the movie stunt-filming scenes as high-stakes and exciting as the actual action scenes of the film. The great scale, dedication, and sound effects make shooting an action movie stunt feel like the incredible, hard-achieved feat that it really is. Additionally, the lightspeed humor feels effortless thanks to the writing, editing, and the cast’s delivery. The lively soundtrack does have a few generic and overused selections, but it’s not enough to sink this smooth romantic action comedy where all the different genre pieces play off each other pitch-perfectly. The director’s career as a stunt coordinator is made evident by the love and tribute to the stunts community here, in this blockbuster that’s hilariously pleasing and greatly worth the big screen price of admission.

04.19.24
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The Ministry of Ungentlemanly Warfare

Guy Ritchie’s latest action film is loosely based on true, mostly encrypted stories, in which the British military recruits a small group of highly skilled soldiers to strike against German forces behind enemy lines during World War II.

Guy Ritchie seems to be racking out more movies than some of his fans will be able to keep track of, but among a slew with varying qualities, this one may end up being looked back at as one of his most entertaining films ever. Ritchie imbues the screen with an Inglorious Basterds-like irreverence to its Nazi-killing action. The WWII battles are swiftly edited and have action sequences that’ll make you cheer with glee at the bad guy body count and the different ways they get killed by the titular heroes. Henry Cavill leads the pack with a similar irreverence he gave Ritchie’s The Man From U.N.C.L.E., but with an even rougher edge to his badassery. The ensemble of Eiza Gonzalez, Alan Ritchson, Henry Golding, and Cary Elwes all give the film a liveliness that makes up for a lack of uniqueness to them, as well as a menacing Til Schweiger who maintains a strong presence. Unlike last year’s Operation Fortune, the film’s witty humor matches the extra wicked energy the director is known for, but it may lack character depth for some viewers. Most of the characters have little substance besides “recently incarcerated” or “they’re crazy”, but their outlandish personalities make up for that in the case of this film. The soundtrack choices aren’t always on-point, but the Western-inspired music usually adds to the film’s sharp direction. The film also doesn’t manage to always balance the different moving plots seamlessly, as Ritchie sometimes can’t help but indulge too much in his trademark banters which can sidetrack, but ultimately culminates in some strong tension in the third act. The Ministry of Ungentlemanly Warfare perhaps achieves what Matthew Vaughn’s The King’s Man failed to do — turn covert misfit spies into World War heroes and make the journey feel exciting and earned on the way. Ritchie is no stranger to the approach he set out to achieve here, but he manages to balance out his quirks with an excellent style, an interesting mission and cast of characters, and a rewarding catharsis when the action and comedy hit their peaks, as you might not want the fighting to stop out of sheer Ritchie delight.

04.14.24
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Ghostbusters: Frozen Empire

The Ghostbusters have reestablished themselves as the heroes of New York City, but the city soon faces its greatest threat yet when an ancient artifact unlocks a destructive force.

Ghostbusters: Afterlife was a solid tribute to the heart of the original film. This sequel has all the ingredients with none of the direction. The cast still has that charming energy, particularly the Spenglers played by Carrie Coon, Finn Wolfhard, and McKenna Grace (with Paul Rudd stepping into the new stepdad role). Grace is the most interesting part of the film, but her role as the protagonist is watered down by an overabundance of characters. Dan Aykroyd, however, is very enjoyable in his role, as is Ernie Hudson, but the film tries to balance too many of these people, and the original cast ultimately was only there for fan service in a lesser way than the last film. Not to mention, Kumail Nanjiani is usually a standout in any film, but his character here is uninteresting, save for a few laughs. The action has some fun a bit of a retro vibe, with solid SFX editing as well, but the film’s runtime wanders through C-level subplots and the pacing lacks a consistent excitement. When we finally get to the villain, its yet another faceless ancient giant with apocalyptic intent, and the visual effects of the ghosts are also quite lacking. Ultimately, the film settles for a lot of the same, but its the sluggish pace that makes it a lot hollower and not as lively or meaningful as before. This may just be another instance of a beloved franchise going on for one too many films.

03.23.24
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Kung Fu Panda 4

This is a franchise that’s stood the test of time in the world of modern animation, and Jack Black has always been the core of why Po has resonated with audiences for so long — and perhaps the main reason this film manages to entertain at all. Though Kung Fu Panda 4 still has a vibrant and silly energy, it no longer manages to up the ante as each of the past installments did. Though Jack Black is always a huge delight as Po, and possibly one of the best animated franchise leads we’ve ever been graced with, the film often struggles to justify its existence because Po’s journey and growth doesn’t feel as natural and potent as it did in the other films. His struggles to embrace change and pass down the mantle of Dragon Warrior don’t feel fleshed out or as vital to his path. Awkwafina also gives one of her more memorable voice performances and is a great pairing with Black. It’s fun to see Viola Davis as menacing and cunning as she is here, but we don’t spend enough time with the Chameleon to buy her motives and for her to resonate with us. Her characteristics ultimately feel derivative of Lord Shen and Kai from the other movies.

The film embraces the faster pace and editing that worked in the third movie, but the editing decisions sometimes feel even too cartoonish and take you out of the moment. The animation is still lively, but looks a little simplistic compared to the beautifully detailed skies and characters in the last two films. There’s also a side plot that didn’t need as much time as it got, and some inconsistencies with the rules of this world of kung fu that may clash with the rules from the other films. The explanation for the Furious Five’s absence also feels tacked on and too evidently a behind-the-scenes thing. The action and looks are always fun, as is Jack Black being so committed to bringing us all joy and laughs. Is it a fun time in the Valley of Peace? Sure. But it’s clear that the franchise may be out of things to say as it feels we’ve reached the epilogue chapter here.

02.22.24
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Drive-Away Dolls

In Ethan Coen’s latest road crime comedy, Jamie has just broken up with her girlfriend, while her best friend Marian needs to relax. In search of a fresh start, they embark on an unexpected road trip to Tallahassee. Things quickly go awry when they cross paths with a group of inept criminals.

Leave it to (one of the) Coens to excellently capture yet again this style of crime films that they popularized in the first place — sharp dialogue, exaggerated violence, and crazy mishaps and coincidences that drive the plot forward. Margaret Qualley and Geraldine Viswanathan shine and are wonderful together as two women who want to be young, have fun and score some girls while they’re at it. Viswanathan in particular is terrific as the shier of the duo who’s also the source of some of the film’s funniest moments. Beanie Feldstein is also very funny — as she always is — in a prominent supporting role, not to mention a few A-listers pop their heads in for some great appearances.

Drive-Away Dolls is really carried by its quirky style is purely and unapologetically fun; nothing more, nothing less. But Ethan Coen is such an expert at making films that are fun with this amount of cleverness and delight that it’s no surprise. The two leads’ wise-cracks and chemistry together are so lovely and irresistible that there isn’t a dull moment with them on-screen, though the hypersexualized nature of the film’s plot, especially the second half, may turn some viewers off. The last act does feel very rushed and doesn’t conclude the story between these two women as smoothly as I wish it had; it’s almost like the movie was begging for just another 10 minutes to end things in a more vindicating way. But for Coens fans, this queer buddy comedy isn’t one of their best, but absolutely ridiculous and hilarious with two memorable lead performances and not much else we could wish for from the crazy style and cast.

02.02.24
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Argylle

Elly Conway is the reclusive author of the Argylle spy novels . Soon, she realizes the plot of the new book she’s writing starts to mirror real-world events, as a global spy syndicate starts to come after her.

It’s always a blessing when Matthew Vaughn gives us a glimpse into his twisted mind with his witty and bombastic action scenes, and Argylle has a few of those, but it’s everything else that disappoints. Vaughn directs with a love for spy material and cartoonish entertainment mixed with modern, meta flare. The script, however, completely misses the mark and looks the commanding energy that his Kingsman had. Even Sam Rockwell, whose charm and goofiness often comes effortlessly, has to work with dialogue that falls flat and the attempts at humor don’t manage to illicit a response. Though Henry Cavill has some fun and Bryce Dallas Howard tries her best in the leading role, there’s more left to be desired in Ariana DeBose, John Cena, and Samuel L. Jackson’s screentime. Bryan Cranston’s villain may be the weakest link of the cast, as everything he’s given to do is annoyingly generic.

The movie’s downfall is also its ambition, which is often what lifts Vaughn up above the rest. The ludicrous twists are executed in a head-scratching way, and all the film’s rules or explorations of fiction vs reality are thrown to the side for more frustrating decisions that make its lead character less interesting. The pacing also suffers greatly in the film’s second half, the end of which sees us getting a few of those glorious scenes of carnage Vaughn’s known for, which still feel softened compared to what they could’ve been due to the PG-13 rating, but are delightfully exaggerated and have great soundtrack choices. By then, however, the journey to get there is simply exhausting and it may be too little, too late for many viewers.

Argylle is a massive disappointment in which a singular director brings his trademarks to the screen yet again, only this time without the laugh-out-loud glee or the clever script that usually support his vision. Its ambition unfortunately exceeds its grasp, and its inconsistent and convoluted execution make this invitation to take the world a little less seriously with Matthew Vaughn a sadly unrewarding one.

01.21.24
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Mean Girls (2024)

In this musical reimagining of the beloved high school comedy, Cady Heron moves back to the United States from Kenya, where she finds herself a part of the most toxic and destructive high school clique, the Plastics, led by the manipulative and egomaniacal Regina George.

Beloved films being adapted into stage musicals and the musical being in turn adapted into another film is nothing new — we’ve seen it happen with The Producers, Matilda, and most recently, The Color Purple. With the exception of the former, however, the trend still fails to justify the existence of a second film. The energetic songs probably make for a phenomenal stage musical experience in this case, but watching it as a film, it doesn’t have much new to offer if you’ve already seen the 2004 version. Angourie Rice is solid as Cady, and Renee Rapp does an incredible job singing in the role of Regina George, but it doesn’t feel like they do much to escape the shadow of what Lindsay Lohan and Rachel McAdams gave those roles — though that isn’t their fault as actors at all, rather that of the first film’s cultural legacy. Auli’i Cravalho is the film’s most glaring strength and she expands on what the role of Janice has to offer. Every time Cravalho has to sing or deliver a line, she steals the entire film with her charm and talent and she’s the greatest improvement on the original movie. Some songs are more amusing than others, and they’re filmed very well with occasional extended takes, but they aren’t enough to add a whole new layer to the experience, because it still overall feels like watching the exact same movie again. You may feel like the film’s racing through iconic quotes and familiar set pieces that shouldn’t be changed because they worked so well, not to mention almost entirely the same dialogue. That 2004 film already felt really modern and continues to find new audiences that enjoy it today, so despite us having the age of social media to deal with twenty years later, this “even more modern” approach has nothing new to offer, and the themes feel executed in a weaker way here. Tina Fey and Tim Meadows even reprise their roles because so much of what already worked in the previous film comes with an “If it ain’t broke, don’t fix it” disclaimer. If anything, it’ll make you want to seek this musical out on the stage because I’m sure it’s an absolute blast, but the cinematic element doesn’t justify another Mean Girls movie that looks, sounds, and feels so similar, or perhaps it was just too soon for this remake.

12.17.23
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Wonka

Ever wondered about the origins of Roald Dahl’s iconic chocolate factory owner that’s been famously portrayed by Gene Wilder and Johnny Depp? Well, neither did I, but Timothee Chalamet absolutely gives a performance that lives up to those standards in an unnecessary yet whimsical family film. Though the story is as frustratingly familiar as it is cute, Paul King’s direction and a few musical numbers are the saving grace here. King brings the charm that made Paddington resonate with viewers and brings a wondrous British comedy element to the film, along with an optimistic and adventurous tone. Though only a few songs demand revisits, the musical numbers give the film a lively energy that would’ve felt contrived without them. Chalamet throws himself into the physical comedy of the character and also sings very well, and Calah Lane is a great breakout as a young orphan named Noodle who Wonka befriends. Olivia Colman is also delightfully wicked, and Jim Carter and Natasha Rothwell stand out as Wonka’s outcast friends. Keegan-Michael Key’s performance may not reach the heights of his more streamline comedic turns, and Hugh Grant’s turn as an Oompa Loompa is ruined by distracting CGI — the role was obviously there for the studio just to gloat about having the iconic race of mini-people in the film.

The film’s corrupt, mustache-twirling trio of businessmen villains are also entertaining and so unapologetically cheeky that one of them even vomits at the sound of the word “poor”, but for all its funny and charming moments and the outstanding costumes and production design, there’s also some unconvincing computer-generated set pieces and some overblown humor that may only be aimed for younger audiences. There’s also some plot elements that may feel too much like other kids’ films, even Paddington or another recent origin story Cruella bear lots of similarities in the story. As a film that’s right for the entire family and may even be good for rewatches for children in the holiday season, Wonka delivers, but it may be too silly for older audiences despite its endearing appeal and cast.

12.15.23
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American Fiction

Thelonious “Monk” Ellison, a writer frustrated with his struggles to gain fame and publish a book, is fed up with the establishment profiting from black trauma in entertainment, so he writes a book under a pen name that purposely feeds off the black stereotypes and exploitations he resents. Ironically, his book soon becomes a hit and propels him to the heart of hypocrisy and the madness he claims to disdain.

First-time director Cord Jefferson has created a laugh-out-loud satire that mirrors the world of entertainment we live in, but also balances the family drama elements strongly. Jeffrey Wright gives a career-best performance in a project that feels like it’s finally utilizing and exercising the beloved character actor’s talents to their full extent. Wright leans into the script’s “straight comedy” elements of Monk adopting an alias and putting up with his frustrations with the industry, but he also gives the film a lot of emotional gravitas that’s needed to feel for Monk as a human being. Sterling K. Brown is hysterical as Monk’s goofier younger brother who steals the scene just by being there and acting so out there, while Issa Rae and Erika Alexander also give strong supporting performances, not to mention the entertaining dynamic between Monk and his agent played by John Ortiz.

The film cleverly takes a meta approach to modern-day media consumption and the idea that the public will eat up any story about minority communities as long as they bathe in trauma and suffering. Jefferson’s script takes on the popularity of films like Boyz n the Hood, Precious, and many others in the idea that limiting black voices to black pain or pitiful stereotypes may make the culture overlook stories from black artists that don’t delve into such melodrama. The film jabs at the fact that for years, many black roles were slaves, gang member, or citizens of poor neighbors, and that there’s so much more to black characters and stories — and especially the idea of “woke” whites taking offense or defining the societal norms on behalf of minorities on such matters. There’s plenty of food for thought in the clever approach the film takes to its satire, but also laughs that sometimes come at you at a lighting speed, and nuanced characters who aren’t defined by their race, as Jefferson proves, all while showing frustration at the way things are. It’s as great of an audacious comedy as it is a character drama that offers a unique satirical voice with memorable performances from Wright and Brown.

12.09.23
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Poor Things

Bella Baxter is a young woman brought back from the dead by the brilliant and unorthodox scientist Dr. Godwin Baxter. Under Baxter’s protection, Bella is eager to learn. Hungry for the worldliness she is lacking, Bella runs off with Duncan Wedderburn, a slick and debauched lawyer, on a whirlwind adventure across the continents.

Trigger warnings are a no-brainer with Yorgos Lanthimos, as his films are often filled with sadistic, violent, and hypersexualized power games where nobody is quite a pleasant person. These tropes as well as Lanthimos’ trademark cringe humor are just the baseline to describing Poor Things, a sickening yet grandiose movie that transcends categorization. It’s hysterical but not quite a comedy; it’s poetic but not quite a drama. Emma Stone gives a performance so demanding and so audacious yet it never breaks the illusion of being acting. You completely buy her character in the context of the story and are taken aback by her character’s abnormal physicality and wonder with being alive. Mark Ruffalo is also throwing himself into this role that could’ve easily fallen into unbelievability, but he perfectly balances an exaggerated, almost theatrical edge to his role with a vile, pitiful nature to it. Willem Dafoe plays a scientist under heaps of makeup whose motives may provide an emotional anchor to Stone’s character but also unpeels itself to be uncomfortably pathetic due to his background, and Ramy Youssef also does a great job here.

Poor Things may owe some of its inspiration to classic monster movies, but really isn’t like anything audiences have seen before. The production design creates an eye-popping, fantastical version of the Victorian Era and a world with a completely fresh aesthetic, as well as dynamic cinematography with color, B&W, and even a few fish-eye lens shots to invoke Bella’s warped worldview. Bella’s curiosity is devoid of prejudice and preconceived notions on the world’s structures, and she finds herself appalled by those around her trying to control her, and fascinated by anything she gets to choose to do. The humor is ridiculously honest and ballsy, and therefore, not for everyone — not to mention the exaggeratedly comic sex scenes and the uncompromising and even disgusting violence. Its audacity will certainly find its pleasurers, especially those who already love the director’s filmography. This bold tour de force isn’t for the faint of heart and may leave you at a loss for words. The writing and execution are exhilarating in the best way; the more disturbing and out-of-this world it gets, the less you’ll feel you want to look away. You’ll simply want to witness the bizarre yet fascinating unfold in front of you when it’s through Yorgos’ eye and so irresistibly played by Stone as this woman with the literal brain of an infant in her head, eager to experience being alive for all its peculiarities..