Category: 3

Annabelle Comes Home


 The Film Freak

Directed By Gary Dauberman

Starring – Vera Farmiga, Patrick Wilson, Mckenna Grace

The Plot – Determined to keep Annabelle from wreaking more havoc, demonologists Ed (Wilson) and Lorraine (Farmiga) Warren bring the possessed doll to the locked artifacts room in their home, placing her “safely” behind sacred glass and enlisting a priest’s holy blessing. But an unholy night of horror awaits as Annabelle awakens the evil spirits in the room, who all set their sights on a new target–the Warrens’ ten-year-old daughter, Judy (Grace), and her friends.

Rated R for horror violence and terror

POSITIVES

– Enjoyable cast. This is remarkable considering the lack of valuable exposition and laughably bad dialogue did them no favors in getting their characters over for audiences who have seen many important characters throughout the two series that are converging together. Despite a lack of meaningful screen time, Farmiga and Wilson are once again a delight to witness on-screen. The chemistry that exudes between them, as well as the grasp in confidence that each of them has over terrifying circumstances outlines the perfect protagonists for a horror film, whose greatest strength is the bond that only grows stronger with each terrifying case. The valued new addition is Mckenna Grace, who seems perfectly fit to be cast as the Warren’s daughter, thanks to her intelligence in paranoia, as well as her overall introverted demeanor that buries her in isolation at school. Grace is the constant lead on-screen, and provides frightened delivery that is decades ahead of her age, giving the film urgency where the inexperienced directing constantly lets it down.

– Seamless production design. Perhaps my favorite aspect of the Ed and Lorraine Warren films is their targeted setting of the 1970’s, which gives the production many chances at establishing something unique to the backdrops and imagery. In this film, the combination of throwback wardrobe, muscle car sedan’s, and attention to detail on the shelves is something that constantly impressed me, and established a level of accuracy for the film crew that gave us substance in the form of constant reminder. There’s a supermarket scene in the film that features an abundance of sugars, cereals, and candy to name a few, and the proper labels being used for the time fill an entire aisle of goods, further continuing the level of visual mastery that “The Conjuring 2” set the bar for. Beyond this, the soundtrack is full of decorated 70’s favorites, like “Dancing In the Moonlight” by King Harvest, and “Baby Blue” by Badfinger, to name a couple, cementing an inescapable presence of decade enhancement solidified by the lucid production value that continuously rings true.

– Cameo by comedy. There is finally some humor introduced to such a terribly bland franchise, and the results are mostly positive. The film’s script takes us through awkward teenage interaction in the form of two youths who have feelings for each other, and the way it is incorporated into this sadistic world that is happening around them brought to mind feelings of 90’s horror films, where the character’s love for each other almost feels unflinching despite everything transpiring around them. There’s a scene that pays homage to John Cusack’s performance in “Say Anything”, and the way that the young man who performs it plays it off speaks heavy reminders to the weak knees and embarrassment associated with puppy love. The humor incorporates itself without ever taking the tone hostage, and along the way I was treated to a few solid laughs that got me through some otherwise dry scenes of character interaction that often feel like they drown on for a few minutes too long.

NEGATIVES

– Counterfeit dialogue. People who watch horror movies usually associate this aspect with bad acting, but the work by the collective cast here is exceptionally positive. What hurts is these lines that are ever so evidently written by old men, and meant to authenticate that rich teenage dynamic that instead comes across as trying a bit too hard. The groaning that came with listening to these exchanges left me cringing in my seat, and created that feeling of unity between eight people in an auditorium, when you’re all feeling the same way at a particular time. One repeated line that was beaten into the ground more times than Disney remakes was a character’s nickname, who every single character shed light on in their own different way, and it got to a jaded point of overkill that practically made me scream “I GET IT!!” by the sixth or seventh time it’s mentioned.

– Pointless R-rating. This one is a mystery to me, because there is so little violence, peril, or even adult language in the film, therefore no reason why this film couldn’t have been marketed as PG-13 to open its scope up to a larger audience. The material certainly isn’t elevated because of this deeming, and I can’t point to a single scene or scare during the film that cemented this movie worthy of receiving the cherished R-rating to horror audiences. Perhaps the MPAA is getting soft as the decades fly by, but “Annabelle Comes Home” is one of the strangest uses of R-ratings that I’ve ever seen, and offers nothing of substance or reminder to plead its case. There are other 2019 horror films that did more risque visually, and they were given PG-13, so what gives?

– Manipulative advertising. If you haven’t figured it out by now, Ed and Lorraine Warren are in this film all of about ten total minutes, and considering the trailers marketed them as prominent figures in the film, it’s a shameless manipulation to say the least. Every horror franchise has one of these; a chapter in the franchise where the established stars are only used as a cameo, but are further elaborated on constantly throughout the film, reminding us of a better film that is biding its time somewhere off in the distance. This film reeks of a paycheck film for Farmiga and Wilson, who the film doesn’t even cut back-and-forth to while so much mayhem is taking place inside of this house with their daughter. It gives the usual loving couple a feeling of uncaring nature to their lack of incorporation in the film, making me constantly question why parents wouldn’t call and check in on their daughter at least once during the course of a sleepover, right after you took in this devilish doll.

– Where’s Annabelle? Speaking of manipulative advertising, we get it again in a doll character who, like her two human protagonists, couldn’t be bothered to show up to do anything except sit on a chair for the majority of the film. While this is certainly nothing different for the Annabelle antagonist, what forms because of it feels like a shameless plug for future franchise installments that puts “Justice League” to shame. We get scares and attacks in the form of other cursed materials in the Warren’s basement, taking valued time of film exposition to give each of these killers a backstory on their way to sequel solitary. If we do in fact get a bride sequel, or a sequel involving this strange fucking warewolf thing that feels like a holdover from the Dark Monsters Universe, then we will know the true intentions behind “Annbelle Comes Home”, a homecoming so lacking focus that it never feels like the most interesting antagonist in her own movie.

– Wrong road taken. In the fork in the road creatively between The Conjuring and Annabelle, this film rides with the latter for its scares department, harnessing a combination of cheap jump scares and hokey production involving no shortage of fog, that lets a franchise on the rebound down. Not only are the jump scares completely predictable and formulaic, but the Macguffins used to temporarily throw-off audiences aren’t even clever in the slightest. “Annabelle Comes Home” feels like a movie that I’ve already watched four previous times, except here the timely scares have reached Netflix level qualities of telegraphed depiction, frequently straining the pacing of the scene, as well as the attention of the audience before it lands on its scheduled destination. As a result, it’s the least scariest installment of a franchise that included a film where we didn’t actually see Annabelle move or do anything throughout the film.

– Boring. This film is barely 100 minutes, and constantly feels like it’s around 20 minutes too long, thanks to unnecessary footage left in that only prolongs scenes involving zero tension. For the first act of the film, there is one intended scare, then over thirty minutes of repetitious exchanges between characters. When the day turns to night, and we actually expect these scares, the film takes forever getting to the heart of the moment, testing our patience with false alarms and Macguffins that took a five hour road trip getting to the gas station of enthusiasm to excite its audience. Surely some of these scenes could’ve been trimmed for time, but the fact that the script doesn’t have an additional subplot like Ed and Lorraine to bounce off of and check in on from time-to-time, leaves it stranded in this one bland, lifeless setting for the duration of the film, creating an arduous task of getting to the finish line of no actual reaped rewards.

– Speaking of which, the overall lack of weight and consequences to the film is highlighted during its closing moments, in a scene where you could practically hear your cash being flushed down the toilet. SPOILERS………..You’ve been warned. Here we go. All of the film’s survivors (Essentially every character in the movie) meet at this birthday party, where it’s hinted at that they never tell Ed or Lorraine about what transpired on that one terrifying night. When a horror film ends with a secret, it means nothing of consequence or permanence emitted from it, meaning that this film could easily be wiped away from the continuity of the franchise, and not a single goddamn thing would be lost because of it.

My Grade: 3/10 or D-

Godzilla: King of Monsters


 The Film Freak

Directed By Michael Dougherty

Starring – Vera Farmiga, Millie Bobby Brown, Kyle Chandler

The Plot – The new story follows the heroic efforts of the cryptozoological agency Monarch as its members face off against a battery of god sized monsters, including the mighty Godzilla, who collides with Mothra, Rodan, and his ultimate nemesis, the three headed King Ghidorah. When these ancient superspecies, thought to be mere myths, rise again, they all vie for supremacy, leaving humanity’s very existence hanging in the balance.

Rated PG-13 for sequences of monster action violence and destruction, and for some adult language

POSITIVES

– Articulate computer generation. All of your favorite Toho monsters return to the silver screen, and are each given an upgrade in rendering that brings out the true diversity and grand scale in each character design. Godzilla is not only as big as he’s ever been in size and strength, but the rough texture that tells the stories of the various wars he has been through, compliments the gigantic lizard in ways that immediately capture your attention and intimidation of him in all of his god-like presence. In addition to this, most of the movie is computer generation, and what worried me about that initially was the loss of weight being diminished in artificiality, but thankfully the devastation feels every bit as thunderous as it does expansive, giving us the same kind of colossal damage that we all grew up loving, for half of the price and physical labor going into making and destroying live action sets. It gives the events in the film an air of permanence on a global scale that logically will make this easily the most difficult to clean up from of all of the Godzilla franchise.

– Bear with me. Music composer Bear McCreery steals our audible attention seamlessly with a scintillating musical score that pays tribute to classic Godzilla chords, all the while distorting the music in a way that creates something completely fresh and unique from the ages old piece. Godzilla’s main theme is of course heard a couple of times throughout the film, but it’s after those initial familiar intro notes where the track evolves to paying homage to the art in motion that we are seeing displayed before our very eyes. McCreery manages to capture the true wonderment and astonishing nature of the character, echoing his invasion to these scenes with operatic levels of volume that practically forces audience members to the edge of their seats for the brutality that is sure to follow. Also intriguing is a collaboration that Bear has with System of a Down front-man Serj Tankian, in covering the classic Blue Oyster Cult stadium anthem “Godzilla” for post movie credit sequence. In total, the music plays a pivotal role in amplifying the tension and drama of the moment, and establishes an influence by Bear that is every bit as immense as the movie’s title protagonist.

– A surprise behind every corner. I knew of the first three or four celebrities who were in this film, but I had quite literally no idea the depth of big name personalities that make up one of the best collective ensembles in a disaster movie ever. What’s gratifying is that none of them are a temporary cameo, sticking around for the entirety of the movie to give this installment a higher value of caliber than we’re rightfully used to from this otherwise hokey franchise. I will choose not to spoil any of the names, but for my money the supporting cast is what kept me constantly intrigued into the movie, and the main character’s dominance of the screenplay did them zero favors in gaining popularity the longer you spend with them, and it’s nice to know that Godzilla’s timeless influence rings true for even some of Hollywood’s most elite actors and actresses, as they simply can’t turn down a chance to act in infamy.

NEGATIVES

– Same shit, different day. The very same problem that I had in 2014’s “Godzilla” exists in this sequel, but made even worse for the longer run time that completely fries the pacing with its choices in direction. Once again, this is Godzilla’s movie, but humans and unlimited long-winded series of exposition scenes make up roughly 90% of its 127 minute run time, complicating a film so easy to construct that even the trailers did it for them. When I say that I didn’t like the human character’s in this movie, I’m not embellishing slightly. They are every bit as stupid in their actions as they are deceitful in their morals, and being forced to spend scene after scene with each of them became increasingly frustrating when all I wanted to see what exciting monster collisions with carnage chaos to spread. We are told during the film that there are 17 monsters scattered all across the globe, but because Godzilla becomes a supporting character in his own movie, we really only passionately follow four of those monsters in the foreground, and it’s a humiliating missed opportunity for all of the hardcore fans of the series to see their favorite character with a modern rendering.

– Too much humor. The dialogue in this film isn’t just meandering, it’s down right humiliating in regards to how it chops the urgency and seriousness of the situation each time a character opens their mouths to say something cute. The only other Godzilla film that I can compare this stance to is 1998’s “Godzilla”, a failure on nearly every aspect of technical filmmaking that many fans have chosen to forget its existence. You can’t tell me this banter is any different, as the commentary coming from this crew of class clowns feels a bit too protected in their ivory towers to truly soak in the tragedy that exists on the ground, reminding me of those 2000’s VH1 shows, where a bunch of comedians are brought in to tell jokes towards an internet video playing in real time. Not only did I find this direction counterfeit of the story taking place around it, but it also felt childish for the very laughs that the lines reach for in some truly hideous deliveries, that feel so out of place to the previous film’s serious demeanor.

– Disgusting cinematography. Another continued problem from the first film are these darkly colored, shaky-cam frames that make it so difficult to focus firmly on any of the fight choreography transpiring. With the exception of the movie’s final battle, the previous three are a smoke-filled, never-ending rainout of cluttered catastrophe, that often make it feel like you’re riding Godzilla’s back for how chaotic everything appears. The shakey-camera effect was fine in 1998, when “Saving Private Ryan” perfected it in a way that took nothing away from what registered, but in 2019 imitators are still conjuring up new ways to make you run to the bathroom in motion sickness delirium. At least the finale fight pulls back a hair in its otherwise tightly claustrophobic angles, but the damage of character building physical exposition for a new generation is done, soiling in the process anything of rarity or uniqueness about these monsters to make them stand out.

– Stupid story. This is typical for Godzilla movies, but I can’t give a pass to a world existing beyond the screen where I’m smarter than every single character that exists in it. SPOILERS YOU’VE BEEN WARNED. The main idea behind unleashing these monsters is that one character believes they will fix the problems caused by humans. BY KILLING THEM ALL? How will we be around to reap the benefits of this reward? Beyond this, problems with logic involved an electronic machine getting drenched in rain, yet not malfunctioning at the very least, a barrage of particles flying at a group of characters, where not one rock or wooden board hits them anywhere on the body, a child being able to access government run operations and programs, and suits being worn by some characters because of the radiation being distributed into the air, yet others going as far as touching said creature without even a raincoat on. I get that these movies are stupid goodness that you turn your brain off and watch, but when a film is trying to be overly preachy about the real problems we face in our own real world, it’s difficult for me to afford it the courtesy of being naive when the movie asks for it. You built a world reflective of our own, so you simply can’t overlook the tremendous holes of logic in the way your story plays out.

– Contradicting directions. It’s hard to decide what kind of tone Dougherty seeks to attain in the film when aspects of the script don’t mesh well with others in creating one cohesive narrative. As I mentioned earlier, there is an overwhelming amount of humor from the dialogue, yet a serious attention given to the trio of performances by Chandler, Farmiga, and Brown. There’s an attentive focus to political commentary on humans being the real monsters, yet a story driven narrative that is painfully contained and limited because it begins and ends because of one family’s stupid decisions. This is a film creatively that is experiencing an identity crisis, thanks in part to five different screenwriters having a hand in its fate feeling like five different directions, and if it managed to settle down and establish a layer of consistency for longer than three scenes, the accomplishment of a continuous pace of tone would feel concrete, but “King of the Monsters” endlessly searches for a direction that it never comfortably finds, and takes so much away from the weight of what’s on the line in so much tragedy.

– Lack of character. The consequences of bare minimum character exposition and a total lack of family interaction throughout shows through the seams here, and the result is a collection of people who we the audience find great difficulty in grabbing onto, especially considering the thoughtless, selfish decisions that they are making for the rest of us. For my money, I could’ve accepted losing any of these characters, and it not having one ounce of heft on my conscience towards the story, and that’s a problem when you’re thrusting these humans in a situation so unlike anything that they’ve ever experienced before, and asking us the audience to invest in them because big bad monsters are everywhere. Godzilla is in this movie maybe a collective twenty minutes, and I cared more for him when he suffered pain of any kind. He’s a computer generated lizard who is a constant danger to anyone beneath him. Yep, that’s the kind of fleshing out that we get in this film.

– Messy editing. Mainly on the value of continuity in scene-to-scene transition, the film fumbles in cohesive visual storytelling, that otherwise makes for unintentionally humorous scenes of shattered continuity that prove more directing incompetence. There are scenes of Brown’s hair being tied one second, and down in the next, scenes where character’s magically transport from one part of a ship to the other in the next frame, and an overall consistency in splicing that feels far too intrusive at all of the wrong moments. The fight scenes in a particular have far too many cuts, especially considering this is the Godzilla franchise, a series known for its long takes of choreography during fight sequences. The post production on this film is underwhelming to say the least, and proves that no care went into the consistency of the film, for which there is none with regards to gaining momentum to carry over the pacing of the film’s two hour plus run time.

My Grade: 3/10 or F+

The Hustle


 The Film Freak

Directed By Chris Addison

Starring – Anne Hathaway, Rebel Wilson, Alex Sharp

The Plot – Rebel Wilson and Anne Hathaway star as a pair of con artists plying their trade in a stunning seaside town in the south of France. Josephine Chesterfield (Hathaway) is a glamorous, seductive Brit with a sprawling home in Beaumont-sur-Mer and a penchant for defrauding gullible wealthy men from all corners of the world. Into her well-ordered, meticulously moneyed world bursts Penny Rust (Wilson), an Aussie who is as free-form and fun-loving as Josephine is calculated and cunning. Where Penny amasses wads of cash by ripping off her marks in neighborhood bars, Josephine fills her safe with massive diamonds after ensnaring her prey in glitzy casinos. Despite their different methods, both are masters of the art of the fleece so they con the men that have wronged women. Wilson’s talent for physicality and Hathaway’s withering wit are a combustible combination as the pair of scammers pull out all the stops to swindle a naïve tech billionaire (Sharp).

Rated PG-13 for crude sexual content and adult language

POSITIVES

– Heart of Hathaway. If there is any single redeemable quality about this film, it’s the work of the Grade-A actress, who chews up an overabundance of scenery on her way to another delightful performance. While the character itself wasn’t someone I could admire and hang my hat on for obvious reasons, the untamed energy of Anne showing off no fewer than three different accents for three completely different personalities highlights her range every bit as it does her investment into the picture, and there’s something deeply commendable about an actress who is so obviously better than this film, yet doesn’t let it dampen the work level that we’ve come to expect from her. Each time Hathaway was on-screen, the humor didn’t feel desperate, and just sort of fit into place because of, like her character, her commitment to the role. I’ve viewed it as a sequel to the character she played in “Ocean’s Eight”. Makes it slightly more entertaining that way.

– Doesn’t overstay its welcome. Even if you have as many problems with the material as I did, there’s a saving grace in the concept of this 89 minute movie being a quickly moving script that constantly maintains the pacing of the story. I was flabbergasted when I checked my watch to reveal only twenty minutes left in the film, and the screenplay’s direction to constantly keep the geography, as well as the evolution of the scams, is something that allows very few grace periods in the film, or even unnecessary padding. If this film were two hours long, it would be so much worse than it actually is, but screenwriter Jac Schaeffer is responsible for much of the consistent movement that maintains the energy of the shenanigans at place, and if it all were for a better movie, it would make “The Hustle” one of the easier sits of 2019.

– Spicy foreign flavor. Another great Anne in this production is that of Anne Dudley, the film’s musical composer, who instills a great sense of geographical reminder every time her notes of accompaniment strike the perfect sizzle for our traveling scenery. For French opulence, it’s obviously the inclusion of Accordion’s or Bombard’s to replicate the feel of romance in the air. For American style casino’s, it’s the slick evocation of electric guitars beating a similar vibe to that of a James Bond movie, in all of its jagged curves that signal ulterior motives in the atmosphere. They both offer a stirringly satisfying juxtaposition of compositional bliss that compliments the many invasive qualities of the cerebral sequences perfectly. Music is rarely complimented in comedies, but here the credit deserves center stage among the film’s rare better qualities.

NEGATIVES

– As a remake. It can be expected that many people aren’t aware that this is in fact a female spin on the 1987 film “Dirty Rotten Scoundrels”, but what’s so viciously evident is how little this gender swap has on the weight and complexity of the film, that breathes new life into the treasured comedy. For most of the film, “The Hustle” is trying to pave its own way, outlining cons and character’s who don’t feel remotely familiar, and fleshing out a new direction to try to capitalize on the one track minds that males often possess. The problem though, is that the screenplay is never wise enough to offer proof for this pudding, with the exception of a few sleazy millionaires who are cartoonish levels of sex and greed. Aside from this, the motivation for Hathaway and Wilson’s duo never rises above just getting rich. There’s no shred of vengeance or anger behind Hathaway’s delivery that states that men find women too weak to be smarter than them. So despite it distancing itself from the material of the previous film, there’s not enough nuance in social commentary to make the heists not feel like they have the weight of a Saturday Night Live skit, and if anything it just further cements the appreciation for the original.

– Detestable personalities. I expected to lack indulgence for thieving character’s, but Hathaway and Wilson, as well as the supporting cast of one-off dopes, took my expectations to seething levels, if only for the film’s minimal view of the world outside of the upper one-percent. Wilson is her usual trashy self, complete with inappropriate vulgarity and unabashed horniness that wears thick early on. If you’ve seen one Rebel role, you’ve seen them all, and sadly after the shattering of typecast that was this year’s “Isn’t It Romantic”, the young actress has regressed in terms of acting depth. Hathaway essentially has no heart, and never really learns from her devious ways as the film concludes. She’s essentially a mean-spirited, conniving teacher who always must be one step ahead of her student, so that she isn’t forgotten. Aside from this colorful duo, the supporting cast of males are every bit as braindead as they are one-dimensional, making me wonder if the female switch-up has indeed learned anything from years of being presented as one consistent thing. As a male myself, there are very few films that offend me for my gender, and this is one of those rare exceptions, as instead of separating males into respective categories, the film groups us all together into one insensitive bracket, and it kept me from fully buying into the support of the duo’s thefts.

– Lifeless comedy. “The Hustle” made me feel like I lacked the ability to laugh and have fun in a movie theater. It’s an easily written, terribly telegraphed combination of set-ups and punchlines that beat a joke dead into the ground upon the third or fourth time that it is brought up again. Even worse than that, the air of improv comedy is back yet again for Wilson, who uses valuable screen time to stretch a punchline so far that it slowly wiped away what shred of effectiveness that it had for the poor souls in my theater who laughed upon initial delivery, then gave a decreasingly smaller laugh each time she would carry on with it. This is mindless humor at its most immature, and if it wasn’t for the remarkable investment from Hathaway that I elaborated on earlier, I wouldn’t have laughed a single time throughout this movie, and that’s a major problem for a film deposited in the comedy genre.

– As a feminist piece. I’m not trying to make “The Hustle” into something it’s not, but you’d be ignorant to see a plot about two women ripping off rich male counterparts without a single ounce of feminism in the atmosphere to their deceitful games, but sadly the film goes back on this concept so brutally that it practically feels like the biggest con is the one that the script plays on the pride of itself. MINIMAL SPOILER – The film eventually becomes about a rivalry between Hathaway and Wilson to sleep with this male character (Sharp), making me wonder who in fact is the disappointed party in this scenario. Is it the male? Yeah, because him having two women fighting over him will surely teach him a lesson. With films like this depicting the bond of feminism, I feel that an inevitable revolution is coming, and it’s one where female moviegoers will lash out on a generation of filmmaking that values their moral stamina as a bump in the road to male euphoria. If I were a woman, I wouldn’t support a movie like this.

– Horrendous green-screen visuals. Why does a movie like “The Hustle” even require special effects? Is the budget so minimal on this production that it can’t even convince itself of its champagne wishes and caviar dreams? There’s a series of takes midway through the third act where Hathaway chases a plane on a runway, where she is the only aspect that is actually real. What’s even worse is how poorly digitalized this sequence felt, where the lighting of Hathaway and the property surrounding her don’t look even remotely like they took place in the same day or place. Rendering like this is usually evident in natural disaster movies, but for a movie that requires this just to depict an airplane lifting off of the ground, really makes me lack believability in the riches of the story both in and out of the movie itself.

– Glaring plot holes. This movie made me think far too often than I’m proud to rightfully admit, but when a scene plays out that lacks logic in even the minimalist sense, I can’t turn my brain off to the point of it becoming a vegetable. There are many examples that I found throughout the movie, where the chain of events simply didn’t add up to what eventually transpires, but none more than that of my favorite hole in the movie. It happens when Wilson and Sharp are alone on a date, and Wilson faking her blindness makes up the name of a Russian doctor who she requires a surgery from to see again. Sharp looks him up, and even manages to find his website and Facebook, the latter of which reveals that he’s actually staying in the same hotel as them at that moment. It turns out to be Hathaway who made the site and becomes the doctor for this point on. Ok, even if you can overlook the fact that Hathaway made a believable website in three minutes tops, how in the living hell could she have known the name that was discussed in an isolated scene between Wilson and Sharp? What were they thinking?

– Problems with the ending. So much to unload on here, but there’s a late twist that happens with about ten minutes left in this movie, that not only did I see coming from a mile away when you think for too long about this particular character, but also does nothing for sending audiences home satisfied. The main problem is that so much develops in the final ten minutes of the film, that not only jars the dynamic and importance of the two woman rivalry, but also makes the very last two scenes of the film feel tacked on after writing an ending that no one at the studio felt accomplished with. It shoves so much into those closing moments, and it almost feels like the collection of DVD special feature endings that were all edited together to the finished product, throwing as much at the screen to once again get us back to a happy ending. What an anti-climatic mess.

My Grade: 3/10 or F

The Intruder


 The Film Freak

Directed By Deon Taylor

Starring – Meagan Good, Dennis Quaid, Michael Ealy

The Plot – When a young married couple (Ealy and Good) buys their dream house in the Napa Valley, they think they have found the perfect home to take their next steps as a family. But when the strangely attached seller (Quaid) continues to infiltrate their lives, they begin to suspect that he has hidden motivations beyond a quick sale.

Rated PG-13 for violence, terror, some sexuality, adult language and thematic elements

POSITIVES

– Quaid’s raw energy. A testament to Dennis Quaid’s experience as A grade-A actor for many decades is the grip that he has not only on his role as this landlord of lust, but also in the knowledge of what kind of film tonally will come out as. For my money, Quaid is the only person who feels like he is emoting the proper responses for this particular film, juggling a combination of creepy and hokey in the same vein of something from a villain in a superhero movie. Every other actor feels like they take their roles a bit too seriously, and because of that, it allows Dennis to shine once more in a role that is anything against typecast for the typically protagonist hero that we are used to seeing from him, and reminds us that the leading man still finds ways to evolve as an actor even at the age of 65.

– Shooting location. Roughly 80% of this movie takes place in and around this beautiful countryside mansion, which has no shortage of lavish interiors or immersive scenery to get lost in. What’s vital about the location is the isolation from the rest of the world, particularly the police, that constantly keeps the antagonist of the movie in control. The film’s photography takes every chance to explore the grounds fruitfully, giving us a vivid documentation of every room and hallway to better comprehend our understanding of the character movements and intentions in the heat of the fight. It’s no surprise that the film was shot entirely in British Columbia, Canada, as it’s becoming a tradition for studio’s seeking cheap production costs to shoot there, but it’s nice to see a movie explore some of its more expansive scenery to the integrity of the plot and film, and if nothing else, you will fall in love with the property in the same way that Good and Ealy’s character’s do.

– Prompt pacing. Despite the fact that so much of this movie was predictable, and brought forth very few surprises creatively, this is a very easy sit, thanks in part to the stakes constantly being elevated throughout the progression of the film. 97 minutes is a little challenging for a narrative this minimally profound, but there was never a time during it when I was bored or checking my watch to see how much time remained, serving as a testament to Taylor’s engaging atmosphere that reaches out for the things that go bump in the night.

NEGATIVES

– Blandly predictable. Aside from a terribly revealing trailer that gives away roughly 90% of the movie, the screenplay itself written by David Loughery capitalizes on the very same tropes and cliches of past serial stalker thrillers that have become a right of passage for new installments preserving the mantle. It offers very little in the way of suspense or audience anxiety for us to hang our investment on, and ultimately dooms the picture to these long periods of emptiness that only negatively tests Quaid’s raging influence on the film. What’s even more compromising is that the film doesn’t try to preserve any angle of mystery on the backstory of Charlie (Quaid), instead choosing to keep us the audience one step ahead of the protagonists at all times, as we wait for their bumbling stupidity to tiptoe to a catch-up point.

– Speaking of stupidity, Ealy and Good’s character’s defy human logic even in terms of unrelatable people we’ve come to know in movies. For Good, it’s the typical understanding female presence who is somehow able to overlook deeply concerning traits in Charlie because the film calls for it. It continues a trend in Taylor directed films where females are the subject of nothing deeper than male lust, and really makes me concerned for his views on an evolvingly-progressive world. Not to be outdone however, Ealy’s contradicting directions as time goes on made me wonder if the script was trying to convey this man as a bi-polar character for how he often compromises a previous scene. One second he’s a loving, healthily-infatuated husband who would do anything for his wife, and in the next he’s flirting with a female client. This would be impactful if it actually went somewhere, but the boiling subplot comes and goes with the kind of effectiveness of a dry fart, and reeks of desperation for a character who has so little to do between the growing dynamic of Quaid and Good.

– Oversexualization. This is becoming a growing trait in Deon Taylor’s filmography, a director who seems destined to takeover Michael Bay’s mantle for perverted camera work that focuses on the simpler things in cinema. Here he has the beautifully gifted Megan Good at his disposal, and in doing so wastes no time in documenting her body through two sex scenes, one shower scene, and many revealing outfits during non-sexualized events like Thanksgiving Day dinner. The problem is two-fold, the first is that it obviously only values Megan as this physical presence, instead of carving out an acting side of her that we have yet to see, and two, it conjures repetition in getting the same idea of Charlie’s stalking across, padding out the time to eventually reach 97 minutes. Sex factor should be used to serve a purpose in films, but when that purpose reaches overbearing levels of important plotting, its seedy intentions are further unveiled, and only further cements how audiences engage in sexy people being in trouble.

– Meandering musical score. An early favorite for worst musical enhancement of 2019, composer Geoff Zanelli overly inserts his obvious tones in the middle of every scene, made less seamless by the boisterous command of sound mixing that has it reaching orchestral levels of volume during tension-building sequences. The music itself is synthetic for the kind of tones necessary in a genre like this, but the problem is the way they manipulate audiences into feeling one way, instead of letting the actors master their craft without boost, and for my money it made for one of the more obviously distracting aspects of this movie. If it serves any point, other than to be used during a cheesy Halloween party between you and your friends, it’s the fine line of divide between acting and post production, and what not to do to step on the toes of one or the other.

– Obvious visual foreshadowing. This is one of those visual presentations where the movie has a few counterfeit shots in a sequence early on, that feel out of place when compared to the sum of their parts. The reason for this is a series of revealing foreshadow images that prepare you for where this story’s setting is headed, and once again leave nothing to the idea of imagination in maintaining some level of suspense for audiences seeking thrills. For instance, if a movie focuses on a particular closet for an inordinate amount of screen time, you can bet your last dollar that it will come back into play eventually, and serve as a pivotal moment during an unfolding conflict that will come full circle. If the storyboards are doing their job properly, and the direction is crisp, these elements within the house can work their way into the elevating drama without an unnecessary underlining to them, but unfortunately this movie, in so many ways, uses bells and whistles to signal what’s to come, and for anyone like myself who has seen this no shortage of times, it’s really a waiting game for when it will choose to pop up once again.

– Continuity errors. (Light spoiler) There are many examples of this throughout the film, but my favorite happens during the final conflict, when the two male leads of the film are armed with knives when they walk through the house, but once they come to blows those weapons are nowhere to be seen or used between them. It builds to a fist fight in which these weapons disappear, and only re-appear when the fight subdues, and one of them is forced to get out of the room that they are locked in. It introduces elements to the persistent drama, and then does nothing to enhance the results of such. While certainly not as funny as Quaid’s ever-changing hair growth throughout the film, does signify the kind of hands-on effort that goes virtually unnoticed during the duration of this movie, and garners unintentional laughter when the movie really doesn’t need it.

– Back and forth. There are some scenes in the film where the exposition heavy dialogue alludes to the fact that the only reason for its inclusion is to feed the audience bits of information. I say this because character’s move in and out of this film to never be seen again, and it’s a sloppy transition that doesn’t feel naturally believable in the slightest. To counteract this, there are then aspects of the exposition that are never further touched upon. For instance, Charlie’s backstory with his wife and family. Sure, we find out what happened, but we don’t know why, and it only emits more questions the more you think about it. An on-going subplot with Charlie’s daughter in partular, is hinted at, but never fully realized in a way that could shed more light on the mystery of this obviously mentally challenged antagonist. Too many things just simply don’t add up, and a more detailed screenwriter could better flesh out the holes in a story that everything besides Quaid practically falls right into.

My Grade: 3/10 or F+

UglyDolls


 The Film Freak

Directed By Kelly Asbury

Starring – Kelly Clarkson, Nick Jonas, Janelle Monae

The Plot – In the adorably different town of Uglyville, weird is celebrated, strange is special and beauty is embraced as more than simply meets the eye. Here, the free-spirited Moxy (Clarkson) and her UglyDoll friends live every day in a whirlwind of bliss, letting their freak flags fly in a celebration of life and its endless possibilities. In this all-new story, the UglyDolls will go on a journey beyond the comfortable borders of Uglyville. There, they will confront what it means to be different, struggle with their desire to be loved, and ultimately discover that you don’t have to be perfect to be amazing because who you truly are is what matters most.

Rated PG for thematic elements and brief action

POSITIVES

– Meaningful casting. It’s always baffled me why musical kids movies rarely cast singers in these roles, but “Ugly Dolls” takes advantage of some of pop music’s biggest names, and puts them to work, performing no fewer than ten songs in this film. Transcending the film itself, this merging offers dream collaborations for music fans of every age, and while the music itself leaves more to be desired in terms of addictive beats and catchy hooks, it’s an 80 minute concert none the less, whose infectious energy and familiar accents of the cast bring forth all of the right gifts to musical cinema. Are they the best vocal performances? Outside of Jonas, absolutely not, but in a film with an overwhelming amount of musical influence, they are the way to go in this intended direction.

– Deeper meaning? As my readers know, I love watching a movie on a conventional level, and viewing it as something so much ulterior, and I certainly found a devious one with “UglyDolls”. The villain, Lou, (Jonas) teaches perfect dolls how to be perfect for their future children. It basically establishes him as this toy Hitler that is creating a master race of perfection to rid the world of peace and acceptance. Hitler also viewed blonde hair, blue-eyed boys as the future of the human race, and that is none other than Lou’s physical features, perhaps hiding something much more sinister behind his pearly-white smile. Naturally, a child won’t make this comparison, but it establishes a demented layer of fantasy to a film that needs anything to make it that much more entertaining, and for my money, this is the best I could come up with.

– Craziness in a finale. If you see this movie for any reason, watch the final twenty minutes, which includes a robot dog and baby, a legion of zombie followers, a nightmarish darkening sky, and the world’s biggest washing machine. In a sense, this movie is throwing everything at the screen to see what sticks during this pivotal third act, but to a certain degree it’s in this carefree execution where a sequence this convoluted can present the only scene in the movie that I am sure to remember three months from now. It reminded me somewhat of 90’s Disney finales, when all rules were off, and the setting itself became almost a character of sorts for what was revolving between protagonist and antagonist. If STX were willing to take more chances like this one, then maybe “UglyDolls” could be the anti-animated film that paves its own unpredictable path to infamy, but in the end it’s just a lone kickass finale that spiked my interest from non-existent to remote.

NEGATIVES

– Rips off two different franchises. Between the animation textures and musical similarities of “Trolls”, and the plot structure of “Toy Story”, “UglyDolls” finds no shred of originality to counteract the strokes of familiarity that are all over this picture. Because of this, the film reeks of a cash grab, where a studio once again tries to capitalize on the intake of a popular kids toy line, while throwing together a series of flimsy ideas that never add weight of meaning to the purpose of its inception. Aspects like these truly bother me about kids movies, because studios will often slip in these plagiarizing points of plot because they feel that younger audiences either won’t be aware that they’ve seen this movie before, or won’t care because of the vibrant colors or boisterous noises that come with it, and it gives “UglyDolls” an unmistakable feeling of incomplete that it never manages to shake.

– Stretched screenplay. 80 minutes is the bare minimum of acceptable major motion picture run times, but when we dig deeper to the root of the material, we find that the progressing story could easily be told in a half hour special on Nickelodeon or Cartoon Network with some tweaks of edit to better pace the story. I mentioned earlier that there are at least ten songs in the film, each of which are around three minutes, so you have already wiped away thirty minutes in songs alone, leaving fifty minutes to establish character’s, build a conflict, and offer a resolution that satisfies your audience. Needless to say, it doesn’t happen, and it makes this film feel like one of the least ambitious and phoned-in movies from a big budget studio that we’ve seen in quite some time. It’s not just a bad movie, but one lacking a sprinkle of creativity to contend in an age where animated movies are doing ground-breaking things.

– Lack of finesse with the animation. I understand that STX Films is certainly no Pixar or Dreamworks with their animation budget, but the combination of computer generation and live action illustration on our title character’s conjures up a Frankenstein finished product that conveys its inability to compete, leaving us the audience limited in our ability to feel dazzled by the presentation. The backgrounds, particularly in the detail given to the Ugly town are three-dimensional, but the same dedication is never given to character movements or facial registration, which feel as lifeless and incoherent as any animated property in 2019. Mastering a visual feast is half the battle with animated films, and with counterproductive traits in animation styles that make up most of what is front-and-center at all times, STX cuts off their legs before the war of comparison has ever begun.

– Combination of cliches. As a screenwriter, Alison Peck combines enough lukewarm sentimentality and empty-handed motivations to make this the Hallmark Cards of movies, for how truly corny and unearned every inspiration felt in the execution. Themes like “Be yourself” or “Listen to your heart” are good in theory, but so obvious in a film genre that does this sort of thing almost weekly. The screenplay tries to jam in far too many, and eventually it just feels like a game of bingo, where you wait until your motivation meme is called, all the while practically slapping kids across the face with intentional clarity long before they are able to piece it together themselves. Good intentions are one thing, but when a movie uses too many of them, especially with an ending conflict that condemns one character for being true to who he was, makes it all feel like a shallow piece of propaganda that is preached, but rarely practiced in the film.

– Flat humor. It’s hard to even classify this film as a comedy, because not only did I not laugh once in the entirety of the film, but the script often goes too far between in even attempting to gain emotional expression from its youthful viewers. This will be the hardest sell to them, for how little it gets them involved in the process of the plot, as well as the complexity of personalities to grip onto. What little comic opportunity there is speaks to the weirdness of the creatures themselves, and really nothing outside of the box in that regard. I was honestly expecting juvenile laughs in the form of bodily humor, but what I got was somehow less than that, cementing one of the most difficult films that I’ve had to sit through in 2019, thanks to arid material so undercooked that it defies the laws of genre classification.

– Lack of character exposition. I mentioned earlier that this film has roughly fifty minutes to get its feet wet in distinguishing these character’s, and with the exception of a dog played by Pitbull, the rest of the UglyDolls are interchangeable if not for the color of their skin. Seriously, there is nothing between them in personalities or motivations that make them even remotely different, and thanks to the film’s lack of time devoted to bringing each of them along with their own respective conflicts, the line of division is that much more blurred because of such. In addition to this, the dialogue feels very clunky, in that it explains the bare basics of the world and conflict without digging deeper to soak in the atmosphere. This makes the character’s and UglyVille world feel like a prop to a hinted at bigger picture that never truly materializes, and scrambles for focus in a screenplay that constantly struggles with disjointment.

– The music. Not only does the musical accompanyment drop the ball on catchy jingles that parents will wear out their IPOD’S playing, but the music itself fails in progressing the story during the momentary instances where everything else stops. In a musical genre film, the music is often used as a tool to fill in the gaps of unseen backstory and inner character psychology, but the lyrics disappoint on a very topical kind of level, keeping the depth of their inclusion pointless, in that we as an audience have seen what they are further repeating. If I had to pick a favorite, it’s easily “Broken and Beautiful” by Kelly Clarkson, a power ballad about seeing the beauty in something deemed different. But by the time the film is finished, this theme is repeated endlessly in the sequences and situations, rendering the power of its message that much more ineffective because of how much it’s hammered home.

My Grade: 3/10 or F

Hellboy


 The Film Freak

Directed By Neil Marshall

Starring – David Harbour, Ian McShane, Milla Jovovich

The Plot – Hellboy is back, and he’s on fire. From the pages of Mike Mignola’s seminal work, this action packed story sees the legendary half-demon superhero (Harbour) called to the English countryside to battle a trio of rampaging giants. There he discovers The Blood Queen, Nimue (Jovovich), a resurrected ancient sorceress thirsting to avenge a past betrayal. Suddenly caught in a clash between the supernatural and the human, Hellboy is now hell-bent on stopping Nimue without triggering the end of the world.

Rated R for strong bloody violence and gore throughout, and adult language

POSITIVES

– Charming ensemble. While he will never be no shadow-filler for Ron Pearlman, I can say that I found a lot of redeeming qualities about Harbour’s delve into Anung Un Rama that kept this film interesting at times when the story failed endlessly. David’s timely deliveries for comedy, as well as his registry as a tortured soul aching for belonging, is everything different that Ron Pearlman’s brute demeanor didn’t convey. Instead, Harbour instills a sense of vulnerability to the character that we often don’t see, bringing him closer to humanity as he tangles with this immensely powerful adversary. Speaking of which, Jovovich is serviceable enough as well, even when the dialogue she delivers does her no favors in terms of intimidation along the way. Milla is giving her all to play an antagonist for the first time, and there’s a lethal dose of seductive sting that she offers to the role that makes her dangerous for all of the things that comic book movies are afraid to attempt, especially with PG-13 renderings. It was also great to see Sasha Lane getting a big stage presence, as I’ve felt for years that this girl is an eventual Oscar winner in the making.

– Make-up and prosthetics work. It’s amazing that a film with such dominance towards computer generation has a secret weapon thriving underneath it all, in the form of practical character designs that channel everything we love about Hellboy, while establishing that this is a fresh start for the character. The amputated horns are still there, but the facial structure supports more of a slouching outline for Harbour’s take, giving way to an aging process that didn’t feel possible before in the previous two films. In addition, the cheek prosthetics stretching out Harbour’s familiar facial traits is something that allows the actor to transform properly with very little reminder of who is underneath because of the complete picture of it all. It proves that while a lot is lost in translation in the decade-and-a-half since the previous film, the work of some highly skilled cosmetic magicians behind the scenes still pump as the heartbeat of this franchise.

– Coveted R-rating. This is a film that knows its audience. It’s the very same people who grew up with the 2004 film, and are now full-fledged adults, who have since been craving an edgier sequel to compliment the character. It comes in the form of mature material in language and brutal violence that cater to the rock-and-roll lifestyle of the character. The violence and blood splatter satisfied the deep-seeded horror nut inside of me, and the inclusion of some personal favorite curse words improved the bumbling dialogue in a way that made it feel human instead of manufactured. R-ratings in third installments don’t typically work, but I feel that the spike here better elevates the impact of the action, all the while fleshing out the growth of the character that mirrors that of his faithful audience.

NEGATIVES

– Lifeless computer generation. To say the effects work in this film are bad would be a compliment. No, this is the kind of lifeless digitalization that was present in the 90’s, during a period when that could be forgiven for our complete inexperience with it. This is a film made in 2019, whose backdrops and violence feel about as real as claiming I.T.T Tech for a major college degree. Scenes that are supposed to show Hellboy as a badass are nothing more than a humorous exercise in ridiculousness, and for the majority take much away from the impact of what should be these scenes of visceral devastation. I could forgive a film’s effects for playing into the mayhem transpiring with the film’s other technical deficiencies, but nothing on screen is a pleasure to look at, and I’m simply not going to allow weak post production a pass when it comes to creating a one-of-a-kind feel that is anything out of this world for comic book movie adaptations.

– What narrative? As a story outline, “Hellboy” might be the sloppiest screenplay that I have endured in quite sometime. When the movie isn’t stacking another log on the pile to see what burns with effectiveness, the beatdown of rapid fire sequencing makes it very difficult to accurately interpret what is taking place right in front of us. There is no slow down period to soak everything in. It’s a near two hour long-winded delivery of breath that feels seconds away from fading to black at any moment because of exposition overhaul. I myself am not a fan of the original two Hellboy films by Guillermo Del Toro, but I can say in those movies that there is at least a straight and narrow line of storytelling that keeps us firmly in-tuned with what is transpiring. In this movie, I felt like a child was making up their own version of story time, where no two ideas rub together to feed into a lone cohesive unit.

– Far too long. Marshall’s chapter of Hellboy clocks in at 110 minutes, and while that might not seem like a huge investment for comic book audiences who have endured nearly three hour epics, the combination of forced flashback’s and simply too many big set fight sequences, make the sit an uphill endurance test. For the former, I mentioned this problem in my review of “Fantastic Beasts: The Crimes of Grindelwald”, but here it feels much more padded and unnecessary, especially when the use of audible narration is already telling us everything that transpires visually before us. It’s a strange breed because I feel the film could easily be trimmed, but I think this would only further compromise the cyclonic storytelling, whose speed has us seeing only streaks. I guess you’re simply damned if you do and damned if you don’t.

– Mundane heavy metal score. Composer Benjamin Wallfisch (Real name) has honorable intentions here, but the lack of royalty in track selection dooms his opportunity to make “Hellboy” the rock-and-roll opera that we deserve. With the exception of a couple key inserts, like “Kickstart My Heart” by Motley Crue, the majority is a DVD stock composition that is used when a studio doesn’t want to pay for commercial rights to sample the proper song. There’s even traces of what Wallfisch wanted in each scene, whether it be in the form of familiar metal guitar riffs that borders plagiarizing because of what I previously mentioned. It gives the film an easily identifying trait of cheap production value that doom the art of some eye-catching visuals, and teaches us to pay extra when the scene calls for it.

– Distracted editing. There’s no big surprise here: too many cuts and too little consistency in visual storytelling. In any single sequence of action, you can expect three different angles to watch the same scene, giving me this inescapable feeling of dementia that made me question reality. There’s also this annoying trait, where a scene cuts far too early, and the dialogue from scene one bleeds into the dialogue from scene two. I get artistic expression, but this feels like an unnecessary transition effect that cuts into the focus of the previous scene. Likewise, the editing during scenes of explanation or exposition take a page out of Guy Ritchie’s “King Arthur”, where frames are inserted that don’t add anything to what we’re hearing. For instance, one heartfelt scene between Hellboy and an old acquaintance comes and goes with many visuals of the details in the kitchen that houses them. Filmmaking attention deficit at its finest, and it hinders even the smallest shred of momentum that the audience gains for investing into this story at any particular moment.

– Tonal clashing. If this was a film that was firmly committed to being a cult comedy, then I could forgive it for ridiculous levels of material and production that do it no favors in gaining an audience, but there are deeply dramatic scenes in the film that revolve around love and loss that speak to a totally genre of film, and in turn make the dominant direction in this film feel even more jumbled because of it. The humor in the material is far too juvenile far too often to render the transition needed for some deep-seeded moments of heart that the film calls on late in the movie. In turn, these scenes of dramatic pulse take away everything that everyone was enjoying about the character up to that point, and it all feels like a balance of power behind the scenes from a studio that didn’t know what they truly wanted from this legendary figure. As to where the previous two films were dominant action movies with an occasional speck of dark, twisted humor thrown in for good measure, this installment feels 70% comedy and 30% the occasional speck of drama, and it never worked at finding a comfortable balance for all to enjoy.

– Continuity flaws. This more than conveys the hack-and-slash finished product that we were left with. Consistency in scenes is a constant problem for this film, especially one involving Hellboy and a cocky agent late in the first act that made me do a double take for its documentation. Hellboy and the agent are talking on top of a building, then the scene cuts to the agent taking the elevator to the ground floor to meet another agent, and Hellboy is now there with this secondary character. It’s possible that Hellboy jumped off of the building, but why? What purpose would this even serve? I wish I could say that a scene like this is rare, but it happens frequently throughout, making me wonder just how long the first draft of this film was before the editor removed the threads that binds the continuity together.

My Grade: 3/10 or F+

Wonder Park


 The Film Freak

Directed By Dylan Brown

Starring – Brianna Denski, Jennifer Garner, Kenan Thompson

The Plot – June (Denski), an optimistic, imaginative girl, discovers an incredible amusement park called Wonderland hidden in the woods. The park is full of fantastical rides and talking, funny animals , only the park is in disarray. June soon discovers the park came from her imagination and she’s the only one who can fix it, so she bands together with the animals to save this magical place and bring back the wonder in Wonderland.

Rated PG for some mild thematic elements and action

POSITIVES

– Eye fetching detail in animation. While there were some flaws with the character detailing, which left things like mouth movements and reactionary impulses feeling a bit delayed, the set designs and coloring pallet instill a vibrant sense of imagination to the product that puts the wonder in “Wonder Park”. Particularly in the dynamic between the grey undertones of the deceased park, which give it a decayed look, and the rich tapestry of it when it lives and thrives, we get a visual rendering of the atmosphere that the film has trouble translating into personal feelings. Likewise, the immense set designs and creativity behind some of the rides made it feel experimental like a Sims game brought to the big screen, all the while leaving valued minutes to devote to the mechanics of such unorthodox inventions.

– A positive message earned. As to where most kids movies these days harvest a personal message that often feels tacked on or contradictive to what is transpiring in the movie, the film’s desire to inspire and celebrate creativity is something that burns translucently throughout, and gives the film such honorable intentions that should echo with every member of the family. The film crafts the ideals of dreams as this sort of physical presence in our lives that breathe with the kind of energy that we put into them, and if those ambitions are shelved, Wonder Park represents that on a grand scale. Visual metaphors combined with heart in message, gives this story something deeper to reach for than the conventional kids movie we have come to expect.

– Filmed in 2.39:1 scope aspect ratio. This is only the fifth time that Paramount has attempted this with an animated property, but I think it pays off not only in capturing the immensity of the park itself, but also the madness associated with the mood inside. These establishing shots do so much more for the movie than the meandered script ever does, and it’s proof that camera stylings deserve consideration even in an animated setting, if only for the way it hooks the audience in to its mayhem before it breaks their trust. Read on.

NEGATIVES

– One problem ties to everything. When I look back on all of the things wrong with “Wonder Park”, the one common motive is because of a barely 78 minute run time that condenses every possible theme and subplot that the film tries to harvest. On top of it, the pacing is horrendously erratic, feeling like the movie is constantly on fast forward through skewered lines of dialogue that are constantly rushed, as well as the antsy setting that changes every thirty seconds. After a while, this film gave me a headache to even concentrate on it, and it establishes firmly the argument against easy time sits for the sake of an antsy audience.

– The dropped ball of dramatic pulse. One subplot in the film revolves around grieving, and actually intrigued me as to what the film could do with such heavy levity that develops depth for a movie like this. But it never materializes because the film and our central protagonist put it in the back of their minds to never be mentioned or touched upon again, and it wastes what could’ve been this movie’s “A Monster Calls” moment, complete with character maturity and epiphany that really allowed you to relate to the anything-but-engaging June character. Even worse than this, the film neatly tucks away this angle in the closing minutes, proving that if it did have any balls, they were left behind on one of the rides because this movie, like others, feels that kids are too stupid to grasp with loss.

– Undercooked material. The worst kind of kids movies are the ones where there are no redeeming laughs or material to at least you entertained while you sit through the rest of the movie that doesn’t measure up, and this is the case with “Wonder Park”, a movie so devoid of emotional response that it made me wonder if I was sedated. The humor not only fails in this movie, but it fails so bad that even the kids weren’t buying it in my theater. Even the cute noises and loud sounds that animated movies go to when they refuse to write anything clever weren’t working, and it just sort of makes every scene a chore to sit through when it’s reaching for something that so evidently isn’t there in the slightest.

– Zero character exposition. This is a strange one for me, because I didn’t feel like a movie could omit even its lead character from any kind of build that properly fleshes out her personality and moral character. When you think of June, you must ask yourself what you learned about her in the movie. For me, it’s that she loves theme parks, she loves her mother, and that she’s mechanically inclined. That’s it. These are things that you would probably pick up on if you spent ten minutes with the character in real life, but after spending this much time, the juice simply doesn’t warrant the squeeze. Aside from June, the other characters are just personalities instead of people. The film has so little desire to include them in anything meaningful or rendering that it just kind of reserves them to being these voices that never materialize as living, being things, and completes the underwhelming layer of character development that the script doesn’t waste time on.

– Obvious copyright ducking. The movie never says Wonder Park once in the film. Instead, it says Wonder World repeatedly. So why call it Wonder Park in the first place? Perhaps it’s because Disney owns the rights to Wonder World, and that the mention of it would cease the production of this film faster than you can say frozen Walt. Or here’s an idea, just refer to it as Wonder Park in the lines of dialogue, because ya know, IT IS THE TITLE OF THE MOVIE. This kind of sloppy execution is something that you would expect from an unknown studio, but for Nickelodeon Pictures to bring forth this cowardice, only reminds you of the bigger, better studio that is producing more meaningful pictures than this in its sleep.

– Production troubles. The movie is a chaotic mess, which may have been inevitable given its troubled production history. Paramount reportedly fired the original director in January 2018, when he was accused of “inappropriate and unwanted contact” with women. (Through his lawyer, he denied the charge.) He was replaced by a trio of filmmakers, none of whom getting directing credit. Five months later, the actor who voiced one of the park mascots, a narcoleptic bear named Boomer, also was replaced after sexual-misconduct allegations. Somewhere between those two events, the movie’s title was changed. One could write this off as a string of bad luck that occasionally catches up to film crew’s, but I call it a sign from a higher power telling them when it’s time to pack it in.

– Floundered voice work. Outside of the animated complexity of John Oliver voicing a romance riddled porcupine, the entirety of this heralded well known cast is wasted by a string of poorly directed and energetically lacking deliveries that highlight this as a paycheck only job. I probably shouldn’t say this about kid actors, but the 14-year-old Denski’s monotonous inspiration of this animated property lulls it down to a sense of dreary hypnotism that is anything but a compliment. As a protagonist, she lacks the kind of excitement associated with a character of her particular skillset, and gives us nothing to look forward to since this is where the movie spends the entirety of its time. Jennifer Garner also underwhelms again, bringing nothing of dimension or difference to her usual familiarity. Her and Thompson are probably the only two you can easily make out in the cast, and it’s a testament to the lack of experimentalism that they bring to the role that could otherwise open some new doors for the longevity of their shelf lives as stars.

My Grade: 3/10 or F+

Replicas


 The Film Freak

Starring – Keanu Reeves, Alice Eve, Emily Alyn Lind

The Plot – A daring synthetic biologist (Reeves) suffers through a brutal car accident that kills his family. In response, he will stop at nothing to bring them back, even if it means pitting himself against a government-controlled laboratory, a police task force and the physical laws of science.

Rated PG-13 for thematic material, violence, disturbing images, some nudity and sexual references

POSITIVES

– Cohesive musical score that channels the vibes of science fiction authenticity. While much of the audible deliveries in dialogue lacked anything of depth or convincing nature for my ears, the experimental touches of tones performed here by composers Mark Kilian and Jose Ojeda echo the paths of uncertainty brewing beneath the surface, and were a treat to my otherwise tortured eardrums. As expected, there are plenty of techno samples incorporated into the general outline, but it’s more so in the majority of practical piano that brings with it an air of class and sophistication to the picture, preserving the high stakes feel that our characters are playing with.

– Unintentionally humorous. Whether the film meant to instill such a ridiculous amount of cheese and silliness to the film, the result more times than not brings us the audience some delightful refrains in the area of hearty laughter. One thing that I can say about “Replicas” is that I was never bored during its 97 minute presentation, and a lot of that has to do with shaky line reads and braindead scientific accuracy that constantly demeaned this film from taking itself too seriously. This might sound like a glaring negative, but I would rather have a terribly funny movie than a terribly boring one, and the former is what helped push me through many of the problems that I will mention coming up.

– Intelligence in shooting schedule. Outside sequences in films often cost much more money to shoot and finalize, and this film’s capability to keep their screenplay indoors is certainly something that helped slim production costs. More than 90% of this movie takes place inside, and it’s probably a good thing because so much of the cinematography outside, especially during daytime scenes, radiate with an overall feeling of artificial lighting design that constantly break the fourth wall of realism. It’s not only believable why these instances would take place inside, but never hinders the creativity associated with the progression of the picture, and it’s awesome that they took something that would be considered a negative and blossomed it into a positive.

NEGATIVES

– How important is a good director? Well, they are responsible for garnering the best in emotional range and gut-punching relatability to us the audience, and neither are anywhere close to where they should be for this film. The movie just kind of glosses over the concepts of grief and its importance to investing so deeply in its characters, riding along with the kind of wooden performances that are easy to sniff out for even occasional moviegoers. When you take a film like “John Wick” and come to understand the importance of his dog, and what losing him meant to John, you back the character through anything, and that was anything but the case in “Replicas”. In a sense, it almost makes Reeves character here feel detestable, in that his selfishness and lack of emotions expressed during the film’s most impactful scene goes unfulfilled, and it made for characters who I just didn’t care for at all.

– Horrendously phony C.G effects. The movie “I, Robot” came out in 2004, and I mention that because not only did this film rip-off the android designs from that movie, but also did it with half of the captivation and weight that a film fourteen years prior did better. Aside from the live action actors totally getting the height capture wrong when staring at their android counterparts, the movements of fingers and limbs is so hollow that you can almost see the computerized dimensions moving stiffly without perfecting. Thankfully, these properties aren’t in the movie much, but the end result makes me think that was more intentional than anything.

– Has a show-and-don’t-tell mentality when it comes to its science. If you can somehow ignore that transferring memories is done in a basement, and done so flawlessly, the lack of explanation that goes into the surgical transfer itself will bother you in hanging on to what is transpiring. Instead, the film shows us a bunch of “Iron Man” touchscreen visuals, which translate to nothing more than lazy screenwriting so that no one calls it on its bullshit. Speaking of that sentiment, why doesn’t the film cover the issue of internal bacterial flora? In real life, these clones would die of constipation or some other stupid disease in no time, just from breathing in our air and not being used to its level of pollution. To be fair, the movie does showcase something going on in Alice Eve’s body while she’s out running, but we never get any explanation if this is what I’m talking about, or just vicious diarrhea from Reeves challenging breakfast offerings.

– In addition to what I just mentioned, the movie also has enough plot holes to drive a Range Rover through it. For one, this research team is specializing in memory transferring, so how are they top notch experts in cloning? If this guy is able to move a whole laboratory to his basement without error, why can’t he just work from home? There’s a scene where Reeves steals car batteries the night before to gain enough power for the transfer, and the cops come to his house the next morning asking if his car is ok, to which he replies “No, they didn’t get me”. How would he know when the thieves did it the night before, and he’s just now waking up? Wouldn’t they ask him to at least check his car before answering? Doesn’t this make him at least remotely suspect? Who cares, because it’s a movie, and you’re supposed to be stupid when watching a movie. Hating it means you’re an old grump.

– Obvious foreshadowing. The many times during the movie when something is unsubtly squeezed into a conversation, removes any kind of suspense or nuance to the developments of the picture. This as you might expect renders much of the screenplay predictable, giving us ample time to sniff out where and when it will pop up in the scenario to remind us why it was mentioned. The biggest instance of this is a crayon drawing by Reeves daughter on their kitchen table that the camera shows us for no reason than to hint that it will pop up somewhere down the road later, and of course it does. Reeves character is so stupid and unbelievable as a scientist that he somehow logs onto his kids Facebooks to clear up their disappearances, gets rid of all of the pictures and clothes in his house, yet somehow doesn’t see this abnormally big drawing of a dinosaur in crayon on a place he frequents often in the film. UGH!!!

– Uneven pacing. While the film was never boring to me, the polarly opposite first and second act did a complete disservice in settling down and enjoying the narrative. The first act speeds through any character introductions, and feels like it starts where a movie’s tenth minute usually is at, yet the second act slugs along in such a way that hinders the progression of some solid suspense up to that point. If the film could ever settle itself down and gain some consistency for itself, these acts would flow seamlessly, but as it stands the script lacks confidence in translating how much entertainment value it pulls from the material.

– It’s been a while since I’ve been this angry at a movie’s ending, but “Replicas” final five minutes renders everything that came before it completely pointless. SPOILERS – The antagonist group that moves in the shadows are never stopped or dealt with, the world evolves in a way with these replicas that is every bit as ridiculous as it is unexplained, and the negatives that hindered Reeves’ family replicants are never addressed again. I guess they just diminish in the same way my expectations for this movie did. It ends as abruptly as you can possibly imagine, leaving ten minutes of credits to inflate the movie’s run time to feel like a big screen run time.

My Grade – 3/10 or F

Welcome To Marwen


 The Film Freak

Directed By Robert Zemeckis

Starring – Steve Carell, Leslie Mann, Diane Kruger

The Plot – When a devastating attack shatters Mark Hogancamp (Carell) and wipes away all memories, no one expected recovery. Putting together pieces from his old and new life, Mark meticulously creates a wondrous town where he can heal and be heroic. As he builds an astonishing art installation, a testament to the most powerful women he knows, through his fantasy world, he draws strength to triumph in the real one.

Rated PG-13 for sequences of fantasy violence, some disturbing images, brief suggestive content, thematic material and adult language

POSITIVES

– Vibrancy in art design. While nothing original in terms of its production specifics, the animation in the film free-flows the beauty and attention to detail of a doll’s aesthetics. The actors film these scenes in live action, and in post-production are given a plastic shine filter to emulate them as acting dolls against a live action backdrop. In addition, the lighting of these scenes are beautiful, conjuring up a soft gloss of light that reflects on the smooth plastic exterior of their physical properties. You can say a lot of things about this film, but lacking in the art department will never be one of them.

– Steve Carell dazzles once again. The screenplay does this man zero favors in making his character look presentable to the audience, yet the constant professionalism of one of the strongest dramatic forces working today constantly elevates the material and gives light to another transformative performance. In Carell’s Hogancamp, we taste humor, some anguish, and a lot of fragility, and it’s in the masking of the last term where we really outline a layer of empathy to the character, making his a story of redemption that we are constantly investing ourselves in. Steve delivers a lot of heart for the real life figure, and that commitment to the ball of nerves that dominate his daily routine is something that only an actor of this magnitude can pull off without it feeling humorous every time.

– Believable setting. The boundaries of Mark’s real life town inside of Kingston, New York are tightly shot, preserving that air of a small town quality where everyone knows everything going on. This not only explains why Mark’s situation is the discussion of so many people surrounding him, but also a news broadcast that clues us in on what’s taking place with the men who jumped and beat him down during one fateful night. This is an area of filmmaking that is often overlooked for whatever reason, but in keeping our filming locations limited, and the framing tight, it accurately presents that air of claustrophobia inside of a small town.

NEGATIVES

– Musical miscues. Besides these obvious tracks feeling distracting during the scenes in which they play because of their boisterous volume levels, the overall soundtrack for the film is riddled in such topical convenience for what is playing out on-screen. An example is a sleeping sequence that is being enveloped by The Everly Brothers “Dream” playing out in the most eye-rolling manner. It made for these times of musical incorporation that I dreaded hearing from, and made me wish the remainder of the film was a silent one from the roaring 20’s.

– Cluttered dialogue. There’s nothing subtle or nuanced about the dialogue in the film. From force-feeding of backstories, to obvious metaphorical representations, this film constantly reeked of desperation, and progressed little because of how much explanation it was required to give for the past. Because of such, it feels like two movies are playing out in real time: one for the current narrative, and the one in which the movie has to stop every two minutes to explain something we see in real time or hear about on the news. Who knew in 2018 that biopics can still be this clumsily written?

– Lack of sensitivity for the subject matter. Hogancamp’s story is one that is plagued by mental illness, depression, and especially abuse, and the screenplay tiptoes around these subjects so as not to make anything under Zimeckis’ roof feel risque. For Mark himself, the movie approaches him as this bumbling infant who is part compassionate and part creepy for the demeanor he exerts on others. An example of this is his interaction with Leslie Mann’s character, in which he describes how he collects women’s essences. Keep in mind that all of this is out of Mann’s context, as she just moved to the town, and would otherwise come across as a serial killer who is obsessed with her likeness. In addition, the conflict of mental illness is cleaned up in such a way that is not only insulting to someone like me who has fought his own battles with such adversities, but irresponsible for how easy it is eventually defeated.

– The “Sucker Punch” effect. Zach Snyder’s 2011 fantasy epic is the last film that I ever thought or ever wanted to reference again, but it feels like Zimeckis has watched this film one too many times in his rendering of this project. The fantasy sequences often take far too long to reach their point. As well, they also dominate the time allowance over the live action narrative in a two-to-one ratio, taking far too much focus away from Mark’s confining circumstance. There’s almost too much optimism in a story that should otherwise feel so dark, and I’m not naive enough for a second to believe that the answer to both films conflicts resonate somewhere in the fantasy world. Seriously, fuck you.

– Disjointed continuity. Some character dynamics are dropped and never referenced again, some female doll likenesses are never explained or introduced at all, and some scenes are so miniscule in importance that they were better left on the cutting room floor. It all pressures the pacing of the film into some dire consequences that make 111 minutes feel like three hours of burning wax torture. The main problem is that these scenes never allow themselves to pick up any kind of relative momentum, instead feeling like a collection of instances that don’t gel together as one cohesive unit that is otherwise building towards the bigger picture.

– A talented cast that is completely wasted. Besides what I mentioned earlier about the work of Carell as the film’s central protagonist, the entirety of the female cast is shipped in and shipped off in such a way that makes their value that of their wax counterparts. There just simply isn’t enough time to donate to all of them, so inevitably someone is going to get sacrificed, and the pendulum swings more on Mann and Janelle Monae than anyone else. Mann is Mark’s love interest, and aside from them intentionally lacking chemistry despite Mann and Carell doing three films together, the development constantly feels rushed and unnatural in the way it flows, limiting the film’s one redeeming quality in such a way that gives us the audience nothing to look forward to from the predictably bland third act that comes to fruition.

– Pretentiousness rears its ugly head again. While this isn’t the most pretentious film of 2018 thanks to Lars Von Trier’s “The House That Jack Built”, it does more than its share of Zimeckis referencing to drown out the immersion of the film. I won’t spoil all of them, but I would be doing you a disservice if I didn’t mention that the Doloreon from “Back to the Future” is prominently featured in the dynamic of an important scene, midway through the final act. Why is this included? Because one of the doll’s require a time machine, and we obviously can’t think of anything other than Robert’s biggest franchise when it comes to that distinction. It stinks of desperation, and emits an air of pretentious filmmaking that reminds us that Zimeckis is leaps and bounds from where he once was.

My Grade: 3/10 or F+

The Possession of Hannah Grace


 The Film Freak

Directed By Diederik Van Rooijen

Starring – Shay Mitchell, Grey Damon, Kirby Johnson

The Plot – A shocking exorcism spirals out of control, claiming the life of a young woman. Months later, Megan Reed (Mitchell) is working the graveyard shift in the morgue when she takes delivery of a disfigured cadaver. Locked alone inside the basement corridors, Megan begins to experience horrifying visions and starts to suspect that the body may be possessed by a ruthless demonic force.

Rated R for gruesome images and terror throughout

POSITIVES

– Ominous setting. In casting a majority of this story at the morgue, we get to play with shapes and shadows in way that very few other locations can give us, in terms of atmosphere. As we saw in “The Autopsy of Jane Doe”, a morgue is the perfect place in channeling isolation and seclusion, and this film continues that thought process. While the film does commit the same cinema crime of limited workers at a hospital, it more than makes up for it in neon red lighting and what feels like never-ending hallways, to give the audience enough tease before the taste.

– Elaborate attention to detail with the make-up work. Unfortunately, most of Hannah’s joint-crunching movements are computer generated, but there’s still enough imagination and gory detail to the suffering of Grace to visually tell her history. The gaping wounds have a lot of depth to the concept of early stage scaring, and the protruding presence of immense veins act as a map to Hannah’s tortured psyche. This is an aspect to the film that won’t get enough credit, based on its limited documentation in the sloppy camera work, but if you look close enough, there’s plenty of range in the form of cosmetic appeal.

– Sound mixing that caters to echoes. For my money, the film’s only slight scares come in the form of overbearing silence, which periodically increase with each passing second. The things that go bump in the night are accompanied by what feels like the morgue’s internal heartbeat, and this builds the suspense appropriately, before Hannah pops up every once in a while to capitalize. In fact, I would’ve been fine without any kind of musical score for the movie, as these sounds more than articulate the tension that is so thick you must cut it with a knife.

NEGATIVES

– Amateur camera work that hinders any kind of horror impact. Each time Hannah appears on-screen, we are confined to these ugly looking shaky camera effects that not only make it difficult to focus on the telegraphing of each sequence, but also give the film an overwhelming layer of cheap production value to its effects work. I was hoping that this was only a temporary inclusion at the beginning of the film, during an exorcism sequence, but unfortunately it stays with Hannah like the worst kind of cheap odor.

– Gaping plot holes. Early on in the film, the screenplay shows us Hannah’s capabilities with telekinesis, and it makes every other scene of conflict with Megan not make sense because of how this talent never comes into play with our central protagonist. This is a cliche that always drives me nuts in horror films, as an antagonist appropriately loses their powers when it matters the most, treating the audience like idiots who haven’t been paying attention up to this point. The only way to fix this is to give Megan a reason why Hannah is keeping her alive, but it sadly never materializes, thanks to minimal character development that is sparse even for forgettable B-movie horror characters.

– There is absolutely zero reason for this film to be rated R, considering the presentation constantly limits the payoff. The violence is never detected because of the shaky cam, there’s no nudity considering Hannah is naked for almost the entirety of the movie, and there’s not one instance of adult language that ever invades our first grade dialogue. Very few horror films anymore attain the coveted R-rating, and it’s sad that “The Possession of Hannah Grace” does nothing to enhance its story by receiving this rare gift.

– What an ugly looking film. The daytime scenes have this dreary cinematography quality that made me have to squint every time I needed to focus on a visual matter. Likewise, the scenes where something is going on in the background are constantly out-of-focus, providing emphasis for just how much time and care was put into such an important project. This all pales in comparison however, to Sony’s usual lack of subliminal advertising. Yes, we once again have Sony computer screens that adorn the many investigation scenes in the movie. In general, it’s vomit behind every corner, leading overall to one of the weaker visual presentations of 2018.

– Horrible acting and character direction. As I mentioned above, there is limited character exposition throughout the film, but even if that weren’t the case, the poor work of this nameless, faceless cast does itself zero favors in carving out people we can truly get behind. I feel bad calling her out alone, but Shay Mitchell is in control of roughly 90% of this film, so the blame mostly falls on her. Mitchell can’t act her way out of a paper bag, refusing to ever channel even a shred of believable emotion to these paranormal experiences that are happening to her. Hannah’s dead body getting up to walk is reacted by Mitchell like she just stubbed her toe, telling you everything we’re going to get in terms of versatile performances. Likewise, the supporting cast lack personalities or presence, making them every bit as forgettable as the 1984 Democratic nominee.

– Not an exorcism film. Don’t be fooled in the slightest by the trailers for this movie; this one is a slasher movie that just happens to feature a possessed woman. Cementing this manipulative direction, the scene that is usually the climax of any possession movie happens in the opening five minutes of the movie, and what follows never comes close to even that heavily borrowed sequence from other, better possession movies. I have never seen a possession movie where the possessed have telekinetic powers without even touching them, and this evident feeling gave me an idea that this movie was re-written at the last minute to accommodate a direction that feels foreign to everything else in its clutches.

– Am I on drugs? I asked this question frequently during the editing of this movie, which feels like it oversteps boundaries to limit this to 81 minutes. Scenes that feel like a long struggle is coming, are surprisingly put away quite easily, aggressive cutting in between these scenes of important dialogue restrict us from ever building chemistry between any two respective characters, and there’s never any form of consistency to etch out this editor’s specific style. It all remains constantly spontaneous, keeping the film confined as a series of scenes, instead of one cohesive unit that moves together.

My Grade: 3/10 or F-

Robin Hood


 The Film Freak

Directed By Otto Bathurst

Starring – Taron Egerton, Jamie Foxx, Ben Mendelsohn

The Plot – Robin of Loxley (Egerton), a war-hardened Crusader and his Moorish commander (Foxx) mount an audacious revolt against the corrupt English crown in a thrilling action-adventure packed with gritty battlefield exploits, mind-blowing fight choreography, and a timeless romance.

Rated PG-13 for extended sequences of violence and action, and some suggestive references

POSITIVES

– Surprisingly well shot action sequences. One thing that worried me about the trailers was the erratic editing and overcompensating slow motion movements that felt outdated in the year 2000. Thankfully, there’s plenty more to adore here, as the speedy fight choreography and thunderous sound mixing keep audiences glued to the unfolding drama between sides. What’s most important is the blow detection, especially for an action movie in 2018, and the competence of the crew at hand make the most out of these outbursts of action, that couldn’t come at a better time.

– One man above the rest. While most of the cast is easily forgettable for me, the work of Jamie Foxx as John allowed me to hang my investment into one character in the movie. Foxx as a constant professional, seems to have a firm grip on the kind of movie this is, allowing his fiery registry and father figure tutelage to shine throughout the film. If this was a movie about his character, I feel like the noticeable differences in Robin Hood material could’ve worked, but unfortunately we become saddled with a protagonist who doesn’t have a single thing interesting about him.

– This feels like the first Robin Hood film that properly depicts how Robin became so good with a bow. Through the arduous training montages with John that properly prepare him for the sheriff’s men, we come to build not only a delightful chemistry between Egerton and Foxx, but also building our believability for the many physical feats that our title character masters throughout. I commend any screenplay that doesn’t settle for these human characters being born with the ability to capture these astonishing feats, and because of these vital scenes during the early stages of the second act, we etch out an outline of a man who is second to none at weaponry.

NEGATIVES

– Robs from the rich. I’ve seen scenes in “Robin Hood” before, but never in a Robin Hood movie. Yes, this is the second straight week when a property is taken advantage of by making it a superhero genre film, and it never works because it changes the many things about the Robin Hood legend that we’ve come to love. Robin isolates himself in training to become the Hood (Batman Begins), A love triangle for Marianne’s heart takes place (Spider-Man), Robin’s identity is hidden away by an awful disguise (Superman), and Robin is somehow the only man to live through being shot by arrows (Take your pick). There’s even an obviously comic sequel set-up, as well as comic book looking after credits. These elements to the story feel so out of place that it frequently has the film searching for an identity of its own, feeling further from reality the deeper it goes.

– Complete suspense of disbelief. I, nor the narrator knows when this story takes place, but the incorporation of these mind-numbingly unbelievable weapons might help us distinguish. For one, the crusade wars have an automatic machine-gun arrow dispenser, that pumps arrows out ten at a time. This is not only ridiculous for a story that is supposed to take place in the 16th century, but also how this army manages to lose despite having this convenient perk. There’s also a shield that helps the Sheriff’s men move fire like a piece of paper. I know shields are able to protect you from the heat of flames, but not moving them to the point of them feeling like a brief inconvenience. Myself, as well as the audience had a great laugh during these moments, and make me wonder why they don’t exist in modern times.

– Lack of immersion in the costume and set design. Never once during “Robin Hood” did I feel like I was transported to this world that feels far from my own, and a lot of the reason for that are these choices in wardrobe and locations that limit the teleporting appeal that a movie is supposed to have. The leather jackets and camoflage army attire made me scratch my head, but it’s the placement of a casino scene, complete with roulette wheels and poker tables, that constantly reminded me I was watching a film. I’m not going to pretend like I understand what the production team was going for in the design of this movie, but if you wanted it in modern day, just make it in modern day. At least that would be something different for a Robin Hood movie, and would make sense why you shopped at Hot Topic for the costumes in the first place.

– PG-13 limitations……AGAIN. Why do studios do this to themselves? A story that should obviously be adult is anything but, and in this case it’s a scene that limits itself to almost cartoon levels of logic. A central character of our group loses their hand almost as soon as the movie begins, and not only does this actor not react in the way that anyone would by losing their hand, but there isn’t a single drop of blood to make this blow feel believable. I’ve never pretended to be a medical genius or anything, but I think at least a little blood would come from losing something as vital as your hand. But it’s never further elaborated on by any scenes of suffering or urgency to get the wound closed, and because of our rating designation, we’re supposed to forget about it as nothing more than a minor hiccup.

– I can’t understand for the life of me how the Sheriff and his men didn’t know how Robin Hood was Robin of Loxley. Even in the film world where Superman puts on glasses to become an entirely different person, this is far fetched, and left me inching further down in my seat each time they tried to play this off as a compelling mystery. For one, there’s a robbery scene with Hood and Foxx’s John, in which John isn’t masked or concealed by any measure. Following this is a party scene, where Loxley shows up with John as his guest. Did none of the hundreds of guards see this lone black man in the town when they were chasing him on his horse? Even Marianne knows it’s Loxley under the hood, as she makes fun of the lack of disguise that is anything but subtle.

– A truly ugly visual coloring scheme. This movie reminded me a lot of last year’s “Assassin’s Creed” for more reasons than one, mainly the choices used with the cinematography that left everything feeling very rudimentary. Many of the nighttime sequences lack clarity or consistency in their depictions, the daytime scenes have this bland brownish tint to their renderings, and the C.G graphics of the landscapes and rapid fire arrows are comical for all of the wrong reasons. If the intention was to crossover Robin Hood into a world of animated properties, then job well done, but the weight of the effects constantly lacked depth, leaving the most interesting aspects of this story on the digital room floor.

– No name appeal crafts such a mundane project. Otto Bathurst is a television director who obviously felt overwhelmed with such a big budget and important property to showcase. While I have nothing personally against the director, I can say that so much of his work here suffers from derivative sequencing, uninspiring performances, and an overall a lack of urgency in the atmosphere that sells nothing of dramatic tension from within the material. This all falls in the hands of the director, and it’s unfortunate that his first real big screen project will go forgotten, ten minutes after moviegoers leave the theater. Although for Otto’s sake, that’s probably not a bad thing.

My Grade: 3/10 or F

Nobody’s Fool


 The Film Freak

Directed By Tyler Perry

Starring – Tiffany Haddish, Tika Sumpter, Whoopi Goldberg

The Plot – A woman (Haddish) is released from prison and reunites with her sister (Sumpter). She soon discovers that her sister is in an online relationship with a man who may not be what he seems.

Rated R for sexual content and adult language throughout, and for drug material

POSITIVES

– The REAL leading lady. Leaps and bounds above the comedic timing of Haddish, or the progression of Sumpter as the central protagonist, it is Goldberg who steals the show, with about ten total minutes of screen time. Whoopi was not only responsible for 90% of my laughs with this film, but she also added a much needed boost of sophistication to the film, that otherwise felt juvenile. I definitely could’ve used more scenes with her, and I wish Perry would’ve taken more advantage of his seasoned veteran.

– Definitely the easiest Perry film to watch. This doesn’t mean that I liked the film, it just means that “Nobody’s Fool” is easily the most accessable Tyler Perry film to audiences fearful from the word of mouth reputation that he’s attained. The reason for this is because this movie caters to two different types of genre audiences: comedy and romance, and that evolution to the second one is something that gives the film many unexpected directions, in terms of versatility, paving the way for possibly Tyler’s most ambitious project to date.

– Lavish interior set designs. For a film produced for super cheap (19 million), “Nobody’s Fool” has a taste for the finer things, decorating character’s apartments with sheik, alluring color schemes that radiate the vibe of New York City faithfully. This is the aspect of Perry’s direction that finally feels up to par when compared to his Madea films, that often look like they take place in front of cardboard cutout props and dollar store decorations. It’s a constant reminder of the differences between Sumpter and Haddish’s respective characters, painting a visual representation before our very eyes that constantly tells us everything we need to know.

NEGATIVES

– There goes the mystery. To anyone who has seen the trailer, they will know that the mystery of suitor Charlie is what a lot of the pitch is built around, yet when I saw the film this couldn’t be further from the truth. Attention is given to the mystery for about the first half of the film, before the characters move on from a terribly disappointing cameo reveal that reveals how far this celebrity has fallen. It is such an afterthought with the progression of this film, and only feels like a 40 minute joke that doesn’t pay off for a single second.

– Flat comedy that rarely hits. You can tell that this film is putting all of its chips on an amped up version of Tiffany Haddish, but it comes across more as a drunk, annoying ten-year-old, instead of a grown woman who interacts with people. Perry has also brought along one of his most annoying nags as a director, as his comedy never knows when to cut itself short, often dragging on these scenes of improv for what feels like a decade at a time.

– Incompetent direction. Perry never feels like he has a grasp on this story and characters, often changing his mind back-and-forth on the decisions they make that would otherwise be concrete for real human beings. This is no more prominent than in the final thirty minutes of the film, where two dating characters break up and get back together three separate times, and we’re not talking casual break ups where they both remain friends, we are talking devastatingly hurtful words that would scar stronger people. This arc of the film, to put it lightly, is batshit crazy. It’s the Tyler Perry movie you’re used to, but didn’t think you were going to get because of Haddish’s shining star. Proof that Perry will never change regardless of the situation.

– Uninspired effects work and attention deficit continuity. Whether in the car with some attrocious green-screen visuals to represent what looks like New York in the 70’s, or Sumpter’s high rise apartment windows mirroring the exact same lighting scheme every night, this film feels pedestrian for even the smallest things. Above all that though, is the laughably bad continuity between scenes that prove no one on set was paying attention. One such scene involves Sumpter’s character showing up to work with her hair looking crazy from getting no sleep. She is sent home, and immediately in the next scene has hair that is beautifully natural and flowing. Did she feel inspired to do her hair for the car ride home? Does she prefer to look better at home than she does at work?

– This premise isn’t believable in the slightest. You’re telling me that this grown, beautiful, intelligent executive is exchanging texts with a man she’s never seen before, and the reason given is because he has poor wi-fi? Since when do you need wi-fi to send a picture on your phone? Does he have a Facebook page? At the very least, could he have mailed her a picture in the one year they’ve been speaking? Even for a 1990’s premise, I can’t buy this in the slightest. It’s the same kind of baby back bullshit that Perry has been selling his audiences for over a decade, and they’re just stupid enough to buy into it.

– Crammed into the middle of this already bloated screenplay, is a sex scene that is every bit as awkward and engaging as Tommy Wiseau’s in “The Room”. Not only does this scene go on for what feels like forever, not only are the faces made so ridiculously goofy that you won’t be able to fight back laughter, not only is the chemistry between the actors as natural as a brother and sister getting together, but it all ends with the line “You can go home now”. Keep in mind that this is the romance we as an audience are rooting for. There’s also some speculation as to why Perry shot more of the male anatomy than the female in this particular scene. Sure you can say that he’s catering to his female audience, but my intuition points to another theory of mine that I’ve had for years for a man who has made a career dressing in drag. Just be free, Tyler, please.

– Pointless, unlikeable characters. I mentioned earlier that this is a vehicle for Haddish’s talents, but what’s astounding is how little of weight her character has to the unveiling story. Haddish receives top billing, but it’s actually Sumpter who is the main protagonist of the movie, as everything revolves around her character’s love life. If you think Haddish has any place in this movie, think about how much the story would change if her character was wiped from the film. IT WOULDN’T. On the subject of Sumpter’s character, I’m going to be blunt: she’s a nasty, naive bitch who no person with morals would support or indulge with in the slightest. She complains about her love life, yet won’t give the time of day to the cute barista who she sees everyday who loves her and gives her free things, she says these terrible things about people behind their backs and then seeks forgiveness immediately, and she hurts those who help her constantly. I’m all for conflicted protagonists, but Sumpter’s character is someone who I would never embrace on or off screen, so I can’t in good conscience want her to succeed.

My grade: 3/10 or F