Ani-MAY-tion: Planes: Fire And Rescue (2014)

Dane Cook returns to voice Dusty Crophopper in this strange sequel to Planes, a film that continues to present a world populated by living vehicles, but also complicates the central premise by featuring more scenes in which vehicles are transported along INSIDE other vehicles (this also happened in the Cars movies, but feels a bit a bit more bizarre, and even Cronenbergian, this time around).

In an idea that feels tired and desperate from the start, Dusty Crophopper is already past his racing prime. He has a mechanical issue that means he can no longer push himself to fly at the speeds he once experienced. Ah well, at least he can retrain alongside planes that keep themselves busy fighting fires. This leads to him being taught fire-fighting tactics by Blade Ranger (Ed Harris) while he works to overcome his own fears, and his dangerous cockiness.

I could add more to that plot summary. Of course there’s a raging inferno to be dealt with at some point. Of course there are valuable lessons to be learned along the way. And, of course, Dusty gets a chance to show that he really is up to the task of being a fire-fighter. This is as predictable as expected, and even more humorless than the film preceding it (which wasn’t exactly a chuckle-fest). Okay, there is no rule stating that this should be a comedy, but it needs something in place of heart and/or genuine tension.

Cook still doesn’t make for a great lead in this role, and he isn’t often surrounded by people who can pick up his slack. Harris is great, as you would expect, and there’s a fun turn from Julie Bowen, playing a character who inexplicably takes a shine to Dusty, but the better voice performers (Patrick Warburton, Fred Willard, and John Michael Higgins) are wasted in roles that have very limited screentime. A number of people return from the first film, essentially bookmarking the tale with some moments that help remind you about the first movie, and both Hal Holbrook and Wes Studi get paid to play characters that could have been played by absolutely anyone. I am happy they got the job, but I wish they had been more involved in the main storyline.

Writer Jeffrey M. Howard is responsible for the weak tale, having just limped along the first time around, and this time he shares writing duties with director Bobs Gannaway. The best thing I can say about Gannaway is that he is equally skilled at both directing and writing. Ahem.

The visuals are okay. I will admit that some moments look great, which is especially impressive when it is a story that includes numerous scenes with fire surrounding main characters. That’s about all I am willing to grudgingly compliment though, considering how this just felt like a waste of my time, as well as a waste of some great actors.

Younger viewers will enjoy this more, of course, and that’s just fine. My relatively high rating reflects the fact that this isn’t aiming to be a sophisticated modern masterpiece. There are so many better movies for them to watch ahead of this though. This is sub-par stuff, and hopefully remains the last time we see this character starring in his own feature film.

4/10

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Netflix And Chill: The Curse Of Bridge Hollow (2022)

There are a couple of ways to summarise The Curse Of Bridge Hollow. I could tell you that it's a bit like another (unoffocial) Goosebumps movie. I could tell you that it's family fun nicely in line with the atmosphere and thrills of the spooky season. Or I could tell you that I watched it last year and forgot to review it until this year. That's not intended to condemn the film, but it does hint at it feeling more like a pleasant distraction as opposed to something more substantial. I'm glad I waited a year to rewatch and review this though, because I think I actually enjoyed it more this time around.

Priah Ferguson plays Sydney Gordon, a teenager who moves into a new town with her parents (played by Marlon Wayans and Kelly Rowland). While her parents seem happy about the move, Sydney is less than pleased. At least the residents of the town seem to be having fun as they get into the spirit of Halloween, but things turn dangerous when a curse starts to bring most of the many Halloween decorations to life. It isn't long until Sydney and her father are battling against spiders, zombies, killer clowns, and more while they try to figure out how to break the curse.

Written by Todd Berger, Robert Rugan, and John R. Morey, with only Berger having a decent selection of feature screenplays already under his belt, this is easygoing entertainment that manages to keep everything weighted more towards the fun than the scares (although those killer clowns may creep out a few viewers). It's not for the very young, but most teens who aren't yet ready for the illicit thrills of higher-certificated content should get a real kick out of this once it all gets going. And it's paced well enough to get going without too much pre-amble. You get to know the characters and the town, but things don't ever really settle down once the consequences of the curse start to become clear to everyone suddenly in danger. 

The cast do well to boost the material, with Wayans good fun in the role of "uptight dad" while Ferguson easily proves herself as a very capable young lead. Rowland gets a lot less to do, but she's fine, and it's a wise move to give supporting roles to John Michael Higgins, Lauren Lapkus, and Rob Riggle, all of whom are allowed to add some humour without being overused. Abi Monterey, Holly J. Barrett, and Myles Perez play three other teens who befriend/help our lead, and they also do a good job.

Jeff Wadlow directs with a steady hand, also making great use of special effects and CGI that blend together to make the all-too-lively Halloween decorations feel nicely textured and realised. Most importantly, no one thing overshadows anything else, which means that nothing feels unbalanced. That goes for the cast, the FX work, the chuckles and the chills, and the father-daughter bonding moments amidst the fight against frighteners.

If you're after some spooky family entertainment, or you just fancy watching something yourself that isn't aiming to turn you into a nervous wreck or a traumatised mess, then The Curse Of Bridge Hollow is a good choice for this time of year. I'm glad that I made time this year to rewatch it, and maybe this review will remind others that it is still tucked away on Netflix (as it is all too easy to forget when they spend so much time pushing their newer content to the top of the main page).

7/10

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Netflix And Chill: Shimmer Lake (2017)

I watched Shimmer Lake just yesterday, and I spent some time mulling it over. I think I enjoyed what it did, but I also think that it felt like it was trying a bit too hard throughout. It needs the structure that it has, a backwards chronology that shows viewers the end result of a crime eventually revealed in full before the end credits, but that also makes the whole thing seem a bit too cute, and occasionally bordering on the smug.

As things begin, Andy Sikes (Rainn Wilson) is hiding out after his suspected role in a bank robbery. His police officer brother, Zeke (Benjamin Walker), is searching for him, but Andy is due to meet up with Steph (Stephanie Sigman), with the two then heading off together with their stash of cash.

Writer-director Oren Uziel (making his directing debut, although he already has a number of screenplay credits from the last dozen years) does a decent job, complementing his script with an interesting variety of actors, some you might not expect in this kind of tale. It is telling, however, that he doesn’t really do anything more with the material, unable to add any visual style or freshness to the whole thing. At least the script and cast DO work, but something more was needed.

Wilson is very good in his role, although also slightly underused, and both Walker and Sigman do well in their pivotal roles, portraying their characters in a way that allows the layers to be peeled off en route to the end of the film/start of the whole chain reaction. Rob Corddry and Ron Livingston have a couple of scenes in which they play FBI agents, John Michael Higgins steals a couple of scenes, and Wyatt Russell once again shows his knack for picking projects he at least considers interesting enough to give his time and energy to. There are a number of other fun supporting turns, Adam Pally and Mark Rendall also doing very good work, and Uziel arguably saves himself some embarrassment by casting so well.

It’s all about that structuring though, and Uziel seems to put a bit too much faith in his own writing. It isn’t an original idea, and every new “surprise” ends up being undermined by the information already made available as everything uncoils. In the most basic way, it’s all perfectly fine. It is missing something to make it good though. It’s an unseasoned meal, or a scoop of distinctly average vanilla ice cream without any sauce or sprinkles. Acceptable, digestible, but nothing to revisit in a hurry, if ever.

5/10

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Licorice Pizza (2021)

I am usually an easy mark for Paul Thomas Anderson movies. He makes amazing movies that I tend to love, thanks to his technique often being accompanied by great performances from the people he casts in main roles. Licorice Pizza still has his technique on display, but the strangely unsatisfying script isn’t helped by young leads who aren’t up to the usual high standard of acting seen in other Anderson works. Also, to be flippant, this feels like a Richard Linklater film directed by a stand-in.

Cooper Hoffman plays Gary, a child actor who is struggling to find the right roles now he is an older teen. He can no longer get away with the cheeky antics he used to, he can no longer get by on cute and adorable, but he cannot just go back to a normal life. So he spends his time being an entrepreneurial businessman, looking to profit from whatever the latest fad might be, from water beds to videogames and pinball. Gary also, from the very start of the film, falls for the older Alana (played by Alana Haim). In her mid-20s, Alana scoffs at the idea of a relationship with Gary, but he’s certainly interesting and charismatic enough to make her interested in his life. And so begins a friendship that may or may not develop into something more.

Part period piece, part ode to the bittersweet intensity of that first BIG crush, Licorice Pizza isn’t a film to dismiss. I don’t think I would ever say that about any film from Anderson. It is, however, his least interesting and least successful work to date (in terms of translating ideas from script to screen). 

Taking on his usual writer-director role, Anderson can at least be thankful for the talented people he works with. The production design here is wonderful, as expected. The wardrobe and make up departments do equally good work. The biggest problems here stem from the script and the casting.

Hoffman is great in his role, giving a performance that shows him as an actor who could easily follow in the daunting footsteps of his late father. Haim isn’t so good. I am not sure how much of that is down to her and how much of that is down to the script, with that age gap making things inherently a bit odd and icky, so I won’t spend too much time complaining about her. Bradley Cooper and Sean Penn, on the other hand, can both take some extra criticism. They clearly saw that they could have some fun with their roles, but both of them quickly teeter too far over into performances that are too silly. This may have been in service to the material, but neither of their performances fit well in a movie that otherwise wrings humour from a nice selection of references, time stamps, and winks to viewers, although let’s just not mention the scenes featuring John Michael Higgins. Mainly because I cannot decide on whether they are awful or amazing. The other person worth mentioning is Mary Elizabeth Ellis, very good in her small amount of screentime as the mother of Gary.

I have seen a lot of love for this, and some fans of Anderson rank it just as highly as some of his other works (and, in my view, he has delivered more than one cinematic masterpiece already, with a number of other movies from him coming very close to that status). It just didn’t work for me.  Many of the performances worked against the better elements, and the better elements felt like moments I could find in other, more enjoyable, movies. This isn’t one I think I will ever want to revisit, which is the first time I have said that about any Paul Thomas Anderson movie.

5/10

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Ani-MAY-tion: Scooby-Doo! & Batman: The Brave And The Bold (2018)

I've always enjoyed the adventures of Scooby-Doo and co. Who doesn't? Okay, the live-action movies weren't as good as they could have been (second one was better) but they weren't bad enough to stop me from enjoying the antics of the gang. But there have been so many incarnations of the Mystery Inc. adventures that I have never considered them an essential addition to my bulging roster of scheduled viewing entertainment. That all changed, however, when I heard about this crossover with the world of Batman (although this isn't the first time that the two properties have been brought together).

The story is quite simple. Batman enlists the help of the gang on a case that has been stumping him for some time. Things are so crazy that the police even start to suspect Batman and the Mystery Inc. investigators of being the actual perpetrators of the crimes. Who is the real culprit? Well, we all know that's going to be revealed in a finale that will involve explanations and unmaskings.

Here's the thing that works best about Scooby Doo! & Batman: The Brave And The Bold. It gets all of the Scooby-Doo fun right, which you'd expect. That would seem to be the easiest part. But mixing in Batman would possibly change the caped crusader into something a little bit sillier than usual. Not so. In fact, considering the amount of detective work involved, this version of Batman is superior to some other versions I could mention. You may not get many moments of tension or darkness, although a sequence in Arkham Asylum nicely balances the selection of dangerous inmates with a standard Scooby-Doo chase.

The voice cast will be familiar to viewers who have watched any previous adventures in either series. Frank Welker is the famous dog, as well as Fred, Matthew Lillard is Shaggy once again, Grey Griffin is Daphne, and Kate Micucci can deliver a fine "Jinkys" as Velma. Diedrich Bader is a perfectly acceptable Batman, not my favourite but he's okay, and there's fun to be had with John DiMaggio (as Aquaman, as well as some other characters), John Michael Higgins (The Riddler), Tara Strong (Harley Quin, Poison Ivy, and more) and Jeffrey Combs (The Question).

Director Jake Castorena, working from a script by Paul Giacoppo (from a story by James Tucker), does a great job here. Having worked on a number of Batman Unlimited TV episodes, he makes an enjoyable animated feature debut here, one that makes me even more excited to see the upcoming Batman vs. Teenage Mutant Ninja Turtles movie.

Although this could have been improved in places (I was sorely disappointed to see Poison Ivy and Harley Quinn so underused, for example), it reminded me of how much I enjoy seeing Batman do actual detective work and how much I still love any adventures featuring Scooby-Doo and co. I may have to figure out how I can one day work my way through the many Mystery Inc. adventures that are out there. That will all rely on timing, and a plentiful supply of Scooby Snacks.

7/10

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Prime Time: Bad Teacher (2011)

Bad Teacher doesn't entirely work, mainly because it doesn't really spend enough time wallowing in the right kind of bad teacher behaviour, but I am surprised that it received the generally negative reaction that it did when first released. While not great, it IS good, and it IS funny.

Cameron Diaz stars as Elizabeth, a lazy teacher who is looking forward to marrying her rich fiancé and leaving working life behind her. Except that doesn't happen. So she's back at school for the next year, looking for ways to earn enough to pay for the boob job that she hopes will help her land another rich guy and allow her to live the comfortable, kept lifestyle that she years for. Her lessons consist of showing pupils films (Stand And Deliver, Lean On Me, Dangerous Minds) and she is happy to do even less than the bare minimum, until she hears about a cash prize for the teacher of the class with the best test results.

Written by Gene Stupnitsky and Lee Eisenberg (who previously worked together on Year One and the American version of The Office), this is most enjoyable when it is showing a character pushing things much further than any adult in a position of authority should. It's just a shame that they don't ever really risk pushing things towards darker, and potentially funnier, territory. This is a film that tries to be fun and edgy without ever being really becoming transgressive, which is understandable from a sales point of view but disappointing nonetheless.

Director Jake Kasdan does solid work, moving between a few of the bigger set-pieces (a car wash moment, a scheme to steal a test paper, the grand finale) briskly enough to ensure that the film doesn't overstay its welcome. It's a simple 90 minutes (give or take) of bawdy humour that does enough by the third act to have you rooting for the main character, despite her selfish and manipulative ways.

Diaz is a lot of fun in the lead role, whether she's trying to look wide-eyed and innocent or showing her true colours in amusing exchanges that leave others shocked. Lucy Punch is the other teacher who suspects that things are going very wrong in the classroom across the hall from her, John Michael Higgins is the Principal, and Phyllis Smith is a rather timid teacher who is also a friend, and unable to see the real badness of Diaz. All of them are great fun, as are Jason Segel and Justin Timberlake, two very different men who work at the school. The former is interested in Diaz while she, in turn, is looking to bag the latter (because his family has money). Thomas Lennon is as hilarious, as he so often is, in a small role, and all of the main child actors do well.

There are a number of mainstream comedies from the past few years that you could pick if you want more laughs, I can't deny that, but Bad Teacher is still good enough to pass some time and keep you amused. It's not ace . . . but it still makes the grade.

6/10

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

Rapture-Palooza (2013)

I initially dismissed Rapture-Palooza as nothing more than a retread of material that I'd already enjoyed in This Is The End (a movie that has crept up and up in my estimation after each repeat viewing). Thankfully, I heard from others that it was worth my time so I gave it a watch. And, whaddya know, it was worth my time.

Anna Kendrick stars as Lindsey Lewis, a young woman who ends up living through the rapture. Yes, lots of people have been taken up to heaven, but Lindsey isn't one of them. She spends her days with her boyfriend, Ben (John Francis Daley), avoiding fiery rocks that fall from the sky, trying to ignore foul-mouthed crows, despairing of her parents (Ana Gasteyer and John Michael Higgins), and generally having a pretty bad time of it. Then things get worse when she catches the eye of the antichrist (Craig Robinson).

Thanks, mainly, to a great cast, Rapture-Palooza provides a decent number of chuckles for those who are willing to go along with the bonkers premise. Kendrick is always a likable presence, Robinson is often very funny (and gets to play the antichrist as an amusing asshole), Rob Corddry is a lot of fun as Ben's father, a man who wants to keep his loved ones safe by going along with whatever the antichrist wants, and Thomas Lennon is someone else I always like to see onscreen, so I thoroughly enjoyed his turn as a passive, sweet zombie. Daley may not be on a par with those mentioned, but he does a perfectly fine job with his role. As well as Gasteyer and Higgin, there are chuckles raised by the likes of Calum Worthy, Ken Jeong, Paul Scheer and Tyler Labine in small roles.

Writer Chris Matheson has a lot of fun interpreting the rapture in a way that mixes traditional aspects with twists that provide a lot of little laughs. The movie may never feel bleak, but it does enough to let you know that the characters left alive on Earth are having a pretty miserable time of things.

Paul Middleditch does well in the director's chair, setting up the lunacy without leaving any gaps for viewers to start thinking about the whole thing, and ridiculing it, before settling down to the main core of the plot - a woman with a loving boyfriend who finds herself receiving unwanted attention from an evil, powerful man. The pacing is perfect, the special effects are fun and good enough for the material, and the whole thing deserves to be viewed as more than just a trip back to the well used by This Is The End. So give it a go soon, especially if you've been (like me) avoiding it for that very reason.

It helps, of course, if you like everyone involved. If you do, I pretty much guarantee that this will entertain you for 90 minutes. If you don't, well, you may want to keep this as a very low priority.

7/10

http://www.amazon.com/Rapture-Palooza-Blu-ray/dp/B00DEKKDPA/ref=sr_1_2_bnp_1_blu?s=movies-tv&ie=UTF8&qid=1406007165&sr=1-2&keywords=rapture-palooza