New Releases for the Week of October 18, 2019


ZOMBIELAND: DOUBLE TAP

(Columbia) Woody Harrelson, Emma Stone, Jesse Eisenberg, Abigail Breslin, Rosario Dawson, Zoey Deutch, Bill Murray, Dan Aykroyd, Luke Wilson . Directed by Ruben Fleischer

Tallahassee, Columbus, Little Rock and Wichita return ten years after the hit movie, reuniting with the original writers and director. In the time that has passed, the zombies have begun to evolve, leading to a whole new set of rules. Meanwhile the snarky family bicker with one another as they travel from the American heartland to the White House, meeting up with human survivors and celebrity zombies along the way.

See the trailer here
For more on the movie this is the website
Genre: Horror Comedy
Now Playing: Wide Release
Rating: R (for bloody violence, language throughout, some drug and sexual content)

Dolemite Is My Name

(Netflix) Eddie Murphy, Wesley Snipes, Keegan-Michael Key, Mike Epps. Rudy Ray Moore made a reputation in the 70s as an African-American comic who was always willing to push the boundaries. His alter ego, Dolemite, was a rapping pimp Kung Fu master, and the character – considered too risky for any major studio – would become a defining figure of the Blaxploitation era

See the trailer here
For more on the movie this is the website  
Genre: Biographical Drama
Now Playing: Enzian Theater
Rating: R (for some sexuality, full nudity and brief language)

First Love

(Well Go USA) Masataka Kubota, Nao Omori, Shota Sometani, Becky. The latest in the oeuvre of anarchic and prolific Japanese director Takashi Miike is this wild tale of a boxer and a call girl who fall madly in love but are caught in the crossfire of a Yakuza drug smuggling scheme over the course of one night on the mean streets of Tokyo.

See the trailer here
For more on the movie this is the website  
Genre: Gangster
Now Playing: Regal Winter Park Village
Rating: NR
 

Lucy in the Sky

(Fox Searchlight) Natalie Portman, Jon Hamm, Dan Stevens, Zazie Beetz. An astronaut returns home following a transcendent experience in space but soon begins to feel that her life is meant to be lived up there. As the yearning grows stronger, her connection with reality begins to disintegrate.

See the trailer here
For more on the movie this is the website  
Genre: Drama
Now Playing: AMC Altamonte Mall
Rating: R (for language and some sexual content)

Maleficent: Mistress of Evil

(Disney) Angelina Jolie, Elle Fanning, Michelle Pfeiffer, Sam Riley. The Princess Aurora’s impending wedding to Prince Phillip causes strife between her and her godmother Maleficent. A great war is looming between humans and fairies and the two women may find themselves on opposite sides of the conflict if they aren’t careful.

See the trailer here
For more on the movie this is the website  
Genre: Fantasy
Now Playing: Wide Release
Rating: PG (for intense sequences of fantasy action/violence and brief scary images)

Mountaintop

(Abramorama) Neil Young. Young and his legendary back-up band Crazy Horse make their first album in seven years. Their journey through personal pain, age and stubborn refusal to compromise shows at their core an undying passion for the music that binds them together.

See the trailer here
For more on the movie this is the website  
Genre: Music Documentary
Now Playing: Enzian Theater (Wednesday Only)
Rating: NR

Western Stars

(Warner Brothers) Bruce Springsteen, Patty Scialfa. Springsteen, who co-directed this film, performs songs from his latest album live.

See the trailer here
For more on the movie this is the website  
Genre: Documentary/Concert Film
Now Playing: AMC Altamonte Mall, AMC Disney Springs, Cinemark Artegon Marketplace, Old Mill Playhouse, Regal Pavilion Port Orange, Regal Waterford Lakes (Saturday Only)
Rating: PG (for some thematic elements, alcohol and smoking images, and brief language)

Where’s My Roy Cohn?

(Sony Classics) Roy M. Cohn, Joseph McCarthy, Barbara Walters, Donald J. Trump.  One of the most notorious lawyers who helped shape the House of Un-American Activities Committee in the 1950s, worked for the Nixon White House and helped get Donald Trump elected.

See the trailer here
For more on the movie this is the website  
Genre: Documentary
Now Playing: Regal Winter Park Village
Rating: PG-13 (for thematic content, some sexual material and violent images)

ALSO OPENING IN ORLANDO/DAYTONA:

Along Came the Devil 2
An Ideal Husband</em
Cotton Club Encore
Loro
Mary

ALSO OPENING IN MIAMI/FT. LAUDERDALE/KEY WEST:

Pain and Glory
Wallflower

ALSO OPENING IN TAMPA/ST. PETERSBURG/SARASOTA:

None

ALSO OPENING IN JACKSONVILLE/ST. AUGUSTINE:

My People, My Country

SCHEDULED FOR REVIEW:

Lucy in the Sky
Maleficent: Mistress of Evil
Mountaintop
Wallflower
Zombieland: Double Tap

Good Fortune: The John Paul DeJoria Story


John Paul DeJoria did well so he could do good.

(2016) Documentary (Paladin) John Paul DeJoria, Dan Aykroyd, Danny Trejo, Arianna Huffington, Cheech Marin, Robert Kennedy, Ron White, John Capra, Michelle Phillips, Pierce Brosnan, Robert Plant, Roger Daltrey, Lou Jacobellis, Michaeline DeJoria, Goose, Pam Peplow, Angus Mitchell, Paul Watson, Alexis DeJoria, Julia Povost, Joyce Campbell, Mara Goudrine, Ilana Edelstein. Directed by Joshua Tickell and Rebecca Harrell Tickell

 

“Success that is not shared is failure” according to billionaire John Paul DeJoria. It’s an attitude that is refreshing in an era where the top 1% of our wealthiest citizens are viewed with distrust if not outright hostility and for good reason. Our wealthy have acted in a manner befitting the “Let them eat cake” crowd in an orgy of conspicuous consumption and overall lack of care for the planet and the people on it. The arrogance and utter blind disregard that they have shown to everyone and everything else that doesn’t immediately affect their bank accounts positively is absolutely deplorable.

DeJoria is different. He came from a background that these days isn’t uncommon, but back in the 40s and 50s was certainly not the norm. His father left when John Paul, or JP as most of his friends call him, was two years old. Raised by a single mom – an immigrant from Greece – in East Los Angeles, he and his brother were poor but never really knew that they were. His mother instilled in them a respect for others and a desire to help those who were worse off than themselves, making JP and his brother put a dime in the Salvation Army bucket at Christmas even though they were living hand to mouth but even then she felt the urge to do good. DeJoria justifiably has been close to his mom ever since.

After a stint in the U.S. Navy where he learned the value of hard work and teamwork, he set out to make something of himself. He discovered an affinity for sales and was successful selling encyclopedias door to door as well as a short but successful career selling life insurance. After being introduced to the hair care industry working for Redken (a company my own father worked for decades earlier) he met hairstylist Paul Mitchell in 1971 and together they formed John Paul Mitchell Systems, a hair care line sold exclusively through salons. After a rocky and precarious start, the partners were rewarded when the 80s, perhaps the most hair-conscious era in history, helped their sales explode..

After Mitchell’s death in 1986 from pancreatic cancer, DeJoria became the sole owner of the company and continued to run it in the manner he always had; with an eye towards the environment and with respect and care for the people who worked for him. He had come a long way from living out of his car on two separate occasions (including once while he was getting John Paul Mitchell Systems up and running), from being in a biker gang (after graduating high school) and from two failed marriages.

He would use his millions to start several ventures, including the House of Blues and Absolut Vodka (not touched upon in the film) and more importantly, Patron Tequila which is covered extensively in the movie. He married a third time and found love; he has been a doting father to his blended family with children from both his previous marriages and from his new one, as well as her children from before her marriage to John Paul. One of his children is Alexis DeJoria, a funny car driver who owns the world record.

Ever since the Salvation Army incident in his youth, JP has had almost an obsession with giving back. He supports something like 250 different charities not only with financial contributions but also with his rather precious time. He is shown here spending time with Chrysalis, a Los Angeles-based charity that gets homeless people aid in getting back into the workforce, and Sea Shepard, dedicated to stopping illegal poaching of marine life (such as blue whales and bluefin tuna, both nearly extinct). Not shown in the film is his devotion to Food4Africa which has provided something like 400,000 meals to starving children in Africa since their inception. Not touched upon in the film was his contribution to Ted Cruz’ campaign which seems at odds with his world view of protecting the planet. I’d love to know why he would donate to someone who has voted consistently against climate change and environmental protection but that’s just me.

The husband/wife team of Joshua and Rebecca Tickell has some pretty serious films to their credit and to their credit they do portray their subject as distinctly non-saintly although there is a steady stream of praise coming from such celebrities as Cheech Marin, Ariana Huffington, Pierce Brosnan, Ron White, Robert Plant, Roger Daltrey, Danny Trejo and Michelle Phillips – the latter two friends since childhood.

I get the sense that DeJoria is much too humble to want to be the subject of a fawn-a-thon. What my guess is that he did this picture for was to inspire those who are down and out to go out and chase their dream anyway. He certainly did and through hard work and determination became wealthy beyond his wildest imagining. Not everyone is going to achieve that kind of success but certainly people willing to do their best are likely to at least improve their situation in life.

DeJoria is an inspiring person whose commitment to the environment, to the betterment of humanity and to the inspiration of others is worthy of emulation. I wish that more of the 1% would adopt his attitude and some have to be fair – I see you, Warren Buffett and Bill Gates – although not enough to rehabilitate the reputation of the rich and shameless.

DeJoria is also an engaging, charismatic individual and that makes the film a lot easier to enjoy. Not only are you rooting for him throughout the film but you want to hang out with him – and one gets the sense that he would love for you to hang out with him, too. People like DeJoria are rare commodities these days and if anyone deserves a documentary of their own, it’s them. I’m glad that DeJoria got his.

REASONS TO GO: The subject is quite inspiring. DeJoria himself is an engaging personality.
REASONS TO STAY: The film occasionally is too fawning.
FAMILY VALUES: There is some mild profanity.
TRIVIAL PURSUIT: Most of DeJoria’s children work for him at Paul Mitchell Systems.
CRITICAL MASS: As of 6/25/17: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Becoming Warren Buffett
FINAL RATING: 7.5/10
NEXT: Traficant: The Congressman of Crimetown

Ghostbusters (2016)


Uncorking the genii.

Uncorking the genii.

(2016) Horror Comedy (Columbia) Melissa McCarthy, Kristen Wiig, Kate McKinnon, Leslie Jones, Chris Hemsworth, Neil Casey, Zach Woods, Ed Begley Jr., Charles Dance, Karan Soni, Bill Murray, Dan Aykroyd, Nate Corddry, Ozzy Osbourne, Andy Garcia, Annie Potts, Cecily Strong, Ernie Hudson, Sigourney Weaver, Al Roker, Susan Park, Katie Dippold. Directed by Paul Feig

 

I have to make a confession; I was not pleased about the prospects of an all-female Ghostbusters team at first; for one thing, it seemed kind of gimmicky to me, a means of establishing a bit of notoriety before the movie opened. The more I thought about it though, I figured I was just using that as an excuse; I was being a sexist so as a critic I swallowed my pride, sucked it up and tried to look at the movie as objectively as I could.

That’s not to say that it’s possible; like millions of others, the original Ghostbusters is one of my all-time favorite films. When you take on a remake of a classic that is so beloved, comparisons between that film and yours are going to be inevitable. Surely Paul Feig had to know that. But I don’t think he expected the venom that would be directed at his choice to change the gender the team; fanboys absolutely lost their minds, some going so far as to claim that it “ruined their childhoods” which is generally an indication that their childhoods probably should be ruined, if that was all it took.

The storyline here is pretty similar to the original; a trio of scientists – Erin Gilbert (Wiig), a physicist; Abby Yates (McCarthy) a paranormal investigator, and Jillian Holtzmann (McKinnon), an engineer – are brought together to investigate a haunting. Erin and Abby had once co-authored a book – Ghost from Our Past – but had a falling out. Erin was trying to distance herself from those days and when the book shows up on Amazon just as she’s about to become tenured at Columbia University, she and Abby are brought together. Eventually, Abby agrees to pull the book from Amazon on the condition that Erin allows them to investigate a paranormal activity at a local mansion that had been brought to Erin’s attention by the home’s curator (Begley).

When their investigation is successful beyond their wildest dreams, they enlist Abby’s new partner Jillian who is like a kid in a toy store on Christmas morning – she has all sorts of devices to try out, including a proton pack and a ghost capturing device. With Erin cashiered from Columbia who has found out about her somewhat unorthodox beliefs in the supernatural, the three decide to start up a ghost investigation business. During an investigation into a New York subway, they are assisted by Patty Tolan (Jones), an MTA employee with an encyclopedic knowledge of New York City history, particularly the haunted kind. She joins the team as the fourth Ghostbuster (as they are now called, much to Erin’s annoyance).

They hire a receptionist to handle the calls which turns out to be Kevin (Hemsworth), a male model who gets the job because he dampens Erin’s panties more than anything – he proves to be an utter imbecile and not much use at all answering the phone. As they investigate, they discover that someone has been creating gateways allowing the ghosts to come into New York. That someone is uber-nerd Rowan North (Casey) who has some very unpleasant plans for a world that has rejected him and ignored him. When someone plans a paranormal apocalypse, who ya gonna call?

The special effects are spectacular here, which is definitely an unexpected plus – Feig has never really worked an effects-heavy film before but he does a fine job here with the CGI. It’s impressive without being overwhelming. The cinematography is gorgeous and most of the technical end of the movie is soundly executed. I also think that his casting is spot-on – on paper.

Unfortunately, on celluloid is where I have the issues. The chemistry between the team just isn’t as strong as it was for Murray, Aykroyd, Hudson (who all have cameos) and the late Harold Ramis, whose son appears in a brief cameo and who also appears as a bust outside of Erin’s office at Columbia. McKinnon is a little too over the top at times as is Jones who’s shrieking is almost anachronistic, sounding uncomfortably like depictions of African-American characters in horror comedies from say 50-75 years ago.

Wiig and McCarthy are both strong comic actresses who have given terrific performances in other movies, but they are both overly bland here. McCarthy is strangely subdued; I sometimes complain about her characterization in other comedic roles but I would have welcomed more of that energy she brought to those roles here. Wiig is generally an extremely understated performer and was completely miscast; they needed someone who had a little more of a presence. This may surprise some, but I think Leslie Jones might have been better suited for the role of the physicist/doubter, Kate McKinnon better as Abby, Melissa McCarthy more fun as Patty and maybe a different actress – Amy Schumer for example – as Jillian. But still, just reshuffling the roles might not have helped; the ladies just don’t seem as comfortable around each other as they should be.

Despite all of the issues I have with the team, the script isn’t half-bad and there are some very funny moments. The cameos are welcome, but also serve to remind us of how much better the original was than the remake and Feig might have been better advised to leave them out, particularly since he chose to do a reboot rather than a sequel, which I think might have been a better move. Still, one has to give him points for trying, but trying doesn’t save a movie that’s just average.

REASONS TO GO: The effects are impressive.
REASONS TO STAY: It simply doesn’t hold up to the original.
FAMILY VALUES: Some somewhat rude humor and a bit of supernatural action and violence.
TRIVIAL PURSUIT:  The book Ghost from Our Past supposedly co-written by lead characters Erin and Abby, is really for sale on Amazon.
CRITICAL MASS: As of 7/30/16: Rotten Tomatoes: 73% positive reviews. Metacritic: 60/100.
COMPARISON SHOPPING: A Haunted House
FINAL RATING: 6/10
NEXT: The Legend of Tarzan

Pixels


Game over.

Game over.

(2015) Family Sci-Fi Comedy (Columbia) Adam Sandler, Kevin James, Michelle Monaghan, Peter Dinklage, Josh Gad, Matt Lintz, Brian Cox, Sean Bean, Jane Krakowski, Dan Aykroyd, Affion Crockett, Lainie Kazan, Ashley Benson, Denis Akiyama, Tom McCarthy, Tim Herlihy, Serena Williams, Martha Stewart, Dan Patrick, Rose Rollins. Directed by Chris Columbus

It’s hard to believe, but the 1980s are now three decades in the rear view. It doesn’t seem that long ago that I was hanging out in the local video arcade, losing quarters at a terrifying rate and listening to Depeche Mode, Duran Duran and Culture Club on the radio and, being me, looking like a reject from the 70s. My fashion sense has always been a decade out of whack.

But the sins of the 80s are catching up with us. The footage of a video game championship contest are among the clips that have been sent out by NASA in a probe into outer space, hoping to find intelligent life and re-assure them that we are peaceful and eager for friendship. Instead, the aliens (whom we never see) get the wrong idea; they believe these violent games to be a declaration of war and in their culture, they send out their warriors to face our warriors in a test of strength, only our warriors don’t have a clue what to do with these now-archaic video games.

It will be up to Brenner (Sandler), the runner-up in the contest and boyhood friend to President “Chewy” Cooper (James) to save the day, along with the winner of the contest, the arrogant Eddie (Dinklage) and  another childhood friend, Ludlow (Gad) who is a raging conspiracy theorist these days in tow. A fetching Marine Colonel, Violet Van Patton (Monaghan) serves as the military liaison with Brenner’s Arcaders team with Admiral Porter (Cox), the Pentagon Chief of Staff, who doesn’t think much of Brenner and his team. They ain’t much but they’re all we’ve got.

This is based on a short film which is far superior to the feature. There are no name actors in it and the special effects are much less detailed shall we say. Still, it’s far more entertaining than this flat and generally unfunny comedy which has been somewhat justifiably excoriated by the critics. However, I have to admit that the video game characters, the scenes in the arcade in the 80s and the general vibe induced a nice feeling of nostalgia in me, which I assume was the point. But unfortunately, I needed more and I assume, so did most of those who have been panning the film.

Certainly it helps to have had some connection to the 80s to enjoy the movie at all, but like a lot of Sandler films as of late, this just isn’t that funny. It’s almost all shtick, and that is the kind of humor that can be taken only in small doses, at least by me. Sandler, who had done some pretty funny movies early on, like Happy Gilmore for example, hasn’t really made me laugh for it feels like a decade or more. I don’t know why; he’s a genuinely funny guy, and he has a quick wit that comes out in talk shows. It just feels like he’s playing the same character over and over again, so much so that he has stopped caring about it. I can’t say for certain that it’s true but it sure feels that way watching him.

I like Kevin James too but he suffers from the same issues as Sandler; mostly, playing the same guy in generally unfunny comedies. There were some moments, like when he appears in front of a crowd that clearly hates him and he’s nothing but polite and almost ignorant of the hatred directed at him – now, that was funny. Some have said that he blends the girth of Christie, the timidity of McConnell, the ignorance of Perry, the reading issues of Dubya and the hair of Paul – essentially the perfect Republican presidential candidate. I don’t know if that was the filmmakers intention but the role certainly satirizes modern politics nicely – and subtly. I wish there was more going on like that.

Instead, we get the bombast of the space invaders, coming at us with Centipede, Pac-Man, Galaga and Donkey Kong. We get a life-size Q-Bert and gigantic Froggers hopping across traffic. I think it probably sounded impressive to the producers and the executives who greenlit this, but there really is no way to make the clunky graphics of the 80s come off as anything other than clunky graphics. And don’t get me started on the extraneous, completely unnecessary 3D.

Every summer there’s always one movie that just bites the big one, and this summer it appears to be this one. It gives me no joy to say this; I think Adam Sandler is a decent guy who really needs to make some different choices in movies. He needs to re-invent himself and I wish him luck at it; comebacks are notoriously hard in Hollywood but Sandler is still a talented guy. So are most of the people involved with this movie but this would have better been left a short.

REASONS TO GO: Video arcade nostalgia. Some of the more satirical stuff works.
REASONS TO STAY: Not very funny. Special effects are clunky.
FAMILY VALUES: Some slightly foul language and suggestive comments.
TRIVIAL PURSUIT: Although Akiyama plays Pac-Man inventor Toru Iwatami, the real Iwatami appears in the film. He didn’t want to play himself because he speaks no English.
CRITICAL MASS: As of 7/30/15: Rotten Tomatoes: 18% positive reviews. Metacritic: 27/100.
COMPARISON SHOPPING: Super Mario Brothers
FINAL RATING: 5/10
NEXT: Primeval

Get On Up


The Hardest Working Man in Show Business.

The Hardest Working Man in Show Business.

(2014) Musical Biography (Universal) Chadwick Boseman, Nelsan Ellis, Dan Aykroyd, Viola Davis, Lennie James, Fred Melamed, Craig Robinson, Jill Scott, Octavia Spencer, Josh Hopkins, Brandon Smith, Tika Sumpter, Aunjanue Ellis, Tariq Trotter, Aloe Blacc, Keith Robinson, Atkins Eastmond, Jamarion Scott, Jordan Scott, Stacey Scowley, Ahna O’Reilly. Directed by Tate Taylor

James Brown has never really gotten his due other than by his peers and true music buffs. He never achieved the sales that one would assume that someone who revolutionized pop music should have gotten, and yet when you look at the latter half of the 20th century, the most influential figures to come out of it are the Beatles, the Rolling Stones and James Brown. He is the most-sampled artist in history, and virtually every song on your digital music storage device owes something to James Brown.

Before he was the legendary Godfather of Soul, James Brown (Boseman) was a young boy in rural Georgia. Abandoned by his mother Susie (Davis) at a young age and raised primarily by his alcoholic father Joe (James), he was dropped off with Aunt Honey (Spencer) who ran a brothel. There he grew up huckstering the house of ill repute for African-American soldiers coming into town on weekend passes, and going to the local church to listen to gospel music and watch the ecstasy of dance.

While in jail for stealing a suit, he met Bobby Byrd (Ellis) who led a group called the Gospel Starlighters. Byrd would end up bringing James home and bringing the talented young singer into their group which he would eventually rename the Famous Flames. A demo of the song “Please, Please, Please” ended up in the hands of promoter Ben Bart (Aykroyd) and label owner Syd Nathan (Melamed). Whereas Nathan never really got Brown’s music, Ben recognized that the sounds coming from the single were unique; it’s not about the song, he tries to explain to Nathan who never really gets it.

Brown was something of a control freak and he rebelled at playing along with the status quo. He dealt with venues directly rather than going through a promoter, bringing Bart aboard as an advisor and business manager, allowing him to retain a larger share of the gate at his shows. He is Mr. Entertainment, priding himself on putting on the best shows for his audience and giving everything he had night after night. People began to listen.

Success breeds excess however. Brown would become a drug addict although the movie glosses over this somewhat which would lead to legal troubles that plagued the latter half of his life. He could be mean and abusive which wreaked havoc not only in his personal life but also alienated many of those musicians whose talents helped elevate him to where he was. He demanded absolute control but as Byrd pointed out, he was a genius and it was on his coattails that his band would achieve legendary status but his demeaning treatment of them alienated them.

Taylor opts for an achronological telling of Brown’s story, starting out in 1988, jumping back to 1968 (good God!) and back again to 1939 and up forward 1955. Flashbacks within flashbacks, you might say. Writers Jez and John-Henry Butterworth group events in his life thematically rather than chronologically, headlining them with nicknames he would acquire during his career – The Hardest Working Man in Show Business, Soul Brother Number One, Mr. Dynamite. and so on. For the most part this works although some of the transitions between time periods are less smooth than others and the linking devices occasionally take us out of the story and make us realize we’re watching someone directing a movie. That’s a big no-no.

Boseman is absolutely incredible here. Richard Corliss of Time magazine has all but handed the Oscar to Boseman and while that may be premature, I do hope that his performance still remains in the memory of Academy members come nomination time. He certainly deserves consideration. While the vocals here are Brown, Boseman not only gets his mannerisms correctly he also manages to recreate Brown’s unique stage movement and presence. It’s a performance that really carries the movie and necessarily so.

Ellis also does a fine job as Byrd, the closest thing to a friend Brown has. Although their relationship was rocky, there was also genuine affection between the two. Ellis and Boseman have a strong chemistry which doesn’t really get enough credit. While this is definitely Boseman’s film, it wouldn’t be as strong without Ellis.

While the movie doesn’t hesitate to portray Brown as a difficult man to get along with, there’s a sense that they’re trying too hard to make a mythology about the man and that sometimes comes off like a child whining too much for recognition. Rather than have him appear to be thinking back on his life before – and sometimes during – his performances, those flashbacks could have been framed differently and more organically rather than framing Brown in heroic poses. We get that he was a genius and don’t need to have his mythic qualities shoved down our throats.

A great biography of James Brown is long overdue and while this isn’t the great film I would have hoped it would be, it is nonetheless a strong movie made stronger by the performances of Boseman and Byrd, along with Aykroyd as a kind of Jewish father figure/rabbi to Brown. Brown was in the eyes of many the personification of Black Power during one of the most turbulent times in our history and while he himself was more concerned with making money entertaining his audiences, he did embrace the importance of black culture and black empowerment in his art and in his life. For most, this will be the closest thing to witnessing a performance by James Brown as they will ever come (although there are many clips of his performances available online and of course some of his concert films available for purchase or streaming) but even Boseman’s performance doesn’t duplicate the raw, sweaty power of a live James Brown performance. His legacy is not just in the records he made but in the millions who fell under his spell at his concerts. You wouldn’t be wrong if you argued that he was the greatest live performer in the history of pop music.

REASONS TO GO: Awesome music. Boseman makes a formidable James Brown.

REASONS TO STAY: Era jumping smacks of “Look Ma, I’m Directing.” Over-mythologizes.

FAMILY VALUES:  There’s a bit of sexual content, drug use and foul language as well as a couple of instances of violence in the form of child and spousal abuse.

TRIVIAL PURSUIT: Aykroyd appeared with the real James Brown in The Blues Brothers while Ellis appeared with Brown in Undercover Brother.

CRITICAL MASS: As of 8/8/14: Rotten Tomatoes: 78% positive reviews. Metacritic: 71/100.

COMPARISON SHOPPING: Ray

FINAL RATING: 6.5/10

NEXT: Guardians of the Galaxy

New Releases for the Week of August 1, 2014


Guardians of the GalaxyGUARDIANS OF THE GALAXY

(Disney/Marvel) Chris Pratt, Zoe Saldana, Vin Diesel (voice), Bradley Cooper (voice), Dave Bautista, Lee Pace, Michael Rooker, John C. Reilly, Glenn Close, Benicio del Toro. Directed by James Gunn

Peter Quill, a human adventurer in the far reaches of the galaxy – okay, maybe thief is a better word – acquires a strange and mysterious orb. What he doesn’t know is that the persistent and enigmatic Ronan the Accuser covets that item. What he also doesn’t know is that the orb possesses terrifying power. When the chickens come to roost – not that there are chickens in the far reaches of the galaxy – it will be up to Quill and a ragtag group of bickering teammates to keep that orb out of the hands of Ronan if the galaxy is to remain safe.

See the trailer, clips, interviews, featurettes, a promo and B-roll video here.

For more on the movie this is the website.

Release formats: Standard, 3D, IMAX 3D (opens Thursday)

Genre: Science Fiction

Rating: PG-13 (for intense sequences of sci-fi violence and action, and for some language)

Boyhood

(IFC) Patricia Arquette, Ellar Coltrane, Lorelei Linklater, Ethan Hawke. Richard Linklater’s acclaimed new film is already on track to appear on an awful lot of top ten lists at the end of the year. Linklater filmed the same actors portraying a family, particularly through the point of view of the son, over a twelve year period. The rocks and shoals of growing up are told with a soundtrack that keeps pace with the boy’s tastes in music year after year.

See the trailer, clips and a featurette here.

For more on the movie this is the website.

Release formats: Standard

Genre: Drama

Rating: R (for language including sexual references, and for teen drug and alcohol use)

Get On Up

(Universal) Chadwick Boseman, Viola Davis, Octavia Spencer, Dan Aykroyd. The story of James Brown, who rose from impoverished conditions, abandoned by his own mother to become the Godfather of Soul. Brown is one of the most influential figures in the history of music but is often relegated to a less important status behind white artists, many of who themselves were influenced by Brown. In other words, it’s about damn time.

 

See the trailer, clips, interviews, premiere footage, a promo and B-roll video here.

For more on the movie this is the website.

Release formats: Standard (opens Thursday)

Genre: Musical Biography

Rating: PG-13 (for sexual content, drug use, some strong language and violent situations)

Living is Easy With Eyes Closed

(Outsider) Javier Camara, Natalia de Molina, Francesc Colomer, Ramon Fontsere. Based on actual events, an English teacher in Spain who is obsessed with his hero, John Lennon, decides to take a road trip to Almeria in hopes of meeting his idol who is making a film there. Along the way, he picks up a couple of runaways and together the three will find a deeper meaning in their journey than they were expecting.

See clips here.

For more on the movie this is the website.

Release formats: Standard

Genre: Drama

Rating: NR

Tammy


Susan Sarandon tries to give Melissa McCarthy some career advice.

Susan Sarandon tries to give Melissa McCarthy some career advice.

(2014) Comedy (New Line) Melissa McCarthy, Susan Sarandon, Kathy Bates, Mark Duplass, Gary Cole, Allison Janney, Toni Collette, Nat Faxon, Dan Aykroyd, Sandra Oh, Ben Falcone, Sarah Baker, Rich Williams, Steve Little, Dakota Lee, Mark L. Young, Mia Rose Frampton, Steve Mallory, Keith Welborn, Oscar Gale, Justin Smith, Barbara Weetman. Directed by Ben Falcone

Sometimes we manage to become people we never intended ourselves to be. Through circumstances that are sometimes entirely out of our control – but not always – we find ourselves being the very people we swore we’d never be. Generally that revelation is accompanied by bitterness and self-loathing.

Tammy (McCarthy) has it in her to be happy but it doesn’t look like she is. She does seem self-possessed on the exterior – belting out renditions of the Outfield’s “Your Love” in her car. Not a cappella and not on the car stereo but from an ancient boombox which may or may not be older than the Toyota Corolla she’s driving. After an unsettling encounter with a deer, her car which was already only a hair or two away from breathing its last gives up the ghost.

Not only that but the deer encounter makes her late for work, which her prissy boss Keith (Falcone) uses as an excuse to fire her. Tammy’s reaction to the news is how you might expect – she’s not the sort to take that kind of thing lying down. Having to walk home essentially she returns home early to find out that her lackadaisical husband Greg (Faxon) is having an affair with a comely neighbor (Collette).

Convinced that she needs to get out of town or go crazy, Tammy heads over to her mom’s (Janney) house. However, her mom won’t lend Tammy her car, nor front her some cash so she can go walkabout. However, her grandmother Pearl (Sarandon) has a Caddy and seven grand that says road trip to Niagara Falls  which Pearl has always wanted to visit.

 

On the surface, this seems like a very bad idea. Tammy is mulish and a wreck – it’s not hard to figure out why her husband would cheat as she has taken zero care of herself and can’t be easy to live with. Worse yet, it turns out grandma is an alcoholic and a bit of a nymphomaniac, getting it on with a Louisville rancher (Cole) while Tammy is forced to sleep outside the hotel room. Only Bobby (Duplass), the sweet son of the rancher who treats Tammy decently – the first man to do so in ages – makes it anything more than excruciating.

The two women’s shenanigans cause them to blow through their cash faster than expected forcing Tammy to take some desperate measures that lead the two of them to go on the lam over at the beautiful home of Tammy’s cousin Lenore (Bates). Lenore, a lesbian who owns a chain of pet food stores and whose partner (Oh) is as sweet as pie, is a no-nonsense sort who sees what’s really going on. When Pearl and Tammy’s problems lead to a painful moment at a Fourth of July party at Lenore’s place, it becomes obvious that Tammy needs to make some changes if she’s ever going to be truly happy. The question is, is it obvious to Tammy?

McCarthy has become a star comedic actress with not only her TV success on Mike & Molly but also a string of hit movies to her credit. She co-wrote this with her husband Falcone who also directed the movie; you’d think it would be an absolute slam dunk.

Sadly, it’s not and it isn’t due to McCarthy the actress who actually does a pretty fine job in a role that is pretty similar to the ones she’s played in the past three movies; foul-mouthed, gross, obnoxious and highly sexual. The trouble is that the role isn’t given depth so much as it’s given mannerisms and the blame lies with McCarthy the writer.

McCarthy the actress isn’t alone in this issue either. None of the characters here are particularly well drawn out,  mostly given a trait and essentially left to flounder with a script conspicuously short on jokes. I get the sense the writers weren’t sure if they wanted a comedy or a heartwarming buddy movie and ended up with neither.

Reading that back, it sounds a little bit harsh and if I’m gonna be honest, there are some laughs here (some of which may be found in the trailer) and if I had to recommend the movie, I could do so grudgingly; McCarthy is an engaging enough actress that she can provide life to any movie no matter how terrible. This isn’t the funniest summer comedy ever but at least it’s better than last year’s truly awful Grown-Ups 2 – now there’s a franchise which could use McCarthy’s talents. In any case, fans of the actress probably will end up liking the movie anyway; she basically has this kind of role down pat enough that she could do it in her sleep. Those who want better from her however will have to wait for the next one.

REASONS TO GO: McCarthy and Sarandon battle gamely through subpar material. Bates does her usual impressive job in support.

REASONS TO STAY: Lacks real humor. Could have used some depth in the characters who mainly end up as caricatures.

FAMILY VALUES:  A ton of foul language.

TRIVIAL PURSUIT: Sarandon is only 24 years older than McCarthy, who plays her granddaughter. In addition, Janney – who plays Tammy’s mother and Pearl’s daughter – is 13 years younger than Sarandon and 11 years older than McCarthy.

CRITICAL MASS: As of 7/22/14: Rotten Tomatoes: 23% positive reviews. Metacritic: 39/100.

COMPARISON SHOPPING: Thelma and Louise

FINAL RATING: 5.5/10

NEXT: Begin Again

New Releases for the Week of July 4, 2014


Deliver Us From EvilDELIVER US FROM EVIL

(Screen Gems) Eric Bana, Edgar Ramirez, Olivia Munn, Sean Harris, Joel McHale, Chris Coy, Dorian Missick, Mike Houston, Lulu Wilson. Directed by Scott Derrickson

A practical New York City cop, struggling with his own personal issues, is assigned to investigate a string of bizarre and inexplicable crimes. He discovers there is someone else investigating the same series of crimes – a renegade Catholic priest. Together they will fight to solve these mysteries and in doing so they will come face to face with the nature of true evil. And believe it or not, this is based on actual events.

See the trailer, clips, interviews, a featurette, premiere footage and B-roll video here.

For more on the movie this is the website.

Release formats: Standard (opened Wednesday)

Genre: Supernatural Horror

Rating: R (for bloody violence, grisly images, terror throughout and language)

Begin Again

(Weinstein) Mark Ruffalo, Keira Knightley, Hailee Steinfeld, Adam Levine. A down on his luck former record company executive teams up with a recently dumped girlfriend of a rising rock star when he hears something in her that excites his imagination again. They will have to beat the odds to make something of her in an industry that has changed on the both of them, and for each of them to heal the other.

See the trailer and a featurette here.

For more on the movie this is the website.

Release formats: Standard (opened Wednesday)

Genre: Romance

Rating: R (for language)

Bobby Jasoos

(Reliance) Vidya Balan, Ali Fazal, Arjan Bajwa, Supriya Pathak. An earnest young person has one goal in life – to become the number one detective in the old city of Hyderabad. At first, this seems like an impossible dream but then a case comes along that may just achieve that dream for Bobby Jasoos.

See the trailer, clips and a featurette here.

For more on the movie this is the website.

Release formats: Standard

Genre: Bollywood

Rating: NR

Earth to Echo

(Relativity) Teo Halm, Brian “Astro” Bradley, Reese Hartwig, Ella Wahlestedt. Three boys, inseparable friends, are disconsolate because they are about to be forced to leave their homes due to a highway bypass going through their neighborhood. When they start getting odd signals on their cell phones, they decide to investigate. This leads them directly to an alien being, stranded on Earth and desperate to find a way back to his native planet. E.T. phone home, right?

See the trailer, interviews, clips, B-roll video and a featurette here.

For more on the movie this is the website.

Release formats: Standard

Genre: Family Sci-Fi Adventure

Rating: R (for language and some bloody violence)

Snowpiercer

(Radius) Chris Evans, Ed Harris, John Hurt, Tilda SwintonAfter an experiment to stop climate change backfires and brings on a devastating ice age, all that remains of humanity is contained on a single train that crosses the planet powered by a sacred perpetual motion engine. A class system has developed on the train with the Haves living in luxury and the Have Nots just barely surviving. We all know what happens when people have nothing to lose.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Science Fiction (opened Wednesday)

Rating: R (for violence, language and drug content)

Tammy

(New Line) Melissa McCarthy, Susan Sarandon, Dan Aykroyd, Toni Collette. A woman on the down side of life loses her job, her boyfriend and her car all in the same day. She needs a road trip to clear her head but with no money and no wheels and no place to go, she looks to be SOL in the big city. Then her grandma has an idea…

See the trailer and interviews here.

For more on the movie this is the website.

Release formats: Standard

Genre: Comedy (opened Tuesday)

Rating: R (for language including sexual references)

Pearl Harbor


It's a bomb!!!!

It’s a bomb!!!!

(2001) War Drama (Touchstone) Ben Affleck, Josh Hartnett, Kate Beckinsale, Alec Baldwin, Jon Voight, Jaime King, William Lee Scott, Greg Zola, Ewen Bremner, Catherine Kellner, Jennifer Garner, Cuba Gooding Jr., Michael Shannon, Tom Sizemore, Mako, John Fujioka, Cary-Hiroyuki Tagawa, Colm Feore, Dan Aykroyd, William Fichtner, Beth Grant. Directed by Michael Bay

Nicol Williamson as Merlin in the John Boorman film Excalibur once said “It is the doom (of men) that they forget.” It has only been in the last few years of the 20th century (thanks in no small part to the efforts of men like Messrs. Hanks, Spielberg and Brokaw) that Americans have begun to wake up to the sacrifices of the Americans who comprised what Brokaw eloquently called “The Greatest Generation.”

The attack at Pearl Harbor of December 7, 1941, in many ways remains America’s defining moment. It is a moment of ashes and pain, of blood and despair, written in the bullets and bombs of the Japanese and signed by our own arrogance to think it couldn’t happen to us. From that moment of despair was wakened a world power, one which has dominated the politics of this planet for the half-century since.

Given the success of Saving Private Ryan, it was inevitable that someone would make an epic movie about the date that will live in infamy. Tora, Tora, Tora has been the watershed Pearl Harbor movie up till now, but was only a marginal success when it was released. America is ready for a blockbuster.

Enter Michael Bay, the director behind Armageddon. In some ways, he was the ideal choice to make a movie about the attack. He knows spectacle and can handle immense scale. I’ve always thought him a little rough around the edges when it came to handling characterization and dealing with emotions, but he can be counted on to show the scope of the devastation, to blow our minds with explosions, twisted metal and bodies shredded before our eyes.

Of course he can. However, Bay had his own agenda. Not only did he want to tell the story of the battle, but he wanted to simultaneously elevate himself to the status currently enjoyed by James Cameron. In other words, he wanted this to be his Titanic, and therefore he inserted a love triangle that frames the drama of the tragedy of the attack.

Rafe McCawley (Affleck) is a pilot “born to fly.” He is everything heroic and noble about the American prewar spirit, the quintessence of the “boy next door.” His best friend Danny Walker(Hartnett) is also a pilot, and has always been on the edges of Rafe’s shadow, a good man in his own right but a reflection of Rafe’s glory. Rafe meets and falls in love with Evelyn Stewart (Beckinsale), a beautiful nurse. McCawley is itching for action and requests a transfer to the Eagle Squadron, a squad of American pilots assisting in the Battle of Britain. Rafe and Evelyn continue their love affair by letter, but when Rafe is shot down over the English Channel and is presumed dead, Evelyn is inconsolable.

As time goes by, both Evelyn and Danny get over the grief and find solace in each other. They are transferred to the plum naval assignment – Pearl Harbor – and spend most of their days in bars, cafes and at the movies, or just mooning over each other. However, a monkey wrench is thrown into their idyllic situation; Rafe returns from Europe, having been hiding in occupied France for nearly a year. He arrives at Pearl to find his best friend and the love of his life together, and it tears him apart. Of course, Rafe arrives on December 6, 1941. The next morning, all heck breaks loose.

The battle scenes themselves are very well done. Wave after wave of Japanese planes attack the fleet in battleship row, and as bomb after bomb and torpedo after torpedo finds its mark, the proud U.S. Pacific Fleet begins to sink. Some of the sailors react with panic and horror, and freeze in the face of this unthinkable attack. Others, such as real-life hero Dorie Miller (Gooding) find their destiny of glory at hand.

For Stewart, she finds chaos and overwhelming horror as the wounded and the dead begin to find their way to the hospital. She and the nurses must make heroic measures to save some of the more gravely wounded, as overtaxed doctors become nearly superhuman in their efforts. The hospital sequences are among the best in the movie and received some of the least attention.

The movie should have ended there, but goes on for nearly an hour afterwards, ending up with the bombing raid on Tokyo led by the charismatic Jimmy Doolittle (Baldwin). If you’re planning to see this movie, prepare to knock about three hours out of your day and be sure you use the restroom before the movie starts or at least be prepared to use the pause button pretty regularly.

The critics have blasted this movie, and in all frankness, I get the feeling that many of them are reviewing the movie’s extreme budget (budgeted somewhere around $140 million, it is the highest film budget ever approved by a studio to that time) and that there is a great deal of anti-Bay sentiment. Michael Bay isn’t particularly my favorite director, but he does an excellent job on the battle sequence. The biggest problem with Pearl Harbor is that it’s probably about half an hour too long at the very least. The love triangle is a bit predictable, as are the fates of many of the supporting characters (see if you can pick out the doomed players from the crowd).

Pearl Harbor got compared with Titanic, perhaps unfairly, mainly because both movies take a well-known tragedy and frame it with a love triangle. However, whereas the love story enhances the tragedy in Cameron’s movie, it slows down Pearl Harbor. Also, Bay is not known for subtlety and occasionally goes too far; one rousing speech in which FDR (Voight) rises to his feet, polio-stricken as he was, staggers the imagination and immediately yanks your suspension of disbelief to overload.

Affleck, who took a few hits in the reviews for his performance, is actually quite good as McCawley. Affleck is given really a very minimally realized character whose basic purpose is to be heroic, and carries it off impressively well or at least as well as he could given the limitations of Rafe’s personality. Both Hartnett and Beckinsale were beginning their careers at this point; both have continued to improve upon their performances here, particularly Beckinsale who has gained fame for her work in the popular Underworld movies. As for the supporting cast, Baldwin and Sizemore (as the proverbial crusty Sergeant from the Bronx) are memorable, but Voight chews the scenery like the catering truck had gone on strike. Gooding is, as usual, excellent, but he has little more than a cameo.

There is a definitive movie on Pearl Harbor waiting to be made, and unfortunately, this one isn’t it. Still, for all the negativity, here are the positive things: It’s epic size and scope are truly awe-inspiring. It manages, at many points, to raise patriotic fervor to a fever pitch. Thirdly, it poignantly reminds those of us who are too young to remember just what a price was paid for victory, and how badly we were beaten at Pearl Harbor.

Finally, this was a movie that needed to be made when it did, while many of the veterans of that war are still alive. Those I saw of that generation in the movie theater where I first saw the film were visibly affected by the movie, and that has to go to the good on Bay’s ledger.

Da Queen, who in a bit of uncalculated irony dined on sushi before seeing this movie, was a tear-streaked pile of mush for much of the proceedings, and recommends that those sensitive souls who cry at movies bring plenty of tissues, or at least to make sure that their husbands are wearing moisture-absorbent shirts.

For my part, I’m going to say that this is a very flawed movie that nonetheless should be a must-see for all of us. I’ve never had the opportunity to visit the U.S.S. Arizona Memorial in Hawaii, but until we finally head out that way, this is going to serve as the next-best experience. Perhaps some bright director someday will make a movie about the Arizona, which I would see in a heartbeat. Until then, Pearl Harbor, for all its faults, will have to do as the movie of record for one of America’s defining moments.

WHY RENT THIS: Dazzling battle scenes. Ben Affleck isn’t half-bad (damned by faint praise, I know). Exceedingly patriotic.

WHY RENT SOMETHING ELSE: Unnecessary love triangle detracts from the drama. A good 45-60 minutes too long. Stretches disbelief a bit too far.

FAMILY MATTERS: War violence, some disturbing images of the wounded, a fair bit of foul language and an even smaller bit of sexuality.

TRIVIAL PURSUITS: Rafe is based loosely on actual fighter pilot Joe Foss whom Bay interviewed prior to shooting the film. Rafe’s speech about the plane being an extension of his body was taken nearly verbatim from that interview.

NOTABLE HOME VIDEO FEATURES: The 60th Anniversary edition (of the attack not the film) as well as the Blu-Ray edition includes a History Channel documentary on the attack and a music video by Faith Hill. The four-disc Vista edition includes these, another History Channel documentary on the Doolittle raid, footage of a boot camp the actors all undertook, an interactive version of the attack sequence from several different angles and a choice of different audio tracks, a hidden gag reel as well as a collector’s booklet and poster art cards.

BOX OFFICE PERFORMANCE: $449.2M on a $140M production budget; against all odds the movie was a hit.

COMPARISON SHOPPING: Titanic

FINAL RATING: 5/10

NEXT: Somewhere

The Campaign


 

The Campaign

Zach Galifianakis isn’t sure he’s going to get the top billing Will Ferrell promised him.

(2012) Comedy (Warner Brothers) Will Ferrell, Zach Galifianakis, Jason Sudeikis, Katherine LaNasa, Dylan McDermott, John Lithgow, Dan Aykroyd, Brian Cox, P.J. Byrne, Sarah Baker, Karen Maruyama, Grant Goodman, Kya Haywood, Randall Cunningham. Directed by Jay Roach

 

In an American presidential election year, politics tend to move towards the shameless side. Outrageous lies and half-truths are spoken; candidates are smeared, rumors are mongered and dirty tricks are perpetrated.

In a North Carolina congressional district, Cam Brady (Ferrell) prepares to run unopposed for his fourth term in office. He’s always been more interested in being called “Congressman Brady” rather than in doing anything with the office but his popularity takes a huge hit after accidentally sending a racy voice message on the answering machine of a devout Christian family who didn’t appreciate it so much.

This brings a bit of unease to the Motch brothers (Lithgow, Aykroyd), a pair of billionaire industrialist siblings who have outsourced millions of jobs to China. However, they’ve come up with a brilliant scheme to save millions on shipping their products back to the U.S. – it’s called “insourcing” and involves having the Chinese buy huge….tracts of land…and putting up factories, then staffing them with Chinese workers who continue to make pennies an hour. To make it happen, they need a Congressman who can insure they get exemptions on the minimum wage and it doesn’t look like Brady, whose district the Motches have designs on, will have enough political capital after this latest escapade, to help them much.

The Motch brothers need a new pliable candidate, one they can control and they think they’ve found one in Marty Huggins (Galifianakis) who is a somewhat simple and somewhat effeminate tour guide operator in the county whose father (Cox) is the oily, rattlesnake-mean former campaign manager for Jesse Helms. Marty, who’s always wanted to run for office, wants to make his daddy proud. Daddy wants Marty not to embarrass him. And Marty’s brother Clay (Goodman) just wants to tickle Marty because Marty’s bowels tend to void when tickled.

Marty’s kind of a shlub but that all changes with the arrival of Tim Wattley (McDermott), a snake oil-slick campaign manager who proceeds to do a life makeover on the new candidate, much to the chagrin of Mitzi (Baker), Marty’s timid BBW of a wife.

Thus the campaign ensues, with each candidate smearing the other through attack ads, debates and innuendo. Things start to get messy; Cam’s hot but ambitious wife (LaNasa) moves out when it looks like Marty might win; Cam accidentally slugs a baby in the jaw with a closed fist.

However, when Marty finds out what the Motch Brothers, in collusion with his father, are up to, he grows himself a pair and stands up to them. This leads to Tim moving over to Cam’s moribund campaign…and resurrecting it. But which one of these two knuckleheads will win out in the end?

This is meant to be political satire which I suppose circa century 21 makes some sense. Still, when I think of political satire I think of classics like, for example, Dr. Strangelove. This doesn’t measure up to that nor should you go in expecting that it would.

This is more or less an Apatow-esque comedy masquerading as political satire. While the identity of the Motch brothers isn’t fooling anyone (Koch brothers anyone?) and Cam Baker shares some DNA with John Edwards, the movie studiously tries to avoid party mudslinging on the surface by making the Democrat (Brady) as objectionable as the Republican (Huggins). The reality though is that they’re both essentially Republicans – and the joke is that there really isn’t much of a difference between them, even to them both finding out they are good-hearted in the end (not that it’s much of a spoiler).

Ferrell has played this character dozens of times, a combination of Ron Burgundy, Ricky Bobby and George Bush. For Galifianakis, this is a character not unlike the one he played in Due Date. It’s not a bad mix, the two of them – but it ends up with a kind of Frank Capra-esque ending that belies the cynical tone most of the rest of the movie takes.

I could have used a bit more laugh-out-loud sequences, although there are a few moments which got me chortling but to me the movie seemed on the bland side and never really had the courage of its own convictions. Trying not to alienate the electorate? Don’t make a political satire then.

REASONS TO GO: Satirizes the current American political process without getting too party-specific.

REASONS TO STAY: Not nearly as funny as it should be. A bit more cynical than some might like.

FAMILY VALUES: There’s plenty of crude sexual content, a bit of nudity, some semi-foul language and a bit of violence.

TRIVIAL PURSUIT: Aykroyd plays a wealthy brother like the type he bested in Trading Places. Life imitating art?

CRITICAL MASS: As of 8/14/12: Rotten Tomatoes: 67% positive reviews. Metacritic: 49/100. The reviews are mixed but trending towards the positive.

COMPARISON SHOPPING: Primary Colors

EASTBOUND AND DOWN LOVERS: Shawn Harwell, one of the co-writers of the movie, also is a writer for the quirky cable series.

FINAL RATING: 5/10

NEXT: Jack and Jill