Netflix And Chill: Office Uprising (2018)

You wait for one movie that works with the premise of a downtrodden office worker finding a renewed sense of purpose in the midst of a situation turning everyone incredibly violent and then three come along at once. Yes, after the corporate violence of The Belko Experiment and Mayhem, Office Uprising is the latest genre offering to remind everyone of how much stronger the survival instinct can be in people who are spend most days trying to avoid being stabbed in the back by colleagues.

Brenton Thwaite is Desmond, a laid-back staff member at Ammotech, a leading company in the world of weapon manufacturing. Cutbacks are happening, leading to a more competitive atmosphere than ever, but "our hero" would rather spend as much time as he can developing his phone app/game on company time. That lazy schedule is interrupted, however, when most of his colleagues turn into raging maniacs. It is all the fault of an energy drink this time. A scientifically-engineered energy drink. Once ingested, it ramps up the aggression levels of the drinker. Desmond needs to get to safety, with the only two co-workers he views as anything like friends.

Directed by Lin Oeding, already a bit of a veteran in the stunt industry and now building a directorial career in shorts, TV, and this feature, the worst thing about Office Uprising is that it comes along after two superior movies riffing on very similar material.

The other worst thing about it is the tone. Writers Ian Shorr and Peter Gamble never seem committed to their own creation. The humour isn't as sharp or smart as it could be, and the moments of violence generally use shouting and insults to try and distract viewers from the fact that there's not that much actual nastiness and bloodshed on display. It's a shame, especially when Shorr has the wince-inducing Splinter in his filmography, and leaves you with the impression that the film doesn't have any guts or heart beneath the surface.

There's one more major factor working against it. Thwaites just doesn't make for a great lead in this particular role. He's just not a good fit here, almost sleepwalking through most of his screentime, which is a shame. It's a good job that the two people he hopes to keep alive are Jane Levy (already able to make a claim as something of a scream queen) and Karan Soni (arguably best known for his hilarious turn as Dopinder in the Deadpool movies). And the main villain of the piece is played with the expected level of aplomb by Zachary Levi, which also helps. Gregg Henry and Kurt Fuller aren't given enough screentime though, and there isn't quite enough to fix the damage caused by the miscasting of Thwaites.

It's not a terrible film, especially if you're after something that mixes some humour and horror without too much gore thrown around the place, but it lacks bite (no pun intended), it lacks focus and commitment, and it's never one that I would encourage you to prioritise above others that you may want to take a chance on.

5/10

Office Uprising is currently available on Netflix (UK, not sure about other territories).

Netflix And Chill: Creep 2 (2017)

A lot of people loved Creep when it first appeared in 2014. I can definitely see the positives. It was independent cinema done right, in terms of main characters and the blend of naturalistic performances and everything feeling a bit off, but it also suffered from a couple of major flaws. Like so many other found footage movies, it was hard to buy into the fact that someone would keep filming while things started to get crazier. And it was just a bit too lightweight.

Creep 2 feels like a far superior sequel, despite having made the smallest of changes to the concept. Mark Duplass is back in the main role, calling himself Aaron, a serial killer who seems to derive more pleasure from the build up to the murders than the actual act itself. He has hired someone this time around, Sara (Desiree Akhavan), to document what he says will be his final video. And so begins the mind games.

I can't quite put my finger on the reasons why, but this felt easier to buy into than the first film The character of Sara is someone desperate to try and boost the viewing figures of her small internet show, so the combination of the fee and watching something play out that may draw some good traffic makes her feel like someone who can tolerate more nonsense than other people may put up with. There's also the fact that we now know the main character, unless you decided to go wild and watch this without having seen the first movie. We know that he IS a killer, and that is also clarified in the opening scene here (which basically gives a good reminder of his M.O. and manner within the first few minutes).

Director Patrick Brice has less to worry about here, not being also onscreen as he was in the first movie, and that also seems to factor in. Despite working from an outline (by Brice and Duplass), and despite the fast and loose improvised nature of most of the scenes, this feels like a tighter film all round.

It helps that there's a better, stranger, dynamic between the leads here. Duplass is still as excellent as he was in the first film, often coming close to being gleeful as he peppers his lies with some complete honesty that the person recording him just doesn't believe, and Akhavan (who has done great work on the other side of the camera, having written and directed the excellent The Miseducation Of Cameron Post) proves to be a surprisingly good match, becoming more and more intrigued by her subject as he shows more and more of his . . . oddness.

If you enjoyed Creep then you're going to enjoy this. More importantly, you may enjoy this even if you didn't enjoy the first one that much. The construction of the film may be enough to put some off, but the performance from Duplass alone makes this a brilliant watch, and he's created one of the best new killers in the past decade. What's more impressive is that he's managed it simply by being a brilliant actor.

7/10

Creep and Creep 2 are both on Netflix. A perfect little double-bill to warm you up for your October horror movie viewings.

Netflix And Chill: Always Be My Maybe (2019)

You pick a rom-com to watch when you want something comforting and familiar. Always Be My Maybe provides you with all of those familiar comforts. The two leads (Sasha, played by Ali Wong, and Marcus, played by Randall Park) seem destined to be together, various obstacles get in the way of their happiness, and the finale allows for some last-minute reveals and earnest speeches. I am sure that cynical viewers will either avoid this entirely or watch it and then criticise it for everything that it gets absolutely right. Everyone else can have a fine time.

That's not to say that this film does everything in ways that you've seen before. Let me get the basics out of the way and I'll highlight a couple of key differences that put this in the upper echelons of the modern rom-com arena.

We first meet Sasha and Marcus as kids, fast becoming firm friends. Things keep going well until a tragedy leads to a moment in which they have sex. And it starts to unravel from there. Fast forwarding to the present day, we now see that Sasha is a very successful celebrity chef, while Marcus still living at home with his father (James Saito). Fate brings Sasha and Marcus together, of course, and then looks as if it is determined to keep them apart.

There was very little point in me even writing that briefest of plot summaries. This is about as predictable as they come, in some ways. There are other elements that add to the simple pleasures. A plot strand about Marcus still being part of the band that he's been with since his youth, and how he doesn't take the step needed to try and get them more exposure, works well as both an amusing "b-plot" and also a display of the main character flaw that affects his relationship potential. There's also a cameo from Keanu Reeves that sees him playing an exaggerated version of himself, pretty consistently hilarious in a scene which has him as the fourth person at a dinner table quartet.

Director Nahnatchka Khan impresses with her feature directorial debut (after a good bit of time spent working as a producer on TV shows, most notably on Fresh Off The Boat, which also stars Randall Park), helped by the sharp script, co-written by Park, Wong, and Michael Golamco. It may seem light and easy enough, simplistic even, but there's care taken to lift the material at every opportunity. First of all, and arguably key to the whole thing, is the Asian-American cultural filter that changes everything slightly. Although many have been quick to cite Crazy Rich Asians as the closest comparison, the differences are just as important as the similarities, with this film showing the experience of integrating into America rather than the experience of reintegrating into the traditions held dear by families who may resent some of the trappings of modern America. There's also the fact that this is a rom-com based on both leads feeling as if they missed a major opportunity. That may not seem like a big deal but, trust me, it really changes the feeling of the whole thing, especially when compared to movies that have a guy moping over his lost love as he tries to better his life, or a woman making big eyes at someone she has yet to confess her feelings to.

Wong and Park are brilliant in their lead roles, very easy to like even while showing their character flaws. Saito is very sweet and likeable, Vivian Bang is wonderfully offbeat as Park's girlfriend, and Michelle Buteau is the good friend to Wong who helps her and comments honestly when it's needed. Daniel Dae Kim does well in his small role, and I cannot even mention Reeves again without getting a big grin on my face.

Sharp, cute, sometimes very funny, Always Be My Maybe is perfect entertainment for those who are seeking something that will keep you smiling and give you a sweet love story without ever feeling too sickly.

9/10

No links today. Feel free to scroll through the blog, click on something, and shop away in a way that gets you stuff and rewards me with no extra cost to you.

Netflix And Chill: Unicorn Store (2017)

Unicorn Store is a slight jumble of a film but it's also a sweet and enjoyable one, thanks to a great lead turn from Brie Larson (also making her feature directorial debut).

Larson plays Kit, a young woman who we see growing up in a montage that focuses on her love of art, right up until the day that she is told her work is not good enough. That leads to her moving back in with her parents (played by Joan Cusack and Bradley Whitford), becoming a temp agency worker, and generally resolving to get on with a bland adult life. Until she is invited to a store by a mysterious salesman (Samuel L. Jackson) who tells her that she has been picked to receive a unicorn, but only if she can prove that she is ready to accept one.

Written by Samantha McIntyre, Unicorn Store is anything but subtle, and perhaps falls too in between a couple of main demographics to fully appeal to many. Kit is every dreamer who has ever been given that cold splash of water in the face by people telling them that it is time to grow up and get serious. This happens to her as a young adult, but the way she clings on to hope and bright fantasy puts her more in line with teenagers who have yet to be worn down by the grind and grit of daily adult life. She seems very childish at times, yet it's also easy to see her behaviour as something we would all like to regress to, at least occasionally. Admit it, if you're a parent who has been having a hard time of things lately then it's not just your children who enjoy the times when you let them build a blanket fort and have a day away from the outside world. You join them and remember what it was like when it was so much easier to keep things much simpler.

Larson directs well enough, although it's all very similar to so many other independent movies we've seen over the years, in terms of the quirky characters, developments, and main lesson learned. It just has some big names to help carry the material and make it seem a bit more mainstream.

Leading lady aside, who is as good as she usually is, the highlights include Cusack and Whitford as caring parents who Larson feels are constantly disappointed by her, Hamish Linklater as an odd and awkward boss, Karan Soni as an old friend who seems to have made a great success of his life, and Mamoudou Athie as a hardware store employee who ends up helping Larson to prepare her home for the arrival of the unicorn. Jackson is a lot of fun as the salesman, although it feels like the role is designed more for Jackson to have fun than any other reason.

A unicorn is different things to many people (I still love the fact that here in Scotland it is our national animal) but it's also always symbolises something magical, pure, and very difficult, often impossible, to attain. That may be someone you love, it may be having the time and resources to create your art, or it may even be a sense of acceptance for your current situation in life. Whatever it is, once you prepare well enough for it, you can take a moment to enjoy it. And then maybe help others to find their own.

7/10

Fans of Larson can buy Room here.
Americans can buy it here.

Deadpool 2 (2018)

It's a running joke with people who know enough of my general movie opinions that I tend to be Mr 7/10. I can't really deny this, and yet I don't see anything too wrong with it either. Because, despite trying to see every movie that I can fit into my busy schedule, I will always tend to a) prioritise movies I think I am going to enjoy, and b) look for the good in any film I am watching. What the hell does this have to do with Deadpool 2, you may be wondering, apart from the obvious foreshadowing of exactly what my rating might be. Well, I rated the first Deadpool movie a 7/10 and felt the need to mention it here. It is, in a number of ways, a better film than this sequel, but it also had enough drawbacks to knock it down a few points. Not least among them was the fact that I'd seen the best sequence of the film in a rough version that was used to get the project support and traction, which it very much did.

Basically, you will know a lot of people who rate Deadpool higher than I did, but don't think that I disliked it. I laughed quite a lot. And I laughed quite a lot while watching Deadpool 2 (the biggest laughs involving some brilliant cameos and a mid-credit sequence that may well be the best superhero sting yet). It's a very good sequel . . . but it also has enough drawbacks to knock it down a few points.

Assuming you know the merc with the mouth, what's the story this time around? Well, DP (Ryan Reynolds again, of course) ends up trying to protect a young lad named Russell (Julian Dennison) from a time-travelling badass named Cable (Josh Brolin). There are still only a few X-Men allowed to join our (anti-)hero, budget allowing, but it's obvious that the success of the first film has made it possible to have even more fun this time around.

A lot of the main names return, with the notable exception of director Tim Miller, and that shows in the final product. This is a film that tells an interestingly different story from the first movie while maintaining a consistent tone and style, a "same but different" approach that is exemplified by the hilarious opening credit sequence. David Leitch is no stranger to the character, having directed the wonderful short film "No Good Deed" that showed Deadpool taking far too long to change costume while his help was needed, and he seems comfortable directing what we all know is essentially the chance for Ryan Reynolds to act like a kid in a candy store. If the kid was foul-mouthed and fast-talking and the candy store was full of dismembered limbs, drugs, and objects that could be used as improvised sex toys.

It goes without saying that Reynolds is superb again in the lead role, bagging all the best lines from the script (which he had a hand in, alongside Rhett Reese and Paul Wernick). Dennison gives another fantastic performance that has a number of nods to his previous star turn (in Hunt For The Wilderpeople) and Josh Brolin gives a "supervillain" performance that only comes second to the other main antagonist that he has portrayed recently. Karan Soni returns as taxi-driving Dopinder, Morena Baccarin is the love of Deadpool's life, Brianna Hildebrand still isn't allowed to smile much as Negasonic Teenage Warhead, and T. J. Miller manages to bag some of the better lines not being kept for Reynolds. Zazie Beetz is very enjoyable as a newcomer, Domino, with luck as her superpower, Eddie Marsan is enjoyably horrid, and there are some other people I won't mention because spoiler-free is the way to be.

You get the witty dialogue, another lively soundtrack, and some excellent action set-pieces, but it's interesting that Deadpool 2 falters when it slows things right down and attempts to show some proper emotional depth. It's interesting because it doesn't need to do that. There are some moments that work, judged perfectly between the comedic and the dark and the potentially cheesy, and some that really don't (the finale features a couple of them), but the fact is that the movie was doing a bloody good job before it started to show just how hard it was trying. Throughout most of the runtime, Deadpool 2 is an interesting look at personal responsibility and consequences, whether the actions are good or bad. It looks at cycles of violence and how the abused may damage themselves as they set out to damage their abusers, and there are times when it effortlessly does this better than any of the other superhero movies we have had over the past couple of decades (with the exception of Logan perhaps, ironically enough). But it doesn't do it in a way that interferes with the action or comedy . . . unlike some of the other emotional beats that are crammed in there.

Deadpool 2 - go along for the laughs, stay for the sheer entertainment, and leave while thinking about what they managed to slide inside you while you weren't even noticing (oo-er). Things may not feel as fresh this time around, inevitably, and there's a lack of REAL villainy, but I'm already looking forward to a third film. And everyone should try to see this one before some idiot blurts out some of the best gags.

Can you guess my rating?

7/10

Get it, when available, here.
Americans will be able to get it here.
Seriously, if you use either of those links, even to buy other stuff on Amazon, I get the pennies. Give me the pennies. All the pennies.