Category: Film Reviews

Discover sharp, unapologetic film reviews from Stephen Lovelette. Whether dissecting superhero cinema, indie dramas or cult favorites, these critiques cut through the noise with wit, insight and a fearless voice. Explore honest takes on modern film — written to challenge, amuse and compel.

Close-up of Karen Gillan on the phone in Oculus (2013)

Oculus

On By Stephen LoveletteIn Film ReviewsLeave a comment

Self-reflection. How much is too much?

Although the story remains unread on my bookshelf, I’d imagine Oscar Wilde’s The Picture of Dorian Grey deals heavily with this notion.

Since publication, many other horror stories utilize the mirror motif. Candyman (1992) is one of the scariest movies of all time. Mirrors (2008) isn’t as good, but hey – further fright by looking glass!

Grading horror on a curve Oculus is great.

It’s scary, thought provoking and nuanced.

Plus, Karen Gillan! Throw her on a list of promising young up-and-comers. She plays the bionic woman in Guardians of the Galaxy.

Brenton Thwaites isn’t the cat’s pajamas, but he does just fine.

Rory Cochrane and Katee Sackhoff turn in solid performances as the parents. The kids, Annalise Basso and Garrett Ryan were also very good.

First and foremost, Oculus establishes fair and realistic circumstances by which the viewer can suspend disbelief. Some of the best horror movies nowadays struggle with this.

Also, despite a tiny (five million dollar) budget, the movie looks great. You can feel the production value, the effort behind the moviemaking.

Unlike the Paranormal Activity franchise, which has enraged me since the first in 2009. It seems like folks have caught on since the trailer for the fourth film. I don’t want to sit through a PA5 preview.

I’ll get back to Oculus in a moment but one last note on the P.A. franchise.

It lessened the credibility of the horror genre by supporting a notion introduced by The Blair Witch Project.

The idea that production value doesn’t necessarily increase believability, and success can be achieved through marketing trickery and cheap filmmaking.

Therefore what’s debatably the campiest genre became even less appealing to the out-group as a large source of revenue. What is commonly perceived as a ‘lesser art form’ is further denigrated by the cheapness required to satisfy the audience.

My soapbox has a stepladder I’m currently descending.

Anyway. Oculus puts the theme of reflection to good use.

Man, horror guys really love their overlapping dualities.

The ending (and Rotten Tomatoes) leads me to believe there will be a sequel, which I’m very intrigued to see.

Two separate timeframes unfold through the perspective of two protagonists, under similar conditions in the same setting. The viewer watches along as the memories overlap with the present.

See? Nuance!

What we have here, folks, is an unreliable narrator.

A subjective third-person omniscient narrator, to be precise.

A perspective that swivels willy-nilly between past and present, reality and delusion.

Oftentimes it’s difficult to discern what’s an objective historical account or concrete memory. The blurred lines between the individual perceptions of both past and present are a theme reflected throughout.

Thus resulting in some rather subtle social commentary regarding psychotherapy.

After all that time spent in self-reflection, how much good does it do him in moving forward?

Didn’t think I was going to bring it back around, did you?

★★★★ ★★★★

Briefer takes at IMDb & Letterboxd.

Gina Carano holds a glass of wine in a quiet scene – haywire review

Haywire

On By Stephen LoveletteIn Film ReviewsLeave a comment

This film satisfies. Easily worthy of this Haywire review.

Specifically, it scratches the urge to watch a female protagonist square off with a male in hand-to-hand combat – and realistically win.

Admittedly, I’ve never considered how ill-equipped women are for fist-fighting. But that’s probably a good thing.

With the long hair, the unstable shoe heels, and simply the lack of body mass for throwing punches—in reality, most male vs. female altercations won’t result in sophisticated brawls.

And I suppose that’s why we rarely see it in film. In fact, when reviewing Captain America: The Winter Soldier, I mentioned how we never get enough combat from Black Widow, played by Scarlett Johansson.

Anyway.

Haywire is great.

The writing, directing, editing, casting, soundtrack/scoring and acting are all fantastic. Moreover, the fights are awesome.

Steven Soderbergh may be my favorite director. His movies never disappoint.

For instance, Side Effects podiums amongst the top three films of 2013. You may also know him from the Oceans Eleven franchise, Traffic or Out of Sight.

Interestingly, Gina Carano’s biography on IMDb claims Soderbergh “wrote the role of Mallory Kane specifically for her,” though the screenplay’s written by Lem Dobbs (who also wrote The Limey, another famous Soderbergh flick).

I knew I recognized Gina C. Turns out she plays a great character in Fast & Furious 6!

Others may know her as the famous MMA fighter.

If you see the movie, you’ll understand why Soderbergh’s such a great director. The action is entirely more riveting without stunt doubles.

I dig that Gina Carano. She’s charismatic and lovable as the protagonist. Let’s hope we see more of her in future films.

Meanwhile, the chase scenes are quietly spectacular. The plot moves along at a break-neck pace, so you have to pay attention.

There’s something about the on-foot chase scene that’s gripping. When it really feels like the characters are sprinting for long periods of time – it’s so engaging.

On top of that, Haywire is stylishly edited and utilizes innovative storytelling techniques. One scene cuts between three different types of footage to show a trio of plots developing simultaneously. Plus, there’s no in-scene sound or dialogue – just the musical score.

It’s very cool. And slightly confusing. So again, pay attention.

The supporting cast is spectacular.

Channing Tatum never disappoints.
Ewan McGregor doing quality Ewan.
Bill Paxton doing quality Paxton.
Antonio Banderas. Michael Douglas.
Michael Fassbender!

Come on. What more do you need?

Haywire is a top-notch action thriller available for HD rental through Xfinity OnDemand, Amazon or iTunes for $3.99.

There’s nothing special during the credits.

Still, it’s 93 minutes – and it’s an R-rated flick that males and females will both enjoy.

You may even call it a great ‘date movie’.

★★★ ★★★ ★★★

My edited thoughts at IMDb and Letterboxd.

Eva Green as Artemisia leading her troops in 300: Rise of an Empire

300: Rise of an Empire

On By Stephen LoveletteIn Film Reviews5 Comments

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. I hate recycled footage.

It’s a near-certainty this film would be great. Directed by Zack Snyder’s hands – I can see.

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.

Sometimes it’s better when you forget a film exists for awhile. At least until becoming available as a rental. That way, reality sets in. Expectations are level.

By this logic, if D&DTo receives a RT percentage in the mid-forties, I should skip it and wait on the rental.

Or otherwise expect severe disappointment, right?

★★ ★★★ ★★

Briefer takes at IMDb & Letterboxd.

As Above/So Below

On By Stephen LoveletteIn Film ReviewsLeave a comment

What makes a horror film great?

When did critics last praise one? 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 those have potential. I thought Drag Me to Hell delivered pretty well in 2009.

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

John Dowdle directed that too. He also wrote Quarantine (2008)—another solid semi-recent horror.

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

First of all, they shot it on-location in Paris, which delights any fan of the city. Favorite sights like Notre Dame and Sacré-Cœur pop up throughout.

The filmmakers switch between nearly every shooting style. AA/SB plays as a mockumentary about Scarlett (played by Perdita Weeks), a young archaeologist searching for the philosopher’s stone. So naturally, much of the footage comes through headlamp-mounted GoPro cams.

Although I’ve grown tired of ‘found footage,’ it functions better here. Given the lower budget, this filming style fits horror particularly well.

John and Drew Dowdle co-wrote the story—and it works.

There’s more nuance than usual. The characters rely on deductive reasoning and historical analysis to solve riddles and move through the labyrinthine catacombs.

The film layers in plenty of rebirth imagery, but I’m not sure how far the metaphor goes. Do the ribbed tunnels evoke a vaginal lining?

Dichotomies between light and dark, up and down—they provoke thought and hold attention.

The cast of unknowns delivers strong performances. Most horror films buckle under weak acting or corny moments, but this one holds up.

Apparently, I’m in the minority—AA/SB sits at 13% with top critics and 57% with users on Rotten Tomatoes.

Still, I encourage you to keep an open mind. This one’s a cut above the rest.

If you’re looking for a decent flick this weekend—especially if horror’s your thing—you could do a lot worse than As Above/So Below.

★★ ★★★ ★★

Briefer takes at IMDb & Letterboxd.

Sin City: A Dame to Kill For

On By Stephen LoveletteIn Film ReviewsLeave a comment

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.

★★ ★★★ ★★

Briefer takes at IMDb & Letterboxd.

Check out 300: Rise of an Empire for more Frank Miller sequel.

Godzilla

On By Stephen LoveletteIn Film ReviewsLeave a comment

Summer’s a-winding down. Know what that means? Less PG-13.

That’s right, folks—content rated for a mature audience.

Given the premise, you might assume this movie doesn’t suit a teenage crowd.

At its core, Godzilla plays like a horror story, right?

Genre-wise, it lands squarely in the ‘Giant Monster Movie’ category.

With that in mind, ranked from best to worst:

Top 6 Kaiju Films

  • Pacific Rim (2013)
  • Godzilla (2014)
  • Cloverfield (2008)
  • King Kong (2005)
  • The Host (2006)
  • Gojira (1954)

To be fair, those are the only six I’ve seen.

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

First: It’s a unanimous flop.
Second: My only attempt at renting it went sideways.

About a decade ago, I biked three miles to Blockbuster—only to find out the disc had never been returned. And naturally, no one bothered taking down the cardboard insert. Because why would they?

So instead, I walked away with the subtitled original.

Let me just say—never watch Gojira. Ever. It doesn’t hold up.

Sure, it stands as a pop cultural touchstone—especially in Japan, where audiences originally received it as horror. But if you’re curious, just check Wikipedia. I don’t endorse ironic viewings.

That said, if you’re looking for an inoffensive weekend flick, rent this year’s Godzilla.

Godzilla review

I dragged my sister and brother-in-law to an IMAX 3D screening—and all of us walked away surprised. Both credited their enjoyment to low expectations going in.

If you plan to rent it when it hits digital (starting September 16), do yourself a favor: stream it on the biggest screen you’ve got. Crank the volume. Kill the lights. This is not ideal for airplane viewing.

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

For starters, the story avoids flat tropes. It’s surprisingly well thought-out and nuanced. Granted, it’s not perfect—but hitting the bulls-eye with a monster that eats missiles is a tall order.

Visually, it’s sharp—especially the CGI.

Now, let me say this: the trailer was the best I’ve ever seen. When it first appeared in theaters, it built tension masterfully. Sadly, the paratrooper sequence doesn’t quite live up to that hype.

And so, the search continues—for any redeeming quality in the general practice of watching trailers.

As for the cast, Sally Hawkins deserved better. While she delivers a more-than-capable performance, the role gives her nothing to work with. It’s the same issue she faced in The Double, released just a week earlier. Contrast that with her outstanding work in Blue Jasmine, which earned her an Oscar nom for Best Supporting Actress.

Hopefully, she lands meatier roles soon.

Outside of Bryan Cranston and Juliette Binoche, the acting’s mostly fine.

Elizabeth Olsen brings some weight.

Aaron Taylor-Johnson isn’t bad either—but charisma? Not a trace.

All things considered, Godzilla is great enough for what it is.

Looking ahead, I’m sure the sequel will at least tease King Kong.

So here’s my challenge to the filmmakers: Be bold. Give us an R-rated sequel.

Sure, maybe you won’t hit the same domestic numbers (though that’s debatable). But it’d be a much better movie. People would applaud the ambition.

More importantly, you could actually lean into the horror.

And honestly—who doesn’t love a good scare?

★★★★ ★★★★

Briefer takes at IMDb & Letterboxd.

For smaller 2014 horror check As Above/So Below.

Under the Skin

On By Stephen LoveletteIn Film ReviewsLeave a comment

‘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.

★★★ ★★★ ★★★

Briefer takes at IMDb & Letterboxd.

Let’s Be Cops

On By Stephen LoveletteIn Film ReviewsLeave a comment

A Wednesday release is odd enough.

But a 12% score amongst top critics on Rotten Tomatoes?

Heavens to Murgatroyd! Things don’t look good.

Now then. Are you sitting down?

Whenever someone asks for my thoughts on 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.”

Yet for some reason, folks don’t extend the same courtesy to New Girl. Blowhards and contrarians love to dismiss it, but the truth is—it’s one of the best comedic series in recent television.

So why bring this up? Because anyone who enjoys the New Girl brand of humor will likely get a kick out of Let’s Be Cops.

In fact, the subject matter feels pulled from the same barrel. The exposition is lightning-fast, while the pacing and tone mirror the sitcom almost exactly.

For context: Jake Johnson and Damon Wayans Jr.—two of the lead actors from New Girl—headline LBC. Their characters don’t differ much between the big and small screens, which is part of the charm.

To be clear, you don’t need to be a New Girl fan to enjoy the movie. But it helps to be familiar with their specific comedic rhythm.

One might even call this 22½ Jump Street.

At its heart, it’s a self-aware buddy-cop satire that takes jabs at the entertainment industry and genre tropes.

However, things quickly go off the rails. The narrative is noticeably disjointed, and from a technical standpoint, Let’s Be Cops struggles as a cohesive film.

This becomes evident right from the start: The protagonists sum up their lives in two sentences during a pillowy introduction. Then, just as Johnson encourages Wayans to approach a girl at the bar, the scene abruptly cuts to their post-rejection curbside lament as the valet pulls up.

It’s very odd. And unfortunately, moments like that occur throughout.

Perhaps the budget ran dry. Since Box Office Mojo doesn’t list the production cost, we can assume it wasn’t very high.

In many ways, the film asks a lot of its viewers. Johnson is constantly driving across lawns, as if the writers thought every chaotic moment would land.

Stylistically, it’s uneven. The editing feels clumsy. The camerawork is incongruous. The plot’s thin, the logic’s absurd, and the set design barely registers.

Then again, occasionally, the direction and camerawork surprise you. The filmmakers put slow motion to smart use in several scenes, and the incorporation of social media stands out as genuinely creative.

Even so, none of that really matters.

Because Johnson and Wayans are spectacular as a comedic duo. Their banter is relentless—hilarities overlap, with one punchline bleeding into the next before the first even lands. It’s a rapid-fire rhythm that works.

Narratively, the film feels like a dense jungle canopy of stupidity. Creative rays poke through here and there, but they’re few and far between.

To its credit, LBC tries to say something. It contrasts how pop culture fantasizes violence—through video games, movies, TV shows like COPS, and so on.

Each beat seems to aim at breaking convention by fully leaning into cliché. Neo-satire, if you will—a self-aware play on formulaic formatting.

Meanwhile, the supporting cast brings real energy. Rob Riggle is surprisingly subdued and effective.

Keegan-Michael Key brings the laughs in a chaotic supporting role. Natasha Leggero steals her brief scenes, and James D’Arcy crushes it as the villain.

Oddly enough, one of the most heavily advertised lines from the trailer never made it into the final cut—and honestly, thank God. It was funny in the preview but would’ve dragged in context.

Make sure to stick around for the early part of the credits—there’s some bonus footage worth seeing.

Let’s Be Cops may be imperfect, but for everything it lacks editorially, it makes up for it in sheer, uproarious laughter.

Think of it this way: A Million Ways to Die in the West trips on peyote, Neighbors does mushrooms, 22 Jump Street goes full Wy-Fy (basically acid), and Let’s Be Cops rounds off the summer by smoking crystal meth.

Let’s hope Harry and Lloyd away from heroin in D&DTo.

★★ ★★★ ★★

Briefer takes on IMDb & Letterboxd.

Charlize Theron adjusts her cowboy hat in front of a mirror in A Million Ways to Die in the West (2014)

A Million Ways to Die in the West

On By Stephen LoveletteIn Film Reviews1 Comment

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.

★★★ ★★★

Briefer takes at IMDb & Letterboxd.

Check out Neighbors for a superior comedy.

The Raid: Redemption

On By Stephen LoveletteIn Film ReviewsLeave a comment

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.

Multi-layered tension. 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 haven’t the distributors fixed the closed captions yet? Especially since the sequel’s release.

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 gorilla.

★★★ ★★★ ★★★

Briefer takes at IMDb & Letterboxd.

For more sleeper action read Haywire.