Month: August 2014

300: Rise of an Empire (R)

7 Stars

When it comes to expectation, Rotten Tomatoes established a new dynamic.

Although I only made the realization days ago, I’ve been a long-time fan of Frank Miller adaptations, loving both Sin City (2005) and 300 (2006) in the theater.

Since its early March release, 300: Rise of an Empire is certifiably rotten with a critic percentage in the low forties. So I skipped it.

Despite a similar Tomato rating, I saw Sin City: A Dame to Kill For the day after it hit theaters and couldn’t shake the disappointment/frustration for a few days.

Fast forward to yesterday, when I realize Frank Miller’s other sequel is available through Xfinity OnDemand via HD rental for $3.99. I’d totally forgotten it existed.

Neither my time, nor money went to waste.

300: Rise of an Empire is very good.

The co-starring antagonist role, Artemisia, is played by Eva Green. Artemisia is vastly different from Ava Lord, her character from Sin City: AD2K4.

She’s more, ahem, sympathetic.

Green’s slightly less nude, as well, though I don’t believe there’s a correlation.

Eva is top notch. Artemisia is easily 300 Part Deux’s greatest redeeming quality, and I said the same thing about Ava Lord in the sequel to Sin City.

Apparently Green is excellent in any badass female role written by Frank Miller.

Let’s hope we see more out of her in the future!

The same goes for Lena Headey, one of my favorite actresses, who reprises a supporting role as Gorgo. Just like David Wenham as Dilios (Leonidas’s one-eyed loyalist), she doesn’t disappoint.

Love that Lena Headey. She’s a ‘Grade A’ thespian.

One strong aspect of the story is how clearly it overlaps with that of its predecessor. The interaction with the timeline from 300 is never obscure to the viewer.

Clarity has its downsides however. The director recycles bits of footage from the first movie, which always feels like a cop-out. He doesn’t stop there, even reusing original footage introduced in the sequel.

That’s the one-two punch of fair criticism that overlaps with Sin City: AD2K4, wherein footage is also recycled.

It’s a near-certainty this film would be great had it been directed by Zack Snyder.

The writing is very strong. The action takes place at sea and furthers the original narrative, while building the larger world of the story. It’s good stuff!

The battles are epic and beautifully rendered. The CGI’s not perfect, especially when there’s a horse on-ship, but it’s easily ignored.

The outro credits are fun, but there’s no stinger after they start rolling.

Overall, 300: Rise of an Empire isn’t bad by any means.

With strong performances from a solid (albeit lesser known) cast, I’d say it doesn’t disappoint!

To bring it back around: I think this reaction’s noteworthy in contrast to the lingering sadness I felt about Sin City: AD2K4.

Perhaps much-anticipated sequels received with critical disfavor are best left on the backburner until becoming available as a rental. That way, reality can set in, and expectations are appropriately leveled.

By this logic, if Dumb & Dumbr To receives a R.T. percentage in the mid-forties, I should skip it and wait on the rental.

Or otherwise expect severe disappointment, right?

As Above/So Below (R)

7 Stars

Horror movies are rarely called ‘great.’

When was the last critically acclaimed horror movie released? You’d be hard-pressed to find anything since The Ring in 2002.

I haven’t seen The Conjuring, Mama or Oculus but people say they’ve got potential. I thought Drag Me to Hell was pretty good from 2009.

But the last great one I caught in theaters was Devil from 2010.

Which is also directed by John Dowdle. He wrote Quarantine (2008), as well – another solid semi-recent horror.

As Above/So Below is the best horror movie I’ve seen in a long time.

First of all, it’s shot on-location in Paris, which is a delight for any fan of that city. Favorite sights like Notre Dame and Sacre-Coeur are featured throughout.

The filmmakers use almost every shooting style. AA/SB is a mockumentary about Scarlett (played by Perdita Weeks) a young archaeologist searching for the philosopher’s stone. Therefore much of the footage is shot in first-person via headlamp GoPro cams.

Although I’m sick of ‘found footage’ it works better here. For obvious reasons, the budget can’t be massive, so this filmmaking style is particularly suited to horror.

The story is also good, co-written by the director and his brother, Drew.

There’s more nuance than usual. The main characters use deductive reasoning and historical analysis in order to solve riddles and navigate the labyrinthine catacombs.

There’s a lot of rebirth imagery, but I wonder just how far the metaphor goes. Are the ribbed tunnels supposed to be reminiscent of a vaginal lining?

Dichotomies drawn between light and dark, and up and down, are intriguing and thought provoking.

The cast of unknowns delivers strong performances. It’s tough to get through a whole scary movie without poor acting or cheesy moments.

Apparently I’m in the minority because AA/SB is getting 13% amongst top critics and 57% amongst the users on Rotten Tomatoes.

But I would encourage an open mind, because it’s a cut above the rest.

If you’re looking for a decent flick this weekend, especially if you dig horror, you can do a lot worse than As Above/So Below.

Sin City: A Dame to Kill For (R)

7 Stars

Sigh.

It’s an injustice when critics refer to Sin City as a ‘cult classic.’

Likewise ‘campy’ denotes a lack in quality, and is an unfit qualifier for the first film.

A Dame to Kill For isn’t as good as its predecessor. Therefore if a group arises to defend their equality, it’s fair to deem the sequel ‘camp.’

Dame is not bad. It has many redeeming qualities.

But overall, AD2K4 is underwhelming.

Part of the problem involves the visuals.

Why didn’t they release it in IMAX? The larger screen and better sound could help.

I can’t put my finger on it, but something’s different about the shooting style between the two movies. The visuals are sharper, less gritty, and that’s not a good thing.

The clarity lends the settings/backdrops a more artificial feel. The environment feels cartoonish; not ‘lived in’ or ‘real.’

What happened with the editing? Seriously.

Why weren’t the filmmakers more generous to Jessica Alba?

The first film has an iconic two-minute scene of her dancing on-stage, but it’s mostly background to Hardigan’s (Bruce Willis) activity. The camerawork is elaborate, tasteful and never self-indulgent.

It’s as if the fans cried for more dancing Jessica, and the filmmakers way overcompensated. They’re building story with the nuances of strip teasing, but the performance is unconvincing.

Who deserves the blame? Why didn’t they do multiple takes? Why didn’t Alba prep better? After finishing the rough cut, didn’t the directors realize the stripping feels excessive? Where’s the stylistic panning, the cutaways, the slow-motion?

Why didn’t they re-shoot the boozing scenes? Who didn’t have time for whom? I want to know!

Ugh. Disappointing.

There’s way too much voiceover. Characters are constantly telling the audience unnecessary details.

If only things were a little bit tighter. Less voiceover, more background extras.

Other than the dancing and drinking, Alba’s acting is pretty good.

In fact, the entire cast is strong. Each thespian manages to fit the tone of the movie (except Julia Garner.)

That doesn’t include the ‘under fives’ (characters with less than five lines) however.

The frat boys are particularly alien. They oversell the frustration, the weirdness and the ‘douchiness’ (I guess?) that ‘frat boys’ are supposed to emulate.

If you can’t tell, I feel slighted by the open, in which ‘frat boys’ with an eye for ‘brand names’ are associated with disrepute. This is a tired cliché, and a feeble attempt at social commentary.

One of the characters actually says, “I have a trust fund!” while begging for his life.

Bobby, Franky; come on, guys. Nobody talks like that.

I’m curious to know why Clive Owen didn’t reprise his role as Dwight.

Josh Brolin accomplishes the job sufficiently. But is it possible the sequel suffers without Clive?

Absolutely. It’s just one more source of unnecessary confusion.

Bruce Willis, a protagonist and highlight from the first, returns as a supporting character and doesn’t disappoint.

Joseph Gordon-Levitt’s rock-solid as usual. That goes for Mickey Rourke, too.

Along with a cameo in A Million Ways to Die in the West, Christopher Lloyd appears twice on the summertime big screen (both times as a doctor, no less).

Lady Gaga was a minor disappointment. Small as it is, she doesn’t sell the waitress role.

Eva Green, on the other hand, buys the pie. Her performance as Ava Lord is rather impressive. She does a good job of selling a tough role and her character is the single greatest redeeming quality of the sequel.

Second place goes to how it illustrates the metaphysical nature of the city’s location.

Sure it’s noir L.A., but it’s also a weird sort of limbo in which archetypal anti-heroes congregate and intermingle.

The allegorical environment’s a phantasmal depot for sinners caught in the cycle of criminality.

Think about it, man.

When considering both flicks from that perspective, the sequel becomes much more thought-provoking.

The action’s pretty good; some moments are downright fantastic.

All in all, Dame 2K 4 is inferior to its predecessor, yet contains enough enchanting moments, compelling character interactions and violent mystique to satisfy fans.

See it if you like the first. Just don’t expect much.

There’s no stinger after the credits, so you can leave once they start to roll.

Perhaps Sin City 3 will make up for lost ground.

If Eva Green reprises her role, they’ve got a shot at turning things around.

Godzilla (PG-13)

8 Stars

Summer’s a-winding down.

You know what that means?

Less PG-13.

That’s right, folks. Content rated for ‘a mature audience.’

Considering the premise, one might presume this movie’s unsuited to a teenage audience.

At its core, Godzilla’s a horror story, no?

In terms of genre, it belongs under the ‘Giant Monster Movie’ heading.

Here’s my top six, from best to worst –

1. Pacific Rim (2013)
2. Godzilla (2014)
3. Cloverfield (2008)
4. King Kong (2005)
5. The Host (2006)
6. Gojira (1954)

To be fair, those are the only six.

Like most people, I missed 1998’s Godzilla starring Matthew Broderick for two reasons.

One: It’s a unanimous flop.

Two: My sole attempt at rental was thwarted.

A decade ago, after biking three miles to Blockbuster, I realized the disc had never been returned. Because why would they take down the cardboard insert, even years after the actual DVD disappeared?

I borrowed the subtitled original instead.

Never watch Gojira. Ever. It doesn’t hold up.

It’s noteworthy as a pop cultural touchstone, particularly in Japan, where it was clearly received as horror. But check Wikipedia if you’re interested – I don’t support ironic viewings.

Rent this year’s Godzilla if you’re looking for an inoffensive weekend flick.

I dragged my sister and brother-in-law to an IMAX 3D screening and all of us thoroughly enjoyed it. Both cited low expectations as a major contributor to their delight.

If you take advantage of the rental (available starting September 16), stream it on a big screen, crank up the volume and kill the lights. This isn’t ideal for an airplane.

What’s great is the sigh of relief: Zilla delivers on several levels.

The story isn’t cliché or flat. It’s well thought-out and nuanced. It’s not perfect, but it’s tough to hit the bulls-eye with mega-monsters that withstand rocket-powered artillery.

The visuals are solid, especially the CGI.

Now, this flick had the best trailer I’ve ever seen. Back when it first appeared in theaters, it was so creepy and built the anticipation. Unfortunately, the paratrooper sequence is underwhelming as a result.

Thus continues the search for any redeeming quality in the general practice of trailer viewing.

Sally Hawkins can be put to much better use. Although she delivers a more than proficient performance, it’s not a strong role. Which is similar to the part she plays in another great movie, The Double, released a week previous. But she’s outstanding in Blue Jasmine, even receiving the Oscar nomination for Best Supporting Actress.

Hopefully we see more of Sally in the future.

Other than Bryan Cranston and Juliette Binoche, the acting’s only okay.

Elizabeth Olsen is pretty good.

Aaron Taylor-Johnson isn’t bad, but he completely lacks charisma.

All in all, Godzilla is great enough for what it is.

I’m sure the sequel’s going to give us, at the very least, a peak at King Kong.

Consider this a challenge to the filmmakers: Be original and release an ‘R’ rated sequel.

You may not make the same haul domestically (which is debatable), but it’d be a way better movie. Folks would applaud the creativity and ambition.

Plus, you could ratchet up the horror.

And who doesn’t love a good scare?

Under the Skin (R)

9 Stars

‘Alien’ is a misnomer.

More accurately Laura, played by Scarlett Johansson, is an ‘extraterrestrial organism.’

A being who exists beyond our frame of reference. Seems puzzling, no?

Well it’s certainly elaborate, but not needlessly confusing.

Under the Skin is smart and mandates a brief personal yarn.

During movie viewings, my buddy and I rarely talk or utilize the pause feature.

We pressed the freeze button thrice while watching Under the Skin in order to clear up confusion.

Our choice to abandon the usual procedure proved beneficial, because UTS is a lot easier to follow when combining noggins.

Rotten Tomatoes’s summarization explains, “Its message may prove elusive for some, but with absorbing imagery and a mesmerizing performance from Scarlett Johansson, Under the Skin is a haunting viewing experience.”

That little lady’s on quite a streak. She’s been in six huge movies since The Avengers in 2012. Her last eleven are Certified Fresh on Rotten Tomatoes!

A topless Scarlett may be the sole draw for certain viewers, but I suspect they’re the same folks who’ll find its message elusive.

Under the Skin is a great movie that hasn’t received the credit it deserves. It’s a mixture of sci-fi, fantasy and horror and if you dig this cinematic breed I highly recommend the rental.

It’s currently available for instant streaming via iTunes and Amazon as an HD rental ($4.99) or purchase ($9.99).

According to Box Office Mojo, it cost $13.3M to produce Under the Skin, and so far it’s just shy of a $5.4M gross worldwide. Which is a bummer because passion and effort should be rewarded.

Jonathan Glazer did an excellent job directing this movie. A massive chunk of thought went into each scene. The workload’s palpable.

The audio and visuals are simply stunning. Everything feels ‘intergalactic.’

The plot’s creepy and unnerving. Certain details seem like red herrings, but the film’s so polished their exclusion must be purposeful.

Under the Skin is wildly thought provoking and hits the spot.

If you seek uplifting content, search elsewhere, chum. Several moments are on the warmer side, but the majority’s unsettling and quizzical.

Follow my example and catch this flick with a loved one.

Let’s hope Laura runs across Lucy (from Lucy) and Samantha (from Her) and finds solace in their company somewhere in the metaphysical ether.

Let’s Be Cops (R)

7 Stars

A Wednesday release is odd enough.

But a 12% amongst top critics on Rotten Tomatoes?

Heavens to Murgatroyd! Things don’t look good.

Now. Are you sitting down?

When asked my opinion of Breaking Bad or The Wire my response is always the same, “I haven’t seen an episode, but I’m sure I’d love it.”

Folks don’t follow this formula when it comes to New Girl. Blowhards and contrarians delight in its dismissal, but it’s amongst the best comedic series in recent television.

How is this relevant? Those who enjoy the FOX sitcom will love Let’s Be Cops.

The subject matter feels like it’s pulled from the same barrel. The exposition is lightning fast; the pacing and tone are incredibly similar.

For those unaware, Jake Johnson and Damon Wayans Jr. (two lead actors from the aforementioned sitcom) star in LBC. Their characters don’t differ much between the big and small screens.

New Girl fanhood isn’t required to enjoy this movie, but it helps being familiar with their brand of comedy.

One might call this ’22½ Jump Street.’

It’s a self-aware buddy-cop satire that pokes fun at the entertainment industry.

The problem is the disjointed narrative. From a technical perspective, Let’s Be Cops isn’t a well-made movie.

This is evident from the very beginning: A pillowy introduction in which the protagonists sum up their lives in two sentences. As their conversation winds down, Johnson encourages Wayans to approach a girl at the bar. Just as he’s about to crack, the camera cuts to their curbside lament as the valet pulls up.

It’s very odd. Many of these moments happen throughout.

Perhaps the budget ran dry. The total dollar amount is not available on Box Office Mojo, so it’s likely pretty small.

The film begs quite a lot from the viewer. Johnson is constantly driving across lawns.

It’s poorly edited and directed. The camerawork is incongruous. The plot is thin and absurd, and the set design is by no means elaborate.

Then again, at times, the directing and camerawork are noteworthy. The filmmakers put slow motion to innovative use on several occasions, and social media is creatively incorporated.

None of this matters, however.

Johnson and Wayans are spectacular as a comedic duo. Their banter consists of constantly overlapping hilarities; before one reaches the punch line, the other begins the next quip, visa versa and so on.

The story of this film is like a dense jungle canopy of stupid. Beams of creative light poke through but they are few and far between.

LBC contrasts the ways in which violence is fantasized pop culturally: Through video games, movies, COPS (the TV show), etc.

Each moment attempts to break convention by over-embracing cliché; neo-satire, I call it. A realistic engagement with prototypical formatting.

The supporting cast is strong. Rob Riggle is always incredible and plays a much quieter role than usual.

Keegan-Michael Key is a funny supporting character and Natasha Leggero plays a small, but hilarious part. James D’Arcy does an excellent job as the villain.

One particular line, although hilarious in the trailer, was removed from the final cut, and it’s such a relief.

Stay for the beginning of the rolling credits to view some bonus footage.

LBC may be imperfect but for everything lacking editorially, it makes up in uproarious laughter.

A Million Ways to Die in the West has its peyote scene, Neighbors does mushrooms, 22 Jump Street trips on Wy-Fy (similar to acid) and Let’s Be Cops rounds the summer off smoking crystal meth.

Let’s hope Harry and Lloyd stay away from heroine in Dumb & Dumber To.

A Million Ways to Die in the West (R)

6 Stars

Why get your hopes up?

It won’t help.

A Million Ways to Die in the West contains several genuine laughs and a number of chuckles. Don’t sully them with high expectations.

Have you seen the trailer? Hence the anticipation.

The preview spoils the majority of jokes, reveals and cameos. Wait a year before renting.

This is the type of comedy where, if you’re viewing with only a vague recollection of my dissatisfaction, there’s a shot at enjoyment.

John DeFore, a writer for Huff Po, suggests a, “mid-film cameo prompts viewers to wonder how MacFarlane might have fared playing a time-traveler from our era stranded in the Old West. Instead, his 1880s sheep farmer Albert Stark simply talks like someone born in and transplanted from the 20th century.”

DeFore’s analysis couldn’t be more accurate.

Albert feels like a stand-up comedian; a prisoner in the Old West who attempts to gain freedom through wacky frontier material.

The problem isn’t a fun topic for discussion, because Seth MacFarlane deserves our respect.

Celebrities only have nice things to say about him. He’s one of the greatest contributors to contemporary comedy, offering quality on both the small screen (The Family Guy) and in the box office (Ted). As host of the 2013 Oscars, he delivered a bang-up performance.

Therefore, it’s unpleasant mentioning the weakness of his performance, and how it detracts from the film overall.

For whatever reason, his acting isn’t up to snuff.

Harping on it won’t do any good. Chalk up the loss to over-ambition.

A $40 million budget isn’t enormous for this type of production. And Seth’s trying to write, direct and star in the biggest comedic western since Blazing Saddles. That includes flying the ensemble cast/production crew, building sets and shooting on location, while using horses, dancers and maybe guns (plus all the necessary advisors/extras.)

Fun fact: Liam Neeson’s the only cast member who rode horseback across the tarmac, up the steps and onto a private, horse-bearing jet. Apparently Neeson goes nowhere without his nag.

That’s a joke. But you can see how a budget dries up relatively quick.

By the way, the supporting cast is what makes this movie good. Giovanni Ribisi, Sarah Silverman and Amanda Seyfried are great.

Charlize Theron and Neil Patrick Harris are fantastic. Charlize is so impressive; she prevents the movie from becoming a ‘thumbs-down.’

N.P.H. plays a hilarious villain and is such an incredible talent that he manages to cultivate hysteria from an unfunny scatological bit.

Aside from Neil and Charlize, the best part is an original song.

For your convenience it’s posted below. If nothing else, at least give, “If You’ve Only Got a Mustache,” a listen.

All in all, AMWTDITW is not a complete success.

Nor is it a complete disappointment.

Let it simmer on the backburner.

You’ll thank me later.

If You’ve Only Got a Mustache

The only thing giving Neil and Charlize a run for their money in A Million Ways to Die in the West.

If You’ve Only Got a Mustache
By: Amick Byram

The Raid: Redemption (R)

9 Stars

Kung fu needs a new publicist.

Somewhere along the way, martial arts acquired a bad reputation.

Perhaps Keanu’s been over-quoted.

Regardless, a number of great movies from the past few decades feature hand-to-hand combat: The Matrices, Shanghai Noon, the Rush Hours, Rumble in the Bronx.

[Sidebar: Top two films involving a woodchipper: Rumble in the B and Fargo.]

Now, hesitation’s healthy when a martial art is all a motion picture offers.

The Raid: Redemption is a lot more than just kung fu.

If I ever review an entirely male-oriented flick, it’s The Raid.

It’s often compared to another movie released around the same time, because both flicks portray an assault on a crime-ridden high-rise.

Dredd, however, isn’t good.

Lena Headey as the cruel antagonist, and SLO-MO (the reality altering drug) are the only redeeming aspects in that overrated reboot. Everybody that played GoldenEye 007 on N64 is well-aware of proximity mines, smoke grenades and the like.

On the contrary, The Raid is fantastic.

The fellow who owns the criminal complex being raid redeemed has an interrogation room with a chain restraining system. It’s a chamber specifically suited towards information extraction via shackled prisoners.

Speaking without hyperbole, Raid: Red contains the single greatest action sequence in cinematic history.

Gareth Evans deserves a standing ovation for the fire-axe scene.

The tension is multi-layered as the characters realistically adapt to an evolving conflict. There are varied threats and the individual movement through the scenery (plus the interplay with props/weaponry) is magnificent.

It’s a delicate waltz, my Friends.

A riveting score overlays elaborate choreography, creative stunts and sharp camerawork.

The Raid is originally an Indonesian film and Sony Pictures tasked Mike Shinoda (of Linkin Park and Fort Minor) with creating a new score for the U.S. market. The Shinoda scored version made its U.S. debut at Sundance 2012.

The fireaxe is just one of many great scenes though. Rent it and see for yourself.

The stakes are high. The plot is smart and dark.

Neither slasher nor ‘torture porn.’

It’s as good as action gets.

Somebody at the festival must have noticed the issue with the subtitles, right?

Whoever translated the closed captioning did very poor work. One of the main barriers between non-viewers is the necessary reading, so naturally a minimalist approach would seem appropriate.

There were subtitles for grunts, music notes to indicate the swell of Shinoda’s composition (which goes against the very nature of a film score), footsteps and other sound effects. This would make sense if America were a deaf culture.

One subtitle in particular, “Okay [English],” appears toward the middle of the film. This is more than a distraction. It’s especially problematic because it instigates needless confusion.

Why the distributors haven’t fixed the closed captions (especially now the sequel’s been released) is beyond me.

But behold; I let it go. You will too.

If you’re a lady who loved The Raid, please set me straight; your comments are welcome below!

Gentlemen – go nuts.

Chef (R)

8 Stars

Who knows if it’s always been this way, but the phrase ‘date movie’ is a surprisingly bad omen.

It’s synonymous with bad comedy and cheesy romancing.

The idea that a sequel to Valentine’s Day got produced…

Anyway.

Last year’s The Spectacular Now is a great example of what a ‘date movie’ should be.

So is this year’s Chef.

It’s a heartwarming story about a talented L.A. foodsmith finding his niche. In part a road-trip buddy comedy, Chef explores father-son relationships and the struggle to maintain balance.

‘Slice of life’ is what you might call it.

Jon Favreau is lights-out. That dude’s a boss.

He writes, directs and stars in Chef. Favreau directed Elf; he has a cameo in The Wolf of Wall Street, and plays a great supporting character in Iron Man 3. You may be surprised to find out he’s also Danny Bateman, the overzealous linebacker from The Replacements.

He’s also into comics and a big supporter of the Marvel franchise. (Yes, I can easily forgive him for Iron Man 2.)

Plus the off-type roles he wrote for Scarlett Johansson and Sofia Vergara in Chef are very strong. The whole movie’s well written. It’s not a comedy in the traditional sense, even though most websites categorize it such.

If we’re to get technical, Chef meets the prerequisite minimum of hilarious dick jokes. So in a scholarly sense it’s a comedy.

Perhaps ‘realistic fiction’ is the right name for it. I still prefer ‘slice of life.’

It tells a real story about a hardworking, driven middle-aged man who’s reached a seemingly insurmountable crisis. The interactions between Favreau and Dustin Hoffman are believable and compelling.

The viewer quickly forgets they’re watching the Hoffster, and can empathize with both sides of the conflict.

Between Scar Jo, Sofia, Dusty and all the rest, the supporting cast is phenomenal.

One final actor worthy of mention is John Leguizamo. He’s always great, and doesn’t disappoint here.

A common criticism is the initial half is far more compelling than the later. But I couldn’t disagree more.

It’s between six to eleven minutes too long but that’s the film as a whole; there is no greater or lesser half.

Chef also dives into social media and creatively incorporates animation to illustrate ‘tweeting.’

There’s no ‘stinger’ after the end-credits but if you wait until halfway through, there’s a short clip of Favreau learning to make grilled cheese from a professional. It’s not mind-bending, but it’s fun and worth the three minutes.

Chef’s not a blockbuster but it’s hilarious, heartwarming fun if you’re seeking a flick in-theaters.

I saw it for six bucks, which is a steal nowadays.

So don’t leave it on the backburner any longer.

Chef’s packed with laughs and just the right amount of sentimentality.

It’s a realistic date slice of comedic fiction life movie.

With a dusting of romance.