Fun Size

Directed by Josh Schwartz.

2012. Rated PG-13, 86 minutes.

Cast:

Victoria Justice

Jackson Nicoll

Thomas Mann

Jane Levy

Chelsea Handler

Thomas Middleditch

Johnny Knoxville

Josh Pence

Thomas McDonell

Ana Gasteyer

Kerri Kenney

Instead of going to the Halloween party thrown by the cutest guy in school, Wren (Justice) gets stuck baby-sitting her eight year old little brother Albert (Nicoll) while mom (Handler) hangs out with her way-too-young boyfriend. She loses track of the little scamp while they’re out trick-or-treating. With the help of her friends, she must find him before mom figures out what’s going on and, hopefully, still make it to that party.

I have a lot of issues with this movie. Many of them have to do with Albert. In true movie fashion, the boy relishes his status as missing. He also refuses to talk or obey any rules whatsoever. He goes along with strangers whenever possible, plays with fireworks, and eats practically nothing but candy. Honestly, though, I have less of a problem with what he does than the things that are done to him by the so-called adults around him. For instance, one of the good guys is Fuzzy (Middleditch), the clerk at the convenience store, and a grown man. He doesn't know Albert, he’s only seen him at the local arcade and, therefore, a stranger. Yet, he talks Albert into going with him on a mission to get revenge on his ex-girlfriend’s new beau. I couldn't care less what he’s going to do to whoever that guy is, especially since he’s being played by Johnny Knoxville. However, I do care that it’s being presented as if taking someone else’s child with you anywhere without the permission of anyone in the child’s family is somehow acceptable. Even worse is that is seems the movie itself is cognizant of how dangerous this idea is. Just before Fuzzy drives off with Albert, he says out loud to anyone within earshot “I’m not luring a child into my car!” Of course, that’s exactly what he’s doing. Later, in the hands of other similarly irresponsible “adults,” for lack of a more accurate word, Albert spends time in a fast-food joint, a nightclub and eventually winds up in the house of Knoxville’s creepy character. That last one is entirely of Albert’s own volition, but the movie botches this as well. What turns into his kidnapping is passed off as something Knoxville is in the right for doing. Maybe I’m being an old fuddy-duddy, but for a dad of young children, this is stomach churning stuff. Most surprising it that the people responsible for such a movie are none other than the normally good folks at Nickelodeon. I understand that much of children’s entertainment features absentee parenting, or at least kids that have free reign to do as they please, however, this goes overboard to the point that it is in extremely poor taste. You would think that a company which built an empire on kiddie shows, and claim to have the best interest of children at heart, would know better.

Sorry for the rant. Back to “regular” criticism.

With regards to the rest of the plot, things play out in paint-by-numbers fashion. There are a number of near misses between brother and sister, the cute guy has a crush on our heroine, so does the nerdy guy, and mom has to come to grips with the facts of her life. Yawn. Nothing unexpected happens and almost none of it is funny when it does. As a result, the whole thing runs a scant 86 minutes, but feels at least ten times as long.

Finally, I’m going to have to call a double-fault on Nickelodeon. The PG-13 rating feels incredibly forced. Nothing in the tone or surface content suggest it has to have this rating. Instead, a couple of choice words are slammed into the script where they don’t necessarily have to be. It reeks of someone at the company daring to put out what they think is an edgy production. Of course, it’s anything but. Is it of questionable morality? Yes, but that’s not really grounds for a PG-13. More than anything, it’s proof that movies do indeed have target audiences. My daughters loved it despite me often vocalizing my displeasure. I know, I should've pre-screened this one. The trailer looked harmless enough and the back of the DVD says it’s “an adventure the whole family will love!” Score one for marketing.

MY SCORE: 0/10

Fast & Furious 6

Directed by Justin Lin.

2013. Rated PG-13, 130 minutes.

Cast:

Vin Diesel

Paul Walker

Dwayne Johnson

Michelle Rodriguez

Jordana Brewster

Tyrese Gibson

Sung Kang

Ludacris

Luke Evans

Gal Gadot

Elsa Pataky

Gina Carano

At the end of Fast Five we were teased with the most soap operish of endings. One of our favorite characters, Letty (Rodriguez), was coming back from the dead for the next installment. And so, here we are. Our wait to see how her return plays out is over. The setup shows our heroes living high off the hog in exotic locales around the globe thanks to the money they made dragging a vault through the streets of Rio. Dom (Diesel) has something else he picked up while there: Elena (Pataky), the hot Brazilian cop who just couldn’t resist the Diesel engine. What? Too much? Anyhoo, Agent Hobbs (Johnson) shows up to fill Dom in on the fact that his thought to be deceased girlfriend is alive and kicking. The catch is she’s working for the newest bad guy, Owen Shaw (Evans), whom Hobbs is currently pursuing. With no hesitation, Dom rounds up the rest of the crew in London where all the madness is going down so they can get fast and furious. Six. Okay, that’s corny. You try. No? Let’s move on.

Like many an action movie, this one is at its worst when trying to explain itself. In other words, we don’t care one iota why Shaw is being such a dick, for lack of a better word. We sort of care about Letty’s situation. In true daytime drama fashion, she has amnesia. Let me back up a step. We actually don’t care about that either. We’re really just counting down the minutes until she figures out which team she’s supposed to be on. We’re also eye-balling part six’s buff female cop Riley, played by MMA fighter (and star of Haywire) Gina Carano and giddily awaiting the inevitable cat-fight between the two.

Two, my friends, is the magic number. That’s how many times our leading ladies square off. So good. So so good. I peek to make sure my wife isn't reading along as I type this. Aaaaannndd…the coast is clear. Anyhoo, that unabashed appeal to the shallow thirteen year old within us all has always been what works for this franchise. With Fast Five, the effort shifted into overdrive and never let up. FF6 travels the same road, but its pit stops are a tad longer. Otherwise, its commitment to the ridiculous is gloriously intact. We get more Dwayne Johnson being The Rock, more Ludacris and Tyrese Gibson trading insults. In fact, Tyrese is almost strictly comic relief. We also get more Paul Walker doing whatever Vin Diesel tells him to but somehow thinking he’s in charge and more of Sung Kang and Gal Gadot making googly eyes at each other. More than any of that, we get more crazy stunts involving not only cars, but a tank and a plane speeding down a runway that must be 50 miles long. And I’m not even joking a little bit about that last part.

Let’s back up to the cars for a moment. Know that I’m weeping on the inside as you read this because I’ll probably never have one. Our first real action scene involves something amazing. That something is not one, but two – yes, the magical two – two armored formula one racing cars. Sigh. May we please have a moment of silence for the untimely demise of all my other vehicular fantasies.

Thank you.

At the end of it all we get another really fun, but really dumb movie that is near impossible to resist. Sure, the dialogue is cheesy, the story is thin, and people act more out of convenience to the flimsy plot than anything remotely plausible. However, there’s an art to making watchable crap. It took a few movies to get it right, but these people have mastered it. How else to explain my total lack of disdain for the spectacular bridge stunt between Diesel and Rodriguez that makes the bridge scene in Fast Five feel somewhat realistic? And yes, we get another major promise (and closing of a loophole) right at the end. FF6 isn’t quite as good, or as terrible, as its predecessor, but it’s still so bad it’sawesome!

MY SCORE: -10/10

Seeking a Friend for the End of the World

Directed by Lorene Scafaria.

2012. Rated PG-13, 101 minutes.

Cast:

Steve Carell

Keira Knightley

Martin Sheen

Connie Britton

Rob Corddry

Patton Oswalt

Derek Luke

T.J. Miller

Melanie Lynskey

Mark Moses

Nancy Carell

What would you do if you knew for certain the world were going to end in three weeks? That’s the question facing us all in Seeking a Friend for the End of the World as a seventy mile wide asteroid is on a collision course with Earth and all attempts to stop it have failed. More specifically, it’s the question facing Dodge (Carrell). It’s also become exponentially more difficult to answer now that his wife has decided this would be the perfect time to leave him. Everyone around him is truly living each day like it’s the last, engaging in whatever activity their hearts desire while Dodge sits around and mopes. He finds someone to commiserate with in the flighty Penny (Knightley). She’s similarly distraught, having broken up with her boyfriend. Eventually, the two decide to help each other do the one thing they each must before it’s too late. An apocalyptic adventure ensues.

Early on, the movie focuses as much on our decaying societal mores as it does on the lives of our protagonists. Here is where most of its humor lies. The jokes are largely to be expected, generally revolving around people getting all the sex and drugs they could possibly want, but still fun to see play out. There are only two other jokes: the occasional ominous yet loony newscast and the situations Dodge and Penny find themselves in because of the outbreak of riots. The violence, and any humor derived from it, ends when a very odd man takes a bullet to the throat. You’ll have to see for yourself to understand how and why this could possibly be funny. A short while later, the sex and drugs part of the movie climaxes with a trip to a chain restaurant. Unfortunately, we still have half the movie to go.

Immediately upon finishing the very strange dining experience of our heroes, the movie settles into a string of predictable events in an effort to create a romance. Problem number one, again, is that the comedy disappears almost entirely. Instead, we’re stuck in this drama which never surprises us and will have to either deliver the depressing finale we've been trudging toward or, concoct some ridiculous BS for the sake of giving us a happy ending. Problem number two is that we never feel strongly enough about the couple in question to overcome problem number one. Dodge and Penny aren't two people we can see together under any circumstances. Making an exception because people are bound to do things and be with people they normally would not even consider. However, this just makes things seem even more preordained. This, combined with the fact that everything happens so perfectly on schedule, our pulse rate never increases. Our performers give it their all, but their interactions lack the magic needed to make us ignore these blemishes.

All is not terrible for the second half of the film. First, there is a wonderful scene, albeit a bit of a painful one, between Dodge and his dad played by Martin Sheen. It’s the one time we truly sense the emotion of the two people speaking. Second, the final scene is one of endless tenderness. It is by far the most enjoyable exchange between Dodge and Penny. If somehow, you find yourself caring by this point, you might even have to wipe away a tear or two. Odds are, you won’t.

Rust and Bone

Directed by Jacques Audiard.

2012. Rated R, 120 minutes.

Cast:

Matthias Schoenaerts

Marion Cotillard

Armand Verdure

Corinne Masiero

Bouli Lanners

Jean-Michel Correia

Mourad Frarema

Yannick Choirat

We first meet Ali (Schoenaerts) while he’s traveling to his sister’s house with his five year old son Sam (Verdure) in tow. We quickly realize he’s a hard luck case. Sis is none too pleased to see him, but takes the pair in for Sam’s sake. Soon, he gets a job as a bouncer at a nightclub. While working one night, he meets Stephanie (Cotillard) when he comes to her rescue, even drives her home, after she has a run-in with some jerk. Nothing more happens as she has a boyfriend. The two go their separate ways: Ali back to bouncing, Stephanie back to her job training killer whales at Marine Land. Unfortunately, an out-of-control whale causes all sorts of damage. Stephanie wakes up in the hospital only to discover that both of her legs have been amputated just above the knee. A few months pass, and feeling lonely because her boyfriend has disappeared, she gives Ali a call. From there, the two begin sort of a one-sided romance. It’s not because she’s lost her legs. It’s that Ali is a tough one to pin down.

As with many other movies of its ilk, Rust and Bone is only as good as the chemistry between, and performances by, its two leads. Matthias Schoenaerts and Marion Cotillard make a believable pair. As simple and off-handed as it sounds, that’s a compliment of the highest order. Schoenaerts’ Ali displays a perfectly cavalier attitude about everything, including his son. This would seem an impediment to true romance because the other person probably wants to be taken seriously. In fact, it is. However, it also enables him look past her condition and treat it as a mere fact of life and not something he has to talk about while obsessing over the difficulties it may cause. Sure, it’s a topic of conversation, but not the deciding factor in how much, or little, he values her as a person.

Early on, Stephanie is simply grateful for Ali’s kindness. As the movie persists, she begins to feel like a real woman again. She remembers how to assert herself, perhaps even better than she did before. She learns to enjoy life, escaping the bottomless abyss of self-pity with a helping hand from Ali. Through her initial leaning on him, she learns independence. Each actor portrays their half of the relationship as genuinely as possible. We fully get why things develop as they do.

Subplots are handled solidly, for the most part. Ali’s ever-changing job status informs whatever it is he has with Stephanie. Chief among his string of occupations is the most illegal one. He soon starts fighting on the streets for money. Strangely, this is the setting in which the two grow closest. As far as his son is concerned we see time and again how much of a struggle it is for him to take care of Sam. Though Sam is clearly a plot device more than anything, a cog in the machine of a love story, he’s still an intriguing part of our tale.

The one thing I take umbridge with is Stephanie’s rehab. Essentially, this is a movie about a woman overcoming serious obstacles to reclaim her sense of self-worth. Dealing with her new physicality is part of this. We see the shame she feels when out in public, or even in private when doing things supposedly “normal” people don’t have to do. Eventually, we see her gain some sort of confidence thanks, in no small part, to a set of prosthetic legs. What we don’t see is any part of the process that doesn’t deal with Ali. It’s understandable that the filmmakers didn’t want to take too much time away from the couple in question, but it feels too easy. One moment, she’s being shown the prosthetics for the very first time. The next, she’s walking around on them amidst a throng of strangers with no qualms about jostling her as if she’s been doing it for years.

Perhaps, I’m being lazy, asking for too many things to be spelled out for me. With that in mind, I have to say that Rust and Bone is still a very enjoyable, if clichéd love story. Aside from our heroine losing her legs, there’s not much here that marks this as a unique movie experience. However, our two stars turn in excellent work. We believe in their relationship and ride the roller coaster with them.

Black Mama, White Mama

Directed by Eddie Romero.

1973. Rated R, 87 minutes.

Cast:

Pam Grier

Margaret Markov

Sid Haig

Lynn Borden

Zaldy Zshornack

Laurie Burton

Eddie Garcia

Alona Alegre

Dindo Fernando

Vic Diaz

Wendy Green

Lotis Key

Alfonso Carvajal

Black Mama, not actually called this in the movie, is played by the incomparable Pam Grier. That’s really all you need to know. Okay, maybe that’s all I need to know. After all, she’s Pam Grier. Any further description is unnecessary. For me. Since you’re not me, and probably not Pam Grier, I’ll indulge you with some of the particulars of this cinematic experience.

We meet Black Mama, and White Mama, on the bus on their way to an all-female prison camp where the two will be inmates. Black Mama is serving time on a possession charge. White Mama, not actually called this and played by a not so bad herself, Margaret Markov, is something of a political prisoner. We’re told she’s a revolutionary. Exactly what kind of revolutionary and what she’s fighting for, I’m not sure. Just suffice it to say it’s the 1970s and revolution is in the air.

The first third of the movie is pure testosterone driven Women-in-Prison fantasy. Mass shower scene? Check. Horseplay between the ladies during said shower scene? Check. All female and horny lesbian prison guards? Check. Horny lesbian guards getting rough with anyone that steps out of line? Check. All of these checks lead to our heroines being locked in “The Oven,” a form of (not exactly) solitary confinement. It’s basically a box barely big enough for the two ladies to stand inside back-to-back. There’s not even enough room for them to wear tops! Why no, nothing so far at all qualifies as gratuitous nudity. I mean, it’s all germane to the plot. Okay, I’m lying. Don’t judge me.

Right after getting out of “The Oven,” the ladies are informed they’re being taken elsewhere because some higher ups want to ask both of them some questions. This means another bus ride, only now, the two are shackled together. White Mama’s revolutionary buddies attack the bus and engage the cops in a shootout, during which the Mamas escape into the woods. From here, we get a rehash of The Defiant Ones, only with more guns, Sid Haig and random boobies all over the place. This. Is. Heaven.

Wait..what? Did I say that out loud? I’ll admit I can occasionally get in a really shallow mood and this movie perfectly fits those times. Then again, I’m not sure if my love for it speaks to my shallowness or my depth. What I mean is Pam Grier touches me in a deep…too much? Sorry. Give me a moment. I’m putting my ‘objective reviewer’ cap back on and adjusting it so that it fits…just…so. There.

Horrible, cringe-inducing dialogue? Check. Both intentional AND unintentional humor? Check. Wooden acting? Check. Excessive cheese, sleaze, and shameless exploitation? Check. Check. Double check.

And it stars Pam Grier. Drool. To hell with that objective nonsense. All of this movie’s sins are hereby forgiven. Henceforth, Black Mama, White Mama shall forever be described by the best, greatest, loveliest, most wonderful, terrific, terrible, worst, most horrible, crappiest, yet still endearing term in the history of moviedom: so bad it’s awesome!

Killer Joe

Directed by William Friedkin.

2012. Rated R, 101 minutes.

Cast:

Matthew McConaughey

Emile Hirsch

Juno Temple

Thomas Haden Church

Gina Gershon

Marc Macaulay

Chris (Hirsch) is in trouble. The cocaine he’s supposed to sell has been stolen and he doesn't have the money to pay off his supplier. He suspects his mother, since she’s the only one who knew where it was and her long broken down Cadillac is suddenly running very well. Chris needs the money pretty quickly and he’s just heard about his mom’s fifty thousand dollar life insurance policy of which his little sister Dottie (Temple) is the beneficiary. He fills his dad Ansel (Church), now remarried to Charla (Gershon), and Dottie in on his idea and all are in agreement that it’s a good one. Not wanting to do the deed themselves, they hire Joe Cooper (McConaughey), a Dallas detective who provides such services on the side.

From there, the movie gets into some even more uncomfortable territory. Much of this surrounds Dottie. We’re not quite sure how old she is. She’s not as slow on the uptake as everyone around her thinks, but she’s plenty naïve and easily taken advantage of. When Chris and Ansel can’t pay Joe’s advance, he offers to take Dottie as a retainer. Let’s just say their “dinner date” can be tough to watch. However, that’s the twisted charm of this movie. It delights in parading an entire roster of unlikable people before us and mining the depths to which their souls have sank, if they ever had any in the first place. Dottie stands apart from the crowd, maintaining innocence despite doing things that would normally disqualify a person from being innocent. This is key to the movie’s success because even though we might not readily identify with this woman-child, we sympathize for her and find it difficult to lay blame at her feet. Juno Temple plays the role wonderfully. She fully personifies Dottie in the way this movie needs her to.

Joe is on the opposite end of the spectrum. He’s cold, calculating, and ruthless. The one trait that facilitates all those others is his complete lack of conscience. McConaughey plays it with a scary coolness. He’s always in control of the situation and is more than willing to make sure it plays out in his favor. He might be my favorite villain of 2012. Of course, he doesn't see himself as a villain, but a businessman following through on a transaction, regardless of what actions that calls for.

Besides Temple and McConaughey, the rest of the cast is also great. Thomas Haden Church is perfectly dumb, Gina Gershon is thoroughly skanky (we literally meet her crotch first), and Emile Hirsch nails it as the brightest of a not very smart bunch.

The twists and turns of our plot develop because of people we don’t, or rarely, see. This works because it fosters the notion that these people are not only in this together, but completely alone with one another. Any problems they may face will have to be dealt with on their own. To paraphrase Ansel, and a very old saying, they must lie in the beds they've made. They, and we, know that the cavalry isn't riding in to save the day and ‘happily ever after’ will be an elusive destination. Whatever happens is going to be determined by these few people we've spent all of our time with.

Eventually, things can get to be a bit on the outrageous side. I've already mentioned Joe's “date” with Dottie. Later, the way he utilizes a chicken leg is something I’m fairly certain the Colonel never envisioned. Then we get to that ending. It’s purposely ambiguous and will flat piss some people off. The standard question that lingers is did she, or didn't she? We can argue which for eternity, with evidence to support both sides. For some, this will leave way too much wiggle room. I suspect this makes Killer Joe a love-it or hate-it type of affair. Count me in the love-it camp.

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