Movies Galore.... Something For Everyone
"Dude"
starring: Lucy Hale, Alex Wolff, Alexndra Shipp, Austin Butler, Kathryn Prescott, Claudia Doumit, Awkwafina, Colton Dunn, Brooke Smith, Austin Abrams, Jack McBrayer, Michaela Watkins
written and directed by: Olivia Milch
Here's another Netflix-produced original film, starring "Pretty Little Liars" Lucy Hale, and written and directed by a new and up-and-coming screenwriter/director- Olivia Milch (she is one of the writers of the all-female reboot "Ocean's 8" coming soon). It's another coming-of-age story, through the eyes of teenage girls, this time (that's what's different), and they're stoners/partiers/drinkers, all around shenanigan-causing teens. Usually these films focus on one of two "buddies" or a group of teenage boys. Maybe that's what makes this refreshing. The new writer/director knows what she's doing, writing the characters as relatable and likable. There isn't more drama than you'd expect.
The friend group we follow in Dude is made up of Lucy Hale, Alexandra Shippp, Kathryn Prescott and Awkwafina who all bring their own dynamic to the group, and it’s clear from watching them that this was a fun movie to make. As far as the story goes, there isn’t a great deal to tell. It’s a very typical “teenagers finishing high school” kind of tale with all the things you expect to find in such a film.
It's only shortfall is that unfortunately it doesn't offer anything new to the genres it finds itself in.
The acting is on par with what it needs to be from all the ladies. It's funny when it needs/wants to be without forcing it. And it follows a by-the-numbers script.
Decent film to enjoy.
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"The Do-Over"
starring: Adam Sandler, David Spade, Paula Patton, Kathryn Hahn, Nick Swardson, Matt Walsh, Renee Taylor, Sean Astin, Natasha Leggero, Luis Guzman, Catherine Bell, Jackie Sandler, Michael Chiklis
written by: Kevin Barnett and Chris Pappas
directed by: Steven Brill
I feel like if you're going to stand by and watch Adam Sandler movies nowadays, it's your own fault and/or you absolutely know what you're getting. He's a guy that's never really grown up, even though he's tried with a few more dramatic roles sprinkled in his catalogue. He knows that his bread and butter is the 30 (maybe now 40)something male demographic that still enjoys ridiculous, immature humor. Netflix believed in him enough to sign a 6 picture deal with him, including:
The Ridiculous Six
The Do-Over
Sandy Wexler
The Meyerowitz Stories (New and Selected)- not included in the deal, but a Noah Baumbach offering in the middle of his deal
The Week Of
Here's the thing. Adam Sandler's star fell awhile ago, but for some reason, he still gets movies made, perhaps because he has a shit ton of money and his name alone will intrigue people enough to sell the idea of another sophomoric film. Unfortunately, there's a large enough market for that, as well.
Here's another thing about Sandler. He's always been loyal to his core group of friends and sometimes I think he makes movies to make sure his buddies have some work and are getting some money. His long-time, fellow SNL alum, David Spade, in his buddy in this film.
Charlie (Spade) is a guy whose life hasn't changed one iota since high school. He works at the same bank located in a local grocery, he drives the same crappy car, and lives in the same house. What should be a good thing, that he's now married to his childhood crush, Nikki (Natasha Legerro) is a disaster because she's a drunken, promiscuous trainwreck with two violent kids. Everything about his life sucks, which is why he's so happy to see his best pal, Max aka "Maxi-Pad" (Sandler came up with that one, no doubt), at their high school reunion, and boy have things changed for him.
Max was always expected to be a total failure, but he grew up to be a complete badass. He works in law enforcement, he's got money, and a crazy ex-girlfriend who can't leave him alone. In Sandler's world, that last point makes him some kind of virile stud, but that's the outdated gender dynamics we see play out through the entire film. It's like somebody dragged it kicking and screaming out of the '80s. An invitation to join Max on his boat, the Fish 'n Chicks (har har har), leads to the greatest time in Charlie's miserable life. It's also the last time the film is remotely enjoyable, again relying heavily on the Sandler/Spade bromance.
The major problem with Sandler signing this Netflix deal is that he seems to have carte blanche and can literally do anything he wants in the movie. The more ridiculous, the better (in his opinion, but I would beg to differ). Nothing really works and he just keeps piling on and up the weird crap that just doesn't seem plausible. Is he trying to prove a point- that movies are solely a form of escapism?
This is definitely one to avoid, unless you like watching car crashes.
..........................................................
"The Sweet Life"
starring: Chris Messina, Abigail Spencer, Brian Shortall, Karan Soni, Tyson Ritter, J.D. Evermore, Michael Emery, Andrew Borba, Scott Michael Campbell, Glenn Plummer, Cheryl Francis Harrington, Nick Searcy, Josh Pence, Chris Aquillino
written by: Jared Rappaport
directed by: Rob Spera
This was a surprising, small, indie film with a lot of heart. Chris Messina is somewhat of an indie film god, at this point. I've seen him in quite a few really good, under-the-radar films, especially thanks in large part to Netflix.
Chris Messina plays Kenny, the world’s saddest ice cream peddler. He mopes around Chicago in his stupid black bowtie, eventually ending up on a bridge that’s perfect for throwing oneself off of. EXCEPT the bridge is a little crowded: Lolita (Abigail Spencer) is also there, and she’s feeling kind of territorial about her favorite suicide spot. But before you know it, they’re bonding over their mutual depression and the crappy therapist they have in common. They don’t call their respective suicides off, but they do decide that no death is complete without one last road trip – and aren’t the bridges in San Francisco that much nicer for hosting one’s imminent death?
This is an interesting approach to the rom-dramedy. These two, you can tell, will end up together in the end, saving each other, because the set-up seems quite obvious. It's an interesting take on depression as a mental disorder and also what happens when two depressed people connect. You can tell that, at least Lolita thinks she is ultimately defined by her disorder and therefore is destined to kill herself, but Kenny sees the light at the end of the tunnel (re: Lolita, and love/connection).
It's also an interesting take on the "road trip" type of film, because these two characters ultimately give zero fucks and so anything can happen with them. I'm not so sure about the message in regards to mental illness that the film is conveying though, especially because it seems to make light of the heaviness to suicide, treating it more like a fluffy way to create a meet-cute scenario for the two depressed characters, to shotgun their adventure and connection.
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"Little Evil"
starring: Adam Scott, Evangeline Lilly, Owen Atlas, Marcus Terrell Smith, Bridget Everett, Clancy Brown, Rick Applegate, Chip Zien, Kyle Bornheimer, Donald Faison
written and directed by: Eli Craig
This was actually a pretty decent film that Netflix produced, but a lot of that has to be credited to the actors, given the material, they did a great job turning it into something enjoyable to watch. That's not saying there's nothing else good here. I'm just saying, you can tell when the actors pick up the pieces and fill in the gaps. It's difficult to make horror-comedies that work, because ultimately they have to know and appreciate what they are, and also be in on the joke, themselves. Horrors, in essence, can sort of be comedic, in nature, because a lot of what happens would never happen.
Here, we have Gary (Scott) playing the stepdad to a "possessed" child, but perhaps the horror aspect of the film is essential a metaphor for the concept of being a step-parent. Gary's new wife, the ever-gorgeous Evangeline Lilly (from "Lost") will always side with her child and the mere suggestion that her good little boy is anything but, may cause a rift in the newlyweds' relationship.
Lots of gags and hijinks ensue between Gary and the little spawn of Satan, named Lucas, that drive the plot as Gary goes about trying to prove his point to anyone who'll listen.
The whole time, though, the film never seems to embrace its own identity, and seems to be having a bit of a crisis within itself. Should it go full-on horror-comedy or not.
This is an enjoyable and watchable film. A good way to pass the time.
........................................................................
"Family Blood"
starring: Vinessa Shaw, James Ransone, Colin Ford, Ajiona Alexus
written and directed by: Sonny Mallhi
Horror films, as discussed above, always seem to attempt a comparison to something realistic, a metaphor of sorts within each of their storylines. An underlying plot device leaving you to dissect in your own way, but oftentimes it's very obvious, as is the case with this horror-drama.
The comparison that is shoved down your throat here is the connection between drug addiction and vampirism. Still have your attention?
Ellie (Vinessa Shaw) is a recovering drug addict who has just moved to a new city with her two teenage children. Ellie joins a support group, where she meets shady guy Christopher (James Ransone), who helps the woman get past her addiction by providing her with a new one, for blood!
The film tackles the transformation of drug addict Ellie into a vampire rather well, treating the addiction like a disease that has a physical appearance when it rears its ugly head. It also shows how it affects her life and the lives of her children. The atmosphere and camera-work is decent enough, especially for the tension and jump-scares throughout the film.
The acting, though, is terrible, rather unbelievable. That and the pacing made this an otherwise snooze-fest of a horror film, for me with not too much redeemable.
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"Desolation"
starring: Toby Nichols, Jaimi Page, Alyshia Ochse, Claude Duhamel
written by: Matt Anderson and Michael Larson-Kangas
directed by: Sam Patton
This small, rather short indie horror film is solid gold for me. This is the kind of film I find myself searching for and thanks to Netflix, I'm able to find them often enough to appreciate them. This is the type of well done horror film that hits you nearly right away with the tension. Anything that centers around hiking in the wilderness gets me immediately (thanks in large part to "The Blair Witch Project").
Recent widow Abby (Jaimi Paige) and her long-time best friend Jen (Alyshia Ochse) take Abby’s 13-year old son Sam (Toby Nichols) out into the woods following his father’s death – to get back to living and to find closure by spreading their father/husband’s ashes into the wilderness he so loved and which was a part of their lives together. All is well until a mysterious hiker (Claude Duhamel) begins to follow them – eventually leading them all to fight for their lives.
There's enough of a plot to allow for background on each character to slowly reveal itself as the tension builds. The two lead women are incredible together.
There are anecdotes these two women remember about their high school days – memories of boys and whatnot – while they’re enjoying a couple of bottles of wine and a joint not far from their campsite for the night. Both the dialogue and the ease of trust, familiarity and love between Abby and Jen – is beyond marvelous. There wasn’t a moment which felt forced or inauthentic and if you didn’t know better, you’d think that these two ladies really had known one another for a great many years. There’s an earlier moment of conversation (being listened to by a should-be-asleep Sam) about how Abby’s coping with her loss – and the emotional moment ends with a tasteless joke which could only be shared (and appreciated) by two truly close friends.
These two ladies have such a beautiful and believable chemistry that it's easy to watch, and also easy to pass over the fact that the actual story doesn't have much depth to it. And that's where it sort of falls apart, for me. The menacing hiker following them, isn't necessarily as menacing as he could be. He's definitely taken classes in the act of slow-walking and stalking in the likes of Jason from "Friday the 13th" but he could be way scarier. It's the woods!
It's rare that an horror film will be driven by the dialogue and characters' backgrounds, but that seems to be the driving force with this film. Go along for the hike.
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"The Clapper"
starring: Ed Helms, Amanda Seyfried, Leah Remini, Tracy Morgan, Adam Levine, James Ransone, Brenda Vaccaro, P.J. Byrne, Alan Thicke, Charles Halford, Mark Cuban, Wendy Braun, Russell Peters, Nico Santos
written and directed by: Dito Montiel
There is little to nothing redeemable about this movie. It can be rare that you finish a film asking yourself how something so drab and unnecessary got greenlit, made, and distributed. This is one of those films, though. Ed Helms should stick to bigger studio films where he is a secondary character, because that's where he is allowed to shine, with comedic one or two liners. He is not a leading man, unfortunately.
The film centers on the conflict between Eddie Krumble (Ed Helms), a professional infomercial audience member who falls into the former category, and Jayme Stillerman (Russell Peters), a late-night talk show host who will not sleep until he exposes this phony. After Stillerman notices that Eddie keeps popping up in tons of infomercials, he dubs him “The Clapper” and turns him into a running joke on his show. All the unwanted attention subsequently causes Eddie to lose his job and later his new girlfriend, Judy (Amanda Seyfried), a socially awkward gas station attendant who finds Eddie’s weirdness charming.
Director Montiel is ostensibly satirizing a mean-spirited media ecosystem that elevates random nobodies to the status of minor celebrities purely for the sake of ridicule, but his film’s sense of humor is practically indistinguishable from Stillerman’s own.
When Stillerman contrives a plan to reunite Eddie and Judy live on air (via telephone), Montiel wants us to see it as a cynical ploy to put a heart-warming capper on the show’s long-running derision of Eddie, but how is this any different than the film itself, which tries to make us feel okay for laughing at this fringe-dwelling sadsack by giving us a rooting interest in his love life?
...................................................................
"Candy Jar"
starring: Jacob Latimore, Sami Gayle, Tom Bergeron, Helen Hunt, Paul Tigue, Christina Hendricks, Uzo Aduba
written by: Chad Klitzman
directed by: Ben Shelton
Here's yet another Netflix-produced film, and another focusing on teenagers. These two characters have lessons to learn about their young lives, before venturing off to college, and it will be in the form of debate club (think Pitch Perfect, but not as entertaining, because instead of cool singing, there's just a bunch of loud, fast talking).
Lona and Bennett have been rivals their entire high school careers. In their senior year, with Lona (Sami Gayle) applying to Harvard and Bennett (Jacob Latimore) gunning for Yale, the pressure on them to do well is enormous, and they are dismayed to learn that as debate co-champions and debate co-presidents, debate isn’t going to give either of them the edge over the other. And while their ambitions drive them on, their respective mothers may hold them back. His (Uzo Adubo) is an affluent, accomplished state senator, and hers (Christina Hendricks) is a single mother with three jobs and a chip on her shoulder. And of course they too were once high school rivals.
The whole subplot of the two moms being rivals and unfriendly with each other, embarrassed for one another really, is completely unnecessary, other than it also furthers the divide between working class and upperclass people, and tells us that the working class folks should be embarrassed for themselves and that they can pull themselves out of it by simply going to an Ivy League college.
Ultimately, the two teenage leads need to learn life lessons about disappointment and loss and perspective, gain it, I suppose. Life isn't always about winning. It's about the experiences.
starring: Lucy Hale, Alex Wolff, Alexndra Shipp, Austin Butler, Kathryn Prescott, Claudia Doumit, Awkwafina, Colton Dunn, Brooke Smith, Austin Abrams, Jack McBrayer, Michaela Watkins
written and directed by: Olivia Milch
Here's another Netflix-produced original film, starring "Pretty Little Liars" Lucy Hale, and written and directed by a new and up-and-coming screenwriter/director- Olivia Milch (she is one of the writers of the all-female reboot "Ocean's 8" coming soon). It's another coming-of-age story, through the eyes of teenage girls, this time (that's what's different), and they're stoners/partiers/drinkers, all around shenanigan-causing teens. Usually these films focus on one of two "buddies" or a group of teenage boys. Maybe that's what makes this refreshing. The new writer/director knows what she's doing, writing the characters as relatable and likable. There isn't more drama than you'd expect.
The friend group we follow in Dude is made up of Lucy Hale, Alexandra Shippp, Kathryn Prescott and Awkwafina who all bring their own dynamic to the group, and it’s clear from watching them that this was a fun movie to make. As far as the story goes, there isn’t a great deal to tell. It’s a very typical “teenagers finishing high school” kind of tale with all the things you expect to find in such a film.
It's only shortfall is that unfortunately it doesn't offer anything new to the genres it finds itself in.
The acting is on par with what it needs to be from all the ladies. It's funny when it needs/wants to be without forcing it. And it follows a by-the-numbers script.
Decent film to enjoy.
.....................................................
"The Do-Over"
starring: Adam Sandler, David Spade, Paula Patton, Kathryn Hahn, Nick Swardson, Matt Walsh, Renee Taylor, Sean Astin, Natasha Leggero, Luis Guzman, Catherine Bell, Jackie Sandler, Michael Chiklis
written by: Kevin Barnett and Chris Pappas
directed by: Steven Brill
I feel like if you're going to stand by and watch Adam Sandler movies nowadays, it's your own fault and/or you absolutely know what you're getting. He's a guy that's never really grown up, even though he's tried with a few more dramatic roles sprinkled in his catalogue. He knows that his bread and butter is the 30 (maybe now 40)something male demographic that still enjoys ridiculous, immature humor. Netflix believed in him enough to sign a 6 picture deal with him, including:
The Ridiculous Six
The Do-Over
Sandy Wexler
The Meyerowitz Stories (New and Selected)- not included in the deal, but a Noah Baumbach offering in the middle of his deal
The Week Of
Here's the thing. Adam Sandler's star fell awhile ago, but for some reason, he still gets movies made, perhaps because he has a shit ton of money and his name alone will intrigue people enough to sell the idea of another sophomoric film. Unfortunately, there's a large enough market for that, as well.
Here's another thing about Sandler. He's always been loyal to his core group of friends and sometimes I think he makes movies to make sure his buddies have some work and are getting some money. His long-time, fellow SNL alum, David Spade, in his buddy in this film.
Charlie (Spade) is a guy whose life hasn't changed one iota since high school. He works at the same bank located in a local grocery, he drives the same crappy car, and lives in the same house. What should be a good thing, that he's now married to his childhood crush, Nikki (Natasha Legerro) is a disaster because she's a drunken, promiscuous trainwreck with two violent kids. Everything about his life sucks, which is why he's so happy to see his best pal, Max aka "Maxi-Pad" (Sandler came up with that one, no doubt), at their high school reunion, and boy have things changed for him.
Max was always expected to be a total failure, but he grew up to be a complete badass. He works in law enforcement, he's got money, and a crazy ex-girlfriend who can't leave him alone. In Sandler's world, that last point makes him some kind of virile stud, but that's the outdated gender dynamics we see play out through the entire film. It's like somebody dragged it kicking and screaming out of the '80s. An invitation to join Max on his boat, the Fish 'n Chicks (har har har), leads to the greatest time in Charlie's miserable life. It's also the last time the film is remotely enjoyable, again relying heavily on the Sandler/Spade bromance.
The major problem with Sandler signing this Netflix deal is that he seems to have carte blanche and can literally do anything he wants in the movie. The more ridiculous, the better (in his opinion, but I would beg to differ). Nothing really works and he just keeps piling on and up the weird crap that just doesn't seem plausible. Is he trying to prove a point- that movies are solely a form of escapism?
This is definitely one to avoid, unless you like watching car crashes.
..........................................................
"The Sweet Life"
starring: Chris Messina, Abigail Spencer, Brian Shortall, Karan Soni, Tyson Ritter, J.D. Evermore, Michael Emery, Andrew Borba, Scott Michael Campbell, Glenn Plummer, Cheryl Francis Harrington, Nick Searcy, Josh Pence, Chris Aquillino
written by: Jared Rappaport
directed by: Rob Spera
This was a surprising, small, indie film with a lot of heart. Chris Messina is somewhat of an indie film god, at this point. I've seen him in quite a few really good, under-the-radar films, especially thanks in large part to Netflix.
Chris Messina plays Kenny, the world’s saddest ice cream peddler. He mopes around Chicago in his stupid black bowtie, eventually ending up on a bridge that’s perfect for throwing oneself off of. EXCEPT the bridge is a little crowded: Lolita (Abigail Spencer) is also there, and she’s feeling kind of territorial about her favorite suicide spot. But before you know it, they’re bonding over their mutual depression and the crappy therapist they have in common. They don’t call their respective suicides off, but they do decide that no death is complete without one last road trip – and aren’t the bridges in San Francisco that much nicer for hosting one’s imminent death?
This is an interesting approach to the rom-dramedy. These two, you can tell, will end up together in the end, saving each other, because the set-up seems quite obvious. It's an interesting take on depression as a mental disorder and also what happens when two depressed people connect. You can tell that, at least Lolita thinks she is ultimately defined by her disorder and therefore is destined to kill herself, but Kenny sees the light at the end of the tunnel (re: Lolita, and love/connection).
It's also an interesting take on the "road trip" type of film, because these two characters ultimately give zero fucks and so anything can happen with them. I'm not so sure about the message in regards to mental illness that the film is conveying though, especially because it seems to make light of the heaviness to suicide, treating it more like a fluffy way to create a meet-cute scenario for the two depressed characters, to shotgun their adventure and connection.
..................................................................
"Little Evil"
starring: Adam Scott, Evangeline Lilly, Owen Atlas, Marcus Terrell Smith, Bridget Everett, Clancy Brown, Rick Applegate, Chip Zien, Kyle Bornheimer, Donald Faison
written and directed by: Eli Craig
This was actually a pretty decent film that Netflix produced, but a lot of that has to be credited to the actors, given the material, they did a great job turning it into something enjoyable to watch. That's not saying there's nothing else good here. I'm just saying, you can tell when the actors pick up the pieces and fill in the gaps. It's difficult to make horror-comedies that work, because ultimately they have to know and appreciate what they are, and also be in on the joke, themselves. Horrors, in essence, can sort of be comedic, in nature, because a lot of what happens would never happen.
Here, we have Gary (Scott) playing the stepdad to a "possessed" child, but perhaps the horror aspect of the film is essential a metaphor for the concept of being a step-parent. Gary's new wife, the ever-gorgeous Evangeline Lilly (from "Lost") will always side with her child and the mere suggestion that her good little boy is anything but, may cause a rift in the newlyweds' relationship.
Lots of gags and hijinks ensue between Gary and the little spawn of Satan, named Lucas, that drive the plot as Gary goes about trying to prove his point to anyone who'll listen.
The whole time, though, the film never seems to embrace its own identity, and seems to be having a bit of a crisis within itself. Should it go full-on horror-comedy or not.
This is an enjoyable and watchable film. A good way to pass the time.
........................................................................
"Family Blood"
starring: Vinessa Shaw, James Ransone, Colin Ford, Ajiona Alexus
written and directed by: Sonny Mallhi
Horror films, as discussed above, always seem to attempt a comparison to something realistic, a metaphor of sorts within each of their storylines. An underlying plot device leaving you to dissect in your own way, but oftentimes it's very obvious, as is the case with this horror-drama.
The comparison that is shoved down your throat here is the connection between drug addiction and vampirism. Still have your attention?
Ellie (Vinessa Shaw) is a recovering drug addict who has just moved to a new city with her two teenage children. Ellie joins a support group, where she meets shady guy Christopher (James Ransone), who helps the woman get past her addiction by providing her with a new one, for blood!
The film tackles the transformation of drug addict Ellie into a vampire rather well, treating the addiction like a disease that has a physical appearance when it rears its ugly head. It also shows how it affects her life and the lives of her children. The atmosphere and camera-work is decent enough, especially for the tension and jump-scares throughout the film.
The acting, though, is terrible, rather unbelievable. That and the pacing made this an otherwise snooze-fest of a horror film, for me with not too much redeemable.
..........................................................................
"Desolation"
starring: Toby Nichols, Jaimi Page, Alyshia Ochse, Claude Duhamel
written by: Matt Anderson and Michael Larson-Kangas
directed by: Sam Patton
This small, rather short indie horror film is solid gold for me. This is the kind of film I find myself searching for and thanks to Netflix, I'm able to find them often enough to appreciate them. This is the type of well done horror film that hits you nearly right away with the tension. Anything that centers around hiking in the wilderness gets me immediately (thanks in large part to "The Blair Witch Project").
Recent widow Abby (Jaimi Paige) and her long-time best friend Jen (Alyshia Ochse) take Abby’s 13-year old son Sam (Toby Nichols) out into the woods following his father’s death – to get back to living and to find closure by spreading their father/husband’s ashes into the wilderness he so loved and which was a part of their lives together. All is well until a mysterious hiker (Claude Duhamel) begins to follow them – eventually leading them all to fight for their lives.
There's enough of a plot to allow for background on each character to slowly reveal itself as the tension builds. The two lead women are incredible together.
There are anecdotes these two women remember about their high school days – memories of boys and whatnot – while they’re enjoying a couple of bottles of wine and a joint not far from their campsite for the night. Both the dialogue and the ease of trust, familiarity and love between Abby and Jen – is beyond marvelous. There wasn’t a moment which felt forced or inauthentic and if you didn’t know better, you’d think that these two ladies really had known one another for a great many years. There’s an earlier moment of conversation (being listened to by a should-be-asleep Sam) about how Abby’s coping with her loss – and the emotional moment ends with a tasteless joke which could only be shared (and appreciated) by two truly close friends.
These two ladies have such a beautiful and believable chemistry that it's easy to watch, and also easy to pass over the fact that the actual story doesn't have much depth to it. And that's where it sort of falls apart, for me. The menacing hiker following them, isn't necessarily as menacing as he could be. He's definitely taken classes in the act of slow-walking and stalking in the likes of Jason from "Friday the 13th" but he could be way scarier. It's the woods!
It's rare that an horror film will be driven by the dialogue and characters' backgrounds, but that seems to be the driving force with this film. Go along for the hike.
....................................................................
"The Clapper"
starring: Ed Helms, Amanda Seyfried, Leah Remini, Tracy Morgan, Adam Levine, James Ransone, Brenda Vaccaro, P.J. Byrne, Alan Thicke, Charles Halford, Mark Cuban, Wendy Braun, Russell Peters, Nico Santos
written and directed by: Dito Montiel
There is little to nothing redeemable about this movie. It can be rare that you finish a film asking yourself how something so drab and unnecessary got greenlit, made, and distributed. This is one of those films, though. Ed Helms should stick to bigger studio films where he is a secondary character, because that's where he is allowed to shine, with comedic one or two liners. He is not a leading man, unfortunately.
The film centers on the conflict between Eddie Krumble (Ed Helms), a professional infomercial audience member who falls into the former category, and Jayme Stillerman (Russell Peters), a late-night talk show host who will not sleep until he exposes this phony. After Stillerman notices that Eddie keeps popping up in tons of infomercials, he dubs him “The Clapper” and turns him into a running joke on his show. All the unwanted attention subsequently causes Eddie to lose his job and later his new girlfriend, Judy (Amanda Seyfried), a socially awkward gas station attendant who finds Eddie’s weirdness charming.
Director Montiel is ostensibly satirizing a mean-spirited media ecosystem that elevates random nobodies to the status of minor celebrities purely for the sake of ridicule, but his film’s sense of humor is practically indistinguishable from Stillerman’s own.
When Stillerman contrives a plan to reunite Eddie and Judy live on air (via telephone), Montiel wants us to see it as a cynical ploy to put a heart-warming capper on the show’s long-running derision of Eddie, but how is this any different than the film itself, which tries to make us feel okay for laughing at this fringe-dwelling sadsack by giving us a rooting interest in his love life?
...................................................................
"Candy Jar"
starring: Jacob Latimore, Sami Gayle, Tom Bergeron, Helen Hunt, Paul Tigue, Christina Hendricks, Uzo Aduba
written by: Chad Klitzman
directed by: Ben Shelton
Here's yet another Netflix-produced film, and another focusing on teenagers. These two characters have lessons to learn about their young lives, before venturing off to college, and it will be in the form of debate club (think Pitch Perfect, but not as entertaining, because instead of cool singing, there's just a bunch of loud, fast talking).
Lona and Bennett have been rivals their entire high school careers. In their senior year, with Lona (Sami Gayle) applying to Harvard and Bennett (Jacob Latimore) gunning for Yale, the pressure on them to do well is enormous, and they are dismayed to learn that as debate co-champions and debate co-presidents, debate isn’t going to give either of them the edge over the other. And while their ambitions drive them on, their respective mothers may hold them back. His (Uzo Adubo) is an affluent, accomplished state senator, and hers (Christina Hendricks) is a single mother with three jobs and a chip on her shoulder. And of course they too were once high school rivals.
The whole subplot of the two moms being rivals and unfriendly with each other, embarrassed for one another really, is completely unnecessary, other than it also furthers the divide between working class and upperclass people, and tells us that the working class folks should be embarrassed for themselves and that they can pull themselves out of it by simply going to an Ivy League college.
Ultimately, the two teenage leads need to learn life lessons about disappointment and loss and perspective, gain it, I suppose. Life isn't always about winning. It's about the experiences.
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