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comedy

Office Christmas Party photo
Office Christmas Party

First trailer for Office Christmas Party delivers on title


A party at an office during Christmas
Jul 26
// Matthew Razak
It's basically a new holiday tradition that an R-rated Christmas comedy comes out every year now. R-rated comedies are so hot right now, and Christmas is a great time to juxtapose tradition with sex jokes. Last year we got Th...
MST3K Netflix photo
MST3K Netflix

The Mystery Science Theater 3000 revival will be on Netflix


And some familiar faces are back
Jul 25
// Hubert Vigilla
After breaking Kickstarter records, the new cast of Mystery Science Theater 3000 has found a home. And no, I'm not talking about the Satellite of Love. They announced during San Diego Comic-Con that the MST3K revival will be ...
Jon Stewart returns photo
Jon Stewart returns

Jon Stewart returns, does a Daily Show takedown of Donald Trump on Stephen Colbert's Late Show


America's cool uncle stopped by to visit
Jul 22
// Hubert Vigilla
Jon Stewart left a major void behind when he ended his run on The Daily Show last year. Don't get me wrong--I love Full Frontal with Samantha Bee and Last Week Tonight with John Oliver, I think Trevor Noah's gradually finding...
Shrek  photo
Shrek

Hey now, Shrek 5 is set for 2019


someBODY
Jul 21
// Nick Valdez
Well, the years start coming and they don't stop comingFed to the rules and I hit the ground runningDidn't make sense not to live for funYour brain gets smart but your head gets dumbSo much to do, so much to seeSo what's wrong with taking the back streets?You'll never know if you don't goYou'll never shine if you don't glow Shrek is love. Shrek is life. [via THR]

Skiptrace trailer photo
Skiptrace trailer

The trailer for Jackie Chan and Johnny Knoxville's Skiptrace would be better with Adele


Directed by Renny Harlin--RENNY HARLIN!
Jul 20
// Hubert Vigilla
It's been a long while since Jackie Chan's put out a genuinely good movie. In my opinion, his last great film was 2004's New Police Story, though he's still capable of some flashes of brilliance as seen in 2013's Chinese Zodi...

Nerd rage over all-female Ghostbusters reinforces negative stereotypes about male geek culture

Jul 18 // Hubert Vigilla
[embed]220588:42985:0[/embed] If we're going to be fair here, Ghostbusters 2 did more to "ruin" the original Ghostbusters than the new all-female Ghostbusters. Honest Trailers does a pretty good job of summing it up (see above). And yet all the nerd rage is focused on the new Ghostbusters movie, probably because it's got women in it. No, scratch that, it's totally because it's got women in it. If the internet existed in its current form in 1989, a bunch of awful jerks probably wouldn't be whining online about how Ghostbusters 2 ruined their childhood because it at least had the original cast. Remakes and reboots will face some level of scrutiny given the weight of the original (e.g., RoboCop 1987 vs. RoboCop 2014), but with the Ghostbusters remake, the level of handwrining and vitriol is absolutely ridiculous and unwarranted. A lot of that is sexism, plain and simple. Once gender becomes an issue, suddenly everything is suspect, from the motives to the actresses to the characters. I can't help but think of the Mary Sue accusations about Rey from Star Wars: The Force Awakens, and ditto the sexism over Felicity Jones' character in Rogue One: A Star Wars Story. It's almost like if you're a woman in geek culture (real or a character), you're either not good enough or too damn good and simply not afforded a space between extremes. By the way, you know who else was offended by an all-female Ghostbusters? Not Hitler, but close. There's a fair amount of MRA froth online about how the movie is pushing a social justice warrior agenda, as if "SJW" is some kind of damning pejorative and political correctness is destroying the fabric of American democracy. Conversely, there's been a fair amount of pushback from progressive and left-leaning culture writers about the importance of representation in media, with some even suggesting that Ghostbusters is a feminist call to arms that sticks it to the patriarchy. Before seeing the film, I felt some of the feminist reads of Ghostbusters were a bit of a stretch, and maybe even hoping for too much for the film's politics--it overreaches as a reaction to total dismissal. This is a Sony movie rebooting a lucrative IP. Its primary function is to make money, launch a franchise, sell toys, and advertise for media and corporate partners via blatant product placement (e.g., even though the Ghostbusters live in New York City, they order Papa John's Pizza). As it turns out, the Ghostbusters reboot pits our four heroes against a sad, dopey, male nerd stereotype named Rowan (Neil Casey). That's right, the villain in Ghostbusters is essentially some men's rights activist on Reddit (sans fedora). It's almost fitting that a movie that's prompted so much hatred from angry male nerd-bros is all about defeating an angry male nerd-bro. Rowan is an outcast, an exclusionary guy, someone who wants to harness power and influence and make the world fear his superior intellect. And he's a pasty dude who lives in a basement and has no friends. It's not subtle. The movie rarely is. Meanwhile, pasty dudes and basement dwellers take to YouTube and keyboards and rail against the movie, trying to deter others from enjoying the new Ghostbusters rather than giving people a chance to decide for themselves whether or not they like the film. But the nerds crave power and respect and have a persecution complex, which is why Rowan feels justified in destroying the world and toxic geeks in real life feel like the mere existence of an all-female Ghostbusters is a personal affront to a cherished childhood memory. Nerds really are the fucking worst sometimes. As I watched Ghostbusters, I couldn't help but think about its odd similarities to Star Wars: The Force Awakens. The best scenes of the Ghostbusters reboot felt like Ghostbusters fans playing Ghostbusters in a Ghostbusters movie. As A.A. Dowd put it, the best parts of The Force Awakens felt like Star Wars fans playing Star Wars in a Star Wars movie. Both movies feature villains--Kylo Ren and Rowan--that embody the dark side of male geek identity. And like The Force Awakens, Ghostbusters gets hemmed in and struggles when it slavishly sticks to the story beats of the source material, and also when it gets a little too precious with dropping references to the original. That may be why Ghostbusters and The Force Awakens feel a little flat at the end, with the new characters weighed down by the checklist-feel of the script; without a little pause or modulation in tone, not much feels like a surprise in that final act, and nothing pops quite as much as it could. Even when Holtzmann (who is a little bit Poe Dameron, a little bit Rey) gets her moment to shine, it feels a little small, much like when Rey finally takes up the lightsaber against Kylo Ren. Again, Ghostbusters isn't perfect, but it's got some perfect moments. It needs space between being too damn good and not good enough. It shouldn't be held to a higher standard just because it's got women. Similarly, it shouldn't be viewed with malice just because you watched the original a lot growing up. You're not a special snowflake just because your folks had a VCR; your personal attachment to the film is yours and will always be yours, and four women in a movie isn't going to change that, you silly, silly nerd. Maybe the best lesson for toxic geek culture comes not from the original Ghostbusters but from another 80s movie directed by Ivan Reitman and starring Bill Murray and Harold Ramis: [embed]220588:42988:0[/embed]
Ghostbusters reboot photo
Calm down, bros, your childhood is safe
Paul Feig's Ghostbusters reboot opened last week and came in second at the box office, earning $46 million. It wasn't a bad showing for the film, and there's talk about a sequel (because obviously). Melissa McCarthy, Kristin ...

Review: Ghostbusters

Jul 15 // Matthew Razak
[embed]220661:42986:0[/embed] GhostbustersDirector: Paul FeigRated: PG-13Release Date: July 15, 2016  Ghostbusters is a hard reboot, though it finds plenty of ways to give some clever nods to the original while still staying its own thing. Like The Force Awakens, this is basically the same movie as the original, and yet unlike that movie it stands easily on its own. We find Erin Gilbert (Kristen Wiig) attempting to get tenure at Columbia when her book about ghosts that she coauthored with Abby Yates (Melissa McCarthy) pops up online. She rushes to find her old friend, who she abandoned after deciding to not believe in ghosts, but gets carried away into a ghost hunt along with Abby's assistant Jillian Holtzman (Kate McKinnon). Turns out ghosts do exist and as legitimate scientists the gang decides to catch one and thus the Ghosbusters are formed. The team is eventually rounded out when Patty Tolan (Leslie Jones) joins. Let's just say this outright: this cast is fantastic and hilarious and wonderful. Those crappy jokes from the original trailer were the weak ones from the film. Who knows why the chose them, but maybe it was because so much of the movie's best comedy comes when the cast is riffing with each other and you just can't get that in a trailer. Director and co-writer Paul Feig's screenplay is full of comedy that is both perfect for its cast and incredibly meta for a film franchise. Despite some hefty plot holes (pretty much the same ones that appeared in the original) it works. It even makes a rock and roll concert actually function again as a plot device, which hasn't been done since Secret of the Ooze made it truly cliche.  Ghostbusters purists may not be happy with some of the changes, but (1) get over over yourself, and (2) they make the movie better for the most part. For one it's a bit more action oriented, with the proton beams turning into more whip-like weapons and plenty of random ghost busting toys (a ghost shredder?) being used. This one is far more comedic than the original, darker film was too. The first Ghostbusters, and to a lesser extent the second, played it a bit straight with its characters. This new one is more flat out comedy, though it never tumbles into full on parody. It all works, and helps to make this film different from the predecessors not just because it has a cast of women, but because it actually justifies its creation beyond a cash in on a brand.   Chris Hemsworth's character deserves an entire paragraph in and of himself. He plays Kevin, the new Ghosbuster's idiotic, but oh-so-pretty-to-look-at secretary, and he might be the most clever aspect of the film. MRAs may point to him as a perfect example of a double standard as half the lines said about him would be torn to shreds if a group of men were saying it about a woman, but that's probably the point. All the comedy at his stupidity and hotness has been used over and over again to make gags about dumb, pretty women since the film industry started and Kevin is a fantastic commentary on that. He's clearly not just there to be sexy and stupid, but to be the final, meta-commentary in a female lead film. Maybe one day we won't need that and it will come across as crass, but for now it's hilarious.  The movie is flawed in a few ways. While much of it comes together fantastically, especially when its relying on the chemistry of its cast (much like the original), other parts are just too cliche to pull off. It can fall into rote tropes too often, though the cast is always there to liven them up and make them work for the most part. There's a scene of them trying out new ghost busting tools that is so clunky not even the cast's comic timing can save it, and at points the story gets rushed through too quickly. Thank goodness Feig had the good sense to cut out a dance number that plays over the credits from the main film. Yes, I know that sounds exactly like something that happens in a really terrible remake, but that's just it: Feig cut it out. Ghostbusters is crisp and funny and it lets its stars chemistry steal the show over ghost busting action and special effects. That's what made the original work and that's what makes this one work. Men or women, what it comes down to is does the cast play off each other and these four do wonders. Hollywood has been churning out old franchise remakes pretty constantly now, and the best ones make a case for themselves as their own thing. Ghostbusters does that. It's its own movie.
Ghostbusters photo
It's good. Stop being assholes.
Look, I wasn't that excited for a Ghostbusters reboot. It had nothing to do with the cast being women and everything to do with my boredom of Hollywood reboots and a really terrible initial trailer. It just didn't look g...

Ghostbusters in China photo
Ghostbusters in China

Ghostbusters reboot denied release in China over censorship guidelines (or lack of interest)


G-g-g-g-ghosts!
Jul 13
// Hubert Vigilla
The Ghostbusters reboot is set for release this week, and will probably do pretty well at the box office thanks to controversy surrounding the clash between angry, nostalgic manchild nerds and people who are not them. Even if...

Review: Terrordactyl

Jun 17 // Rick Lash
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In time for the weekend: B-movie review
With a clever pun served on a silver platter, Terrordactyl presents itself as a straight to video B-movie masterpiece ready to absorb two hours of your Saturday night. Hoping that prehistoric mayhem might be delivered with he...

Screenings photo
Screenings

See Central Intelligence early and free


DC, Baltimore and Richmond screenings
Jun 14
// Matthew Razak
Dwayne Johnso makes things good. He's just fun to watch so I have some hope for Central Intelligence being funny. It's clearly a bit hackneyed, but it could work. You can find out if it'll work with some passes for a screening tonight. Just head below and click the links. Get there early so you can get seats and then come back and tell us all about it. 

Review: Popstar: Never Stop Never Stopping

Jun 03 // Alec Kubas-Meyer
[embed]220607:42964:0[/embed] Popstar: Never Stop Never StoppingDirectors: Jorma Taccone, Akiva SchafferRelease Date: June 3, 2016Rating: R Popstar: Never Stop Never Stopping is a mockumentary, and a great one at that. Following, primarily, the story of Conner 4 Real, a member of the Style Boyz, who broke off on his own after a fight with whoever Akiva Schaffer played. (Not gonna lie, I don't remember his character's name or Jorma Taccone's; then again, I probably wouldn't remember Conner's if it hadn't been seared into my retina from the repeated viewings of "Finest Girl.") Anyways, he's got a documentary being made about his life to coincide with the release of his second album. People went crazy for the first one, and now he's trying to top it, by hiring a metric fuckton of producers and making something that just... doesn't work. (Except to me, obviously. I thought it was all gold, but I understand why the fictional humans in this mockumentary might not take to it.) This is the first mockumentary I've seen in a while, or at least the first one I remember seeing. It was big for a while and then kinda fell by the wayside. I get that. The joke can get stale pretty quickly, which makes Popstar's brisk, 90-ish minute runtime perfect. There's enough variety to keep you entertained but not so much stuff that it ever feels padded or overlong. The only jokes that go on are the ones where that is, in fact, the joke, and the film only goes to that well a couple times (i.e. not enough to be irritating or gratuitous).  One of the potential issues with the format is that there are only so many places it can go. And, sure enough, from the moment Popstar begins, you can (successfully) guess every single story beat. Nothing about the narrative is even sort of surprising... but so what? For a film from The Lonely Island, that's pretty much exactly what I wanted. I wanted something that felt good and comfortable and also made me laugh while putting some new music into my head to obsess over for a little while. And the film absolutely succeeded on both those counts. The "Finest Girl" song actually plays a big early role in the film, and it was kinda cool for me to see how much different and also the same the "In Concert" version of the song was compared to the music video. And I loved his song about Equal Rights (I'm so excited for when that hits Spotify), being Humble (which is already there), the Mona Lisa (ditto), and everything else. Seriously, the music here is just stellar from start to finish. If this was actually just a concert film, I would still have loved it. [When this was written, the album hadn't hit Spotify yet. It's now up, but the Equal Rights song is not available. Which is hot garbage. - Ed] But there's more to it. It's a damning indictment of our modern pop culture and the way we treat our stars. (Sort of.) Conner gets big, in part, because he connects directly with fans. He records himself brushing his teeth and posts it. Everything is out there for the world to see. As someone who watches at least a couple of Youtubers consistently, it really struck a chord not just because it was funny but because it was real. Everything about the way his persona goes from public idol to public ridicule feels genuine, even if it's turned up to 11. So many moments are exaggerated versions of real headlines. (The music-in-your-appliances dig at Apple and U2? Spot on.) It's a parody of modern music, but it's also a celebration of the same. You can tell that everyone involved is genuinely enjoying what they're doing. This extends to an expectedly large cast of cameos, who really help sell the whole thing. The likes of Usher, Nas, and A$AP Rocky all help to ground the film in a bizarre alternate reality, and every one of them puts in a killer performance. I don't really want to ruin all the cameos, and we're not talking Muppets-level stuff here, but it's a pretty packed group, many (if not most) of whom are playing themselves. Usher is particularly compelling, and when says that it was the Style Boyz who made him want to start dancing, for just a moment, I totally believed him. Because, like, duh. The Donkey Roll is an awesome dance. How could it not inspire Usher to become Usher?  It's been a good Spring for comedies. Between The Boss (which I liked, despite knowing that no one else does), Neighbors 2 (which Nick didn't like but is awesome), and The Nice Guys (which isn't as good as Neighbors 2 and has some issues with the way it handles the "hilarity" of death but is the most genuinely original comedy I've seen in a while), there's been a lot to recommend. And though I recommend all those films, to varying degrees, Popstar stands above. This is The Lonely Island at the top of their, years after leaving SNL and mostly dropping off the map. They're back and as good as (if not better than) ever. If you don't like The Lonely Island, this film won't convince you to. But if you do, you're going to love each and every moment.
Popstar Review photo
Amazing 4 Real
A couple weeks ago was the finale for the forty-first season of Saturday Night Live. At one point, fairly late in the show, a familiar title screen came up: "An SNL Digital Short" For people who loved everything from "Lazy Su...

Fruit Ninja movie photo
Fruit Ninja movie

They're making a Fruit Ninja movie, may God have mercy on us all


All is lost
May 23
// Hubert Vigilla
It was bound to happen. After The Angry Birds Movie came out (and did well at the box office), it would only be a matter of time before other time-waster mobile games were turned into feature films. Enter Fruit Ninja. Yes. Th...

Review: Hard Sell

May 23 // Rick Lash
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I want to say nice things about this film. That's the feeling I'm left with as I'm watching it. I believe I understand where the Writer/Director, Sean Nalaboff, is coming from. Hard Sell is "a coming-of-age tale ... [abo...

Farewell Mr. Bunting photo
Farewell Mr. Bunting

Farewell Mr. Bunting: Watch SNL spoof Dead Poets Society--seriously, just watch it already


I sing my song for all to hear
May 23
// Hubert Vigilla
I'm not sure about kids today, but high school students of a certain age always wound up watching Dead Poets Society in English class. Its memorable final scene features a class full of boys bidding a powerful adieu to the ma...
Angry Birds box office photo
Angry Birds box office

The Angry Birds Movie knocks Civil War from top of the box office


This header image will never die
May 23
// Hubert Vigilla
Over the weekend we saw The Angry Birds Movie duke it out with Captain America: Civil War (#TeamBird v #TeamCap). #TeamCap believes in personal freedom and accountability in the face of a system that may b...

Review: The Angry Birds Movie

May 22 // Nick Valdez
[embed]220589:42956:0[/embed] The Angry Birds MovieDirectors: Clay Kaytis and Fergal ReillyRating: PGRelease Date: May 20, 2016  At the center of The Angry Birds Movie is Red (Jason Sudeikis), a bird with an unchecked anger issue because he's been alone his entire life. He's been separated from the rest of the birds in town until he's forced to spend time in anger management which leads him to his future partners in crime Chuck (Josh Gad) and Bomb (Danny McBride). When a ship full of pigs, led by the sneaky Leonard (Bill Hader), pulls up to bird island claiming to be friendly, Red leaves in search of the legendary hero known as Mighty Eagle (Peter Dinklage) for help. After shenanigans from the pigs, it's up to Red, Chuck, and Bomb to find the hero and save the island.  Before getting into the nitty gritty, I want to take some time out to comment on how much work went into Angry Birds. It is honestly refreshing to see decent production and time on what seemed like a total cash-in project (from its inception to its last couple of trailers the film reeked of things other than quality) has . The animation is slick, the bird designs have a simple, easy to manipulate geometry (utilizing both hard angles and softer, cutesy spherical shapes), and the cast handles the material as well as they can. Sudeikis has already proved his capacity to lead a film time and time again, and now he can add voice over work to that list. Red's as charming as he needs to be without the script resorting to the same types of "kooky" dialogue the rest of the characters are subjected to. None of the actors come across as phony, with the weakest performance coming from Hader's Leaonard. Then again, even a weak Hader is better than you'd expect so it's a roundabout positive.  Once you get past the bread, you realize there's not a lot of meat on this chicken sandwich. Trying as hard as the visuals might, The Angry Birds Movie simply can't shake off how generic it is. It may not have the luxury of a videogame narrative to adapt, but that doesn't excuse a lot of its choices. While the freedom of a creating a whole universe brings about some neat little oddities differentiating it from other animated films (like anger management having weight in the plot, for example), the same is true for the opposite end of the spectrum. Quite a few quirks and dialogue choices should have been reconsidered. At one point, Angry Birds crosses the line into full-on annoying territory when Chuck and Bomb degenerate into incessant noise making machines for two minutes just so it can get a reaction from its kid audience.  The Angry Birds Movie is at a constant state of flux. Battling between originality and what's easier to write, the film is always holding itself back. In fact, it even takes a hit whenever it has to reference the videogame series. Like when the series' famous slingshot is introduced, it feels forced in. But in that same breath, that very slingshot leads to a well storyboarded climax. So it's an odd toss up between the film's potential audiences. Rather than create a film that's ultimately appealing to the widest demographic possible, you have a film that appeals to folks with select scenes. Some scenes will appeal to the two year olds who like to repeat funny sounds, the three year olds who like gross out humor, the adult who appreciates good animation, or that one parent in my screening who lost his mind the entire time. I'm glad at least that guy had a good time.  I'd hate to end a review with nothing more than an "it could've been worse" sentiment, but honestly that's all I feel about The Angry Birds Movie. It came, it went, it's probably coming back (or at least confident in a sequel enough to promote it during the credits and the extra scene available on mobile phones), and yet it doesn't really deserve any hearty emotions.  The Angry Birds Movie is not terrible enough to earn your rage, but it's not good enough to earn your praise either. A decent outcome from a numerous range of negative potential outcomes earns the film a small victory. 
Angry Birds Review photo
Nothing to get too angry at
With videogame adaptations becoming more common, it was only a matter of time before we would end up in this situation. A videogame popular for its gameplay and mechanics rather than its story would get the big screen treatme...

Review: The Nice Guys

May 20 // Matthew Razak
[embed]220584:42955:0[/embed] The Nice GuysDirector: Shane BlackRated: RRelease Date: May 20, 2016 If you've seen the cult classic Kiss Kiss Bang Bang you know that Sean Black knows his way around the tropes and cliches of noir film and knows how to subvert them beautifully. His return to the genre is exciting to say the least. The Nice Guys starts up as many noir films do with narration from one of our lead private eyes: Jackson Healy (Russell Crowe). He is soon joined in his narration efforts by Holland March (Ryan Gosling) as the two team up to find a missing girl -- Jackson out of misplaced duty and Holland out of greed. Tagging along is Holland's daughter Holly (Angourie Rice). A 70s, drug-fueled mystery unfolds replete with femme fatales, conspiracies, tragic downfalls and everything else you'd expect from a noir. Stir in some buddy cop banter (Black's other genre strong suit) and you've got yourself a perfect example of neo-noir on your hands. There's a lot to unpack here, especially since Black is clearly spending a lot of the movie simply deconstructing the noir genre. Sadly, the movies plot seems to suffer because of it. While it's two lead characters are fantastic, it's comedy crisp and its direction clever the film's story never lives up to any of it. Relying far too heavily on deus ex machina and cheap plot twists the mystery seems to be more in service of the themes than the other way around. That might be fine for an art house film, but this isn't that and it makes watching the movie start to get a bit boring. Thankfully, Crowe and Gosling are pretty fantastic together. Their chemistry takes a bit to work up, but once it does they're flinging insults off each other wonderfully. It helps that the two characters are really representations of the two major facets of noir gumshoes. Crowe's is the hard-edge moral code that classic noir anti-heroes abide by and Gosling's is the rampant self destruction and selfishness that makes them not entirely likeable. Together they basically make Humphrey Bogart in 70s suits and Hawaiian shirts. It's a wonderfully smart look at noir film archetypes made even more fun by the charm the two actors bring to the role.  On the other hand you have Holly, whose character seems almost unnecessary except to move the plot along. Her character is the worst aspect of the buddy cop movie (the unwanted sidekick) and feels especially out of place in a film crammed full of adult content. The emotional ticks she plays a part in could have been executed just as easily without her, and her involvement in some of the scenes feels inappropriate at times. She also seems out of place overall with the tone and genre of the film. A bit of 90s buddy cop movie pushing in a bit too much on what should be a noir with just a sprinkling of that genre.  I will say that the 70s are the perfect setting for neo-noir. The last decade of abandonment tinged with the knowledge that all the drugs, sex and crime we're leading to a crescendo that was the 80s. The movie doesn't quite make enough of its setting except to play off the emergence of pornography in cinema and show of some epic 70s fashion. It's another aspect that works really well for the noir part of the film, but feels like a gimmick when the more buddy cop tones play in.  The Nice Guys is a strange combination of what Sean Black does best, but his neo-noir feels awkward mixed with buddy cop. Maybe he was emboldened by his success at mashing together genres in Iron Man 3, but in this case Black should have stuck with what he does best: turning noir on its head in order to redefine it.
Nice Guys photo
Shane Black doing it oh so nice
There's something a little off about The Nice Guys. It should work really well. Two great actors who play off each other fantastically with director/writer Shane Black bringing his talents back to the neo-noir genre. Plus, it...

Review: Neighbors 2: Sorority Rising

May 20 // Nick Valdez
[embed]220574:42953:0[/embed] Neighbors 2: Sorority Rising Director: Nicholas StollerRating: RRelease Date: May 20, 2016  A few years after the events of the first film, parents Mac (Seth Rogen) and Kelly (Rose Byrne) are selling their home because they're expecting their next child. But not realizing what they had agreed to, the two end up in escrow. Meaning they have to keep their home buyer friendly for 30 days lest they end owning two homes. At the same time, Shelby (Chloe Grace-Moretz), Beth (Kiersey Clemons), and Nora (Beanie Feldstein) are three college girls who find out sororities aren't allowed to throw parties. Deciding to start a sorority of their own, and with the help of first film antagonist Teddy (Zac Efron), they move in next door to Mac and Kelly. After a series of shenanigans, Mac and Kelly once again find themselves in a prank war against the rowdy college kids next door.  Although Neighbors 2 tries its best to be different, it falls into the same traps most comedy sequels do. Given the nature of comedies in general, with each of them intentionally being a one-off story, all any sequel can do is try and capture what worked before and improve what did not. So if you enjoyed the first film, you might not enjoy this one. Everything's basically the same between the two films and there's not a lot added here to differentiate. There's the same air-bag gag, the same weak jokes about Rogen's body compared to Efron's, and despite poking fun on the mysoginistic voice of the first film, there's the same type of penis jokes. Which means that what it's trying to do thematically, presenting a "feminist" comedy (despite being written by five white men), is already worse for wear. It's hard to take anything seriously when one huge sequence ends with Zac Efron dancing until he shows his privates to a huge crowd.  Even if it doesn't change much of the story elements, Neighbors 2 still does an admirable job in turning the comedy sequel on its head. Simultaneously ridiculing and reveling in the premise, each of the characters have been surprisingly developed. Capitalizing on the character's ages (and further expanding on the "Dad Rogen" type introduced in the first film), there's a slightly compelling emotional current underneath all of the penis jokes. As everyone tries to figure out their identity in the film (whether Mac and Kelly can admit to being bad parents or Zac Efron's Teddy realizing he needs to move forward in life after being stuck in his millenial childlike state), Neighbors 2 touches on a slightly more level headed take on uncertain futures. But sadly this is all in between bursts of juvenile story telling. It's a shame too because when Neighbors 2 does distance itself from standard bro comedy jokes, it's quite refreshing. Despite being a film where terrible people do terrible things to one another, the few moments where it acknowledges the shortcomings are pretty great. Once again, Zac Efron steals the show. Elaborating on the lovable loser story from the first film, Teddy's become even more pathetic as he's basically aged out of the genre. A lot of the jokes in this revolve around how the entire crew would rather be doing something else (down to Mac and Kelly's terrible absentee parenting) and this nihilism is charming in a roundabout way. If you look in a little deeper, it's almost as if the film is telling Zac Efron to go ahead and move on to even bigger roles. It's pretty much time anyway. In that same breath, he's the only one that gets this kind of attention. Every other character is practically window dressing to Teddy's evolution, and it only makes you wish for a film that focused on this theme alone. I want to reward these attempts at new types of humor and themes, but they never quite go anywhere. For example while the sorority in the film is sincere and founded on equal rights ideals, the girls themselves aren't characterized well enough to truly make an impact of any kind. It's impossible for a comedy to accomplish that within 90 minutes, so these ideals feel like an afterthought. It feels like the change from a fraternity to a sorority is more cosmetic and a feminist lead character was only added only to be a plot contrivance to start the whole prank war. In fact, one character in the film literally says the sorority is "untouchable" in order to speed up the extremeness of Mac and Kelly's actions. Neighbors 2 does deserve credit for adding these elements when it could've been just another bro comedy, but it's not enough to acknowledge issues or inherent problems with the bro comedy genre while still trying to utilize the cruder elements of it.  Neighbors 2: Sorority Rising isn't the best film, or the funniest, but it's at least visibly trying to do something different. It's a groundbreaking comedy sequel in that it's not just doing the exact same thing over again for quick money. I mean it is still doing a lot of the same stuff, and while the new ideas aren't explored enough to warrant any kind of real change, the fact there is a refreshing seeming film at the end of the day is pleasant.  The only problem overall is both films just aren't memorable. It's not like you'll be quoting its jokes years later or even remember what happened a week down the line. 
Neighbors 2 Review photo
Well, at least it tried
In my long tenure here at Flixist I've carved out a niche for myself. If you see a review for a Seth Rogen film or a sequel to a comedy, chances are it's my words you're reading. So little did I know I'd stick around here lon...

Review: Keanu

May 01 // Alec Kubas-Meyer
[embed]220303:42784:0[/embed] KeanuDirector: Peter AtencioRelease Date: April 29, 2016Rating: R  Because I know just what my audience wants from comedy film reviews, let's talk about race! (But, fortunately for most of us, not in the way you might think.) I've now seen Keanu twice: First at a press screening in New York City early last week, and then again yesterday at a movie theater in Seekonk, Massachusetts. The former was packed, in a large theater. But the audience wasn't just large; it was also mixed. There were all sorts of people there, from all walks of life. (Many NYC press screenings that take place in regular movie theaters allow for members of the public to join in, so it isn't just stuffy old critics.) The theater in Seekonk was nearly empty. As I walked in, I saw a group of half a dozen teenagers get turned away by the ticket taker. I assume they were trying to get into Keanu (because they sure as hell weren't trying to see Mother's Day). I was surprised, upon getting into the theater, to find it was occupied almost exclusively by old white people. Given the territory, I wasn't super surprised by the ethnicity, but I was surprised by the age. I think of Keegan-Michael Key and Jordan Peele as comedians for the younger generation, and so I assumed that any movie that starred them would attract people my age, not twice or three times my age. It was fascinating, really, but what was much more fascinating was the response; specifically, the lack of response, from many of the people in the second theater versus those in the first. I could, probably fairly, argue that the first crowd laughed too often. When Key showed up for the first time, people laughed. It was like they didn't know he was going to be in the movie and this was a comedic surprise. In Seekonk, no one laughed. Stony silence.  But I preferred the former, obviously. Several years ago, I saw a film that ranks among my favorite of all time, Sunny. In my review, I mentioned how weird it felt to see the movie alone, because I spent so much time laughing hysterically, but there was no one there to share that with. Comedy isn't just about laughter; it's about shared laughter. I will always prefer a comedy with an audience, a receptive audience in particular.  The white crowd, however... I think they were uncomfortable. Some objectively great jokes early in the film were met with crickets, but many of them were not necessarily racially charged but were racially tinged. Some minor laughs here and there felt uncomfortable. And I stifled my own laughter as a result of it. There was a key moment in the film involving a backflip that marked the turning point. The characters' immediate reactions to said move are straight-up hilarious, and even stuffy old white men couldn't help themselves. It loosened them up, and that made the rest of the film more enjoyable for all of us. So, what's my point? If you can, see Keanu with a diverse crowd. That is, undoubtedly, an odd thing to say, and some part of me feels uncomfortable saying it, but... it's true. The fact that Key and Peele are biracial has always been a fundamental part of their comedy, and that is reflected in what they've done here. So: Big crowd. Diverse crowd. (We made it, y'all! Race talk, over! Let's talk about cats now!) The Keanu in the title refers to a kitten, who after escaping the site of a brutal massacre, shows up at the door of Jordan Peel's Rell. Rell is in a funk, because his girlfriend broke up with him, and at first you think that the movie might be about helping Rell get over that sadness, but... nope. Keanu shows up, and Rell is better by the time Key's Clarence gets to the door to help him out. Instead, Keanu is stolen by the leader of the Blips (the gang that replaced the Bloods and the Crips), and Rell decides it's time to go get their cat back. In the process, they are mistaken for the Allentown Brothers, two hitmen types (also played by Key and Peele), and it goes from there. But the crucial thing about all of it is that this truly is a film about one man's relationship with a cat that he has known for a very short period of time. Yeah, Clarence and Rell have their family whatever, and each character grows in some fun ways, and there are certainly other meaningful interactions, but when it comes down to it: Keanu. That's what this is all about. And you couldn't ask for a better heart to the movie. That cat is ludicrously adorable. A recent addition to the cast of New Girl is an animal talent agent, and I like to imagine a character like his bringing this kitten into the audition. I can't imagine that they didn't take one look and say, "We're done. This is the only kitten that anyone will ever need ever." Some people go to war over women, but Rell and co. go to war over a cat, and I think they're entirely justified in their actions, no matter how many terrible things they may have to do in the process. Keanu steals the show whenever he's onscreen, doing some of the best animal work I can think of in any show. I spent as much time thinking about how adorable he was as I spent awed by what the trainers were able to make him do. He's got a bright future ahead of him as a cat star, and I would be oh-so-okay with that, because he is the most adorable thing in the world. And honestly, what more to do you need? I could have actually talked about the movie in this review, but why? You don't need me to list my favorite moments to do that (I could, though (the followup to that backflip is really, really high on the list (just saying))). If you didn't see that cat and say, "Yup. I'm in," then there's nothing left for us to talk about. Of course you should see Keanu. Just, ya know, don't forget to see it with a crowd.
Keanu photo
Meow
I think everyone can agree that Key and Peele was a great show, and I think all of us were at least a little bit sad when it ended. Though it didn't hit with every sketch or every episode, the team's consistent creativity has...

Review: Mother's Day

Apr 29 // Matthew Razak
[embed]220546:42940:0[/embed] Mother's DayDirector: Garry MarshallRated: PG-13Release Date: April 28, 2016  I think Mother's Day is supposed to be about being a mom because it's called Mother's Day, which seems like it would be the name of a movie about being a mom. It really isn't though. We find Sandy (Jennifer Aniston), a divorced mom with two kids still kind of pining over her ex-husband who has recently married a 20-year-old. There's Miranda (Julia Roberts), a HSN host who is somehow actually famous. And then Jesse (Kate Hudson) who has married an Indian man, Russell (Aasif Mandvi), without her racist parents knowing. Finally Bradley (Jason Sudeikis) has just lost his wife and is raising two daughters. Children actually play a very small part in this film as it's more about romantic relationships than being a mom -- don't worry, it fails at romance as well. There are plot lines in here involving children and becoming a parent, but they're buried under what has to be the worst screenplay written this year. It's seriously bad, and I'm not even discussing the casual racism it tosses around for no reason. The movie feels like the its four screenwriters (two male, two female) got together and wrote conversations for a group of women characters based on advice from an alien race who had only experienced conversations between females by watching soap operas. It is easily the most stilted tripe to ever pour out of any of these actors mouths. Watching the legendary Julia Roberts stoop so low in such a bad wig as some sort of favor to Garry Marshall was revolting.  The entire movie is revolting, especially since it somehow mistakes flat out racism for comedy. When Jesse's parents find out she's married to Russell as he accidentally walks in after they surprise her with a visit their first reaction is to wonder what a "towel head" is doing in her house. The audience at my screening instantly gasped and then sat there in horror as it only got worse. For some reason the filmmakers thought that the parents' flat out offensive and racist actions would be charming and whimsical, as if we're supposed to laugh along at those silly old folks who just disowned their grandchild for being "a little dark." No really, someone says that. I want to make it perfectly clear that jokes about race can be hilarious. Comedy is one of the best ways to address race issues, but this movie confuses using race for humor with actually being racist. None of the lines are actually jokes, they're just racist (and sexist and homophobic) statements said out loud as if that's enough to make something funny. Just because you say you're a comedy doesn't mean you can say offensive things without a punchline. There's no deeper meaning here either. Sure, in the end everyone comes around and no one is racist anymore (because it's that simple), but it's handled with such dull-witted ineptitude that you can only sit there with your jaw open and wonder if anyone making the movie actually understood the history humanity. I want to really stress just how incredibly out of touch with reality this film is. We'll ignore the fact that all the characters are cliches, none of the actors seem to actually care that they're there and that it easily has one of the worst soundtracks in the past ten years. We're ignoring all of this because at the end of Mother's Day Asif Mandvi, the only minority in the vehicle, gets out of an RV and a group of cops go to pull their guns on him. This is a joke. In the middle of a crisis of violence on minorities by police this film deems it appropriate to have an Indian man pinned to the ground as a group of white people, who very recently called him racial slurs, stand around gawking. That's it by the way. That's the joke. It just happens and everyone is OK with it once one of the cops RECOGNIZES THE INDIAN GUY AS HER DOCTOR. If I was Mandvi I would have walked off the set faster than an American Indian in an Adam Sandler film.  The only reason this movie didn't get a zero is because Jason Sudeikis is so damn charming even when he's stuck in crap like this. Crap where his meet cute is based around awkwardly buying tampons and then followed up by a second meet cute where his hand is stuck in a candy machine. Only that man could make something that stupid work, and even then one has to ask oneself why, in a movie called Mother's Day, one fourth of the lead characters needs to be a father. I get that it's supposed to be about the hole a mother leaves when she dies, but it really isn't at all and it makes for just another bit of sexism to add into this already turgid pile of crap.  There's about 50 other things wrong with this movie like why all the women seem to be constantly working out or why the only minority character aside from Mandvi and his mother is a sassy black woman. It would be impossible to catalog every way this movie is the film equivalent of the KKK projectile vomiting onto celluloid while a group of men attempt to write a screenplay about women with their penises, but I'll digress because I'm getting too angry and this human excrement of a movie isn't worth it.
Mother's Day photo
A racist, sexist, unfunny pile of crap
I'm not going to pull punches here because Mother's Day is easily the worst movie I have seen in years. It is unfathombly offensive, boring, unfunny and terrible in every way possible. I didn't head into it thinking it was go...

#SickBernBurn photo
#SickBernBurn

College Humor's Why Bernie Sanders Is Actually Winning accurately recreates delegate discussion with people who #FeelTheBern


There's math and there's Bernie Math
Apr 26
// Hubert Vigilla
If this year's Democratic primary has reaffirmed one truth, it's that smart people will believe dumb things as long as these things confirm their biases. Full disclosure: I say this as someone who voted for Bernie Sanders in ...

Tribeca Capsule Review: The Last Laugh

Apr 25 // Hubert Vigilla
The Last LaughDirector: Ferne PearlsteinRating: TBDRelease Date: TBD  It seems a cop out to say your mileage may vary, and yet that seems the only viable answer. Mel Brooks appears in the film doing an excellent Hitler impersonation using a black comb. (A subtle adjustment of the comb and he becomes Joseph Stalin--tada!) Brooks will mock Hitler relentlessly and delights in it, but could never make a joke about The Holocaust itself. It's his personal limit. The Spanish Inquisition is fine, though--jokes are all about the timing. Sarah Silverman, on the other hand, goes all out. There's even mention of the mixed response to Hogan's Heroes and Roberto Benigni's Life Is Beautiful, with polarized opinions coming from comedians, filmmakers, and a representative from the Anti-Defamation League. The discussions aren't particularly new since any discussion of the uses of comedy has to consider the limits (if any) of comedic material. There's the idea of inflicting ridicule as a type of power for the powerless and the idea of hope and the idea that certain communities and groups are able to make certain kinds of jokes while others aren't--with Holocaust jokes, the suffering is a Jewish experience and so should be the comedic catharsis. What's interesting is the juggling act between Firestone as a survivor and an speaker at museums who shares her pain and the comedians who never had to live through her experiences. A generational aspect is added to the subjective one. Yet the two sides don't quite gel, which makes the movie feel like a bit of a Venn diagram--two separate docs with something common between them. There's probably a more substantive discussion about comedy, its limits, and what comedians should consider when making jokes about oppressed groups or about a particularly dark period in history. The Last Laugh might not delve much deeper into that discussion about the art of comedy, but that's fine. It gives a human face to a survivor of the worst indignities of the 20th century. That Renee smiles is hopeful. We can't possibly laugh at her, and it's presumptuous to say we laugh for her just given the subjectivity of humor. We laugh with her because she's still able to do so herself; maybe we laugh because otherwise we'd just cry.
Review: The Last Laugh photo
There's no accounting for bad taste
As I've gotten older, I've noticed more conversations and thinkpieces about what topics are off-limits for comedians, such as racist jokes, jokes about rape, jokes about The Holocaust, and so on. This might stray into a large...

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Golden Globes to prevent dramas from competing as comedies


Sorry Matt.
Apr 19
// Geoff Henao
The Golden Globes were an unfunny joke this year, anchored by its comparatively unfunny Best Comedy, The Martian. The film's win, paired with lead actor Matt Damon's Best Comedy Actor win, was met with almost unanimous ire. H...
Angry Birds Movie trailer photo
Angry Birds Movie trailer

New trailer for The Angry Birds Movie is a decent excuse to reuse this Sean Penn image


Angry birds do Angry Birds things
Apr 18
// Hubert Vigilla
Last time we reported about The Angry Birds Movie, we mentioned that Sean Penn will be grunting alongside the rest of the cast as a big red bird. The Sean Penn bird is in this new trailer for The Angry Birds Movie, which feat...

Review: The Boss

Apr 08 // Alec Kubas-Meyer
[embed]220481:42895:0[/embed] The BossDirector: Ben FalconeRelease Date: April 8, 2016Rating: R  I don't think you should watch that trailer. You can if you want, but you really shouldn't. It's the film's official Red Band trailer. I watched it just now, and it made me wonder how it's possible that I so enjoyed the movie that this was selling. Because the trailer looks awful. And it looks awful on pretty much every level. Like, I feel bad as a critic to say that I really liked The Boss. But you know what? I'm gonna own it. I really liked The Boss. I loved the scene where T-Pain came out, when Melissa McCarthy raps along to DJ Khaled's "All I Do Is Win" (which, you should know, I listen to at least once every few days (usually multiple times in a row)) while dancing and showing off how rich and awesome she is. It's probably a stupid scene, but T-Pain comes out to sing the chorus when it plays again, and they're dancing, and it's awesome. I don't care what anyone says about the rest of the movie; that sequence is gold. And it was enough that I was content having seen it. From there, it would have had to go to some really bad places to have lost me completely. But it didn't.  Ugh... it looks so dumb. (But I laughed really hard at this scene.) The premise is stupid. An obscenely rich woman (McCarthy) does some insider trading, and six months later she comes out of jail completely broke. She finds her former assistant (Kristen Bell), and is offered a chance to stay with her for a little while while she finds her feet, despite the fact that McCarthy was terrible to her. At some point, McCarthy decides to create a for-profit rival to a Girl Scouts analog called the Dandelions. Ignoring child labor laws entirely, the girls start selling brownies made at a frankly impossible pace to meet a ridiculous demand (the child labor thing, by the way, is never addressed... though I do think that an interesting case could be made that the girls getting 10% of girl scout cookie sales (with another 10% being put towards college) wouldn't necessarily be such a bad thing (I bought six boxes of Thin Mints this year, and they lasted me about two weeks (unrelated but still kind of relevant)))). Other dumb things get in the way, and then it's dumb how other things don't get in the way. Honestly, if I look at this with even a vaguely objective lens, the narrative is a complete and utter catastrophe. But I so don't care about that, because I didn't care about it while I was watching it. Yes, it certainly occurred to me that X, Y, and Z were ridiculous, but I was too busy laughing to care. A shocking number of the jokes worked for me, including some of the same jokes that I really don't like out of context in the trailer. Yeah, sometimes things fell flat, but more often than not it got me. And it's possible that sometimes I was laughing at the movie and not with it, but I don't really know that that distinction matters. The point of the film, the only point of the film, is to make me (as an analog for the entire audience) laugh. Every sequence (except the one emotional one that you know is coming) is there in service of that goal. And if that goal is achieved, then the film succeeded. It didn't succeed as anything other than a thing that made me laugh, but it did that. And that's really what I care about here. Yeah... I dunno. Whatever. I saw Bridesmaids in theaters. During one particular scene, I literally cried laughing, and in general I found it to be a hysterically funny film. Months (years?) later, I watched it again. I laughed at the scene that made me cry the first time, and I'm sure I giggled here and there outside of that, but the second time around, I was really just hit by a general sense of, "Ehhhhhh." And I wondered why I liked it as much as I did the first time around. Maybe it's something about the big screen, or maybe it's the infectiousness of an audience. Maybe I've just got an objectively terrible sense of humor, and this sort of low-brow stuff is the best I can hope for. Or maybe everyone else is wrong. As I type this, The Boss has an 18% on Rotten Tomatoes. I am, unfortunately, not on there (yet), so this review won't change that number, but clearly everyone else in my field hates it. As I walked out of the theater, I heard someone call it a "horror show." And I know plenty of others who just thought it was awful. If I were to see The Boss again, it's entirely possible that I would hate it and look back on my feelings about it right now as a tragedy and a shame on my record as a critic. But as much as it can try to be representative of the future, a review is a document of right now. You might have noticed that it's sort of a weird document, hedging a whole bunch of bets on the future, but that's because I'm still kind of shocked by how much I liked the film (especially after watching that trailer... because, wow). Yeah, it's stupid as hell, and not always in a good way, but I nonetheless enjoyed the time I spent watching The Boss. And, really, nothing else matters.
The Boss Review photo
Win. Win. Win. (No Matter What)
The first time I saw a trailer for The Boss was just a few weeks ago. I'd kind of generally ignored its existence, because... why wouldn't I have? I mean, honestly, it looked terrible. I saw that trailer and thought, "Yu...

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Ghostbusters reboot channels The Secret of the Ooze in new still


There are no ninjas in sight... for now.
Mar 29
// Geoff Henao
Is the verdict out yet on the upcoming Ghostbusters reboot? I'm somewhat easy to sway, especially knowing the Ghostbusters legacy will continue with the right people in place. However, as Nick indicated following the film's f...
LEGO Batman photo
LEGO Batman

Two LEGO Batman trailers in one week!


Ben? Is that you?
Mar 28
// Matthew Razak
Are you ready for a second LEGO Batman trailer? Of course you are. By the time this movie comes out you're going to want to have seen the entire thing in trailer form. This one is a bit more of a clip than a trailer, but...
Ghostbusters photo
Ghostbusters

First Ghostbusters trailer doesn't know who to call


Something strange in this trailer
Mar 03
// Nick Valdez
I've been going back and forth with Paul Feig's Ghostbusters reboot each time we get a new look at the film. On the one hand, it's a new Ghostbusters so it'll at least be entertaining (and coupled with the fact they're a grou...
Pee Wee Herman Netflix photo
Pee Wee Herman Netflix

Watch the trailer for Pee-wee's Big Holiday, coming to Netflix in March


Faster, Pee-wee! Kill! Kill!
Feb 16
// Hubert Vigilla
After years in production hell (and a successful Broadway stage show), Paul Reuben's manic manchild Pee-wee Herman is back again an all new adventure thanks to Netflix. And it looks sort of like Pee-wee's Big Adventure. ...
Depp as Trump photo
This is a yuge, luxurious parody
This is a pleasant surprise. Funny or Die just dropped The Art of the Deal: The Movie, a 50-minute mockumentary that lampoons Donald Trump's general douchebaggery. Starring Johnny Depp as The Donald, the parody also features ...


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