Showing posts with label benjamin pajak. Show all posts
Showing posts with label benjamin pajak. Show all posts

Wednesday, 25 February 2026

Prime Time: Playdate (2025)

Another week, another action comedy movie made specifically for a streaming service. While the action comedy would seem like an easy enough thing to get right, the many lesser examples that have appeared over the past few years prove just how hard it can be. Playdate is another one that doesn't work. In fact, I would say it's almost a complete failure, with very few decent laughs and not enough competent action.

Kevin James plays Brian, stepfather to Lucas (Benjamin Pajak). Trying the usual father-son bonding activities that he knows, which seems to amount to playing catch and trying to present himself as some kind of shining example of manly strenth and reliability, Brian finds himself slightly at a loss as Lucas prefers more artistic activities, such as choreographed dance routines. While at a local park, Brian and Lucas encounter Jeff (Alan Ritchson) and his son, CJ (Banks Pierce). They seem to be the exact opposites of Brian and Lucas, but Jeff immediately claims Brian as a new BFF, which leads to all four of our main characters dragged into a situation that involves a secret science facility, a load of mercs, and one or two completely unsurprising revelations about Jeff and CJ.

This is easily the worst film that I've seen from director Luke Greenfield, and that is saying something, especially when you consider that his first feature was The Animal. As has happened many times before, he's a director who has too much faith in his writer, Neil Goldman, and his leads. Goldman, having done some great work on TV shows over the years, completely misses the mark here, although I have to wonder if he was trying to craft something around two stars who just weren't a good fit for this.

James does what James usually does, which makes him the less problematic of the two leads. It's Ritchson who never feels quite right in his role, forced to make his character silly and over the top in a way that drags down the whole film. Obviously aiming to emulate the kind of mismatched pairing that worked so well for the likes of Kevin Hart and Dwayne Johnson, especially with the latter being quirky and daft in Central Intelligence, nobody seems to have figured out that you need to find a way to still show some heart and humanity if you want viewers to root for your leads. Both Pajak and Pierce are much better, enjoyably contrasting against one another, but also managing to become fast friends in a way that is believable and sweet, just because of them being kids . . . and that is what kids do. Sarah Chalke gets screentime that adds up to about a minute, Alan Tudyk likewise, and there are mildly amusing moments for Isla Fisher, Stephen Root, and Paul Walter Hauser.

I may have chuckled once or twice, maybe (the memory is already hazy as my brain tries to protect me from the pain). I enjoyed some of the fight choreography. That's about all I can say. James was on auto-pilot, Ritchson sorely misjudged his approach to the material, and I spent most of the runtime (which was, thankfully, just about the 90-minute mark) wishing for it to just end. 

3/10

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Friday, 22 August 2025

The Life Of Chuck (2025)

Based on a short story by Stephen King, The Life Of Chuck is adapted into screenplay form and directed by Mike Flanagan. For those expecting horror, however, you should be warned. As made clear by the marketing, this is actually one of the non-horror treats from King, and Flanagan has taken the opportunity to revel in an onscreen world full of optimism and, well, love.

Things work backwards, chronologically, but the main thing to know is that, as the title suggests, this is all about Charles 'Chuck' Franz (played at various points in his life by Cody Flanagan, Benjamin Pajak, Jacob Tremblay, and Tom Hiddleston). Chuck grew up with his grandparents (played by Mia Sara and Mark Hamill), likes dancing, and eventually gets used to the comforting idea that we each contain multitudes. We are the sum of everyone and everything we've ever experienced, even if it can seem as if we haven't done very much with our lives.

It's hard to hate The Life Of Chuck, and it could be argued that this is the kind of fantastical escapism that people need right now (considering the state of things here in 2025 . . . note to any time travellers reading this, SEND HELP). I was surprised to not really love it though. The first act leads up to an obvious enough reveal, even for those who haven't read the source material, and it was a mistake to try to play things off like a big mystery.

Narration from Nick Offerman helps a lot, and his voice is as wonderful as ever, but the rest of the cast is quite a mixed bag, aside from everyone playing Chuck (standouts being Pajak and Hiddleston). Chiwetel Ejiofor is wonderful as a teacher, Marty Anderson, but Karen Gillan isn't so good as his ex-wife, a nurse named Felicia Gordon. Mia Sara is lovely as the grandmother, Hamill overdoes things slightly as grandpa. Then you have many others who are just sorely underused, including Rahul Kohli, Matthew Lillard, and Annalise Basso. There's time for some superb drumming from The Pocket Queen AKA Taylor Gordon though, and Trinity Jo-Li Bliss is a winning presence to convincingly motivate our lead to keep enjoying his talent for dance.

One big set-piece at the halfway point is what you're ultimately left with here. The messaging of the movie is very good, but it's a fortune cookie homily that is somehow paradoxically given too much of the screentime and yet not enough of it. That one set-piece ties everything together so beautifully that it still works though, and thinking of that moment should make most viewers smile and appreciate the beauty and connections of life. It's just not quite enough. Reminding us that we contain multitudes should be done with much more of an emphasis on the multitudes. The Life Of Chuck tries to tell be grandiose and intimate at the same time, which leads to it feeling caught in between the two, and not being as successful in either approach as it could have been if Flanagan had figured out another way to present the material.

I enjoyed this while it was on. I would probably rewatch it. I didn't love it though, although it seems to have worked much better for a lot of other film fans. Maybe it will grow on me whenever I do end up giving it a rewatch.

6/10

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