Ava (2020) - Movie Review

I’ve been trying to make at least a modicum of effort to avoid actively handing over my money to individuals whose continued presence in the industry is problematic. Mel Gibson starred in three movies that made it to cinemas this year, and I only saw one of them because I was sent out on official detail for FilmInk. I avoided the other two because, even though I’ve been receptive in the past… I just don’t want to see my dosh used to fund whatever stupid shit he’s got lined up next. And under those circumstances, I shouldn’t even admit to having seen this feature, given its writing accredited to one Matthew Newton, a disgraced member of TV royalty over here with a history of domestic violence. And if he was attached to this in any other respect, like as an on-set producer or as director (which he was originally, but Tate Taylor was brought in to replace him early on) or any other position that would’ve put the women on-set in the firing line, I likely wouldn’t have bothered.

But I don’t see enough reason to disregard the hard work everyone else put into this off the back of his shitty history. Far as I know (and more than ever, I welcome being wrong about this), he won’t see as much return on this as he would otherwise, and considering it recently made its way to Ava, the filmmakers are likely trying to recoup their losses as best they can in light of what are likely justified boycotts based on Newton’s involvement. I’m bringing all this up now because it seems impossible to get into this without addressing the controversy in some fashion. But also to highlight how Newton’s contribution to this production (the script), in spite of how much he dominates the conversation around it, is easily the least interesting part of said production. And it’s not as if this film is particularly captivating to begin with.

Smallfoot (2018) - Movie Review

The plot: Migo (Channing Tatum) lives in a mountain village with the rest of his Yeti tribe, but after a mysterious metallic vessel lands on the island, he comes face-to-face with a creature he had only heard about in legend: The Smallfoot. Said Smallfoot, struggling TV personality Percy (James Corden), is also aghast that he has discovered a creature that he didn't even know existed. However, as their paths converge and their respective societies react to the other's existence, it seems that things are only going to get stranger from here.

Girls Trip (2017) - Movie Review

Back in July of this year, in the middle of some potentially scary medical issues (multiple hospital visits, a lot of dead-ends as to what the hell was going from doctors, that kind of thing), I only managed to get one review done in that whole month. Knowing the frank inconsistency in terms of when reviews get posted here and at what frequency, I still feel like I hideously dropped the ball. Partly because it showed a certain amount of slackness on my part (hobby or no hobby, I take this work far too seriously to let a little thing like potential death get in the way of it, and I am actually serious about that point) and partly because that one review was on a film that I both hated and could probably write a thorough review for without even seeing it. Yes, Rough Night is legitimately that bad, one of the latest instances of the ‘chick flick’ sub-genre digging itself into a cesspool of hatefulness and misguided intentions.

 

Well, in a double saving-throw, I am looking at a film that has a lot of similarities to Rough Night on the surface (distaff Hangover knock-off) and giving myself a chance to look like somewhat less of a sexist asshole by showing how that very idea can work… supposedly. This could be just as bad, or worse, or it could be legitimately decent; only one way to find out. Keep all grapefruits out of arm’s reach.

John Wick: Chapter 2 (2017) - Movie Review

2014’s John Wick, one of the first films I covered on this blog, is one that I didn’t give nearly enough credit to the first time around. Largely due to my own inexperience in the art of critique and not knowing how to properly articulate what I think makes for good action beats (neither of which may or may not have improved all that much since), I didn’t end up giving that film its fair due in how stone-cold brilliant it is.

 

From the sharp-as-a-razor writing that I still struggle to believe isn’t directly based on a pre-existing work, to the excellent fight choreography, the finesse behind the camera, the acting, even the lighting; it is a bona-fide classic film and it finally gave main star Keanu Reeves mainstream recognition that has been long overdue. Needless to say, I was eagerly anticipating this although I honestly don’t know how it could improve on the first attempt. Well, they found a way.

Run All Night (2015) - Movie Review

Even though I have been carrying on with this compulsive list-of-every-movie-I-see-each-year gig since 2012, I’ve only been taking it… seriously(?) for a few months now with this review blog. The short time I have been doing this makes me think that, quite frankly, Liam Neeson needs to slow the hell down because I have covered three of his films in that time. That, combined with the numerous films he has been in since Taken hit it big, makes me really regret feeling burn-out over the Oscar season pics because I am really starting to grow bored of Neeson’s brand of action fodder. Not to say that he’s bad or anything, as he’s more than capable of playing the hero in these films, but he doesn’t really bring anything special to the mix with his presence. Put him next to someone like Jason Statham, who has not one but two films coming out very soon, and that lack of an USP becomes even more blatant.  So, best we can hope for is that the production around him is solid enough… but do we get that this time around? Time for Neeson no. 4: This is Run All Night.

Selma (2015) - Movie Review

It forms a lump of coal in my stomach to admit this, but we live in a world where statements like this still need to be said: There are very few things in this world uglier than racism. The actions people will commit under the flag of protecting one’s own ethnicity against all others can enter into the truly stomach-churning and, while we have definitely made some progress beyond our past actions, such things are still an open wound for most nations if not all. However, it is a common thought in the creative world that our darkest moments can give birth to our brightest works of art. In the last few years, especially during Oscar season, we’ve gotten the lion’s share of film exploring racial themes: 12 Years A Slave, The Butler, Mandela: Long Walk To Freedom, not to mention the numerous war movies set in World War II like Fury and The Monuments Men; most of which are well-done or at the very least well-intentioned. Given how today’s film falls along similar lines, let’s see just how bright this turns out if at all.