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Funny Pages (2022)
Uncomfortable and hard to like by design
Funny Pages is an uncomfortable experience rife with unlikeable characters. The overall unpredictability is its greatest strength thanks to an opening that leaves you speechless and after that the film only continues to go to unexpected places. It's a mercifully short dose of unwavering cringe and shocks where the Safdie brothers producing credit ends up making perfect sense by the time it's over.
Playing characters who are tough to watch is a hard thing to do and everyone here is on point in their performances and specifically the line delivery. Daniel Zolghadri leads proceedings with a total commitment to his character's selfishness and Matthew Maher also stands out as someone who's creatively frustrated and unstable so his constant presence only enhances what this is going for.
Owen Kline's direction gives the film a very gross, lived in feel. It's very sweaty and textured with the cold of its wintery setting and the moistness of its locations both being almost too palpable. It's kinda obvious when this is going to end and even though the final scene is abrupt in a way that's frustrating, it's still nice to see the increasingly rare choice to play all the credits over it.
Transformers One (2024)
A dream come true
Transformers One is everything you want from a Cybertron set prequel depicting how it all began. It's a funny, fast paced adventure that excels at the dramatic beats that transform this film into an epic tragedy. It's a dream come true to see a Transformers film where they're finally front and centre without any humans in sight and it makes a very strong case for animation being the best medium to tell their stories in.
Chris Hemsworth and Brian Tyree Henry have an endearing chemistry at the start making their destiny all the more heartbreaking. Hemsworth doesn't sound like Optimus at first which really helps him make it his own with a youthful optimism that slowly morphs into something closer to Peter Cullen's iconic work. Brian Tyree Henry's anger burns with more rage as it goes along which makes him thoroughly convincing when he finally becomes Megatron.
Keegan-Michael Key imbues Bumblebee with a very giddy energy that gets a lot of good laughs throughout without ever becoming too annoying and Scarlett Johansson brings her natural confidence and likeability to her role. Steve Buscemi as Starscream is inspired casting even with minimal screen time whereas Laurence Fishburne as Alpha Trion gets more than expected and has plenty of gravitas.
Josh Cooley's direction is amazing as this has clearly been made with a younger audience in mind but not at the cost of the mature story it's telling. It leaves the door open for some sequels whilst still being a complete story that ends on a satisfying note with all the major character arcs feeling complete. It's constantly moving and that's never a big problem even if it would have benefited from being a tiny bit longer.
The animation is absolutely stunning by striking the ideal balance between being hyper detailed and expressive. The fights between Transformers have never been more fluid with the transformations being utilised in exciting ways during the action and the way Cybertron's surface transforms is really inventive. The character designs are terrific since everyone is recognisable making busy frames a lot of fun to scan through.
Back to Black (2024)
Misguided and lifeless
Back to Black is another standard issue biopic that comes across like a barely cinematic Wikipedia page. It tries to find a specific way into Amy Winehouse's story with a clear perspective and emotional through-line but makes the woefully misguided decision to solely define her through her relationship with Blake at the cost of showing her artistic process.
All of her achievements are rushed through with next to no showmanship so it can go back to focusing on all the relationship drama which makes everything it does all the more frustrating. Having a superior, more fully realised version already out there in the form of Asif Kapadia's superb Amy simultaneously makes this bland misfire easier to stomach and more annoying.
Marisa Abela does a good job of embodying Amy Winehouse. She has the required boisterous personality that also comes with down to earth values and sings the songs with the necessary conviction. It almost feels like an insult to say Jack O'Connell is thoroughly convincing as a walking red flag with smarmy charm whereas Eddie Marsan is equally strong as a caring yet too lenient father.
Seeing the team behind Nowhere Boy fall into all the tropes they avoided in that film is disappointing. Director Sam Taylor-Johnson tries to give this some style and more fantastical moments which backfire by making it obvious how low energy this is. The soundtrack is one of those elements that's near impossible to mess up in this genre which is still true here even if the best songs aren't given the fanfare they deserve.
Saturday Night Fever (1977)
Iconic and unexpectedly dark
Saturday Night Fever is a real time capsule of a film for better and for worse. It really does capture a moment so effectively in everything from its costumes and phenomenal soundtrack to the struggles of its characters in their aimless everyday lives but it doesn't always feel in control of the darker elements as it struggles to walk the fine line between depiction and endorsement.
John Travolta is fantastic in a lead performance that requires just as much from him physically as it does emotionally. It's a great role to have as the breakout moment for him since it gives him plenty to work with as he's constantly moving between highs and lows. It's a good thing that Travolta is this good since a lot of the supporting characters are thinly sketched and forgettable.
John Badham's direction reels you in straight away with the iconic opening and the drama is just as essential as the more memorable dance sequences even if there's a noticeable tonal struggle towards the end as it gets really dark. The soundtrack is undoubtedly the best aspect with an endless parade of perfectly chosen hits that enhance their corresponding scenes so much they probably wouldn't be memorable without them.
Speak No Evil (2024)
Never lets up
Speak No Evil is the best kind of horror movie since cheap jump scares are kept to a minimum and it just revels in incredibly awkward scenarios for as long as humanly possible instead. Once that thinly veiled invitation finally drops, it morphs into a very tense home invasion thriller as well as being a great look at toxic masculinity throughout that goes deeper than expected.
James McAvoy is perfect. He nails every shift his character goes through from the initial charm to the growing sense of unease as more red flags start to appear and then unhinged rage at the end which makes him so scary to be around for every scene. Scoot McNairy is extremely convincing as a near total wet blanket of a husband and Mackenzie Davis is equally good as the person actually noticing everything that feels off.
James Watkins' direction is amazing as he completely trusts the material to build it's suspense naturally without needing to employ any cheap jolts in the earlier moments and any jump scares that do appear only come from the diegetic audio which is why they're so effective. The tone is on point as well with some darkly comedic moments that arrive at the right moment without undercutting anything else.
Rebel Ridge (2024)
Modern day First Blood
Rebel Ridge finds a fresh and exciting riff on the First Blood formula by doubling down on all the non-lethal takedowns in an immensely satisfying fashion with a very engaging mystery to hold the plot together. It's a story of police corruption that has a very tactile feel thanks to its focus on stripped down technology and manages to be over 2 hours long without wasting a single scene.
Aaron Pierre gives the definition of a star-making performance. He has a quiet intensity from the moment it begins and gets plenty of opportunities to be effortlessly cool. There are several lines he delivers beautifully and some actions that are equally memorable thanks to his badassery. You can tell he doesn't want any conflict but he's just been pushed too far.
By directing and editing himself Jeremy Saulnier ensures the film has real momentum straight away. It's bookended by a blunt opening and ending that gets straight to the point and ends the second everything has been resolved. It's really impressive how it can escalate quickly whilst still having plenty of places to go so it doesn't peak too early and ends on the right kind of set piece.
Babe (1995)
Endlessly lovable film
Through its unwavering kindness and sincerity, Babe is a lovely fairytale of a film. It's one of the best live action kids films as well as being a technical marvel and one of the strongest adverts for vegetarianism put to screen. The universality of its story means it's filled with great messages about refusing to accept the box that society can put you in and using farm animals to reject stereotypes.
Christine Cavanaugh is perfect as Babe. Every single line is delivered with a boundless sense of optimism which makes the character instantly adorable and very easy to care about. James Cromwell gives a wonderful and deservedly Oscar nominated performance as Farmer Hoggett. In the grand scheme of things he doesn't have many lines but he imbues all of them and everything else he does with so much kindness.
Chris Noonan's direction is excellent even though there's way too many chapters. The visual and practical effects are utilised really well to make the talking animals as convincing as possible and it's all enhanced by a warm glow that permeates so much of it. The other aspect that's a near constant presence is Nigel Westlake's delightful score which always keeps the film moving along nicely.
Miller's Girl (2024)
Misguided
Miller's Girl is a weird film and not in a good way. It could've been trashy fun or actually have something more meaningful to say with its look at how people use storytelling to explore their deepest and darkest fantasies but in its current form it's just a tonal mess. It feels like it's trying to be profound more than anything else which makes it all the more awkward when it ends up being pretentious and empty.
Jenna Ortega and Martin Freeman are certainly committed to everything the plot does which is the only thing barely holding this together. Their chemistry is believable enough without it ever really going further than lightly sizzling. Both of them are supported by Bashir Salahuddin & Gideon Adlon, who are clearly having an equal amount of fun with the material.
Jade Halley Bartlett's direction tries to imbue the film with a lot of style even if most doesn't work the way it's intended. The most successful flourish is the opening title sequence which does have an intriguing sense of mystery to it opposed to some of the following scenes that come across like a perfume commercial. Elyssa Samsel's score is probably the most tonally consistent aspect of the film which actually works.
Watcher (2022)
Really good modern update of Rear Window
Watcher is more than a gender swapped Rear Window. That core concept is still extremely solid and adds so much more tension to everything whilst avoiding a direct retread by refusing to be confined to a single location which keeps it on its toes. The ending feels abrupt even if it still works overall since it's said and done everything it needs to, plus it's a pretty strong final shot.
Maika Monroe continues to cement her status as a scream queen with another emotionally taxing performance. She's never given an opportunity to let out her anger or fear and watching her having to repress it is extremely uncomfortable, enhanced by the added stress of her being a fish out of water. Burn Gorman is really creepy with barely any words so once he does start speaking he only gets more unsettling to witness.
Chloe Okuno's direction brings a lot of voyeurism from the very first scene which gets further away as it gets more intimate so it feels like you're watching something you really shouldn't be. Benjamin Kirk Nielsen's cinematography wisely keeps Gorman's mysterious stranger out of focus but rarely out of sight for the earlier parts which is more effective than any jump scare, which are thankfully kept to a minimum here.
Sleepy Hollow (1999)
Great throwback rich in atmosphere and style
Sleepy Hollow is a great throwback with a genuinely engaging mystery at its centre, offering satisfying answers to the biggest questions it poses without sacrificing the supernatural element that makes it so much more exciting. It moves at a really nice speed and plays with some of the most common tropes to show that it isn't afraid to pull its punches when it comes to the rising body count.
Johnny Depp is terrific as he's in full control of his quirks and commits to them in an earnest fashion which makes him more likeable. He's gifted at this specific type of comedy too as he constantly gets into awkward situations and it's clear he has no idea what to do through his extremely expressive reactions. He's surrounded by a supporting cast full of accomplished character actors who are chewing all the scenery in sight.
Tim Burton's direction is amazing with a rich atmosphere that haunts the entire film. Films that are this visually bleak and constantly grey rarely look this good and that choice pays off wonderfully by making the bloodiest moments stand out just as much visually as they do in shock value. There's also a lot of impressive stunt work on display with stunt men doing lots of swordplay and horse riding all whilst headless.
The Grand Tour: The Grand Tour: Sand Job (2024)
Another great adventure
The Grand Tour: Sand Job is the epitome of comfort food. It doesn't rival the trios best episodes and it really shouldn't be as long as it is but every minute of it is highly entertaining and each new adventure with these is always a gift. As usual, it's a great comedy, slick car show and gorgeous travel log all rolled into one neat package.
Jeremy Clarkson, Richard Hammond and James May have an effortless chemistry that never shows any signs of wavering. With such a long run time, their dynamic is needed more than ever and they are just really funny together. Even if it can be noticeably scripted at points, all the jokes land and they're only funnier when it's also making one of them laugh as well.
One of the other main appeals of these specials is all the beautiful locations they go to which is in full effect here since Mauritania is somewhere that's less frequently visited. This looks stunning from the start with a real sense of scale which is employed for some fun gags, including one pretty epic explosion shown from multiple angles for maximum effect.
Incoming (2024)
Gross and wholesome comedy
Incoming borrows from the best raunchy teen comedies so it can update the classics to be the most modern version of them. It's nowhere near as strong but it has some big laughs and is breezily entertaining even when there's no laughs in sight. Just like Superbad, it's the wildest tangent that ends up being the best story out of the three main ones and the ending still manages to be satisfying even if it's abrupt.
Mason Thames gives a really good lead performance since he can be endearingly awkward and have believable chemistry with Isabella Ferreira so you're rooting for them to end up together. Ramon Reed & Raphael Alejandro are by far the funniest part of this with chaotic scenarios that let their high energy shine and Kaitlin Olson gets one scene to unleash rage worthy of sweet Dee.
Dave Chernin and John Chernin direct with technical competence and a good grasp of the tone. It's impressive how the story with the grossest jokes also ends up being the most wholesome and it can move through the most generic motions with ease, content to execute them in entertaining fashion instead of reinventing them. A solid soundtrack is a staple of this genre and this has a nice selection of songs.
Beetlejuice Beetlejuice (2024)
Worthwhile return
Beetlejuice Beetlejuice is a messier sequel that thankfully still understands what worked in the original and why so it can still be a really fun time which allows director Tim Burton to use Hollywood's continuing obsession with nostalgia to mess about with his friends. It puts a different enough spin on the same plot and its reverence for the original means it's full of weird and wonderful moments.
Winona Ryder is stuck with the boring role which requires her to play it straight whilst everyone else gets all the good stuff but she does it well. Jenna Ortega brings the same teenage angst to this as she did her previous collaboration with Tim Burton with some added heart thanks to the plot's focus on grief. Catherine O'Hara is amazing as she maintains that high energy from before which never becomes annoying.
Michael Keaton is the best and it feels like he's in it the same amount as the first one to avoid oversaturation. He picks up the role like he never left with even more enthusiasm here and his spaced out appearances mean each one is comedy gold. Willem Dafoe is clearly having a blast with his Tom Cruise impression and Monica Bellucci as a literally soul sucking ex is inspired, they're just massively underutilised.
Tim Burton's direction is great as he fully embraces the same love of old school practical effects which allows him to avoid bringing back Jeffrey Jones in really inventive ways. It's just so nice to see a modern film feel so retro with the majority of its special effects and every single one employed is better than using CGI, which is still present in mostly unobtrusive ways. Danny Elfman's score is distinctly him and self-referential.
Harold & Kumar Escape from Guantanamo Bay (2008)
So funny despite squandering the premise
Harold & Kumar Escape from Guantanamo Bay does what most comedy sequels do and stays true to its core values whilst going so much broader in everything it does. It frustratingly squanders the potential of its title by solving that within 20 minutes at the cost of so many opportunities that never get fully realised but it's saved by the fact that it can get more than enough laughs out of all the escapades that do occur afterwards.
With John Cho once again playing the straight man and Kal Penn being so much more carefree their dynamic still has plenty of life to it. It says a lot about how good they are together that they can go through the same motions without it becoming stale. Rob Corddry is easily the best new addition as the incredibly racist and stupid homeland security agent tracking them down who gets the biggest laughs by ensuring the joke is always on him.
Directors Hayden Schlossberg and Jon Hurwitz obviously didn't direct the first instalment and decided to keep the overall look and feel of the predecessor so the transition between films is as seamless as possible. Even though everything has been dialled up it remains the same all the way down to the visual effects which remain intentionally dodgy in a way that only comedies like this can get away with.
Honest Thief (2020)
Surprisingly earnest Liam Neeson action vehicle
Even with a tight 90 minute run time, Honest Thief still takes a while to get its central game of cat and mouse going. The action has its moments but surprisingly that's not the core element sustaining this serviceable Liam Neeson action vehicle. Instead, it's the very earnest love story at its centre that holds everything together by being really sweet and giving the action some solid stakes.
Liam Neeson is as good as usual, he's still just doing another version of Taken all the way down to the threatening phone call but at least he's allowed to be happy in this one which gives him the opportunity to open up quite a lot. Even though she is kidnapped and hospitalised, Kate Walsh is never sidelined like love interests usually are and she's given enough to make her romance with Neeson work.
Jai Courtney can play a bad guy like this really well through experience alone, so he pairs well with Neeson in the back and forth between them as they hunt each other down throughout the film. Jeffrey Donovan is just really likeable in this role as he's shown to care a lot about his partner and is aided by an adorable canine companion with a couple of endearing moments between them.
Director Mark Williams is noticeably more competent with the car chases than the hand to hand fights and clearly understands this since there's a lot more of the former than the latter thankfully. There's really only one hand to hand fight scene and it is pretty choppy in its editing which is probably to account for its leading man's physicality but it isn't as egregious as a Taken sequel.
Emily the Criminal (2022)
Ideal combination of small scale and big stakes
Emily the Criminal is a great thriller with some unexpectedly intense sequences supported by a scathing critique of how hard it is applying for jobs with a criminal record and how companies manipulate the system to get free work in a rightfully angry fashion. It makes Emily's decision to have a go at credit card fraud feel as plausible as possible and never lets up after that.
Aubrey Plaza is the queen of deadpan delivery but this is proof that she's equally gifted at more straight faced, dramatic fare. She's vulnerable and out of her depth in a very human way in those earlier moments and then she refuses to back down after a certain point which makes everything that follows all the more tense to witness as proceedings only get darker with some disastrous results.
John Patton Ford's direction keeps things small in scale with high stakes. It's not the sort of film that you'd expect to have a car chase in it even if its brief but it's executed really well and there's several equally tense moments afterwards. In between those parts are some standout dialogue driven sequences that are just as impactful to witness and the ending comes full circle in a satisfying way.
Cop Land (1997)
Great modern day Western with a huge cast
Cop Land is a great story of police corruption that operates like a modern day western all the way down to its climactic shootout. There's a fun meta text to it as well with its leading man swapping from his usual muscle bound presence to a more nuanced performance whilst being surrounded by accomplished Scorsese collaborators constantly telling him to stay in his lane.
Sylvester Stallone gives a wonderful leading performance that simmers for so long that you can see his inactivity eating away at him, making his eventual decision to do the right thing all the more satisfying. It's a lovely showcase for his once under-appreciated dramatic talents by showing that he can go toe to toe with so many more generically accomplished actors, who all do a lot of loud acting in the best way.
There's no weak link here but Robert De Niro is the standout in an incredibly stacked supporting cast. His anger is very casual with brutal insults coming off the cuff and he's the ideal choice to narrate it. Ray Liotta is also a highlight as someone who's surprisingly competent given his previous track record in this genre and one of the best parts of his performance is how hard he is to pin down.
As writer & director, James Mangold crafts a film that's really good at the nuts & bolts stuff as well as having its fair share of memorable dialogue. A lot of scenes are rife with grandstanding and the writing is strong enough to make each moment memorable. The technical craft peaks at the very end with a fantastic shootout that muffles all the sound for an extended period to align everything with Stallones's perspective and increase the stakes.
Les trois mousquetaires: Milady (2023)
More adventures with these four please
The Three Musketeers: Milady completes the first chapter of their adventures with another exciting story full of political intrigue and action. It comes so close to being wholly satisfying but just can't help itself so at the last minute it ends on another massive cliffhanger. With the promise of another instalment being so far away and not entirely guaranteed, it makes it harder to stomach.
François Civil, Vincent Cassel, Romain Duris, and Pio Marmaï remain a wonderful core four. The witty dialogue gives them plenty of opportunities to showcase their strong chemistry and it feels like they spend a lot more time together in this one, which is a huge bonus. Eva Green was and still is perfect casting. Her enthusiasm is so visible as she revels in the villainy whilst still bringing some nuance.
Martin Bourboulon's direction keeps the one takes for the majority of the action which gives all the swashbuckling a lot of energy without being hindered by obvious joins (again) and there's a generally epic feel thanks to the beautiful locations where the biggest dramatic moments take place. Guillame Roussel's score is suitably rousing with a winning commitment to making everything as serious as possible.
Blink Twice (2024)
A strong debut and superior Don't Worry Darling
In a lot of ways, Blink Twice is a better version of Don't Worry Darling even if some of its internal logic is almost as nonsensical. It succeeds as a deliberately uncomfortable tale of power being abused that shows how the super rich don't suffer any consequences from their actions, they only learn not to get caught doing them and this helps it maintain quality when it veers into a satisfying revenge narrative during the final stretch.
Naomi Ackie & Alia Shawkat are thoroughly believable as close friends who can't believe where they are and Ackie's later relationship with a superb Adria Ajorna forms the unexpected heart of the film as the pair go from rivals to allies who really care about each other. Channing Tatum is exactly how he should be in a role like this, initially nothing but charm and then really scary once the truth is out.
Zoë Kravitz's direction is great, especially for a debut. The title drop and using doom scrolling as exposition are clever choices, it's got plenty of vibrancy in the visuals and the framing makes everything feel uneasy, complemented by Adam Newport-Berr's cinematography which is impressive whilst fittingly being able to go unnoticed. The sound design also stands out, accentuating the mundane sounds to put you on edge and set things up neatly.
Land of Bad (2024)
Drone survivors
Land of Bad is a really solid thriller that merges a Lone Survivor style story of survival with the contained focus of something like Eye in the Sky for maximum tension. The 2 hour run time is ideal as it allows the film to set everything up neatly and then let the chaos unfold with greater investment. Some of its elements are outdated but nowhere near enough to completely derail it.
Liam Hemsworth and Russell Crowe have a believable bond despite never sharing the screen. A lot of good jokes come from Crowe's constant complaining and climactic shopping trip whereas Hemsworth is very convincing as someone way out of their depth in one of his best showcases to date. Ricky Whittle, Milo Ventimiglia and Luke Hemsworth round out the troops on the ground, getting enough time to make sure you care when they're in danger.
William Eubank's direction is barely hindered by the smaller budget as he can still deliver a steady stream of strong set pieces. There's some well implemented slow motion, impressive large scale explosions and a couple of unexpectedly great hand to hand fights at the end. The score by Brandon Roberts is barely noticeable until the very end where it becomes the ideal accompaniment to a much needed breather of an ending.
Batman: Mask of the Phantasm (1993)
Phenomenal in every way
Batman: Mask of the Phantasm is one of the greatest Batman stories ever told. It's a moving tragedy about two people who were denied a happy ending and were unable to move past it, tucked inside of a terrific crime thriller that makes sure the titular Dark Knight does plenty of detecting. It's only 76 minutes long and yet it's still able to tell a more emotionally mature and satisfying story than almost an entire genre of films.
Carrying over the voice actors from the show means this has quintessential casting across the board. Kevin Conroy is Batman and he creates a subtle yet clear distinction between the two personalities. His Bruce is imbued with a painful sense of vulnerability and the beautiful dialogue takes full advantage of that. No one can capture the gleeful insanity of the Joker quite like Mark Hamill and his later introduction doesn't prevent him from shining brightly.
Creating your own villain is usually the worst idea when there's a varied rogues gallery to choose from but Andrea Beaumont and her alter ego the Phantasm are worthy additions. She's a mirror image of Bruce in what she's been through and how she's turned her pain into a spectre of vengeance. Dana Delany's performance brings so much empathy and an equal amount of tragedy to the doomed romance at its centre.
Bruce Timm and Eric Radomski direct in a very grand fashion that makes the romance even more emotional. Gotham has never looked better than the one crafted here with its gigantic art deco buildings, retro setting and a genuinely inventive location for its climactic battle that works thematically as well. Shirley Walker's score is outstanding, keeping all the recognisable themes from the animated series whilst imbuing them with an operatic nature.
Ice Age: Dawn of the Dinosaurs (2009)
Adding Dinosaurs really works
Ice Age: Dawn of the Dinosaurs finds new life in the franchise by adding Dinosaurs to the mix and proving that it's a solid way to avoid franchise fatigue. Moving the action to a lost world beneath the ice brings a lot of fresh ideas and set pieces which keeps it entertaining even when the characters and bits exclusively aimed at younger children aren't landing like they should.
Ray Romano, Denis Leary, and Queen Latifah are all really good once again and it's especially nice to see Ray Romano act sillier thanks to the new plot thread of him becoming a father. John Leguizamo remains the best carryover as Sid with no signs of phoning it in present here and Simon Pegg brings so much zany energy to a character designed to become a fan favourite, which Pegg makes official.
Carlos Saldanha's direction still finds time to include the ongoing adventures of Scrat in a way that thankfully doesn't grind proceedings to a halt and each one offers a welcome opportunity to indulge in some old school slapstick. John Powell's score generously borrows a lot from his own work on Kung Fu Panda but that does result in music that can bring a surprising amount of drama when needed.
Jim Henson: Idea Man (2024)
Beautiful if a little rushed
Jim Henson Idea Man is an earnest tribute to the life and legacy of a visionary. It celebrates puppetry for the incredible art form it is whilst offering a personal look at the effects of fame. It moves along at a satisfyingly easygoing speed up until the final stretch where it suddenly speed runs through a lot of major beats to get to the end but other than that it succeeds at being a beautiful and emotional documentary.
Ron Howard's direction wisely imbues the film with a lot of colourful flourishes and a generally inventive nature in a noble attempt to match the creativity of his subject. It's the usual chronological narrative that charts Henson's life from his beginnings all the way to his untimely death and each little flourish works with the story it's telling, even through the end credits. The footage gathered is amazing and the anecdotes from the people in them are delightful and heartbreaking.
Unstoppable (2010)
Thrilling stuff
Unstoppable is a great (almost) disaster movie that gradually gains momentum as it goes along so by the time it's in the third act, it's become truly thrilling filmmaking and a prime example of the type of spectacle rarely made these days. It's tightly paced with likeable characters and some standard issue commentary about how companies value property over people.
Denzel Washington and Chris Pine start the film at odds but once they warm to each other they are a fantastic duo. Their chemistry is subtle and all the better for it with both of them getting the time to share their pain and earn a chance at redemption. Everyone else really understands their roles as well and can be as likeable (Rosario Dawson) or detestable (Kevin Dunn) as the film needs them to be.
Tony Scott's direction is as practical as possible which makes the proceedings all the more engaging whilst using Ben Seresin's cinematography to spin and zoom wherever it can. Resulting in a film that's highly cinematic no matter what's happening, even if it slightly fumbles the final shot. Frequent Tony Scott collaborator Harry Gregson-Williams clearly understands what he's going for since this thunderous score is a natural fit.
Ricky Stanicky (2024)
Saved by Cena
Ricky Stanicky is a comedy that's undermined by its excessive length. The major luls between laughs probably wouldn't be as noticeable if it wasn't closing in on a two hour run time but just like the central trio in the film, it's saved by John Cena and his unwavering commitment. Pretty much every laugh comes from him and each one is funny enough to sustain it in between them.
Zac Efron, Jermaine Fowler, and Andrew Santino do a good job of getting the plot going whilst overcoming how unlikeable their characters initially are. John Cena is everything this film needs, especially because of how fearless he is and his God given comedic talents. Every parody song is a highlight and the outfits that accompany them only cements that he's not scared of humiliating himself for a good joke.
Director Peter Farrelly reaffirms that he's still more than willing to indulge in his old school grotesque sensibilities with a well intentioned warmth deep down, even if he's somehow an Oscar winning filmmaker now. The grossest joke comes at the very start and after that Farrelly is solely relying on Cena to deliver with every single joke that lands involving him in some way, shape or form.