My first article for The Austinot is out and ready to tantalize your taste buds. If you’r’e ever in town, check out this cheesy options!
BoJack Horseman Recaps – Episode 3 through 6
Another set of BoJack Horseman recaps have been released over the last few weeks. Coming soon: New, shorter and 100% easier to read versions! As always, these are RECAPS. Chock full of spoilers.
Episode 3
Episode 4
Episode 5
Episode 6
Sin City: A Dame to Kill For (2014)
Dead on Arrival
Joseph Gordon-Levitt cruises into Sin City as the latest member of Frank Miller’s cast of brutally cool killers. (image: cbsnews.com)
When you start comparing a Robert Rodriguez movie to 300: Rise of an Empire, you know a strong summer season is stumbling to a close.
When Sin City hit in 2005, it was a visual revelation. The stark neo-noir look, over the top violence and winking humor made it a cult classic. Comic book fans loved seeing a shot for shot recreation of Frank Miller’s graphic novel and movie fans loved the inventive look. 300 was the same story, a comic adaptation of a Frank Miller book with excessive bloodshed and super slick cinematography. Fast forward a decade where both series have their sequels and like its Spartan brother from another mother, Sin City: A Dame to Kill For is a watered down, ho-hum product whose best days are behind it. Robert Rodriguez’s direction saves it from Rise of an Empire’s watery grave but it’s still a sequel worth skipping.
Fans of the original can rest easy: the Sin City formula is intact. The stark black and white visuals are consistent in tone and it’s nice to see old friends like Marv (Mickey Rourke) and Hartigan (Bruce Willis) reprising their roles. The visual style is still impressive and while there’s nothing new going on from a cinematography standpoint (a problem with the entire film), it doesn’t matter when everything looks this cool.
Unfortunately, like an amateur photographer taking bad shots with a professional camera, there’s nothing all that interesting being captured. The four stories showcased in Dame lack the base intrigue of the original. Sin City has always been covered with a thick layer of clichéd cheese but without a driving manic madness, the holes in the story loom huge.
Like Sin City 1, there are four short stories in Dame to Kill For. Three of the side stories include Marv kicking ass because it’s fun to do so, nightlife hot shot Johnny (Joseph Gordon-Levitt) who goes after the evil Senator Rourke (Powers Booth) in a high stakes poker match and Nancy’s (Jessica Alba) quest for revenge for the death of her beloved Hartigan. The best of the three is Johnny’s story as it’s slightly different in tone and involves a hero who doesn’t stand much of a chance against Sing City’s political machine. The script is still riddled with eye rolling clichés, but thanks to a solid job by Levitt as the cocksure gambler, at least it’s a different wrinkle in the Sin City universe. Marv’s story is escapist despite a “been there, done that” feel and Nancy’s third act tale of vengeance is so bland and anti-climactic, it nearly put me to sleep.
Josh Brolin gives Eva Green a stern once over in Sin City: A Dame to Kill For. (image: fubiz.net)
The main story is the titular Dame to Kill For, which puts Dwight (Josh Brolin) in a desperate battle between his home girls in Old Town and his lost love, the satin clad succubus Ava Lord (Eva Green). Like her role in 300: Rise of an Empire (another link!), Green ‘s outlandishly campy performance and manic energy injects a defibrillator of electricity to the still born story. She’s fun to watch but the surrounding story is so tired and lifeless, she can only carry things so far.
One of the biggest issues is a lack of sensible continuity, the biggest offender being the Dwight character. When you spend two-thirds of the screening not realizing Josh Brolin is playing the Clive Owen character from the original movie, there’s something rotten in Sin City. While flashback can be a clumsy device, something should have been done to link up the timelines of the original to the present day. The result is a muddled mishmash of storytelling that requires entirely too much work to figure out. And it’s not a result of the decade between movies. The night before my screening, I watched the original as prep for my review. If it wasn’t clear to me, it won’t be clear to anybody but diehard fans of the graphic novel.
Even the action, a highlight from the original, is stale and moldy. Like 300’s slow motion slayings, lopping off limbs with bright white blood, bullet’s barely injuring our heroes and wonton sexuality lack the punch of the first film. It’s all been done before with more passion.
Sin City: A Dame to Kill For is like a boxer who comes out of retirement for one last bout. He still has the heart but lacks the punching power to get through the match. Like 300, the original Sin City was always more novel than it was good but Rodriquez’s zeal for the source material propelled the movie into campy, escapist fun. Unfortunately, the sequel feels beat up and bored, a tired retread of the days when comic book adaptations were becoming adult and CGI wizardry could conceal below average scripts and plots. Time has passed by Robert Rodgiuez’s homage to the work of Frank Miller and his newest attempt to pay tribute falls painfully flat. Sometimes, it’s better to say, “that was fun” and move on to newer, fresher things.
Score: 4 out of 10
BoJack Horseman – Episode 1 and 2 Recaps
My latest series recap is of the brand new Netflix animated series, BoJack Horseman. Funny, off color and surprisingly insightful, the show is more than worth your time! Recaps (NOT REVIEWS) below!
Episode 1 Recap
Episode 2 Recap
Mood Indigo (2013)
Remember that guy who made that Eternal Sunshine movie about a decade ago? He’s back at his surreal best with Mood Indigo, a lovely yet depressing view into the rise and fall of human relationships. Review with trailer below!
The Expendables 3 (2014)
Going Through the Motions
(image: moviesnet.nl)
When the original Expendables hit theaters back in 2010, the promise of aging action stars trundling out of their wheelchairs for one more run at relevance was deliciously inviting. My friend and I saw it, hated it and loved it. The acting was terrible, the script was pure corn and by the time the 150th explosion rocked our ears, we had enough. But it was still fun. In fact, we ended up laughing so hard at the movie, it became our favorite comedy of the year. Given the good time, it probably deserved a bit better than my 40% score.
Two years later, Expendables 2 was released and on the back of the blast we had poking fun at number one, we had to see the sequel. To our surprise, it did everything better than the original. The action scenes had well-crafted insanity, the team seemed more cohesive and everything was played with a knowing wink. The franchise had settled into a groove and, like the best Robert Rodriguez movies, knew what it was and played off of those strengths. That said, it still wasn’t good by any stretch and probably deserved less than my 70% score.
After my screening of the third film in the franchise, I’m confident my rating will not waver over time. The Expendables 3 chooses to tread water instead of building on the fun of the previous movie. The result is a noisy bore fest better left to the bargain bin.
Usually I tie an actor to their character but since nobody cares about series canon, I’ll refer to them by their real world names. At the outset we find Sylvester Stallone leading what’s left of the mercenary crew from Part Two on a rescue operation. Their target is Wesley Snipes, one of the original members of the Expendables team. After springing Snipes from a hurtling train, they get a new mission from CIA agent Harrison Ford. Their target is a mysterious arms dealer bent on world domination. But after the mission goes south, the team discovers the dealer is none other than Mel Gibson who looks to be “back from the dead.” Fearing the task is guaranteed suicide, Stallone dismisses his aging colleagues and recruits a brand new team of young bloods to go after the maniacal madman.
The biggest flaw is in the last sentence of the synopsis. The charm of the series has always been watching classic action heroes duke it out amongst a barrage of bullets and bombs. After two movies worth of team development, the original cast is thrown aside for a crew of no-names. While I’m sure this was done for practical reasons (seriously, how long can Terry Crews fire a Gatling gun), the core source of the campy fun is tossed away, reducing the movie to another generic action flick. The script “fixes the situation” towards the end, but by then it’s too late.
Wesley Snipes does his best to wake up Jason Statham and Sly Stallone in The Expendables 3. (image: torrentfreak.com)
While the kids never jell as a team or provide any reason to remember their names, the old guard doesn’t do much better. Aside from some fun moments between Stallone and Kelsey Grammer and the wasted potential of Wesley Snipes, the bulk of the team simply goes through the motions. Jason Statham deserves a better script, Mel Gibson is average given his importance to the story and Antonio Banderas provides the most annoying comic relief since Chris Tucker in the Fifth Element.
Much like the geriatric cast, the action feels tired and un-inspired. From the opening freight train gone wild to the final assault on a makeshift military headquarters, everything blurs together. While I’m aware this isn’t Saving Private Ryan, the leaps of faith Expendables 3 takes to hammer in the action goes beyond suspension of disbelief. It doesn’t want you to lose yourself in the fun. It wants you to not pay attention to the atrocious story.
Everything else falls flat. Corny references to better action movies sink like stones, the numerous quiet moments have an Ambien effect and the movie finishes off in a predictable, consequence free manner. When Arnold Schwarzenegger is forced to make three “get to the chopper” references in the space of 15 minutes, you know somebody, somewhere has given up.
Like an old factory worker putting in his time until his pension kicks in, The Expendables 3 simply punches the clock, does the basics and heads home to watch late night TV. The series was never “good” but unlike Transformers, they were at least made with a goal in mind. As throwbacks to the wild old days of 80’s action excess, they at least had a purpose. With bland direction, boring new faces and a stillborn feeling of age and fatigue, The Expendables 3 marks a new low point for a franchise used to poking fun at the barrel floor. Not even sarcastic laughs and a little too much booze would make this an enjoyable experience.
Score: 3.5 out of 10
Obvious Child (2014)
Too Good, Too Smart for an “Obvious” Pun
Jenny Slate brings buckets of likeability, pathos and gut busting comedy as the lead in Obvious Child. (image: menshealth.com.uk)
Earlier this year, I reviewed Bad Words, a crude, ugly and painfully unfunny movie about a fourty-something genius who attacks a spelling bee. My review was less than kind, so negative that I had to explain how much I enjoy offensive humor. Growing up, my comedy icons were Jim Norton, Louie CK and Opie and Anthony. While I feel challenging the status quo through off color humor is socially important, when it’s done for no reason, the value gets lost. Luckily, one film this year did it right. Obvious Child, the debut feature film from Gillian Robespierre, handles a touchy, uncomfortable topic with wit, humor and a scene stealing performance from SNL alum Jenny Slate.
Slate plays Donna Stern, a struggling comedienne eking out a career in the Brooklyn stand up scene. After a nightmare Valentine’s Day where her boyfriend dumps her for a Barbie doll and her job goes down the tubes, Stern has herself a drunken tryst with Max (Jake Lacy). What starts as wonderful, one night distraction becomes serious when she discovers she’s pregnant with Max’s baby. Hell bent on going through with an abortion, Donna learns a lesson about determination and following one’s heart through the strength and support of the people around her.
In the role of Donna, Jenny Slate channels a young Tina Fey in her delivery and comic timing. On stage, she’s brilliantly funny, delivering set after set of filthy yet refreshingly honest humor. Even when she’s bombing, she’s still joy to watch. When she’s not making people laugh, Slate delivers an honest portrayal of an artist in her late twenties making her way in the big city. From slinging jokes to connecting with her mother (Nancy Stern) and hanging with her Brooklyn friends, Slate turns in a performance on par with the Kristen Wiggs and Amy Pohlers of the comedy acting world.
Jenna Slate shares a scene (and a box) with her good-hearted boy toy, Max (Jake Lacy). (image: kickstarter.com)
In directing her first feature film, director Gillian Robespierre provides Slate with a stage full of New York authenticity. Modern day Brooklyn is alive with culture and Robespierre draws deep from that well to create an honest look into the real world of New York show business, almost to a fault. As somebody who recently moved from NYC to Austin, I instantly connected with the region specific cast but non native viewers may find it difficult to relate to. People who still use the term “hipster” as a negative may gag at Donna’s circle of artsy friends, but Slate’s grounded performance balances out any moments of being too cool for the room.
The story itself has been a source of controversy and while the idea of a woman actively choosing a controlled abortion may be upsetting to some people, the manner in which she does it bursts with realism. Every scene of Donna being disinterested and clinical around her friends is balanced with emotional moments. The subject of her choice isn’t nearly as interesting as her reactions to it, which gives a potentially off putting storyline meat and value.
The script itself is solid enough and despite some filler, manages to skirt romantic comedy conventions with new and original ideas. While moments like an after show hang out with friends feel more like sketches than story progression, the focus is on always on character development, which gives Slate more than enough material to work her magic.
Cringe comedy only works when there’s a craft behind it and unlike Jason Batemans early year stinker, Obvious Child provides a strong character driven story to compliment the laughter. By delving into the uncomfortable topic of a young woman compelled to do what her heart tells her, in both her career and personal life, Gillian Robespierre asks difficult questions and gets honest answers. Built on the back of an outstanding performance by Jenny Slate and guided by a script brimming with integrity and authenticity, Obvious Child is a shining example of what summer rom coms ought to be.
Score: 8.5 out of 10
The Top 5 Emmy Moments from Derek, Series 2
With Ricky Gervais’ latest award nomination for his work in Derek, I thought I’d do a “film school style” list of his most Emmy worthy moments from series two. This will mark my last Derek article for EW but don’t despair! I have a new show I’m recapping starting in September, so keep your peepers open for it! Click Derek’s smiling face to check it out!
Derek recap: Episode 6
The series finale of Derek finishes things off with an emotional bang. A beautiful end to a beautiful series. And Derek has a date! So awesome! Click the pic below to read all about it!
Derek recap: Episode 5
Ever read a Netflix synopsis and think, “Nope. No way. I can’t watch this?” That was my reaction to Episode Five of Derek when I learned it would feature a dog getting mercifully put down. Brutal but beautiful, this episode was a powerful prelude to the intense finale.
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