Mike & Nick & Nick & Alice (2026)

Mike (James Marsden) is looking to quit his job. He's enjoyed it for some time, but wants to move on. He doesn't want to be "Quick Draw" Mike any more. He's not sure if his boss, Nick (Vince Vaughn), will take the news well, but it's an easier conversation to have than the inevitable one about confessing to being in love with Nick's wife, Alice (Eiza González). Not that Nick and Alice have any real happiness left in their marriage. The thing that Mike doesn't realise is that Nick already knows everything, about Mike wanting to quit and him being in a relationship with Alice. He was initially pretty angry about it, which is why he framed Mike as a grass. Mike now has a hired cannibal killer after him, thanks to a job ordered by Sosa (Keith David). He also has Nick on his side though. Future Nick. Yes, this is a time travel movie, and things start to become complicated when Future Nick requests the help of Mike in capturing Present Nick, all with the aim of saving Mike's life and putting a number of things right.

Written and directed by BenDavid Grabinski, Mike & Nick & Nick & Alice is a lot more fun than I expected it to be. I liked the concept, and generally like the leads, but I assumed I would be watching yet another straight-to-streaming movie that might hold up, at best, as a fun time-waster. It's better than that, and I'd happily watch something that reunited everyone involved in this. 

What Grabinski does so well is to ensure that every different genre component works well enough. The comedy may not be hilarious, but it's constantly amusing, particularly when certain characters are interacting with one another (there are some great exchanges between Vaughn and Marsden, but it also helps that Jimmy Tatro has a main supporting role, and does the kind of oblivious idiocy that he does so well). The sci-fi aspect is good enough to keep the plot moving, but nobody gets bogged down by the details or potential paradoxes. And there are a couple of gunfights that are excellently staged and maintain a real sense of danger for our leads.

Vaughn is a bit less motor-mouthed than usual, and works surprisingly well in his two roles. It helps a lot that he's paired up with Marsden, who has become a very dependable talent lately when it comes to portraying characters with a strong moral core of goodness. González is positioned well between the two of them, showing her distance from one and closeness to the other without it becoming some melodramatically overdone soap opera. Keith is believably fearsome, Tatro (as mentioned) does his usual schtick, and there's also room for fun performances from Emily Hampshire, Stephen Root, and what amounts to cameo appearances from Ben Schwartz and Dolph Lundgren. Yes, Dolph Lundgren.

There's a chance that I am overrating this because of going in to it with such low expectations, but there's also a chance that this is just a really good bit of genre-blending fun, helped by a great cast all doing great work. I would rewatch this already, I'll hold out some hope for a sequel or spin-off, and I recommend it to everyone else.

8/10

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Freaky (2020)

Co-written and directed by Christopher Landon, the man who gave us the enjoyable Happy Death Day movies, Freaky is a similar fun mash-up of slasher movies and something, well, very much not a slasher movie. This time around you get some body swap shenanigans with your slasher antics.

Vince Vaughn is the killer, The Butcher, and we first see him deapatching a group of teens in entertainingly varied ways. An encounter with Millie (Kathryn Newton) and a magic knife leads to a lot of confusion when the killer wakes up in Millie’s body, and Millie is suddenly confused about why she is suddenly an adult male. Can she convince her friends, Nyla and Josh, that she is not actually The Butcher. And can she stop the killer, now able to mingle with a whole school full of potential victims, from committing a bloody massacre.

The best thing about Freaky, similar to Happy Death Day, is the way in which it so successfully mixes the slasher movie moments with the high concept. You have lots of scenes that are simply fun, and both Vaughn and Newton have a blast portraying one another, but you also have some inventive, and impressive, kills. Things are so well put together that I didn’t even mind the lapses in logic.

Landon directs well, and he certainly keeps things moving briskly enough that the 101-minute runtime never drags, and the script, also worked on by Michael Kennedy, instinctively knows how to make the most of the body swap potential. It isn’t as strong elsewhere, particularly in a strand that explores Millie’s strained relationship with her mother, but it at least has the sense to minimise any time not focused on the central cat and mouse element.

Vaughn and Newton are both excellent in their roles, with the former arguably best in that silent opening sequence (why has Vaughn so rarely been used for characters with real darkness in them?) and the latter allowed to gain a cool “no fucks given” attitude as soon as she gains the soul of a killer. Celeste O’Connor is fine as Nyla, and Misha Osherovich provides a lot of laughs as Josh. Dana Drori and Katie Finneran are just fine in their roles, Drori as Millie’s sister/local Police officer and Finneran as the mother with a drinking problem, and Uriah Shelton is cute enough as the boy that Millie has a crush on.

Not AS good as the Happy Death Day movies, mainly due to the fact that the character change is instant, for obvious reasons, rather than a journey that shows real growth, this is still a great slice of funny, gory entertainment. It also has at least three superb, and memorable, death scenes. And Alan Ruck brilliantly portraying a teacher who is quite a douchebag you want to see unwittingly piss off a serial killer.

7/10

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The Binge (2020)

A typical teen comedy, in many ways, The Binge focuses on three friends who are out for what should be a legendary night out. Griffin (Skyler Gisondo) wants to reach a big party and confess his feelings to Lena (Grace Van Dien), Hags (Dexter Darden) wants a night that massively boosts their status, and Andrew (Eduardo Franco) is just enjoying the journey, fuelled by drink and drugs. Andrew has a mean brother who may spoil their plans, and Lena is the daughter of Principal Carleson (Vince Vaughn), which makes things complicated.

Directed by Jeremy Garelick (who also gave us The Wedding Ringer, but don’t judge him on that alone), The Binge is a decent selection of set-pieces and minor chuckles written by Jordan VanDina with one big twist that adds to the fun. This is a film that is set in an America where all alcohol and narcotics have been banned, with everything accessible only one day a year. Yes, it is The Purge, but with drugs and alcohol. All other laws and rules still apply, as clarified in a hilarious speech from the Proncipal to the school pupils.

Admittedly, there aren’t too many big laughs here, and if you want something unpredictable then a teen comedy is not what you should be looking for, but the idea is good, and silly, enough to do a lot of lifting. It feels like we haven’t had a strong full-on comedy for a couple of years now (maybe that is just the elasticated time factor of the past year or so) and this does what you want it to do be or just over ninety minutes. There’s even a fun musical number to enjoy.

Gisondo, Darden, and Franco are decent leads, the latter having made an impression on me in a number of recent enjoyable comedies. Van Dien is a bright and appealing love interest, typically so lovely and funny that you are not quite sure why she might be interested in the lead character, but these films are mainly fantasies. Then you have Vaughn, giving another superb turn as the Principal, and someone who is very much anti-binge, perhaps with strong reasons to be that way. Vaughn has been excelling in a variety of roles recently, and I hope he is rewarded for some of the great moments that he has been delivering.

There could be more done here, the script could have been polished up a lot more, supporting cast could be better, and the soundtrack could have had a selection of hits throughout, but this generally succeeds in what it is aiming to do. People drink alcohol and take drugs, and the results are fairly amusing. There are also a couple of very fun impressions of Pacino in Scarface.

Unlike the activities depicted onscreen, you probably won’t regret this once it’s all over. Nothing great, but a decent enough choice if you’re in the mood for some dumb fun.

6/10

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Netflix And Chill: Fighting With My Family (2019)

I first saw Fighting With My Family in the same few weeks that I also saw both Lady Macbeth and Midsommar, and the first thing to note about the film is that Florence Pugh is a chameleonic star. Watch all of the movies mentioned here, as well as the excellent Little Women, and you could easily be convinced that her roles are being portrayed by multiple different actresses.

There are spoilers ahead, I guess, although this is all stuff that will probably already be known to someone familiar with the main character.

Tweaked and made into something more obviously entertaining and enjoyable, Fighting With My Family is, essentially, the tale of how a young girl with a wrestling family turned herself into Paige, a WWE superstar who made her way through the NXT development program and became the youngest champion when she won the Divas Championship at 21.

Written and directed by Stephen Merchant, this is your typical tale of an underdog making good, someone who has trained hard all their life, but not been trained in the way to make themselves into a more sellable product when the big chance comes along. It's about family, as the title suggests, it's about not losing sight of the end goal as you chase your dream, and it's a reminder that, for all of the acting and showmanship on display, wrestling is a tough gig that takes a massive toll on mind and body as people aim to make the most of their peak years in the business. Merchant does an excellent job, even if he's not taking any risks with the way executes the material, and he clearly conveys what he responded to in the documentary that gave inspired this fictionalised depiction of an inspiring and heart-warming life story. You're not here for big surprises, you're here to smile and enjoy the journey on the way to a familiar and comfortable final destination.

Mixing athleticism, insulting face offs not entirely unlike rap battles, and some glitz and glamour, Paige is shown to be unprepared for everything else that goes along with the wrestling. She wrestles, that's what her main strength is, but she needs support to turn herself into the whole package. That comes from her trainer (played by Vince Vaughn), her brother (Jack Lowden), and the other women who are on the same journey through the NXT program.

Pugh is excellent in the lead role, just as believable and appealing as she has been in every other role I have seen her take on. And it would be easy to make a mis-step here, either get the attitude wrong or just not seem physically capable in the role, but you never doubt her strength and character, helped by the way the script is constructed, and the supporting cast around her. Vaughn has more fun in his role than he has had in a number of years, reminding you of what you like about him when he's given roles that suit his style. Lowden is equally great as the older brother with all of the heart and not enough of the star quality that the WWE was looking for. Nick Frost and Lena Headey are consistently hilarious as parents prone to blurt out the most inappropriate statements, in between selfish attempts to make the most of their daughter's success, and it's worth mentioning Ellie Gonsalves, Aqueela Zoll, and Kim Matula, playing three women who come into wrestling from the world of modelling and cheerleading. And you get some limited, but quality, screentime for Dwayne Johnson. Of course.

You may think you will hate this, especially if you have no interest in wrestling, but it's a perfectly enjoyable feelgood sports film, hitting a lot of familiar beats in a tale that is ultimately worth telling, especially for anyone chasing a dream they are told again and again is unattainable.

8/10

You can buy the movie here.
Americans can buy it here.

Noir-vember: Dragged Across Concrete (2018)

There are a number of things about Dragged Across Concrete that make it an interesting watch. First of all, the continuing development of the filmography of S. Craig Zahler, a man who has made quite a name for himself by crafting films around unpleasant characters with unpleasant attitudes. Certain things keep coming up again and again, making you question how much of himself Zahler puts onscreen (especially when so much of the runtime has characters saying, either overtly or more subtly, "I'm not racist, BUT..."), but you also have to accept that writers and directors can have fun with unpleasant characters without necessarily sharing any common ground with them. It's just unfortunate that Zahler seems to keep doubling down on elements of his work that are, at the very least, quite troubling, certainly on the surface. Second, you get a fantastic performance from Mel Gibson, all the more effective for it making good use of the baggage he now inevitably brings to many of his roles. Third, it certainly gives you plenty to talk about after.

Unfortunately, the main chain of events shown onscreen aren't really that interesting. Two cops (played by Vince Vaughn and Mel Gibson) are caught being a bit too rough with someone during a raid. This leads to them being suspended, without pay, and leads to them eventually hatching a plan to get a payday from some criminal they suspect of lining up a big deal. It turns out that the big deal is actually a bank robbery, and things start to get more dangerous, and much harder to keep on track when innocent lives are at stake.

Dragged Across Concrete is a taut, 90-minute thriller that steeps every character in scene in the essence of neo-noir and builds to an expected climax of bloodshed and loss. Well, it could have been. If only Zahler had managed to rein himself in, and cut back on the many moments of excess that lead to the whole thing being a bloated and trundling mess that exceeds two and a half hours in length. Which would be understandable if he had better words to feed his talented cast. He doesn't. Any attempts at commentary, or even just cool, fall flat, and there isn't one character you end up wanting to see live to the end credits.

As good as Gibson is in his role, and he's very good, everyone else is pretty much wasted. Tory Kittles and Michael Jai White try their best, playing two men involved in the robbery who don't necessarily approve of the sudden jump to ruthless violence, but Vaughn can't make anything of his role (a bigger shame when you consider how well Zahler used him in Brawl In Cell Block 99), Don Johnson starts to get into his stride and is then out of the movie after only a couple of scenes, and Jennifer Carpenter is perhaps treated the worst of all, in a couple of scenes that are simply bizarre in how they unfold. Laurie Holden isn't given much to do either, just appearing to justify the actions of Gibson, in his work and, by extrapolation, his criminal plan.

If things keep progressing at this rate, Zahler should be along in a couple of years with his next movie, a thrilling dramatic reconstruction of the Rodney King beating from the point of view of the poor, overworked, police officers involved. We'll just have to wait and see. Suffice it to say, I will be waiting for news of any future films from him with much less anticipation.

5/10

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Mubi Monday: Psycho (1998)

Well, I guess I owe an apology to quite a few people. I used to spend some of my time online defending this ill-advised remake of the Hitchcock classic. This recent revisit, the first time I have watched the film since I caught it on a rental VHS copy, quickly had me reconsidering my view. So many elements are awful. And yet... yet... there is still something here that leaves it ad a fascinating experiment. Not a satisfying movie, and not a remake that comes anywhere close to the original, but something worth viewing as a way to strengthen the case of how many different elements come together to make a movie a timeless classic.

You know the story, basically. Unless you don't. If you don't, I am not going to spoil any potential twists and turns, even if you've seen the original film. Anne Heche is Marion Crane this time around, a woman who is left in charge of a large sum of money by her boss and, in a moment of madness, heads off to use the money as a chance to start a better life with her boyfriend (Viggo Mortensen). Tired from the drive, but so close to her destination, Marion pulls in to get a room for the night at the Bates Motel, where she meets Norman (Vince Vaughn). He seems like a nice young man, in stark contrast to his angry mother.

Based on the exact same shooting script as the 1960 original, written by Joseph Stefano, and with many shots replicated as closely as possible to the way Hitchcock already did them, it's understandable that many people cite this as an example of a remake that is completely pointless. I was tempted to think the same thing as the end credits rolled this time around.

And yet . . . there's definitely a lot to be gained from viewing this as an academic exercise. Director Gus Van Sant knows how pointless it is to try and remake such an acclaimed masterpiece, and he makes a great effort to highlight the futility of the exercise. Before you even see one bit of the performances on display, just watching the opening credits is enough to put you off. They're exactly the same as the original credits. They're just now in colour. Seconds into the film and it's already not as good, the colour seems to serve as a final flag raised up before the viewer. "You were warned," it seems to say, "and now the reality of the situation is here in front of your eyes." This continues throughout the entire movie. Even the moments that are staged as best as they can be (the sequence between Marion Crane and a highway patrolman, this time played by James Remar) just don't ever feel as good because, well, they're just not.

It's a shame that the cast don't do better though, even if they were given a thankless task. Heche is hard to warm to in the role of Marion, and Mortensen gives one of his worst performances as her beau. Vaughn is given the biggest shoes to fill, and I still find a lot to admire in his performance. It doesn't work, his laugh is too jarring and his quick-talking manner feels unlike the Norman Bates we're used to, but I still appreciate the way that he tries to make himself seem smaller and a bit more timid than he seems in most of his other roles. Julianne Moore, as much as I like her, is quite awful as Marion's sister, not helped by the pointless addition of headphones she is given to wear (as if the character was written to be some spirited, resourceful teen), but William H. Macy at least manages to make up for her presence in the second half of the film, easily outshining both her and Mortensen in his scenes as the detective, Arbogast.

And yet . . . there's STILL something here. Something in the heart of the story, something that pulls you towards it, even as the performances and the new colour scheme put you off. Van Sant knows this, he knows that YOU know it, and your growing appreciation for the original movie in direct correlation to your anger at the audacity of this remake just goes to prove the point that he decided to make when he took on this project.

4/10

You can buy the movie here, if you really want to.
Americans can buy it here.

Prime Time: Brawl In Cell Block 99 (2017)

My brain works in mysterious, and usually successful, ways. Not for the benefit of anyone but myself, but it's really only myself that I care about when it comes to the movies. I don't mean that I am a completely selfish git, although at times I am, but I mean that I am the only one I want to spend time with, initially, when considering movies, and formulating my opinions on them. Well . . . unless my wife is beside me, and then we bounce ideas off one another. More importantly, my brain SEEMS to know when I am fully settled on my opinon, and also when I need more time, and perhaps another viewing, to really nail things down.

I first watched Brawl In Cell Block 99 some time ago, and I absolutely loved it. I was ready to rave about it, I was ready to give it a very high rating, and I was ready to tell everyone that Vince Vaughn had finally realised the potential that I'd seen in him in films like Clay Pigeons and, yes, the Psycho remake. But my brain did its thing, and kept me quiet for a while (about this film, I am rarely as quiet as anyone would like me to be).

Revisiting it very recently, I am first going to say that I would not have been unhappy to share my initial thoughts. It's a superb film, with writer-director S. Craig Zahler giving viewers some of the finest exploitation fare that we've had in some time. It may have the budget and star power separating it from true grimier and grittier films but it has the sensibility of any number of low-budget gems that show someone on a bloody and violent quest for revenge. It also does it all without the need to constantly wink at viewers and overtly reference all of those other movies (a la Tarantino, not that I dislike that approach from him).

Anybody waiting for a brief plot synopsis . . . that was basically it. That's all you need to know. This is a revenge film, and it's one that has a lot of broken bones and general trauma.

The cast includes Jennifer Carpenter, who does well with her relatively small amount of screentime, Don Johnson, who continues to enjoy his recent resurgence, Udo Kier, and Marc Blucas. Dion Mucciacito is a main baddie, but he's less important than all of the obstacles in between him and our "hero". And that "hero" is the standout. I stand by the praise I wanted to heap on Vince Vaughn when I first saw this. Having coasted along in comedy roles for a number of years now, it's almost a revelation to be reminded of how good Vaughn can be, especially in a role that doesn't let him settle into his usual, quick-talking, cocky persona. Vaughn is one scary beast of a man here, believable as someone with the strength and just enough smarts to be one of the most dangerous individuals you could end up tangling with.

Having heaped all of this praise on the film, is there anything it gets wrong? Yes. Not much, but enough to drag it down a bit. It's too long, for one thing, although it never felt to me as if it dragged. I just can't help thinking that this could have been whittled down to just under the two hour mark. It also peaks a bit too soon, because once viewers have been shown just how graphic and nasty things are going to get there's something a bit anti-climactic about the rest of the scenes that continue to heap on the extreme violence.

If you have the stomach for the content, and for giving Vaughn another chance, then Brawl In Cell Block 99 is HIGHLY recommended. I really liked Bone Tomahawk, also by Zahler, but I like this one just a bit more. I'm already looking forward to what he's giving us next.

8/10

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The Watch (2012)

A comedy sci-fi movie, starring Ben Stiller, Vince Vaughn, Richard Ayoade and Jonah Hill, and directed by Akiva Schaffer, The Watch just falls short in the comedy department. Of course, there will be many people reading this review who immediately switch off once they find out that Stiller and Vaughn are involved, but I'm a fan of those guys and they have some good moments in this movie. Just not enough of them.

The plot is simple enough. There's an alien invasion happening, but nobody is aware of it. The only people who stumble on to the horrible truth are four men (those actors named above) who have recently come together in a newly-formed neighbourhood watch group. Unfortunately, they may not be the best people to deal with the situation, even if they're more up to the task than the main local law enforcement (headed up by Will Forte).

The Watch should have been a lot better than it is. I know that there are people who dislike most of the main stars, but I'm a fan of their work and looked forward to seeing them all having fun together onscreen. Unfortunately, the mix of alien invasion and comedy just doesn't work here. I laughed at a number of scenes, and I enjoyed the last few scenes, but the two main elements of the movie never feel as if they belong beside one another.

Everyone gets to have at least one chance to steal a scene, with Ayoade getting more chances than anyone else, because he's Ayoade (I'm a big fan of his work, in case you couldn't tell). Forte is very funny in his supporting role, Rosemarie DeWitt, Erin Moriarty, Billy Crudup and Jared Stern all cause some stress, in very different ways, for a few of the main characters, and R. Lee Ermey stretches his acting ability by portraying a foul-mouthed old man quick to grab his gun.

The whole movie gets by more on goodwill than anything else, but the script by Jared Stern, Seth Rogen and Evan Goldberg manages to set up a solid enough foundation for the main performers to have fun on, which allows for the film to be liked or loathed in equal measure, depending on your taste.

Many will view the fact that I liked it as just another example of how bad my taste can be.

6/10

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Dodgeball: A True Underdog Story (2004)

This review is going here because, well, I wanted to start off the new year with a smile on my face.

As simple as it is gut-bustingly funny, Dodgeball is a near-perfect mix of great one-liners and physical comedy, populated by a cast all playing to their strengths and directed with sharp focus on moving from one comedy beat to the next.

Vince Vaughn plays Peter La Fleur, owner of Average Joe's gym. La Fleur is a nice guy, but a terrible businessman. When he's given a very short time in which to come up with a very large sum of money it looks like Average Joe's is about to close. Which is good news for White Goodman (Ben Stiller), the narcissistic, dense, mean owner of Globo-Gym (slogan: "We're better than you, and we know it").
There may, however, be a way to raise the money and save Average Joe's. Yep, you guessed it. Dodgeball. There's a big tournament about to happen, and the prize money is just the exact amount that La Fleur needs to save the gym.

Written and directed by Rawson Marshall Thurber, who would score another big comedy hit almost ten years later with We're The Millers, this is very much a love or hate movie, and I love it. In fact, it's one of those movies that I love so much that I just hope many of my friends also love it, otherwise I start to question their taste, and then question the basis of our friendship, and then question by questioning manner, and then just collapse into a heap of paranoia and low self-esteem.

Vaughn is a fast-talking average Joe (almost literally, in this case), Stiller is the angry idiot, Justin Long is a good-hearted klutz, Stephen Root is someone who builds and builds up his anger until he explodes, Joel David Moore is a socially awkward bundle of nerves and, well, I guess you get the picture. What I'm emphasising here with my description of each character is that this is not a film to watch if you do not like any of these actors doing their usual stuff. Christine Taylor is very good as the attractive young woman who La Fleur takes a shine to, Rip Torn is hilarious as a violent dodgeball coach, and there are great cameos from the likes of David Hasslehoff, William Shatner, Hank Azaria, Lance Armstrong (although his cameo isn't as funny now as it once was) and even Chuck Norris. Gary Cole and Jason Bateman are to commentators with distinctly different styles, and Missi Pyle is the most dangerous woman in the world with a dodgeball.

Is it a modern comedy classic? Most people would probably say that it isn't, but Dodgeball has a better laugh-per-minute ratio than almost any other comedy I can think of since the turn of the 21st century. It's the perfect blend of clever and dumb, with an extra sprinkling of . . . . . . . . even more dumb, and I certainly rank it up there with many other comedy greats. It might not be perfect, but it comes close.

And the sequence that pops up during the end credits may not be big or clever, but it's yet another moment that makes me burst out laughing, ensuring that the smile stays on my face for some time after the movie has finished.

9/10

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