Movie Review: "The Heat"

Director Paul Feig and actress Melissa McCarthy had a tremendous hit on their hands with Kristen Wiig's hilarious comedy Bridesmaids. The film was one of the funniest comedies to hit the big screen in years and while Melissa McCarthy was sidelined to an (Oscar nominated) supporting role in that film, the idea of Feig putting the breakout star at the front of his follow up seemed too good to be true. Their latest film, The Heat, gives McCarthy plenty of time to shine and the actress gets to prove yet again how funny she can be. But The Heat also proves something else: that Kristen Wiig played a major part in Bridesmaids success.

The Heat is a tale as old as time- two cops, one straight laced and professional (Bullock) and one wild and edgy (McCarthy) are forced to team up and overcome their differences to become great partners and friends. But comedies are far from unpredictable and it's the responsibility of the screenwriter to make the story feel fresh or, at the very least, less stale. But writer Katie Dippold just can't bring that sort of energy to the screen. Even worse, The Heat doesn't develop its tired plot, instead using it simply as an outline to bridge together comedic moments. This same problem occurred with Bridesmaids- the funny scenes felt like long, hilarious sketches while the less comedic moments were essentially just there to fill in the blanks. But The Heat magnifies this problem. Whenever the film isn't trying to be funny, it half heartedly tries to further the plot and then quickly moves the characters to the next scene so they can make the audience laugh again. Not to mention that Bridesmaids had heart and was genuinely relatable. While the blossoming friendship between Bullock and McCarthy has it's sweet moments, they mostly feel manufactured.

The film also stumbles in the way it depicts violence. The Heat definitely tries to take its slim plot seriously, which is commendable, but the amount of violence in the film is awkward and off putting. While some scenes (at least try to) come off as funny, it's very hard to find something to laugh at when women are being tortured with knives and men are being shot in the testicles. The cast certainly tries their hardest to make us laugh, but it's not the brutal violence that's the problem: it's that brutal violence is out of place in this film. Bouncing back and forth between slapstick (characters being dropped in cars, having phone books thrown at them, etc.) and realistic violence just doesn't feel natural and gives off the impression that the writer and director were going for two very different tones.

But now I'm going to take my critic's hat off and just come out and say something: The Heat made me laugh. A lot. Comedy is clearly subjective and what I find funny others may not, but I think Melissa McCarthy is hilarious and she singlehandedly makes the film worth seeing. While some may accuse her of being a one-trick pony, I admire McCarthy's willingness to be savagely crude and foul mouthed while still managing to be charming and constantly likable. But she also brings a sense of seriousness to her part that most comedians lack. She's not playing her part as if she's a cartoon character- she takes her role seriously and gives her layers during the (cheesy and tacked on) serious moments. The rest of the cast is fine- Bullock specifically tries her hardest but is stuck (mostly) playing the straight man. But this is McCarthy's movie and she owns it.

I'm quite picky when it comes to comedies. So if a film makes me laugh as much as The Heat did, I think it's worth grading on a (slight) curve. The script is flawed and the story is hardly original, but Melissa McCarthy proves yet again just how much she brings to the table While I hope she starts to take more serious projects soon (I'd hate for her to become the female Adam Sandler) I have no problem giving this often funny film a mild recommendation. But if you're looking for a truly funny summer film, seek out This is the End. You'll go home much happier.

OVERALL GRADE: C+

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Movie Review: "White House Down"

Writing about White House Down is a surprisingly difficult task. Not because the film presents anything intellectually challenging. In fact, it's the opposite: there is virtually nothing to write about. But I'm going to try anyway.

For two and a half hours, White House Down left me mildly entertained and constantly aware that I was watching a very stupid movie. If anything can be said about Roland Emmerich's directorial abilities as made evident in this film, it is that he manages to instill just the right amount of stupidity into the action scenes. The film is never smart, but it never really reaches a point where I rolled my eyes and yell "Come on!" With a title like White House Down and Emmerich's habit of blowing up the White House in his movies, I expect the film to be a fairly over the top exercise in mindless action.  In that respect, it didn't disappoint. White House Down is filled with action from beginning to end, and it is just as mindless as I imagined. While the plot is about as far from realism as you can get, it never becomes any less believable than, say, Air Force One, True Lies or Taken. Where it runs into problems, however, is that Emmerich only occasionally takes the time to poke fun at the story.

Between stripping down to a tank top and being only a few letters away from being called John McClane, I think it's pretty clear that White House Down is trying to evoke Die Hard. But there is a crucial difference between that classic film and this one: nobody in Die Hard took itself too seriously. But while Tatum and company certainly fit a few jokes in, White House Down has long stretches where Emmerich tries to get the audience to feel the weight of this ridiculous situation and it just doesn't work. Between an overly complicated story and a father/daughter dynamic that feels forced down our throats, White House Down would have benefited considerably if its plot was simpler and had Tatum and Foxx trade wittier, more self aware banter. I mean, this is a film where Jamie Foxx plays the Leader of the Free World and still manages to drop an F bomb and fire a rocket launcher. Yet, he's still asked to give inspirational speeches and tries to be a serious hero. That's just not a good mix.

Even more annoying is that the action is (oddly enough) not the least believable thing in the movie. Instead, I found myself rolling my eyes at writer James Vanderbilt's numerous story devices, which almost entirely come off as unbelievable or ridiculous. There are clichés aplenty, plot holes galore, and a deus ex machina that comes in the form of secrets tunnels allegedly used by JFK to help Mariyln Monroe sneak into the White House. Right. The fact that I had less trouble believing that the President can fire a rocket launcher at terrorists than I do some of the developments in the story is never a good sign.

But to be honest, there really isn't much worth analyzing when it comes to this film. For all it's plot holes and story problems, the film is clearly trying to be nothing more than a good time at the movies. And I suppose it's moderately successful at that. While the aforementioned serious tone certainly dampens the mood, there is enough action to keep audiences excited. Some moments certainly work better than others, and none of them reach the level of films like Man of Steel or Iron Man 3 but it's still fun. The trailer also does its best to not spoil any of the best scenes, instead only hinting at what's to come. And, as someone who's typically found Emmerich's methods of filmmaking distracting and irritating, this film certainly felt like his most exciting to date.

Much of the film also lies on the shoulders of Channing Tatum who, despite this film's middling box office receipts, has found himself at the center of a handful of big hits. When Tatum first came on the scene I found him unbearable- his wooden delivery and complete lack of screen presence made me pray he'd disappear. Fastforward a few years and C-Tates has completely won me over. Maybe he was just working with bad material (Step Up was never going to win any Oscars) or maybe he's improved exponentially as an actor, but there is a certain quality to Tatum's performances that feel natural. Despite his chiseled abs and movie-star good looks, Tatum always comes off as realistic. While he's never given any great dramatic scenes like those in Magic Mike and he isn't as funny as he was in 21 Jump Street, his performance in White House Down is still quite strong. He makes John Cale a relatable hero and, despite this film's status as a box office flop, I don't think Tatum's career is going to slow down in the slightest.

The rest of the cast, however, fails to stand out. Jamie Foxx is completely wasted thanks mostly to the material. His character isn't very convincing during the dramatic moments, and Foxx's comedic scenes come off as unnatural. Meanwhile great actors like James Woods, Maggie Gyllenhaal and Richard Jenkins phone their work in- we've seen them all give performances just like this. One standout, however, is 14 year old Joey King, who stars as Tatum's spunky daughter who (no surprise) finds herself at the center of the action. While King's character is no different than any other kidnapped kid from an action movie, she manages to make her character slightly more interesting and pulls off both her comedic and dramatic scenes. Having already appeared in films like The Dark Knight Rises and Oz the Great and Powerful, I don't think its an exaggeration to say that this little girl is going places.

As I mentioned before, White House Down is almost impossible to write about. While you can rip apart the film for it's crappy script and unrealistic story, I never once believed that anyone involved in film had strived to be more than just an action movie. And, while it's not the most entertaining film you'll see this summer and I don't think you'll miss much if you choose to sit this one out, it does (mostly) succeed as an action movie. I was entertained by the film, and I forgot about it after a few minutes and moved on with my life. Anybody toting the film as something more than a decent is being hyperbolic. Anybody ripping the film apart and calling it terrible is being overdramatic. It's as simple as that.

OVERALL GRADE: C

Movie 'Review': "Texas Chainsaw 3D

NOTE: This review will be taking a slightly... different approach to what you're used to if you're a frequent reader of this blog.

In my mind, it should be more difficult for a film to get an F rating than it is to get an A. I mean, an F says a lot- to me, it means that a film has absolutely no redemptive qualities. But it also means that the film offends me on some level, either as a filmgoer or as a human being. Prior to watching Texas Chainsaw 3D, I had only given five Fs:

1. The Covenant- a film so poorly made that it has (thankfully) been forgotten by the moviegoing public.
2. Battle: Los Angeles- a film so unoriginal it feels that a computer wrote the script.
3. The Change-Up- a disgusting, unfunny and misogynistic film 
4. Law Abiding Citizen- torture porn dressed up as an "important" movie
5. I Now Pronounce You Chuck and Larry- quite possibly the worst film I've ever seen. A film so homophobic it's actually disgusting.

Thanks to Texas Chainsaw 3D I now have to use two hands to count down my least favorite films.

Slasher films are my guilty pleasure but finding anything pleasurable about Texas Chainsaw 3D is a daunting challenge. The film is unwatchable. The fact that anybody involved in the production of this film- be it a producer, director, writer, actor, or even a make-up artist- could see this film and think that it was completed and fit for distribution is truly shocking.

When it comes to slasher films, the main attraction is, obviously, to see the dumb teenagers at the center get killed in a variety of brutal ways. But Texas Chainsaw 3D can't even get that right. There is no suspense, no dramatic weight to the brutality of the violence, and the bodies of the men and women being tortured are so obviously fake you'd think they sent some intern to the dollar store down the street to pick up a mannequin or two. There is no budget listed on Box Office Mojo, but I feel like anything higher $1 million sounds too high. I'm assuming that getting a C-list rapper like Trey Songz to "act" would cost at least that much.

Speaking of the acting- I know that slasher movies don't get the most talented casts, but I've seen better acting in a Cialis commercial. This cast makes Paris Hilton's emotionless turn in House of Wax look like Oscar material. The actors in this film are only asked to do so much- scream, run, make sex jokes and drop an occasional one liner ("Welcome to Texas, motherfucker!"). But not once did it seem genuine or even remotely convincing. Previous Texas Chainsaw films saw the debut performances of actors like Matthew McConaughey or Renee Zellweger. The actors in this film would be lucky to have a supporting part in a Lifetime movie.

And then there is the script. I guess you can give the film's writers some credit for trying to develop a plot slightly more interesting than the average slasher. Too bad the plot they've developed is absolute crap. I don't want to spoil the film for those who are interested in seeing it, but the twist at the end is baffling- not because it doesn't make sense, but because I can't imagine any writer actually thinking it was a good idea. But the twist isn't the only problem- the film's plot is so underdeveloped it feels like the actors were still figuring it out as they uttered the dialogue into the camera.

Texas Chainsaw 3D fits my criteria for an F rating. There is not a single redemptive thing about it, and it offends me as a filmgoer. I didn't pay any money to see the film (thank God for local libraries...) but if I did, I would feel robbed. I don't ask for much with a slasher film. Throw in a serviceable plot, shlocky acting, ridiculous gore and maybe even some gratuitous nudity and I'll feel like I got my money's worth.  But Texas Chainsaw 3D steals your money, 92 minutes of your time and leaves you with a sour taste in your mouth. I hated this film with every fiber of my being and pray that we don't see another film this bad in 2013- both for the sake of the film community, and my own sanity.

OVERALL GRADE: F

"Texas Chainsaw 3D" is now available on DVD, Blu-Ray and Video on Demand. I advise you to never, ever, watch it. 

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Movie Review: "Warm Bodies"

Supernatural romance is all the rage and like all things that gross over $100 million dollars at the box office, Hollywood has been churning them out faster than you can say "Edward and Bella." But with that famous vampire series finished and dwindling box office receipts for the latest offerings in the genre (February's Beautiful Creatures made $19 million through its whole run- less than the last Twilight movie made in a day) it seems that Hollywood is trying to mine as much gold as they can before audiences decide to go elsewhere with their money.

Enter Warm Bodies, a film that seemed to defy everything audiences know about supernatural romance- based on the film's trailers, it didn't take itself too seriously, had some comedic bits that really worked, a kickass soundtrack and, yes, romance. Unlike the Twilight Saga, Warm Bodies managed to do the impossible and actually appeal to men. And while $66 million at the domestic box office might not be that much (it's still less than Breaking Dawn: Part II made in one day) it's still a very solid result for a film of its genre. But trailers can be deceiving- what I wanted to know is if Warm Bodies could become a supernatural romance film for people who hate supernatural romances.

While the bond between zombie R and human Julie is certainly more interesting and less infuriating than the borderline misogynistic relationship between Edward and Bella, writer/director Jonathan Levine (adapting a book by Issac Marion) finds himself in a tricky situation. On one hand, Levine wants to highlight the ridiculousness of the situation by infusing comedy into the mix. The idea of having a zombie fall in love with a human is ripe with comedy and Levine tries his best to make the audience laugh. Some of the jokes work, but Levine still misses quite a few opportunities for some much needed comedic relief. Even worse, certain scenes of the film are taken far too seriously and destroy the more lighthearted tone Levine worked hard to create. The conflict between the humans and the zombies, for example, is treated like a legitimate crisis that the audience will have no trouble feeling the dramatic weight of. But there is no suspense in these scenes, and not nearly enough comedy, so they come off as ridiculous. Even worse is the cringe worthy story device in which R eats the brains of a supporting character he killed to see what it's like to be human. Is this supposed to be funny? Creepy? Sad? Levine never infuses comedy- or anything, really- into these moments, making them random and awkward.

Levine also fails to build tension during the film's climatic moments. There is apparently a lot at stake in the film, as the character's constantly seem to be stressed about something when they aren't falling in love or cracking jokes. But the film never really sells the tension to you- there is no suspense, no real drama and nothing worth caring about. The "Romeo & Juliet"-esque war between humans and zombies that R and Julie find themselves trapped in feels like an afterthought. Granted, a paranormal relationship dramadey was never going to be the most suspenseful film of the year. But a conflict has to do more than fill the space in between the comedic or romantic moments- it has to make the audience care about what's going on in the film. And Warm Bodies's conflict does not.

But praise must be bestowed unto stars Nicholas Hoult and Teresa Palmer, who bring life to the script and make the romantic moments come alive. The two have an infectious chemistry, solid comedic timing and are immensely likable. They do much more than make out and revel in teen angst- they make their characters interesting, and add dimension where the script is lacking. While it would have grown old eventually, the montages between the two characters are the highlights of the film, thanks in part to a terrific soundtrack.Best of all, the progression of their romance feels oddly realistic (or as realistic as a relationship between a human and a zombie can be). And while I did find the film's message- that, without love, we'd live a long and lonely life- a bit overbearing, the two stars manage to make it easier to bear.

Some of the comedic bits also work really well. Many of the scenes involving Julie's best friend Nora made me laugh, mainly because her character pokes holes in the film's convoluted logic. Hoult's inner monlogue also serves as an excellent comedic device, especially when coupled with his emotional facial expressions. While many of the best scenes have been spoiled in the trailer- namely R's reactions as Julie changes in front of him- they all land well and provide a window into how great the film would have been had they relied on comedy more often. But, it must be noted that a number of great comedians are wasted in supporting roles. Outside of a line or two, Rob Corddry's M is nothing more than an unnecessary supporting character. And the talented John Malkovich feels sorely miscast as the film's villain of sorts.

There is a lot of potential in Warm Bodies, but Jonathan Levine has only tapped into the surface. The film tries to differentiate itself and almost spoof films such as Twilight by incorporating a sarcastic sense of humor and sort of self-aware script. But the film's dramatic moments are poorly handled and feel like something you'd see in... well, Twilight. Levine, who directed 2011's excellent 50/50, tried his hardest to breath new life into this tired sub-genre and while it's a valiant effort, I think it's time we put an one final nail in the supernatural-romance coffin.

OVERALL GRADE: C

"Warm Bodies" is currently available on DVD, Bu-Ray and Video on Demand.

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Movie Review: "The Bling Ring"

The fact that a group of rich teenagers would break into the houses of celebrities and take their clothes, jewelry and money is an unfortunate window into our world and highlights the fact that our culture worships celebrities. Its a theme ripe for analysis, and Sofia Coppola takes a stab at saying something about it in The Bling Ring, which happened to be my second most anticipated film of the year (after Spike Jonze's Her). Coppola's style is a fascinating one, as she manages to depict her films in a way that feels both stylized and simple, while always tapping into the emotions behind the drama. While she's far from universally beloved, I loved what she did with Marie Antoinette, really enjoy The Virgin Suicides, and consider Lost in Translation a masterpiece. But while The Bling Ring certainly has moments of greatness, the film is undeniably her weakest to date. Coppola brings the audience on a roller coaster ride with monumental highs, dull lows, and only a bit of social analysis where there is room for much more.

A major problem with The Bling Ring is that it finds itself stuck between two very different tones: realistic and hyperrealistic. Sometimes we'll eavesdrop on the titular group of friends during their daily conversations. Other times we'll see them dance at the club, with slow motion and blaring music used to evoke the feel that they view their lives are nothing more than never ending music videos. Both scenes work well enough on their own, but the constant cutting back and forth between the two vastly different moments is distracting and uneven. Even more troubling is that these two tones also bring two very different methods of satirizing- when the film moves at a realistic pace, the commentary is subtle and easy to miss. But other times, it bashes you over the head. The film would have been much stronger as a whole had Coppola stuck with one method of filmmaking. 

But regardless of subtlety, the satire works remarkably well. I was reminded of Jason Reitman's devastatingly underrated Young Adult during the film's quieter moments, where a seemingly random line opens a window into a character's psyche. One particularly great moment is when Israel Broussard's Marc describes himself as feeling like he's on "the b-list." It's a quiet moment, and there isn't much attention drawn to it, but it helps build the main theme of the film: many people are aspiring to be rich and known for their looks as opposed to being remembered for their good deeds. The same theme is reinforced during the more blatantly satirical moments, many of which involve Emma Watson and her mother. There is a hilarious scene where Watson is being interviewed about her crimes and impending trial and seems to only care about promoting her public image. Both scenes work well due to their content, but would have had more of an impact had Coppola stuck to just one type of commentary. 

The best qualities Coppola has as a director, however, are on display and help make the tougher moments in the film easier to swallow. For one thing, it's absolutely beautiful. The late Harris Savides (to whom the film is dedicated) has photographed some breathtaking scenes that are always crystal clear and well lit, while also realistic. At times, the film takes on a look that feels very similar to a documentary. But the film also includes some glorious, slightly stylized shots including a terrific burgling sequence shot from outside the house in one, long take. Coppola's unique but inspired use of music is also in full force. With a soundtrack made primarily of rap, it helps to emphasize the party lifestyle these kids are leading. But songs like "All of the Lights" by Kanye West or Frank Ocean's "Super Rich Kids" drive home the main theme of the movie. Add in some Phoenix tracks and the incredibly addictive "Crown on the Ground" and you have yourself one hell of a playlist.

The cast also uniformly strong. Coppola's decision to cast mostly unknowns pays off big time, as Israel Broussard and Katie Chang (the film's leads, regardless of what the trailers lead you to believe) turn in spectacular and wholly convincing performances. Not once do they seem like they're acting. Instead, it feels like the actors have truly become their Bling Ring counterpart. The only A-lister in the cast, Emma Watson, also turns in her finest post-Potter performance as the comedic relief of the group. It's a hilarious performance that Watson absolutely nails. Hell, she's funnier in this than This Is the End. But during her most dramatic moment- as she is arrested- she singlehandedly drives another major theme from the film home- these aren't criminal masterminds, but kids making (really terrible) mistakes. 

The Bling Ring may be Coppola's worst film to date (though I haven't seen Somewhere) but it's hardly a bad one. Even with some highly disjointed moments, Coppola gets a lot right and absolutely nails the satirical scenes. Add in the finest teen cast in ages and you've got a solid drama. Granted, this could have been a great drama. But I'll take a solid drama any day. 

OVERALL GRADE: B-