Prime Time: Soul Survivors (2001)

I saw Soul Survivors when it first came out, when it hit the VHS rental market anyway, and I hated it. Even as a much younger horror movie fan, I saw it as something dull and tired. I never thought of it as a film I should revisit, but recently decided I should give it a second chance. After all, maybe I would respond more positively to it after years spent developing a tolerance for many bad movies. And writer-director Stephen Carpenter has been involved with other projects that I enjoy (including the wonderful Kindred). Damn me and my optimism. If anything, this was worse than I remembered.

I genuinely despair at the thought of even relating the plot here. A group of mopey young people just mope around, get into a car accident, and spend a lot more time moping around. This might not have been so bad if the cast didn’t include the lesser Affleck, the lesser Wilson, and the lesser Slayer, as well as a soundtrack and aesthetic that pretty much beats you over the head with how turn-of-the-21st-century it is.

If you wanted to be generous about Soul Survivors, not that I do, then you could accept the fact that it’s a very tame horror movie for teens who want to try out their first horror movie. It’s not scary, not gory, and the characters are almost all impossible to care about, but it’s a paddling pool for people to dip their toes into before they put on the water wings and start learning to swim, if they don’t mind the water temperature.

I don’t know what Carpenter was thinking though. He was either hampered by a studio wanting him to make the blandest and most predictable film possible, or he forgot every other movie made in the history of cinema and figured that he was making something cool and entertaining for teen viewers. There are episodes of “Goosebumps” and “Are You Afraid Of The Dark?” scarier than this. Not to deride those shows. I just mention those as their target demographic skews much younger.

The cast really don’t help at all. If I forget to mention anyone here then please know that it is because I forgot about them while the movie was playing. Melissa Sagemiller is the lead, and there’s probably a good reason why she hasn’t (as far as I’m aware) been front and centre of too many, or any, other major releases. She had a run of a few movies, her small amount of good luck was used up, and she’s now seen more often in various TV roles. Eliza Dushku, who was given the prime spot on the poster, has fared slightly better, with a couple of better movies under her belt, but I have never been a big fan of her presence. Luke Wilson purses his lips and looks sad-eyed, which is no stretch, Casey Affleck keeps appearing throughout the film (and I tend to hate him, but also, dammit, love some of his best performances . . . of which this is very much not one), and Wes Bentley is just about the only highlight, overpowering the weak script and direction with his essential Wes Bentleyness (aka the menacing doppelgänger of Donnie Darko). 

Some people out there will still have a soft spot for this, if only for the soundtrack, but I implore those people to leave this dead and buried, where it belongs. I can easily recommend them at least half a dozen movies that cover very similar territory in a much better way. When it comes to mainstream horror movies aimed at a teen audience, this is about as bad as you can get. Absolutely atrocious from start to finish, and please feel free to give me a slap if I ever start to wonder if I was too harsh on it.

2/10

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Prime Time: Merry Little Batman (2023)

Take the usual enjoyment of almost any animated Batman adventures (they are available in a variety of styles, and varying levels of reverence, all are great though), add a dash of Home Alone, and sprinkle liberally with a surprising amount of nods to Batman & Robin, and the end result is Merry Little Batman, an amusing Bat-bauble to enjoy at this time of year.

To summarize the plot in the most basic way, Batman (Luke Wilson) is called away to a false emergency, leaving young Damian Wayne (Yonas Kibreab) home alone at Christmas. Well, Alfred (James Cromwell) is around, but he’s not the best company. And he isn’t quite up to the challenge when the Joker (David Hornsby) aims to get himself a little Bat-trophy for the holiday season.

With the main screenplay credit going to Morgan Evans and Jase Ricci, although it takes a whole messy history to make every main incarnation of Batman, Merry Little Batman has your usual superhero movie lessons about responsibility and readiness mixed in with a healthy sprinkling of Christmas cheer. Director Mike Roth already has experience with anarchic animated adventures, making him a good choice to helm this, and he helps this maintain a unique identity throughout. It comes close to the Teen Titans Go! style, but manages to reference plenty of Bat-history without feeling too meta or iconoclastic.

As surprising as it may seem, Wilson is a good vocal choice for Batman here, presenting a different side of the character compared to many others we have seen. This is him in kindly father mode, and Wilson works well with the material, and switches it up slightly when ready for a fight. Kibreab is enjoyably full of energy and optimism, a child with a skillset that makes him both a boon and a danger when enemies are in the vicinity. Cromwell makes an excellent Alfred, and Hornsby is a brilliant fit for the Joker (although I have seen/heard others who disapprove), and the rest of the cast all fit their roles nicely (whether it’s Mr. Freeze, Poison Ivy, The Penguin, Bane, or anyone else along for this Gotham City sleigh ride).

I can see this not going down well with some viewers, especially if you prefer the more traditional style of animation used in most of the WB Batman features,  but I had a blast with it, and I know many other people felt the same way. It feels put together with real care and affection, and it’s a reminder that DC have been doing consistently better in the field of animation than they have with their live-action outings. If you didn’t realise that by now, have fun exploring their huge back catalogue.

7/10

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The Family Stone (2005)

I am not sure whether it is the streaming effect or whether people genuinely hold this film in high esteem, but 2023 was the year that I finally couldn’t seem to avoid seeing The Family Stone mentioned as a standard Christmas movie favourite for many people. So I figured I should see what all the fuss is about. I am still none the wiser, despite some good moments here and there that either deliver chuckles or tug on the heart-strings. 

Dermot Mulroney plays Everett, a young man who decides to take his girlfriend along to the usual family Christmas. The problem is that his girlfriend, Meredith (Sarah Jessica Parker), seems a bit uptight and prone to confuse herself while stressed. This amuses some of the family, but also eventually causes them to become upset as Meredith appears to display some horrible bigotry. Things get messier and messier, not helped by Everett’s brother, Ben (Luke Wilson), taking a shine to Meredith while her sister, Julie (Claire Danes), proves to be quite a surprise distraction for Everett.

Written and directed by Thomas Bezucha, The Family Stone has plenty of snow, a number of Christmas traditions, and a final scene that underlines the good intentions it was aiming for. Unfortunately, it also has a bunch of people who seem quite horrible, either unprompted or due to the escalating circumstances they’re caught up in, and it’s hard to find anyone to fully care about. I am not sure that I wanted anyone here to have a happy ending, and the tone fails to get the balance of sweet and sour right.

The cast aren’t bad, and they all do what they can to elevate the material they have to work with. Diane Keaton and Craig T. Nelson are absolute highlights, the mother and father trying to maintain order as things start to slip further and further out of control. Parker can do uptight and stressed very well, and she manages to become more likable when she finally gets a chance to relax as she continues to struggle with her own awkwardness. Mulroney and Wilson feel well-suited to their respective roles, Danes shines in a way that will have many viewers questioning why she never got enough huge movie roles, Rachel McAdams is irritatingly bratty, and there are fleetingly worthwhile moments for Tyrone Giordano, Brian White, Elizabeth Reaser, and Paul Schneider.

I cannot say I disliked this, the cast alone kept it watchable and more entertaining than it otherwise would have been, but I also cannot say that I actually liked it. The whole thing has a mean spirit that doesn’t feel counter-balanced by enough festive cheer, and it’s strange to watch such an ensemble cast of characters that only have a few people you hope have a relatively happy ending.

I already know that many people feel different to me on this one. I hope there are maybe some others who agree with me though, if only to make me feel less like I am taking crazy pills for being so disappointed with it.

5/10

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Netflix And Chill: Zombieland: Double Tap (2019)

While most sequels aren't always met with great expectations, especially when a decade has passed between the release of the original and the release of the next instalment, Zombieland: Double Tap was one that I was looking forward to watching. Not looking forward to enough to prioritise it too highly, mind you (which is why this review is appearing about four years after it was released), but I was heartened by the fact that everyone both in front and behind the camera was coming back for some more comedic zombie slaying.

We reunite with Tallahassee (Woody Harrelson), Columbus (Jesse Eisenberg), Wichita (Emma Stone), and Little Rock (Abigail Breslin) at a time when they seem quite happy with their lot in life. They take over a big house, they get to spend their days avoiding mayhem, most of their time is now available for them to just play around and have fun, and it's almost what you could describe as blissful. Then Wichita and Little Rock leave. Tallahassee and Columbus pick up a new companion (Madison, played by Zoey Deutch), but it's not long until Wichita returns to ask the guys for help. Little Rock is in danger, something much worse than the zombie carnage. She's gone off . . . with a musician.

Writers Rhett Reese and Paul Wernick are joined this time around by Dave Callaham, and it's clear that none of the three had a strong enough idea to make this whole adventure necessary. It's also clear, however, that working to a similar enough template to the first film isn't a terrible idea, considering that it allows us to spend more time in the company of characters who made such a strong impression the first time around. Director Ruben Fleischer is also happy to retain the same style and energy that added to the fun of Zombieland. Some may be quick to point out that you may as well just watch the first film again, and they wouldn't be too wrong, but there's still plenty here to enjoy, including a very fun performance from Deutch as the new, super-perky but not-too-bright, potential member of the group.

Harrelson and Eisenberg still work very well together, the juxtaposition of laid-back cool and constant anxiety keeping things amusing in between the more obvious gags. Stone adds more cool, and is as good as ever, while Breslin is enjoyable enough in her limited amount of screentime. Deutch aside, as she's already been mentioned, other newcomers to the series include Avan Jogia (the dreaded musician), Rosario Dawson (a character named Nevada who catches the eye of Tallahassee), and Luke Wilson and Thomas Middleditch (both fun, but playing two characters providing a comedic set-up that feels very close to a gag that was presented much better in Shaun Of The Dead).

If you had some kind of Zombieland bingo card then it wouldn't be long until you were shouting out "house". Metallica over the opening credits again, more rules to help you survive the zombie apocalypse, a journey to a final setting that may prove to be a deathtrap if a large enough zombie horde swarms in, and at least one fun celebrity cameo proving to be a highlight. The familiarity doesn't do enough to detract from the fun though. And, from the opening logo sequence to the end credits, this IS fun.

7/10

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April Fools: Rushmore (1998)

Directed by Wes Anderson, who also co-wrote the script with Owen Wilson, Rushmore is a film perfectly poised as something that fans of the director will love, while also being one of his more accessible works for those unused to his preferred aesthetics.

Jason Schwartzman plays Max Fischer, a confident teenager who thinks that he's an excellent student at school, despite the fact that he's failing in a number of subjects. He is, however, involved in numerous extra-curricular activities. If there's a club for it then he'll often be a member. In fact, he'll often be the one who started up the club in the first place. But drama is his main love, as shown by the plays that he likes to put on for the school. Well, drama is his main love until he sees Rosemary Cross (Olivia Williams). Then she becomes his main love. Unfortunately, she is a teacher and he is just a fifteen-year-old boy, despite his attempts to show himself in a more mature light. Herman Blume (Bill Murray) likes Max, and the two become friends. Herman wishes that his own children were more like this determined, sensible young man. But that changes when he also meets Rosemary.

Rushmore is a hard film to write about, in some ways, because it's quite simply a near-perfect script that's being delivered by actors all perfect in their roles, and directed perfectly by Anderson. Job done. But it's in all the details that the movie excels, be it the nuance of a performance or the many pieces of set decoration showing the fastidious nature of Max when he puts his mind to something. The soundtrack is also, yep, almost perfect, with a finale that blends the onscreen visuals with some particularly good audio choices to make for a quietly effective, and surprisingly powerful, curtain call.

It's hard to believe that this was the first onscreen acting role for Schwartzman, so good is he in the role of Max. He's arrogant, sweet, annoying, precocious, pitiable, enviable, and stubborn, but he's also just young, and the movie allows viewers to see him grow, even if it's only by a small degree. Williams is wonderful as Rosemary, because she's easy to fall in love with. And then there's good ol' Bill Murray, putting in the kind of performance that would have stolen every scene he was in, had he not been in such an altogether strong film. Smaller roles for Brian Cox, Seymour Cassel and Luke Wilson all prove rewarding in their own way, and Sara Tanaka and Mason Gamble both make a great impression as youngsters beguiled by Max in slightly different ways.

Fans of Wes Anderson should love this, but this is also a film that can be enjoyed by those who don't think that they like the man's style. His stamp remains on almost every scene, but this is a slightly more subdued affair compared to the films that he would go on to give audiences over the next two decades.

Love or hate Anderson, I encourage you to check out Rushmore. It remains a high point in the filmographies of everyone involved.

9/10

http://www.amazon.com/Rushmore-Criterion-Collection-Jason-Schwartzman/dp/B00003Q42P/ref=sr_1_4?s=movies-tv&ie=UTF8&qid=1396677855&sr=1-4&keywords=rushmore

Idiocracy (2006)

Another comedy written (with a helping hand from Etan Cohen) and directed by Mike Judge, Idiocracy is another out and out winner that once again shows how Judge seems to easily and unnervingly get to the heart of what elements in our society are so soul-sapping and painful that laughing AT them is the only way to stay sane.

This time around he's looking at the dumbing down of our culture and the whole world. In fact, the downward spiral of the world's IQ is put forward with horribly believable rationale and Idiocracy scores major points by mixing the absurd and hilarious with the prescient and scarily believable.

Luke Wilson stars as Joe Bauers, a completely "average Joe". He's in the military, coasting along, and happy with his lot in life. Everything changes when he's chosen for an experiment that will see him frozen in hibernation for some time and then reanimated. His fellow test subject is Rita (Maya Rudolph), a prostitute, and the two are nervous as the hibernation tanks close around them. 500 years later, after being forgotten about and left under rubbish and rubble, a freak accident releases the sleeping duo and they wander around to find themselves on a planet that can barely spell IQ. Joe is now the smartest man on Earth but that doesn't mean that he'll avoid getting himself in trouble.

Luke Wilson and Maya Rudolph are great fun in the lead roles while Dax Shepard, Terry Crews, Sara Rue, Stephen Root and Thomas Haden Church are among the cast members having a ball acting dumber than a bag of hammers.

The script is very funny, very funny indeed - mixing the superdumb with the subversive and clever - and great scene follows great scene. However, the main premise keeps the movie down ever so slightly. Call me a naive optimist but I like to think that the human race wouldn't become quite THAT stupid, even if the evidence seems to pile up every day to try and prove me wrong. The movie is a farce, albeit a superb farce full of numerous, individual, laugh out loud moments.

Mike Judge is one of the best comedy directors in modern cinema. He's smart, very observant and, most importantly (of course), damn funny. If you haven't found that out for yourself yet then I urge you to check out any of his movies as soon as possible.

7/10

http://www.amazon.co.uk/Idiocracy-DVD-Luke-Wilson/dp/B000N3T2CQ/ref=sr_1_1?ie=UTF8&qid=1343571965&sr=8-1