Little remembers Longstreet from high school as a great short-story writer and musician, but since graduation, Longstreet has been working as a spotlight-operator on lame national tours, completely unaware that he’s been such an inspiration to a guy he barely knew. The Cardinal rule of business is to never even discuss politics, yet some companies have recklessly chosen to alienate half of the country by attacking Donald Trump and/or Republicans, pushing for censorship of conservative speech, and/or supporting the false and racist ⦠The stars and sensibility get younger with each successive film: The 40-Year-Old Virgin’s middle-aged Steve Carell gave way to twentysomething Knocked Up star Rogen, and now teenagers Jonah Hill and Michael Cera step in as co-dependent buddies facing the end of high school and scary/exciting college careers pulling them in separate directions. When it drops, that is. And though we’re watching a kind of warped upstairs-downstairs story, not a dystopian arcade brawler, Parasite races forward with the same locomotive speed as Snowpiercer, with plenty of its own twists and turns waiting behind each new door. A big part of the film’s success is derived from the chemistry between Sandler and the Sprouse twins, who make better foils than the obligatory love interests with whom the actor has been saddled in the past. It’s just that in 2019, the kids running off into the suburban night trying to avoid getting busted for underage drinking self-identify as intersectional feminists. There are slapstick bar fights and actual cliff-hanging. A larky call lands them an interview with Kim Jong-un (Veep’s Randall Park, a worthy foil to his better-known co-stars), supposedly a Skylark superfan. Aussie expat Trevor (Guy Pearce) is the founder and proprietor of Power 4 Life, a fitness club he runs on the outskirts of Austin with a small staff of personal trainers, including customer favorites Kat (Cobie Smulders) and Lorenzo (Tishuan Scott, the creepy cult leader from Computer Chess). Her mother, to whose care she has devoted much of her adult life, recently died, leaving her with little but her old-school leftist pal Roz (Tyne Daly) and her menial data-entry job to occupy her time. The same critics who rightly pegged Koepp’s similarly hyperactive Premium Rush as a must-see somehow weren’t willing to extend the same goodwill to Mortdecai, even though it has the cinematic flourish and distinctive sensibility so often missing from modern movie comedies. Nevertheless, there’s a strong whiff of Hawks’ classic in the movie’s conception of its titular outlaws as neurotic chatterboxes. As far back as 1952, Kitty Wells shredded the hypocrisy of sexual double standards in her song “It Wasn’t God Who Made Honky Tonk Angels,” and Loretta Lynn had already given birth to three children when she taught herself to play the guitar in 1953, at the age of 21. [Nathan Rabin], One of the first things Aubrey Plaza says in The Little Hours is “Don’t fucking talk to us.” Anachronism, as it turns out, is the guiding force of this frequently funny, agreeably bawdy farce, which imagines what a convent of the grubby, violent, disease-infested Middle Ages might look and sound like if it were populated by characters straight out of a modern NBC sitcom. you should boycott . [Katie Rife], It’s almost as if Harry Dean Stanton deliberately timed his death at 91 to coincide with the release of Lucky, a film expressly about coming to terms with the prospect that you will soon no longer exist. [Charles Bramseco], Beyond the eye-popping visuals, Chicken Run offers an endlessly clever extended riff on The Great Escape, recasting the German POW camp as a Yorkshire coop and allowing plenty of room for Park’s signature schemes and gizmos. They deliver some strong one-liners (“A lot of people say we’re just in it for the drugs, but that’s true,” Cheech deadpans) and more than that, they confront their own growing public profile with more self-awareness than in the literally self-aware flourishes. It’s a sadly rare thing: a sweet, madly inventive, totally mainstream romantic comedy, buoyed by inspired jolts of comic violence (some of them provided by J.K. Simmons as another wedding guest with a very big bone to pick with Nyles). When Tim Burton and Jonathan Gems rescued the property a decade later, they put its throwback flying saucers on a collision course with Roland Emmerich and Dean Devlin’s sky-swallowing City Destroyers—prompting a skittish Warner Bros. to eventually move Mars Attacks! The full robbery blueprint is revealed slowly—new details are still twisting the narrative even after the big heist day has passed, perfect for Steven Soderbergh’s control-freak tendencies (once again, he shoots and edits himself). And he has the perfect foil in Rachel McAdams, who stars as a TV news producer whose unflagging positivity and stick-to-it-iveness chip away at his defenses like a battering ram against a fortress wall. This doesn’t make them automatically good, but it does make them automatically different; has a stop-motion feature ever been described without using the word “painstaking”? Let it ⦠Natasha Leggero is an actor, producer, and writer with numerous film roles, including Neighbors, Letâs Be Cops and Heâs Just Not That Into You. First, the cast is phenomenal: All three stars acquit themselves spectacularly without appearing to fight for screen time. [Nathan Rabin], Over the span of just five years, there were four films—Kick-Ass, Defendor, Special, and the psycho-comedy Super—about ordinary people who decide to fight crime in silly homemade costumes. But writer-director Dustin Guy Defa, a prolific director of short films making his first feature since 2011’s Bad Fever, has developed a feel for American eccentricity that brings to mind Jim Jarmusch and Richard Linklater in its best moments, albeit in a scruffier style. [Noel Murray], The first big family film from Steven Spielberg, David Geffen, and Jeffrey Katzenberg’s DreamWorks studio stars Nathan Lane and British comedian Lee Evans as estranged brothers who are reunited when their father dies, leaving them a run-down house as part of their inheritance. Not enough mental health funding, let the cops handle it⦠Here in Dallas, we got a loose dog problem; letâs have the cops ⦠The pivotal scene arrives early, on the second day of a blissful family vacation. Soon, the CIA turns up with a request that the two assassinate him. Most of the first half plays out as a Q&A between the esteemed European press and our dudes, affecting a Godardian aloofness as if they had just been kicked out of Cannes for taking bong rips in the bathroom of the Grand Palais. As they float down the river, Little reveals how endearingly ignorant he is about how the world works, while Longstreet enjoys having someone to talk to—even though Little complains that none of Longstreet’s stories have proper endings. (Even worse, it’s shot on fuzzy Super 16mm.) If stoner comedy has a Stop Making Sense, this would have to be it; there’s a winning sense of spontaneity to the grainy footage of Cheech and Chong’s onstage set, bouncing around the theater and employing the occasional distorted exposure to nod to their countercultural roots. Imagining Steve McQueen as one in a flock of rotund chickens with tiny legs and prominent teeth, the story begins with a hilarious montage of failed attempts by the plucky Ginger (voiced by Julia Sawalha) to escape Tweedy’s Egg Farm. None too forgiving, that law. Beyond merely upgrading his Wilsons, from mopey Luke to loopy-genius Owen, Phillips improved considerably as a co-writer and director since Old School. Playing a thirtysomething couple making a brief stopover in Paris after a vacation to Italy, Delpy (Before Sunrise) and co-star Adam Goldberg snipe at each other with casual venom, refusing to acknowledge or accede to each other’s calls for comfort or reassurance. Welcome back to my Snowfall recap! What’s more, that shot is a close-up tight enough to reveal that Cruz, like the character she plays, has begun to see her ingénue youthfulness fade. As her husband (Gabriel Goity) talks business and makes toasts with the men, while her college-aged sons discuss their future plans with relatives, Onetto ferries a lavish feast from the kitchen, culminating with a cake whose candles she blows out herself—the celebration is for her, to mark her 50th birthday. Most notably, the three women have a series of literal fantasies where each of them murders Coleman, including one where Tomlin is animated as Snow White. This list was most recently updated March 22, 2021. in out-of-fashion Eastern European clothing—Tom Hanks becomes resourceful in order to survive, making friends with those who can help him and plugging into the airport economy by returning baggage carts for a quarter a pop. Sight gags involving two elderly men riding motorbikes in the buff may be a little too much, but this slight movie gets by on its grungy charm, if not its class. (Photo by: Barbara Nitke/Hulu). The directorial debut of ace character actor John Carroll Lynch (Marge’s husband in the movie Fargo, the creepiest suspect in Zodiac, etc. [Mike D’Angelo], The year was 1996, and movie theaters barely had enough time to recover from the first assault from beyond the stars before the next fleet of spaceships hovered in over the horizon. Though her character’s high-school glory days are almost two decades behind her, she’s dredged them up with an unstable determination that attests to the years of disappointment that followed them. [Jesse Hassenger], In Puzzle’s opening sequence, the marvelous Argentinean actor María Onetto’s meek housewife is frantically overseeing a party at her house, cooking, serving, and tamping down her obvious exhaustion to make small talk with whoever intercepts her. The Nutty Nutt). [Scott Tobias], For a fleeting moment, one could reasonably mistake Force Majeure for a disaster movie. Her disapproving mother Marion (Julie Walters) wants Rose-Lynn to give up her dream of becoming a country (not “country and western”) singer. The criteria for inclusion here is that (1) the film is available with the basic Hulu subscription; (2) the film is classified by Hulu as a comedy—a very broad term for them, apparently; (3) The A.V. Still, the violently negative reaction to director David Koepp’s adaptation of Kyril Bonfiglioli’s cult pulp novels seemed wildly out-of-proportion to the actual quality of the film, which is an uneven but mostly genially wacky globe-hopping adventure. In the aftermath, she discovers that one of the presents left for her is a thousand-piece jigsaw puzzle featuring a picture of Nefertiti. At age 27, screenwriter Will Reiser contracted a nasty, multisyllabic form of cancer on his back, and with this film, he tells a personal story that looks a lot like a movie. Another of Dave’s scoops involves Rob Lowe’s coming-out as a secret bald person (“His head looks like somebody’s taint!” someone from the booth exclaims). It’s hardly a masterpiece, of course, and much of the slapstick quickly grows tiresome, but at its best, MouseHunt’s baroque, Dickensian universe recalls Nicholas Roeg’s terrific, underrated, and similarly mouse-centric Roald Dahl adaptation The Witches. The pair soon learns that the house is a lost architectural masterpiece, but their attempts to auction it off are thwarted by a pesky, brilliant, territorial mouse. While Admiral General Aladeen certainly has a place in Baron Cohen’s gallery of human cartoons, the key point about The Dictator is that it’s a departure from his previous films and not another trip to the well. The film has much softer politics in mind, as it uses JFK as a stage to play out the American immigrant experience in miniature.
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