Showing posts with label hiro kanagawa. Show all posts
Showing posts with label hiro kanagawa. 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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Tuesday, 23 August 2022

Orphan: First Kill (2022)

Although this may seem like a sequel that has come along too late, and wasn’t anything that people were asking for, it must be said that the fanbase for Orphan has just grown and grown over the years. It is such a perfect mix of the camp and the twisted, despite also being completely unbelievable. I wasn’t sure if this second film, a prequel (as the title implies), would be able to sit alongside the first film, but I am happy to say that it does.

It all starts at the institute where Leena (Isabelle Fuhrman) is being kept. She is very violent, smart, and dangerous. And it doesn’t take her long to figure out an escape plan. Out in the wide world, Leena decides to take on the identity of a missing girl named Esther, which allows her to get from Estonia to America, to then be “reunited” with her family. Can she keep up the facade for long though, and will she be tripped up by the fact that her potential mother (played by Julia Stiles) seems to suspect that something isn’t quite right.

Directed this time around by William Brent Bell (a man who has delivered numerous films that don’t exactly set the world alight, but who also seemed to pleasantly surprise many viewers with The Boy before spoiling things with Brahms: The Boy II), Orphan: First Kill isn’t the most inventive film, nor is it visually stunning (although there are some lovely shots here and there), but that doesn’t matter really, because the big selling point is the entertainingly deadly main character. It is a film saved by a middle section that absolutely understands how best to rework that central character.. There are a couple of fun twists, and everything is set up in a way that starts a clock running. Viewers know that Esther will need to act quickly, and they also know what she is capable of. 

The script, worked on by David Coggeshall developing the story and ideas of David Leslie Johnson-McGoldrick and Alex Mace, has to tie in to the first movie, which is where it is weakest, but allows for some fun trickery with the details of a backstory that viewers will assume they already know. The notes are the same, but this is a very different tune being played.

Fuhrman, needing to be digitally de-aged this time around, is just as much fun in the role as she was last time. In fact, she’s arguably even more enjoyable to watch here, having less scenes that require her to hide her true nature. Stiles is equally enjoyable, pitching her performance perfectly at the level best suiting the tone of the material. Rossif Sutherland and Matthew Finlan (as “daddy” and “big brother”, respectively) aren’t quite as good, although the latter works very well in his scenes alongside Stiles, and it is a shame that the writers didn’t think to push things further. Have a bigger selection of characters to cause problems, have more troubling secrets hidden away under a civil and well-to-do exterior.

If you enjoyed the first movie then you should find enough to enjoy here. Although it ultimately fails to match the highs and surprises of Orphan, this makes an admirable attempt to give people what they want while trying to add one or two sudden turns. I don’t think a third film is possible, considering the timeline already covered, but if it is . . . I will check it out.

6/10

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