Showing posts with label pierson fode. Show all posts
Showing posts with label pierson fode. Show all posts

Sunday, 7 December 2025

Netflix And Chill: A Merry Little Ex-Mas (2025)

Things look set to be perfectly pleasant and civil when Kate (Alicia Silverstone) and Everett (Oliver Hudson) decide to "consciously uncouple" after years of relatively happy marriage. Everett just couldn't get enough time away from his job, and Kate spent many hours considering the career that she left behind. They hope to stay honest with one another though, and to be there together for their growing children (Gabriel, played by Wilder Hudson, and Sienna, played by Emily Hall). There's a surprise in store, however, when Everett has to admit that he's in a new relationship with Tess (Jameela Jamil). And there will be another surprise when Kate eventually gets around to telling everyone that she's aiming to sell the family home and have another stab at getting back on that past career path.

You may not appreciate the filmography of director Steve Carr, but he has a good selection of feature films that make him a less likely choice for this kind of thing. I'm going to assume that he was either offered a decent payday or he liked the screenplay, written by Holly Hester. Or both. It could always be both. Either way, Carr uses a great cast and all of the holiday season standards to make the most of Hester's writing. Things are kept so busy, between the main developments and the many enjoyable supporting characters, that it remains delightful for the entirety of the 91-minute runtime.

Silverstone is the shining star atop the tree here, giving the kind of bright and fun turn that makes you wish she was used more often. Not that she hasn't been doing good work in recent years, but she's more often to be found giving quirky supporting turns in less mainstream fare. She does so well here that it doesn't matter about Hudson being a much less interesting presence, something that becomes even clearer when he is also outshone by the wonderful Jamil, who is consistently hilarious. Another hilarious performer is Pierson Fode, someone I last saw being the standard romantic lead in The Wrong Paris. Fode is fantastic here as Chet, a man of many hats, and I hope to see him maintain this kind of variety in his roles as he moves forward in his career. Both Wilder Hudson (actual son of Oliver) and Emily Hall do fine, but are often witnesses to the unfolding events, as opposed to active participants, while Timothy Innes has the blessing and curse of playing a nerd obsessed with Harry Potter, Geoffrey Owens and Derek McGrath are delightful grandparents, and Melissa Joan Hart is given a role that is big enough to please fans, but small enough to avoid her ruining things.

There's nothing here to surprise you, especially if you're deliberately seeking out a Christmas movie as a seasonal distraction (and, let's face it, everyone who watches this stuff tends to do so for that very reason), and nothing that really marks it out as much better or worse than some of the other options to have appeared this year, but the cast make a huge difference. You get the snow, you get the minor set-pieces, and you get the disappointingly predictable ending (actually super-disappointing when you consider the other directions it could have gone). You also get Fode, Jamil, and Silverstone though, each one being arguably better than the material deserves, and all of them working well with everyone else onscreen.

7/10

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Sunday, 26 June 2022

Netflix And Chill: The Man From Toronto (2022)

Kevin Hart plays a typical Kevin Hart type in this action comedy from the director of The Hitman’s Bodyguard. All you need to know right now is that this film isn’t even as good as The Hitman’s Bodyguard, which wasn’t any kind of modern classic itself.

I don’t even have the energy to relate the plot, as tired and overdone as it is, but here is the very basic outline. Teddy (Hart) ends up somewhere with people who mistakenly assume he is the very dangerous, and skilled, Man From Toronto (Woody Harrelson). Because he ends up involved in a job that has two or there main objectives, authorities want Teddy to keep up the pretence, to lure out The Man, while The Man ends up also wanting Teddy to keep up the pretence, for some convoluted reason to do with maintaining consistent identity from the first part of the job. Teddy just wants to stay alive long enough to make things up to his long-suffering wife, Lori (Jasmine Mathews). And blah blah blah blah blah.

This is a prime example of what happens when you marry a weak script (from Robbie Fox and Chris Bremner) to a weak director, fail to have main cast members who are charismatic enough to distract from the many negative aspects of the film, and think that viewers will be kept amused by action set-pieces that complement the physicality of the actors with an excessive amount of CGI (the effects often far from top quality work, it has to be said). As much as I disliked The Hitman’s Bodyguard, and the sequel, I was able to enjoy some moments thanks to the casting of Reynolds and Jackson. Hart and Harrelson aren’t the right fit for the roles they are given here.

There is nothing in the script that feels at all real, in terms of the movie world it is presenting. The Man From Toronto is supposed to be a mystery figure, yet a lot is known about him and he doesn’t exactly hide his identity, or even try to be subtle. Teddy isn’t ever developed as a character who really aims to change by the time the end credits roll (in fact, it could be argued that he doesn’t change at all from the start to the finish). And as for the mission at the heart of everything? Think about it for more than two seconds and you will see how ridiculous it is for anyone to be letting Teddy take the central role.

I guess those who like to see Hart doing his usual schtick will find some laughs here, and Harrelson isn’t terrible (he just doesn’t quite work in the role, due to a mix of the writing and his casting), but the supporting cast generally do better with much less screentime. Mathews is a pleasant presence, Kaley Cuoco is fun in the role of her friend, and Pierson Fode keeps things lively whenever he appears, playing The Man From Miami.

The final extended fight sequence has a number of fun moments, but is also dragged down by too much time spent cramming in camerawork flourishes and CGI, and you may start to realise just how few and far between the laughs were when you get to an end scene that is supposed to provide some extra chuckles, but doesn't. I'm not going to say that this is entirely laugh-free, and Hart fans will rush to strongly disagree with me, but it's disappointingly miserable with any jokes that actually work. Can we maybe encourage director Patrick Hughes to move away from trying to make comedies, he's just not very good at it.

3/10

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