Oscar® winner Charlize Theron explodes into
summer in Atomic Blonde, a breakneck action-thriller that follows MI6’s most
lethal assassin through a ticking time bomb of a city simmering with revolution
and double-crossing hives of traitors. The crown jewel of Her Majesty’s Secret
Intelligence Service, Agent Lorraine Broughton (Theron) is equal parts
spycraft, sensuality and savagery, willing to deploy any of her skills to stay
alive on her impossible mission. Sent alone into Berlin to deliver a priceless
dossier out of the destabilized city, she partners with embedded station chief
David Percival (James McAvoy) to navigate her way through the deadliest game of
spies.
Director: David Leitch
Cast: Charlize Theron, James McAvoy, John
Goodman, Sofia Boutella, Til Schweiger
Release Date: Jul 28, 2017
Genres: Action/Adventure, Suspense/Thriller
Rated R for for sequences of strong
violence, language throughout, and some sexuality/nudity
Review:
Atomic Blonde is a stylish spy thriller
that’s a great vehicle for a kick ass Charlize Theron.That’s really the main attraction here,
watching Charlize Theron repeatedly beat up anyone and everyone in a variety of
fashions.The film’s action sequences
are impressive works of art that really highlight the director’s
strengths.The two major sequences, one
involving a rope and lots of police and the finale which is one of the most
brutal fight sequences in a long time, are when the film hits its peak.The plot though is a slight weakness, the spy
plot is pretty basic, missing microfilm, and there aren’t nearly as many twist
and turns as you’d expect.Still it’s
got enough style blended with a strong 80s soundtrack to make it memorable.
Dearest Blog: Thanks to a half-day closing at the office, I was able to avoid the weekend rush and catch a Friday-afternoon screening of Atomic Blonde.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
Against a backdrop of the tumultuous days leading to the fall of the Berlin Wall, agents from several nations race to claim a stolen piece of valuable intelligence.
Regular reader(s) will have heard me say time and again that I haven't much interest in movies about women, but apparently my interest can be piqued when said women are beating the ever-lovin' crap out of everyone. Take note, Hollywood.
If we're being honest, Atomic Blonde is mostly a bunch of wild action sequences strung together with a thin of bit spy-thriller thread. The plot is compelling, with a few great twists, but it can't steal the spotlight from the movie's fight and chase scenes. It is a testament to how great the action is that you won't mind that a bit. It's a testament to the rest that the movie still has a few surprises up its sleeve.
The lovely Charlize Theron is...well...lovely, ceaselessly making fashion statements while knocking people's lights out. (Note to self: Anyone dressed too nicely is probably a spy.) Theron is mesmerizing, carrying the movie as effortlessly as her character puts down the bad guys. James McAvoy, Sofia Boutella, Eddie Marsan, John Goodman, and Toby Jones round out an excellent supporting cast. Atomic Blonde features terrific graffiti-style graphics on the titles and credits, some beautiful scenery, and the best fight choreography I've seen in many a day. Full marks for all of the above, but if I told you any of that was the movie's high point, I'd be lying. No, the best thing about Atomic Blond is its wonderful soundtrack, featuring a couple-dozen of the 80s best nuggets, including the original German versions of two of my favorites: Peter Schilling's Major Tom (Coming Home) and Nena's 99 Luftballons. As most of the film's brutality is set to music, a final face-off is all the more effective for being backed by nothing but the sound of punches landing and people getting the wind knocked out of them.
Atomic Blonde clocks in at 115 minutes and is rated R for "sequences of strong violence, language throughout, and some sexuality/nudity."
These days people talk a lot about the importance of representation in film. I'm not sure anyone will be calling Atomic Blonde an "important representation for girls," but if, like me, you're a girl who would rather jump off a cliff than sit through Wild or its ilk again, it's certainly a step in the right direction.
Of a possible nine Weasleys, Atomic Blonde gets eight.
Dearest Blog: This week I had the opportunity to enjoy two classics in tandem: Magical musical Singin' in the Rain at Wheeling's majestic Capitol Theatre.
First, let's talk a bit about the venue. The historic Capitol Theatre opened for business in 1928, and is perhaps best known as the former host of Jamboree USA, a live, weekly country music broadcast enjoyed by fans near and far. It is currently the proud home of the best little orchestra in the nation, the Wheeling Symphony, and presents an annual Broadway series, as well as occasional country and rock concerts. In the late 2000s, the theatre underwent extensive renovations to improve the seats, bathroom facilities, and lounge areas, upgrading it to the area's most comfortable, as well as its most beautiful, venue.
This summer, the Capitol is offering a summer movie series of old and new favorites on Thursday evenings and Sunday afternoons. Admission is only $5 for adults and $3 for children. Concessions are more reasonably priced than your average cinema, and, in addition to the usual popcorn and soda, the menu features pizza, hot dogs, and--for the Thursday-night shows--cocktails. Now it's a party, right?! Movies are general admission, and there's not a bad seat in the house. Close up, further back, center or side, you'll see and hear just fine.
Thursday night, we visited the Capitol to revisit another classic, Singin' in the Rain.
A handsome movie star (Gene Kelly) finds true love against a backdrop of Hollywood's first talking pictures.
Ladies and gentlemen, there's a reason why people are still interested in a movie like Singin' in the Rain six and a half decades after its original theatrical run: It is simply timeless. Gene Kelly is a legendary talent: actor, dancer, singer, director. Hollywood has never known a more charismatic leading man, not before and not since, and here--a movie star playing a movie star--he's at his most magnetic. Nineteen-year-old Debbie Reynolds is fun and feisty as his leading lady, but the movie's real scene-stealer is Donald O'Connor, with his timely wisecracks and extraordinary dance moves.
The plot moves at a crisp pace, with well-placed musical numbers and a healthy dose of humor. Its love story may seem a bit saccharine by today's standards, but Singin' in the Rain's ageless choreography, lively tunes, spectacular costumes, and engaging performances will never go out of style. It's a perfect fit for a glorious venue like the beautiful Capitol Theatre.
Singin' in the Rain runs 103 minutes. It pre-dates the MPAA's current ratings system, but, unless you're that dude from Footloose who thinks dancing is evil, I can't imagine any sane person would find anything objectionable about it.
Singin' in the Rain is a timeless classic for all generations. Of a possible nine Weasleys, Singin' in the Rain gets nine.
Thanks to all involved with bringing the Summer Movie Series to the Capitol! Get out and see some of these upcoming favorites:
Mary Poppins - Sunday, July 30 - 3:30 p.m.
The Blues Brothers - Thursday, August 10 - 7:30 p.m.
The Little Mermaid - Sunday, August 13 - 3:30 p.m.
Caddyshack - Thursday, August 24 - 7:30 p.m.
The Wizard of Oz - Sunday, August 27 - 3:30 p.m.
The Big Lebowski - Thursday, September 7 - 7:30 p.m.
Dearest Blog: Yesterday it was off to Marquee Cinemas for Valerian & the City of a Thousand Planets and Dunkirk, after long-awaited home screening of Free Fire.
Spoiler level here will be mild, nothing you wouldn't know from the trailers or a history book.
First up: Free Fire.
In the late 1970s, a weapons deal goes awry in an abandoned Boston warehouse.
I had high hopes for Free Fire, likely due to the presence of two of my favorite actors, Cillian Murphy and Sharlto Copley...not to mention Armie Hammer, who generally can do no wrong in my eyes. It is perhaps due to an unreasonably high bar that I found the movie something of a disappointment, though it's not without a fair few merits.
Chief among Free Fire's positives is its cast. In addition to my aforementioned favorites, the picture features great turns from Oscar winner Brie Larson, Michael Smiley, and Sam Riley. The botched gun sale happens in real(ish) time, which is often a bore onscreen, but the movie is smart enough not to wear out its welcome. As you might have guessed from the whole "weapons deal goes awry" thing, violence is not in short supply here, though it seems these gangs of gun-runners can't even shoot well enough to join the Stormtroopers. One of Free Fire's really great moments features an Edgar Wright-ish use of an old John Denver tune, and--while it's hardly a hardly a character study--there is some backstory underneath all the gunfire. Unfortunately, aside from rooting for more screen time for my faves, I never much cared what happened to anyone, I just found the proceedings rather dull. Without divulging how the chips fall in the end, I will say for a brief moment I was hopeful the picture was cruising towards a finish that might have made amends for some of its shortcomings, but ultimately it goes a half-step too far for even that.
Free Fire clocks in at 90 minutes and is rated R for "strong violence, pervasive language, sexual references, and drug use."
While I didn't love Free Fire nearly as much as I'd hoped, it's a smart enough picture that I was left thinking, to paraphrase George Costanza: "It's not you, Free Fire, it's me."
Of a possible nine Weasleys, Free Fire gets six.
Next on Saturday's agenda was my first Pirate-less trip to the cinema in nearly two months, which kicked off with Valerian and the City of a Thousand Planets.
A long time from now, in a galaxy far, far away, Agents Valerian and Laureline are on a mission to save the future.
Dear reader(s): I gotta be straight with ya, Valerian and the City of a Thousand Planets is one of the worst movies I've ever seen. From the first trailer, something seemed off, a good enough idea that started going wrong even a two-minute preview, but I held out hope the film might surprise me. I didn't need Valerian to be Oscar-worthy; rather--like King Arthur and the Legend of the Sword--I just needed it to be watchable. Sadly, it isn't. As I'm frequently on the flip side of popular opinion, for reference I'll note that paying customers walked out on my screening, and the exit chatter from those who stuck around was positively grim. You might think a sci-fi epic such as this would have wonderful effects, but Valerian's are pretty pedestrian. It's lovely at times, but there's nothing all that interesting, nevermind ground-breaking. The plodding, convoluted story is propelled by awkward dialogue and attempts to force sexual tension between two characters who have about as much spark as a wet match. Oh...and was I supposed to be rooting for someone here? Valerian (the usually reliable Dane DeHaan) is a boorish lout; Laureline (Cara "Please Stop Treating This Person Like an Actor" Delevingne), a petulant child. The hippie aliens the movie hopes to make its most sympathetic characters are annoying with a capital A-N-N-O-Y-I-N-G, and the female who kept pinwheeling around like the highest person at an intergalactic Grateful Dead show made me want to throw something at the screen. There's a bit of saving grace in Bubble--portrayed with surprising skill by Rihanna--but her appearance is so brief it can't come close to salvaging this two-plus-hour mess.
Valerian and the City of a Thousand planets runs a painful 137 minutes and is rated PG13 for "sci-fi violence and action, suggestive material, and brief language."
While I'd never discourage anyone from getting out to the cinema, I shall beg everyone not to waste a penny on this dreadful movie. Go see Baby Driver instead. (Fine, then. See it again.)
Of a possible nine Weasleys, I can't, in good faith, give Valerian and the City of a Thousand Planets even one.
Finally, my closer for yesterday's movie-thon was Christopher Nolan's World War II epic, Dunkirk.
A desperate attempt is made to evacuate Allied soldiers, surrounded by the enemy, from a beach in France.
It goes without saying a big war epic plays to writer/director Christopher Nolan's strengths, and I am pleased to report that the best director I've ever worked with** does not disappoint. Since excessive length is one of my common complaints, I'll start by noting that Nolan has exercised great restraint in trimming Dunkirk to an efficient runtime of under two hours; however, he so masterfully immerses viewers in the terrifying sights and sounds of war, the tension makes some scenes seem very long indeed. In an age of increasingly bad behavior at the movies, my room sat in rapt silence for the duration of Dunkirk. Spellbinding performances from Mark Rylance, Kenneth Branagh, and Cillian Murphy effectively depict the horrors of war, of being unable to save everyone, of having to make impossible choices for the greater good. Visually, Dunkirk is colored in shades of grey, accenting the seemingly hopeless situation, but majestic shots of the beach and sea are still breathtaking. Hans Zimmer's glorious score sets the perfect tone, and the movie builds to a finish that strikes all the right emotional chords without feeling contrived.
Dunkirk clocks in at 106 minutes and is rated PG13 for "intense war experience and some language."
Dunkirk is equal parts summer blockbuster and potential awards bait, a deserving box-office hit that hopefully will be remembered when the industry starts considering its year-end accolades. Of a possible nine Weasleys, Dunkirk gets eight.
Until next time...
**I was an extra in The Dark Knight Rises. I never spoke directly to Mr. Nolan, but IT COUNTS, DAMMIT!
Acclaimed auteur Christopher Nolan directs
this World War II thriller about the evacuation of Allied troops from the
French city of Dunkirk before Nazi forces can take hold. Tom Hardy, Kenneth
Branagh and Mark Rylance co-star, with longtime Nolan collaborator Hans Zimmer
providing the score. ~ Daniel Gelb, Rovi
Director: Christopher Nolan
Cast: Tom Hardy, Mark Rylance, Kenneth
Branagh, Cillian Murphy, James D'Arcy
Release Date: Jul 21, 2017
Rated PG-13 for intense war experience and
some language
Genres: Action/Adventure, Drama
Review:
Christopher Nolan’s Dunkirk is an impressive achievement, a sprawling war epic
taken from multiple viewpoints.After
Interstellar, a rare misstep from Nolan, it’s good to see the director try something
new.What he delivers an interesting and
engaging non liner story told from different viewpoints and perspectives.As such it gives you a well rounded
viewpoint, from the ground, air and sea, of the events as they unfold.The characters are fairly simplistic but they
serve the story well with Mark Rylance, Tom Hardy and Fionn Whitehead all
deliver strong performances even though their scenes are about as bare bones as
they come.Nolan’s film is more about
the event than the actual people so they’re not really a huge emphasis on
unearned dramatics.It’s a big sweeping
film which shows off Nolan’s technical prowess throughout.Is it the greatest war film ever made, probably
not, it’s probably not Nolan’s best film, The Prestige still holds that honor,
but it’s a impressive none the less.
Caesar (Andy Serkis) and his
apes are forced into a deadly conflict with an army of humans led by a ruthless
colonel (Woody Harrelson). After the apes suffer unimaginable losses, Caesar
wrestles with his darker instincts and begins his own mythic quest to avenge
his kind. As the journey finally brings them face to face,
Caesar and the colonel are pitted against each other in an epic battle that
will determine the fate of both of their species and the future of the planet.
Director: Matt Reeves
Cast: Andy Serkis, Woody Harrelson, Gabriel
Chavarria, Steve Zahn, Judy Greer
Rated PG-13 rating is for
sequences of sci-fi violence and action, thematic elements, and some
disturbing images
Release Date: Jul 14, 2017
Genres: Action/Adventure
Review:
Matt Reeves War for Planet of the Apes is a
strong finish to the rebooted prequel.The story is deeply layered, borrowing from multiple sources including
The Searchers, Apocalypse Now and the book of Exodus.Needless to say, there is a lot going on in
the script, it’s dense emotionally and touching.It’s a rare summer blockbuster that puts the
spectacle on the back burner for smaller quieter moments focused on character
development and story arches.The story
is so strong that you can start to overlook the level of digital wizardry on
display with the ape characters.They
are totally convincing throughout the film and this entry in particular puts
them front and center with the human characters taking a backseat.Andy Serkis once again proves that’s he’s the
most underappreciated actor working now by delivering another impressive motion
capture performance.He’s the heart and
soul of the film and it is impossible to not get emotionally invested in his
characters journey.Steve Zahn joins him
as Bad Ape who provides some much needed comic relief here and there.Zahn proves to be just as capable as Serkis
because he does provide some depth to the character that could have been easily
one dimensional.Woody Harrelson is the
primary human villain and he’s used sparing as the Coronel Kurtz knock
off.It’s probably for the best since
he’s chewing scenery at impressive pace.There are a few pacing issues in spots where the film seems to lag a
bit.Additionally, some of the biblical
allegory is a tad heavy handed for my taste.A bit more subtleness would have helped the film.That being said, Matt Reeves closed out his
trilogy on a strong note and brings the characters story to a satisfying
ending.
Thrilled by his experience with the Avengers, young Peter Parker (Tom
Holland) returns home to live with his Aunt May. Under the watchful eye of
mentor Tony Stark, Parker starts to embrace his newfound identity as
Spider-Man. He also tries to return to his normal daily routine -- distracted
by thoughts of proving himself to be more than just a friendly neighborhood
superhero. Peter must soon put his powers to the test when the evil Vulture
emerges to threaten everything that he holds dear.
Director: Jon Watts
Cast: Tom Holland, Marisa Tomei, Michael
Keaton, Robert Downey, Jr., Donald Glover
Rated PG-13 for sci-fi action violence, some
language and brief suggestive comments
Release Date: Jul 07, 2017
Genres: Action/Adventure, Sci-Fi/Fantasy
Review:
Spider-Man: Homecoming was going to have an
uphill battle being the 3rd
iteration of the character in so many years.Thankfully Tom Holland is a great fit for the role, really taking the
character back into the high school world in earnest.Holland has a great gee whiz charisma that fits the film and
this take on the character.The story
itself is a solid coming of age tale that feels familiar without becoming
burdensome.It’s a fun story which makes
good use of Robert Downey Jr. in the mentor role which seems like a logical fit
being Marvel’s first hero.Michael
Keaton makes for a solid villain, a rarity in the Marvel movies, with his
motivations making more sense than your usual bad guy.Keaton uses his low key intensity to great
effect here even though the film could have used some focus in terms of
conflict.At times it almost feels like
Keaton’s villain is secondary to other plot lines in the film.It’s a shame because it’s a decent character
that could have made a larger impact if the film had allowed him to.A few quibbles aside, Spider-Man: Homecoming
is a fun film that avoids the entire “origins” trope by basically sidestepping
it entirely and doing it’s own thing.
Dearest Blog: Yesterday it was off to Marquee Cinemas for Spider-Man: Homecoming.
Spoiler level here will be mild, nothing you haven't learned already from trailers and clips.
Young Peter Parker works his way through high-school angst, frustration with his mentor, and part-time hero-ing.
Well, dear reader(s), I am fond of saying I always keep an open enough mind for something to surprise me. Usually that's a positive, but this weekend, unfortunately, the opposite is true.
I adore Spider-Man. He's my third-favorite superhero, behind The Tick and Batman, if anyone wondered...okay, probably not. Thanks to solid trailers, good word on the street, and an entertaining appearance in Captain America: Civil War, I had high hopes for Spider-Man: Homecoming, and it hurts me deeply to declare it a disappointment. Still, the movie has a fair few positives, so I hope to focus mostly on those, beginning, as I usually do, with the cast. Tom Holland is a great Peter Parker, perfectly embodying that challenging age when young adults are certain they're capable of more than the grownups think. It helps that Holland, barely old enough to drink, is within (web) shooting distance of our high-school hero's age. While both effectively play younger onscreen, and both, for my money, were terrific Spideys, Toby Maguire and Andrew Garfield were in their mid- to late-20s when they put on the tights, so at some point they were bound to feel a bit removed from those difficult-but-exciting teen years. The supporting cast is filled with awesomeness in the forms of Marisa Tomei, Donald Glover, Tyne Daly, and the now-obligatory appearance by Robert Downey, Jr., but it's Michael Keaton, as the film's chief baddie, who really steals the show with what might be the best performance in any Marvel movie, ever. Keaton's can't-look-away work is worth the price of admission all on its own. (For the record, on the subject of RDJ, Homecoming never feels like Iron Man 3.5, as the trailers sometimes promised/threatened.) Spider-Man: Homecoming features some really great CGI as well as some inexplicably wonky CGI. There are times when you'd believe Spidey was actually swinging through the sky above you, other times when he might as well be a Colorforms that someone's moving across the board by hand. (Does anyone remember Colorforms? Do I need to change that analogy?) Some of the worst of it comes at the expense of the climactic Staten Island Ferry scene hinted at in the trailers, which can't help but leave a bad taste. Also on the subject of visuals, even brighter scenes are a bit dark, leaving dark scenes too muddy to see much of anything. A bit of darkness is an understood side effect of seeing 3D product in 2D, but if a movie is showing in both formats, then filmmakers and cinemas really need to figure that out. Marvel's forced cheekiness is getting old as well; they're like that Facebook friend who's constantly posting the same duck-face selfie and expecting a hundred likes; it's just not as cute as it thinks it is, and the Stan Lee cameos are ho-hum, at best, these days. Ultimately, though, if you're wondering what makes this movie so disappointing, the answer is simple: It's boring. Homecoming is only slightly overlong (a 15-20 minute trim would have done it a great service), but it seems to go on forever without getting anywhere. The first half is insufferable, and the second act cruises towards its finale without ever gaining much momentum. Big action pieces are dropped between funny or heartfelt exchanges among Peter, his classmates, Aunt May* (*hottie version), and Tony Stark, but it's all too familiar and forgettable. There's a mid-credits scene that's worth your sticking around, but the final post-credits stinger is a waste of time that, again, isn't nearly as cute as it thinks it is.
Spider-Man: Homecoming runs an interminable 133 minutes and is rated PG13 for "sci-fi action violence, some language, and brief suggestive comments.”
If you're a fan of the genre who plans to see Spider-Man: Homecoming regardless, big-screen is definitely the way to go for this effects-driven extravaganza. If you're just looking to go to the movies this week, go see Baby Driver instead. (If you've already seen it, see it again.) Of a possible nine Weasleys, Spider-Man: Homecoming gets five.
Fangirl points: Mostly musical this time, with soundtrack appearances by the Ramones, The English Beat, and A Flock of Seagulls, as well as the classic Spider-Man theme.
Dearest Blog: Yesterday it was off to Marquee Cinemas with approximately eight million children for Despicable Me 3.
Spoiler level here will be mild, nothing you wouldn't know from the trailers.
Having failed to apprehend his arch-nemesis, Gru and his Minions turn back to villainy(ish).
Despicable Me is a "family" franchise that usually has plenty of laughs for fans of any age, and the third installment is no different. It boasts fun, funny characters who are easy to love. You'll have seen most of Gru's best bits in DM3 trailers, but there's plenty of cuteness from Margo, Edith, and Agnes to earn the price of a ticket. Judicious use of the Minions makes their appearances both entertaining and welcome; they are, as usual, the movie's highlight. Series newcomer Trey Parker is hilarious as this outing's stuck-in-the-80s super-villain. His musical choices and pop-culture references are clearly filmmakers throwing parents a bone for bringing their darling eight-year-olds to the show, but they are totally rad! Despicable Me 3 features bright, colorful art, constant-motion animation, and lively tunes sure to keep the kidlets engaged. I had a full house for my screening, and it didn't seem anyone in the room was much in agreement with the picture's mostly middling reviews; rather, kids and grownups alike were all laughing and having a great time.
Despicable Me 3 runs 90 minutes and is rated PG for "action and rude humor."
The Despicable Me franchise may have lost some of its magic along the way, but Despicable Me 3 is still a huge step up from 2015's standalone Minions movie (for whatever that's worth!). Of a possible nine Weasleys, Despicable Me 3 gets five and a half.
A partially deaf getaway driver (Ansel Elgort) gets caught up in a botched
heist in this action comedy from writer/director Edgar Wright (Edgar Wright,
Edgar Wright). Lily James, Kevin Spacey, Jamie Foxx, Jon Bernthal, Jon Hamm,
and Sky Ferreira co-star. ~ Jack Rodgers, Rovi
Director: Edgar Wright
Cast: Jon Bernthal, Kevin Spacey, Ansel
Elgort, Jon Hamm, Jamie Foxx
Release Date: Jun 28, 2017 Runtime: 1 hr. 53 min.
Genres: Action/Adventure, Comedy
Review:
Edgar Wright’s latest film, Baby Driver, is
another strong entry into his catalogue.He delivers a musical infused crime thriller that’s innovative even
though the basic plot is well worn.The film
has an impressive rhythm from the opening car chase.The impressively choreographed stunt driving
is some of the best I’ve seen in a years.It’s a testament to practical stunts that you feel every collision and
rumble during any of the sequences.The
car chases are far better than any of the CGI infused trickery in another large
car franchise.The characters themselves
are fun and interesting even if they never feel like actual people.Ansel Elgort makes a fine lead, supplying the
character with a healthy amount of innocence and charm though he’s outshined by
the supporting characters.Kevin Spacey,
John Hamm and Jamie Foxx all deliver fun performances.Spacey is totally in his element as the boss
and Hamm and Foxx make for great villains at different points
in the film.Foxx is at full level crazy
as the most despicable member of the crew.Hamm’s role is tailor suited to his talents of being
charming while looking like he’s suffering from a lifelong hangover.Lily James makes for a cute love interest but
doesn’t really register when compared to the rest of the cast.Still, Baby Driver is one of the most fun
films you’ll watch this year.
Andrew J. Cohen directs this romp about a
mother and father (Will Ferrell and Amy Poehler) who blow their daughter's
college fund and start an illegal casino in their basement to recoup the
losses. ~ Daniel Gelb, Rovi
Director: Andrew Jay
Cohen
Cast: Will Ferrell, Amy
Poehler, Allison Tolman, Rob Huebel, Michaela Watkins
Rated: R for language
throughout, sexual references, drug use, some violence and brief
nudity
Genres: Comedy
Review:
The House is an
unfortunate example of how getting an impressive collection of comedic talents
together doesn’t guarantee a funny movie.The premise sounds good and it should work but unfortunately the film
just never finds its footing with most of the jokes and situations missing the
mark.There a few laughs to be had here
and there probably birthed out of sheer will by Ferrell and Poehler but it’s
not enough to save the film.First time
director Andrew Jay Cohen can’t seem to create any sort of energy for the cast
which is a shame because it feels like there is a funny movie in there
somewhere.
