Mubi Monday: Thelma & Louise (1991)

It's very easy to remember parts of Thelma & Louise, particularly that ending that someone somewhere in Hollywood still thought could be reworked to provide people with a sequel, but it's also easy to forget a number of big positives.

Although directed by Ridley Scott, this is a film that feels impressively in tune with the female leads, helped mainly by the performances of Geena Davis and Susan Sarandon, as well as the screenplay by Callie Khouri. It also has an enjoyable selection of male actors happy to provide a snapshot of the range of men that our leads deal with, and any film that has "The Ballad Of Lucy Jordan" gets a bonus point from me.

Davis is Thelma, Sarandon is Louise. The two head off on a road trip. Thelma is happy to get some time away from her uncaring and self-absorbed husband, Darryl (Christopher McDonald), and Louise wonders how her Jimmy (Michael Madsen) will cope without her around. Unfortunately, the trip takes a serious turn for the worse when Thelma becomes a victim of the abusive Harlan (Timothy Carhart). One quick decision turns both women into fugitives, soon to be pursued by a cop (Hal, played by Harvey Keitel) who senses there's something more to the story than what the evidence will tell them. Things soon become more serious, and more desperate, but Louise can at least ask Jimmy for some help. Meanwhile, Thelma makes time for some fun with a hot young hitch-hiker named J.D. (Brad Pitt)

I've always liked both Davis and Sarandon, and both have done great work throughout their entire film careers, but there's no denying that Thelma & Louise is the film that took their careers to another level. One may have continued to get more onscreen work than the other, but both women remain hugely impactful figures in the industry to this day. The fact that they both have such great chemistry here, with one another and with others they interact with, is a vital part of the film's success. I'm sure others could have made this work, but Davis and Sarandon make it all easy to believe, and be invested in. Their performances being so light and enjoyable also helps when it comes to sugar-coating the bitter pills that the film forces viewers to swallow down.

While men are very much the root of the main problems here, and many women will agree that the film reflects reality in that main thematic strand, it’s also a pleasant surprise to revisit this and remember how many of the men are shown in quite a good light. Keitel wants everything to end as quickly and safely as possible, Madsen shows, perhaps a little too late, how much he really loves Sarandon, even if that means having to watch her leave his life, and Pitt plays a real charmer who just happens to have a very bad habit that ruins any of the chemistry between himself and Davis. Carhart is suitably loathsome, and horrendous enough to make his fate feel satisfying, while McDonald is loathsome in a different way, and always does so brilliant in that kind of role that I would love to meet him in real life one day and be shocked by how nice I am sure he actually is.

No performance hits a wrong note, and there are still too few films like this to this day. Not comedic, not trying to be cool and sexy, not balanced perfectly with the good and the bad. This is just two strong women who have had enough of the crap heaped upon them by a patriarchal world, and the ending manages to be as equally uplifting and sad as anything in the rest of the film.

9/10

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Netflix And Chill: Happy Gilmore 2 (2025)

If you ask any Adam Sandler fan what their favourite Adam Sandler movie is then you will likely get a variety of answers, depending on whether or not that person likes his comedy work or his more dramatic performances. But most would at least mention Happy Gilmore as a contender, which makes this a belated sequel with no small amount of pressure on it.

The years have passed, a tragic golf-related accident has caused the death of Virginia (Julie Bowen), and Happy Gilmore is left with a bunch of children and a whole load of debt. And a drinking problem. His years of golfing success are far behind him, but getting back on the fairway could be the solution to all of his problems. If he can stop drinking and return to the form of his glory days. He's older now though, although not necessarily any wiser. 

Where Sandler used to get his friends together and film something in a sunny and picturesque environment (making it a bit of holiday time alongside the filming), he now tends to make films that have roles available to his family members. At least four of them appear here. His wife, Jackie, his daughters, Sadie and Sunny, and his mother, Judith. They don't spoil the film, generally doing great work, but it's worth noting because of how many times the Sandler surname pops up throughout the cast credits. Thankfully, the 114-minute runtime allows for a whole range of eclectic supporting players (sometimes literally), from a number of real-life golfers all joining in with the fun to returning favourites like Ben Stiller and Christopher McDonald. Benny Safdie has a blast as Frank Manatee, the douchebro looking to take golf somewhere new and exciting, Bad Bunny is a lot of fun as a waiter-turned-caddy named Oscar, John Daly plays a fictional version of John Daly, and Haley Joel Osment proves to be formidable competition on the golf course. I wouldn't have the space here to name everyone else onscreen, but some of the more memorable cameos come from Margaret Qualley, Eric André, Post Malone, Steve Buscemi, Eminem, Nick Swarsdon, Jon Lovitz, Boban Marjanovic, Ken Jennings, and Guy Fieri.

Although Tim Herlihy and Sandler are back on the writing duties, Kyle Newacheck is in the director's chair this time (with Dennis Dugan, director of the first HG movie, joining the names I just mentioned to have some fun in front of the camera). Newacheck does a decent job, delivering what is his best feature so far, but it feels like an easy gig. Once the screenplay was written, knowing how much of the film relies on goodwill and nostalgia, all Newacheck had to do was ensure that he had plenty of coverage while everyone was enjoying themselves. The jokes here are obvious and silly, but they're nicely in line with what we got the first time around. In fact, admittedly, many of them are just the same jokes, maybe slightly reworked, with flashbacks to remind people of what they laughed at the first time around.

I'm not going to waste time rating the various performances of everyone in the cast. Some do much better than others, but the film is anchored by Sandler doing his very familiar schtick. You'll already know if you want to watch it or not. Highlights are definitely Safdie and Bad Bunny though, but McDonald is very welcome whenever he appears, and I was surprised by how much I was able to laugh at lines delivered by the likes of Rory McIlroy and Scottie Scheffler. Scheffler may well be the ace up the sleeve for the third act of the movie, which is something I never expected.

There are a number of expected montage sequences, the soundtrack has the energy required to accompany the standard "underdog comes good" plotting, and if you're surprised by anything that happens here then I would have to assume that you forgot everything that happened in the first movie. There are times when I want something new, or something thought-provoking. This wasn't one of those times. I just wanted some more silly jokes about someone rough-around-the-edges being unexpectedly good at whacking a golf ball. I just hoped that it wouldn't disappoint those, like myself, who rated Happy Gilmore as one of Sandler's very best comedies. I wasn't disappointed. This was everything I wanted it to be. It was familiar, comfortable, and, most of all, it made me laugh. I'll still rewatch the first film more, but I would happily make time for this again whenever I'm in the mood for some crazy golf.

7/10

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Mubi Monday: Requiem For A Dream (2000)

It might seem glaringly obvious now, but writer-director Darren Aronofsky has never been one to do subtlety. Whatever his movie is about, he damn sure wants to beat you over the head with it. That often works, however, because he picks movies that are filled to the brim with visual tricks and flourishes that help to sugar-coat the bitter pill we are being made to swallow.

Requiem For A Dream may actually be the least subtle film from Aronofsky, which is really saying something, but it is also up there with his very best. A tale of various addictions, and the rise and fall of the central characters, it is a grim endurance test that just, and I do mean just, manages to keep viewers watching through to the end credits.

Jared Leto plays Harry Goldfarb, a young junkie who has dreams of making a better life for himself and his girlfriend (Marion, played by Jennifer Connelly). Harry and his friend, Tyrone (Marlon Wayans), just need to stay focused and straight as they transition from users to dealers. But that isn’t easy, especially when all three individuals start to feel the need for drugs at different times. Meanwhile, Harry’s mother, Sara (Ellen Burstyn), is addicted to her TV, and one game show in particular. When she receives an invitation to participate on the show, she starts to fret about her appearance, eventually seeking a doctor to prescribe her diet pills that will help her fit into the red dress she plans to wear on TV.

Based on work by Hubert Selby Jr., who then worked with Aronofsky on the screenplay, this is not only a requiem onscreen, but an almost unbearable, hellish, crescendo for most of the second half, culminating in a finale that I don’t think I would have been able to get through on the big screen (although I kind of wish I had been able to see this when it was first released). The structure and dialogue work well enough, but you then have the dizzying visual style AND a propulsive and bone-shaking score from Clint Mansell (assisted by the Kronos Quartet on strings, as well as numerous other musicians helping him to create the audio tapestry).

Leto is quite good in his role here, and he is equalled by both Connelly and Wayans at different times, but the younger cast member are all given the typical shivering junkie material to work with, in many ways. The real standout is Burstyn, giving a vulnerable and frail performance that will break your heart as she slides further and further into her own delusion. It is arguably her best ever performance, and her journey is the toughest to watch (which is astounding, considering what all four characters go through). The other person deserving a mention here is Christopher McDonald, doing a great job of portraying a typically polished and smarmy TV show host, whether actually on the TV screen or wandering through the mind of Burstyn’s character.

Not entirely dire and downbeat, although any moments of lightness or humour are few and far between, Requiem For A Dream is a film that deliberately puts you through the wringer. It may be simplistic, in a number of ways, and it may seem a bit ridiculous as it hurtles towards a dark and twisted climax, but it also shows characters moving back and forth between being functioning addicts and spaced-out zombies better than pretty much any other film I can think of, with the notable exception of a certain Danny Boyle/Irvine Welsh collaboration that helped define the 1990s.

A must-watch, as long as you can handle the content, but I can understand anyone who then decides never to give it a repeat viewing. I own it, but I never think of it as a film to stick on while I have many other options that won’t leave me wanting to scrub my brain and eyes with industrial-strength bleach.

9/10

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Prime Time: Exposed (2016)

A film that was chopped and changed during the journey from script to screen, Exposed feels very much like what it is. Okay, almost EVERY film goes through a number of changes from script to screen but it's obvious that some are messed around with more than others. The different plot elements here are so badly mashed together that any attempt to provide a satisfying finale is undone by viewers realising how clumsily the main points are being made.

On the one hand, there's a young woman (Isabel, played by Ana de Armas) who is going through a pretty bad time of things. She's also a person of interest in an investigation being conducted by Detective Galban (Keanu Reeves) into the death of his partner. Unfortunately, that investigation may turn up a few details that people would like to stay covered up, and Isabel may be too busy trying to deal with recent events to be of any help. She has seen things that don't seem to belong to this world, has started to help a young girl (Elisa, played by Venus Ariel) who needs protection, and is also pregnant via some immaculate conception.

Written and directed by Gee Malik Linton (who changed his name for the directorial credit), Exposed is a mind-muddling mess, it really is. Nothing works, despite De Armas trying her best in a role that she is certainly capable of playing. The drama doesn't engage or affect viewers, the thriller side of things isn't thrilling, and you're left with a squidgy pan of flour and yeast that nobody has managed to turn into an edible loaf of bread.

This is, apparently, all the fault of the studio. Some people have managed to see the alternate cut of this (the version that was envisioned by Linton before the studios took it and chopped it up and made it unrecognisable). That is known as Daughter Of God and, if it ever becomes widely available, I'll check it out and see how it compares.

But, for now, this is what we're stuck with. It's atrocious. Reeves suffers the most, being given a role that should suit him (he's played cops who are heroic and/or shady a number of times) but with no feeling that he's in the same movie as De Armas. Remember when certain film-makers or studios would take movies and recut them with other movies to make a new title that they would then serve up to us, despite the way the end result would never quite fit together in any cohesive way? That's how this feels. On the one hand, you have Reeves, Christopher McDonald, and Mira Sorvino in a police procedural flick, and on the other hand you have De Armas. It's embarrassing.

There ARE one or two decent moments, scenes that move from reality to something strange and supernatural so smoothly that they manage to impress (an early scene with De Armas watching someone else in a subway station is excellent), but it's a real struggle to remember the few highlights once the film is over. In fact, it's probably as difficult as it was for the main actors to remember what kind of film they were starring in.

3/10

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

Noir November: Fatal Instinct (1993)

 It's hard to think of any reason why writer-director Carl Reiner would want to put another comedic spin on film noirs after hitting such a home run with the brilliant Dead Men Don't Wear Plaid. Well, perhaps he was happy to be working from a script by someone else (David O'Malley) this time, or maybe he just liked how this referenced a lot of classics while also skewering a number of neo-noirs in every scene. Either way, just enjoy the end result. It has a game cast all providing plenty of laughs.

Splicing a plot together from Double Indemnity, Body Heat (so . . . . . . Double Indemnity twice), Fatal Attraction, Sleeping With The Enemy and Cape Fear, the movie follows Ned Ravine (Armand Assante), a cop who also happens to be a lawyer, as he deals with the potentially dangerous Lola Caine (Sean Young), fails to notice the crush that his assistant (Sherilyn Fenn) has on him, and ends up an unwitting potential victim in a deadly scheme cooked up by his wife (Kate Nelligan) and her lover (Christopher McDonald). And then, to make matters worse, there's the release of Max Shady (James Remar), who also wants to see Ned bumped off.

While it's not the kind of parody that nails every tic and trick of the material it's spoofing, this is a comedy that knows where the easy laughs are and starts to build them up nicely. It's more interested in being silly than being clever, but it throws everything into the mix in a way that should please fans of Zucker/Abrams/Zucker fare. O'Malley hasn't, from what I can see, written anything else in this vein. Some will think that's a good thing, yet I think he has a good success rate with the number of gags that at least raise a smirk.

Reiner knows how to direct comedy, of course, and does his usual good work here. Despite the broad strokes being used, he has fun lifting some major sequences from other movies and filtering them through his skewed vision. The fact that he also knows how to easily steep each scene in the appropriate noir atmosphere is a big plus, whether he's showing sexual chemistry between characters or making sure that the saxophone player is always available to pop onscreen while playing the background tune.

Assante is very funny in the lead role, admirably keeping a straight face even as he's asked to act in more and more ridiculous situations, and the same goes for Young, Fenn, Nelligan, McDonald and Remar. McDonald is probably the one who gives a performance close enough to many of his other acting turns throughout the '90s, but that's no big deal when he's always such good fun to watch. There are also cameo roles for Eartha Kitt and Rosie O'Donnell, which you can view as a good or bad thing, and at least one scene is stolen by an adorable, and all-too-fake, skunk.

I've gathered that I am, once again, well within the minority with my love for this one, but that's no problem. I'll just keep enjoying it, and I'll keep recommending it to people until at least one or two others come around to my way of thinking.

8/10

http://www.amazon.com/Fatal-Instinct-Armand-Assante/dp/B00008972V/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1415205575&sr=1-2&keywords=fatal+instinct

You know how you can show your appreciation for bloggers? If you share and share then every additional reader helps. Connect through Google or Blogger or any way you can, and rest easy in the knowledge that you've made little ol' me a very happy man.

And/or you could also buy my e-book, that has almost every review I've written over the past 5 years. It's very reasonably priced for the sheer amount of content.

The UK version can be bought here - http://www.amazon.co.uk/TJs-Ramshackle-Movie-Guide-Reviews-ebook/dp/B00J9PLT6Q/ref=sr_1_3?s=digital-text&ie=UTF8&qid=1395945647&sr=1-3&keywords=movie+guide

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As much as I love the rest of the world, I can't keep up with all of the different links in different territories, but trust me when I say that it should be there on your local Amazon.

The House Bunny (2008)

Anna Faris stars in this light comedy, one that you may already be predisposed to love or hate, depending on how you feel when you see the Happy Madison logo pop up at the start. Faris is as good as ever, but it's a shame that the movie isn't better, despite a pretty great cast supporting her.

Faris is Shelley Darlingson, a Playboy bunny who ends up having to leave the Playboy mansion. She has nowhere to live, and no skills that seem relevant to any other aspect of modern life, but that doesn't matter when she chances upon a sorority house in need of a house mother. Well, they need a lot more than that. The girls are down in the dumps, they're unpopular, and can't see any way to turn things around They will lose their house if they don't get at least 30 pledges and also improve their standing in a few other ways. Shelley may not know much, but she does know how to give the girls a makeover, and may be able to help them achieve their goals.

Director Fred Wolf goes through the motions here. There's a montage or two, some lively pop tunes, and everything is light and colourful. The script by Karen McCullah and Kirsten Smith is predictable, not that funny, and often requires more suspension of disbelief than I could muster. I don't mind the ridiculous premise, but I did get irritated when a main character who wasn't supposed to have two cents to her name suddenly had enough for shopping trips, makeovers and an extravagant theme party.

I'd dismiss this as unwatchable nonsense if it wasn't for the cast, all trying to do their best with the material. Faris has been elevating weak comedies for over a decade now, but it's good to see her working with a cast all trying equally hard. Christopher McDonald and Beverly D'Angelo are the two veterans making things hard for the sorority house, Hugh Hefner has an amusing cameo, and Sarah Wright and Rachel Specter are the popular girls in a nearby sorority house who look down their noses at the main characters. Colin Hanks is fine, if a bit bland, as Oliver, a man who Shelley ends up taking a shine to, and Tyson Ritter is given the thankless role of a shallow, potential love interest for Emma Stone's character.

Oh, did I just mention Emma Stone? Yes I did. She's another big bonus here. Her comedic talent is well utilised, especially in the first half that allows her to go "full dork". Kat Dennings is another one of the main ladies, and she's also good fun, while Katharine McPhee, Rumer Willis, and Dana Goodman also stand out, for a variety of reasons.

I can't, despite the game cast, class this as a good movie. It's not. But it does just enough to make it worth a watch, especially if you're in the mood for something simple, light, and full of pretty women.

5/10

http://www.amazon.com/The-House-Bunny-Anna-Faris/dp/B0018CNNV2/ref=sr_1_2?ie=UTF8&qid=1402725342&sr=8-2&keywords=the+house+bunny

One day I hope to be a bunny. Or buy one (the pet kind). Or just pretend to be Hugh Hefner in a very nice dressing gown. So please feel free to remember me whenever you're visiting Amazon and see my book there.

The UK version can be bought here - http://www.amazon.co.uk/TJs-Ramshackle-Movie-Guide-Reviews-ebook/dp/B00J9PLT6Q/ref=sr_1_3?s=digital-text&ie=UTF8&qid=1395945647&sr=1-3&keywords=movie+guide

And American folks can buy it here - http://www.amazon.com/TJs-Ramshackle-Movie-Guide-Reviews-ebook/dp/B00J9PLT6Q/ref=sr_1_fkmr0_1?ie=UTF8&qid=1395945752&sr=8-1-fkmr0&keywords=TJs+ramshackle+mov

As much as I love the rest of the world, I can't keep up with all of the different links in different territories, but trust me when I say that it should be there on your local Amazon.

April Fools: Superhero Movie (2008)

Written and directed by Craig Mazin, it's worth noting right away that Superhero Movie is one of the few spoofs with "Movie" in the title that is actually relatively painless and enjoyable. It's nowhere near the daffy greatness of Not Another Teen Movie, but it's miles better than the likes of Date Movie.

Drake Bell stars as Rick Riker, a young man who develops superpowers after he's bitten by a radioactive dragonfly. From start to finish, this is a riff on Spider-Man, with plenty of nods to other superhero hits of the past few years. And that's about all you need to know. Christopher McDonald is great as Lou Landers, the villain of the piece, Sara Paxton is very sweet as Jill Johnson, and Leslie Nielsen and Marion Ross are Uncle Albert and Aunt Lucille, respectively.

Okay, this is still an easy movie to hate if you automatically hate these kinds of movies. It's not often aiming for the cleverest comedy, but it is always aiming for laughs (unlike the horrible approach of just copying scenes with little to no changes, an unfunny approach used by some people, who shall remain nameless).

The great cast help to make up for the weaker, groan-inducing, gags. Bell and Paxton are a sweet central pair, McDonald is a great baddie (as anyone who has seen him in Happy Gilmore or Dirty Work can attest), Nielsen and Ross are good fun, and the rest of the cast includes Brent Spiner, Kevin Hart, Tracy Morgan, Robert Joy (equally amusing and tasteless as Stephen Hawking), Regina Hall, Robert Hays, Nicole Sullivan, Jeffrey Tambor, Craig Bierko and Simon Rex, among others. A bunch of big names does not a good movie make, but this lot certainly help to keep everything lively and entertaining enough.

There are still a few too many toilet humour gags, but there are a lot of jokes that target specific superheroes or superhero movie moments, and they work surprisingly well. They may be easy gags, but they work. And if enough laughs are created, then that means that a comedy movie has done its job. Even if it's far from the best out there.

6/10

http://www.amazon.co.uk/Superhero-Movie-DVD-Drake-Bell/dp/B001A47G8O/ref=sr_1_1?ie=UTF8&qid=1391377035&sr=8-1&keywords=superhero+movie

So I put together a book, yes I did.

The UK version can be bought here - http://www.amazon.co.uk/TJs-Ramshackle-Movie-Guide-Reviews-ebook/dp/B00J9PLT6Q/ref=sr_1_3?s=digital-text&ie=UTF8&qid=1395945647&sr=1-3&keywords=movie+guide

And American folks can buy it here - http://www.amazon.com/TJs-Ramshackle-Movie-Guide-Reviews-ebook/dp/B00J9PLT6Q/ref=sr_1_fkmr0_1?ie=UTF8&qid=1395945752&sr=8-1-fkmr0&keywords=TJs+ramshackle+mov

As much as I love the rest of the world, I can't keep up with all of the different links in different territories, but trust me when I say that it should be there on your local Amazon.

The Skulls (2000)

This teen thriller about a powerful secret society hidden within the walls of a top Ivy League institution is a lot of fun despite (or perhaps because of) the fact that it starts off being quite unbelievable and just gets more and more implausible with each scene.

Joshua Jackson is the young lad with no family fortune who finds himself lucky enough to be joining “The Skulls”. His friends, played by Leslie Bibb and Hill Harper, don’t view this as a good thing. “If it's secret and elite, it can't be good”.

There is one fellow being initiated at the same time (played by Paul Walker) who thinks it is a good thing indeed . . . . . . . . until something goes a bit wrong and it starts to become clear just how far-reaching and powerful this secret society really is.

Written by John Pogue, and directed by Rob Cohen, The Skulls has a decent cast and lively pacing to carry an audience through the preposterousness from start to finish. This is a secret society that has a large symbol stuck on top of a main building. It’s a secret society easier to infiltrate and mess with than Wikipedia entries. For goodness sake, its members are BRANDED. But part of the fun to be had from this movie is derived from laughing at those involved. The film may want to sell itself as some sleek teen thriller but, really, it also points and laughs at those who will go to ridiculous lengths just to join some exclusive club that will have them as a member.

Joshua Jackson, Leslie Bibb, Paul Walker and Hill Harper are all good enough in their respective roles but the real treat for film fans comes from having support from Craig T. Nelson (brilliant as the ruthlessly ambitious father of Paul Walker’s character), William Petersen and Christopher McDonald. Steve Harris is also excellent as Detective Sparrow.

Nothing to seek out and see immediately, The Skulls would fit the bill if you were stuck indoors on a rainy evening and it came on TV. Arguably more entertaining for all the wrong reasons than for all the right ones, it’s still entertaining.
 
6/10 

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