GOOD PEOPLE OF THE INTERNET, I LOVE MOVIES. I love movies, television, and podcasts, among other forms of media, and dammit I will talk about my love for such. I'll be doing so here. So look here for reviews, rants, and more reviews, mainly. If you're lucky (which you most definitely are!), I'll talk about comedy, video games, food, music, or some other stuff that is on my mind. That's the "shit"!
The Hangover Part 3 (2013) - by Todd Phillips, starring Zach Galifianakis, Ken Jeong, Ed Helms, Bradley Cooper, John Goodman
At the point of its conclusion, the Hangover trilogy closes itself out on a high note, solidifying its legacy in a similar way to Steven Soderbergh’s Ocean’s films. In proper pattern, the first of the series is strongest and most beloved, part two is generally disliked despite having its moments, and the third and final portion ended up being strangely good and likable. Despite the eyebrow raising rehashing of a plot that was The Hangover Part 2, Part 3 actually finds itself capturing a lot of the elements of what made the first film so special, along with other aspects that help it stand out on its own, in really impressive ways.
Working with a strange action thriller plot, and story devices from the preceding two films, Todd Phillips manages to make some good on these storied characters. With the franchise already having jumped various sharks, I suppose going in, there really was no holding back. And yet Phillips and gang manage to manage to sidestep the issue film number 2 had. For the record, that issue is just a big, glaring piece of laziness, which is reusing structure. In, you know, not doing that, they actually manage to make an entertaining and properly developed action-thriller. The same level of intrigue had in the first film feels fresh once again in discovering absurdist twists and turns throughout the adventure. This is more of a proper sequel than part two was, as it feels like it really went somewhere.
Mud (2012) - by Jeff Nichols, starring Matthew McConaughey, Tye Sheridan, and Jacob Lofland
Mud is a small film that shows the softer side of recently acclaimed drama director Jeff Nichols. That said, in succeeding while telling a uniquely tall, humanistic tale that isn’t as harsh as his two previous films, Take Shelter and Shotgun Stories, Mud doesn’t find Nichols holding back on his truly talented, under spoken brand of filmmaking and storytelling. It’s the nature filled scenery, meditative, amorphous score, and damn-near-real setting that reminds you who made this, or at the very least reminds you how down to earth this tale is- it helps keep you sucked in. In fact, it helps heighten the special air of his voice and brand, amplifying its effects in the process. The story he tells is that of love and the mistakes that come as a result of it, between adults and children alike, and thanks to his appropriately assembled cast, Nichols managed to make his most real film yet. Mud has an adventurous edge to it, to the point of it having a sort of Spielberg feel to a good majority of it. But as a result, when the film’s jabs hit harder, Nichols does not back down, keeping the tale and tone at an appropriately believable base, which keeps you consistently interested in such an intriguingly simple, yet out of left-field tale. With focused framework and filmmaking capturing such demanding, yet perfectly natural performances, Nichols made Mud all that it absolutely should be, leaving it as a story with strong, sweet legs.
It’s Such a Beautiful Day (2012) - Don Hertzfeldt
I just finished watching this… and I am still absolutely speechless and lost in thought. So beautiful is this full piece, pondering upon life, death, and damn near everything in between. It strikes so hard, with Hertzfeldt’s creative and stark visual prowess, through animation and visceral analog filmmaking. The writing, so succinct and powerful, yet with a sense of presence and awareness to its glee and darkness. My heart is still racing and breaking all at once just thinking about the roller coaster of an adventure that Hertzfeldt takes his protagonist Bill on. So harsh, yet so important to consider and endure. So willful and helpless, yet so meditative and deliberate upon its execution, and when in full charge of its reins, so chaotic. But by that token, considering the idea of it being under control, this film works with the unexpected pacing, bravado, and nature of shock and awe. Even its narrator is caught off guard at a certain moment- we’re witnesses along with Bill, and in many cases, are in the passenger’s seat. This film is an emotional experience that drags you along at an unknown, sure to change pace. It’s scary, it’s saddening, and will make you really think. To that end, it’s so very important and impactful that I can’t but help but urge you to seek this out. Don Hertzfeldt’s creation is astounding and beautiful, and should be praised as a strong step in experimental storytelling, filmmaking, animation, etc. Not since the Tree of Life have I been so shaken to my core in thinking about absolutely everything that could be considered close to the heart and mind.
Find it here at Don’s Vimeo page. It’s $2, and $6 to own. After watching it, I’m definitely going to purchase it for download. Well worth it.
Excuse me, for I will now go cry for a little, and then go for a walk around the block.
The Modest Absurdity of Comedic Genius Adam Scott
Adam Scott has become a welcome presence to the world of comedy. A friendly guy who not only gives good performances when need be, but can deliver on the laughs in subtle and blatant ways. His appearances on the likes of Comedy Bang! Bang! and more recently Call Chelsea Peretti have revealed the more immediate side of Adam Scott. When in his element with funny people to bounce off of, Adam Scott turns out to be somewhat of a weirdo comedic genius.
When working with “characters” and improvisation on bits and chemistry, Scott has a weirdo sensibility that strays toward humanity. Fake confidence is a delicate art that Adam has down to a pat, wherein he sells all things as true without getting too goofy. His delivery of underhanded bragging and slight digs at being better than others hits hard despite a certain sense of quietness to it. Granted, Scott can also be somewhat of a cartoony fellow, as he also loves to dabble in pure confusion and boldness, especially when it isn’t warranted at all. The character of Ben Wyatt on Parks and Recreation treads a fine line of sanity and manic passion, which Scott balances with ease. Party Down was a fine example of what he can really do in combining great character comedy and drama. Devotees will remember his roles in films like Step Brothers and Two Days, which require an amount of craziness from him, which again, he delivers upon expertly. Though it’s what Scott brings to the table on his own which dazzles myself, and many others alike.
His adoration of repetition in unsure nature is a mastery of timing and tone, which he utilizes beautifully in the short sketch he directed “The First AD.” Pauses followed by harsh, matter-of-fact statements are executed as if he’s scolding someone who has been at the end of his rope time and time again. It’s this kind of weird piece of modest humanity that he drives home every time, but with constantly more mind-boggling material. The Comedy Bang! Bang! episode “A Worthy Uhh…” with James Adomian finds Scott playing with his status as an actor as if it were a super secret VIP badge. Later on in the episode, he connects mentally with fellow guest James Adomian for a bit so brilliant and legendary that one can’t only applaud Adomian’s quick-witted resilience without applauding Scott’s catching of opportunity, and exploiting of such to the appropriate extremities. Scott can work with a situation that deals in absurdities big and small, but bring it down to Earth on such a level of self-awareness and unbelieving that he crafts with such a unique, untapped tone of comedy.
Therein lies where I think Adam Scott can skyrocket his career into something even more amazing than it is currently. I absolutely feel like he should keep acting- he’s great at it and can show us something special soon enough, I’m sure. But I really feel like he needs to direct more as well, be it comedy or drama. The two glowing examples of Scott’s directorial work come from The First AD and The Greatest Event in Television History. The First AD combines Scott’s ideals of being out of one’s element in the character of Mark Duplass (as played by Mark Duplass), as well as overdone aggression in the perfectly cast Ken Marino, who worked with Scott on Party Down (wherein both of them turned in some of their best performances to date.) Marino’s character emphasizes insanity in the weirdest ways, by firing a woman so she could go “jerk off to Mark Duplass”, forcing his actor into an action sequence without preparation, and considering every single bit of rational logic as the babblings of a baby. Marino does what he does best in selling the character’s confidence in being so absolutely wise and right with psychopathic tendencies. Duplass’ character eventually witnesses Marino’s incredibly gruesome and well-timed death (with his last words being “I want you to eat me out!” and “I’D LIKE TO SEE YOUR PENIS, PLEASE!”), and in response and out of shock, repeats the word “What” to no one in particular. It’s a small touch that kills every time purely out of the applied vision of not being able to believe what the hell just happened and in connecting that to the viewer. Scott’s voice is one that tends to step lightly when cooperating, but when in charge, he can be a monster of the absurd, as made obvious in this short’s ending with Marino EXPLODING OUT OF THE EARTH, and quickly utter the statement “Fuck you, Earth!”
Let’s take a quick look at the entire premise of the Adult Swim aired short that is The Greatest Event in Television History (co-directed by Lance Bangs, but ultimate brain-child of Adam Scott.) It’s a ten minute countdown to a one minute special: the reboot of the opening credit sequence of Simon & Simon. Treated like a prime-time special, hosted by fucking Jeff Probst, the format of the piece works like your standard celebrity news mini-doc feature, with interviews and a glimpse into the “incredible” process. Scott’s build up of this being so important and big for, well, television history, is hilarious on its own, and it carries over to how seriously everyone involved takes this project, including “director” Paul Rudd and co-star Jon Hamm. The ambition behind the piece within the piece is overdone to such a perfect degree, involving everyone’s disturbed egos and pride clashing to such unnecessary ends. In playing upon Scott’s tendency and dedication to ridiculousness, the piece results in Paul Rudd’s mental breakdown, and the tragic and yet brilliantly underplayed death of Jon Hamm. All of this happens just for a barely minute long remake of the Simon and Simon opening. Adam Scott’s absurdist ideals stay strong and are sold just about right in this filtered sense of importance, heightening just how hilarious it is.
It’s a blending of sensibilities that seems almost contradictory, unless under spoken like in most brands of comedy. Adam Scott lives and breathes this divide comedically, and smashes the two together for a tonal shift that actually quite brilliant. Both shorts that he’s directed have had consistent style and tone, with his voice driving the comedic nail home at a constant basis. He’s become a trustworthy, reliably hilarious presence and mind that adapts well to apparent directorial abilities. The guy has really harnessed his talent well, and with casual heart and mind, he’s absolutely one of the most interesting funny-men working today. I hope he’ll start to do more of the latter, because he shows great promise with bigger things. It’s a great sign that his career has been sky-rocketing quite nicely from an already steady pace into something really special. Be it acting, improvising, or even writing or directing, there’s no doubt that Adam Scott is a force to reckon with. He’s definitely a worthy uhh… a worthy uhh… a worthy uhh… a worthy uhh… a worthy uhh…
Bert Kreischer’s presence on You Made it Weird is comparable to a fan being on the show, or a long lost brother finally connecting with Pete. There’s an excitement and energy that comes with Kreischer to damn near everything said and done, which is so warm and fresh, preventing it from being too much. Spontaneous chemistry at every single topic checkpoint comes up, and it makes you as excited as Pete and Bert are, because you can truly sense their giddiness and appreciation for one another’s ideals. Pete’s green light sensibilities and adoration for “laser accuracy” in call-back and round-about jokes are shared almost exactly with Bert’s lively, honest demeanor. If Bert isn’t as playful and open as Pete, he’s more so, and it shows when he delves into his brutally honest stories and feelings about love, life, and death, as well as into games and pranks like calling the last guest, Mike Bridenstine, and making fun of him in a fake butt-dial. It’s hysterical and highly enjoyable, because you’re right there with them. Hell, just watch the Vine that they made of the Fake Laugh Until It Turns Into a Real Laugh game- that’s it. That’s exactly what this episode is, just gleeful bits of fun and delight. Funny delight. Funny D. Laser.
Bert, like Pete, is incredibly welcoming and comforting in discussion, so like any good relationship with both sides giving 100% of their respective 50%, the combination of Bert and Pete just works too perfectly. Ending in a glorious game of Sing a Pop Song that You Don’t Know, this episode is possibly one of the best of the You Made it Weird catalog so far. It’s full of serendipity, friendship, and too much laughter. You too will laugh, you’ll feel, and you’ll smile. I guarantee this episode will put a smile on your face more than once. Bert Kreischer made it weird, but also made it fun in the process.
Comedy Bang! Bang! episode 211 - April Fools!
It’s plain and simple: We all love Jon Hamm. The guy has charisma and “nice guy” fumes coming out of his ass, he’s incredibly talented, and to many of us Comedy Bang! Bang! and general comedy fans, it’s well known that the guy is just purely funny. He’s always open to doing bits and messing around, being goofy in light and heavy strokes, always killing it either way. This April Fools episode of Comedy Bang! Bang! finds Hamm at his absolute best, even if he is a little late to the party. Before he arrives, Scott Aukerman and Nick Kroll manage to keep things interesting and very funny on their own. But it’s as soon as Hamm arrives that things start to get deliciously ridiculous and palpably lovable. This is three hilarious pros doing what they do best, be it through bit-riddled conversation of character based insanity- it’s a grab bag of brilliance that is sure to be a classic episode already.
Hamm being late to the party felt somewhat standard, like a second guest for the episode. In fact, his tardiness to the episode actually manages to make for some of the funniest talking points and jokes of the episode, which he easily jumped in on as soon as he arrived. Kroll and Aukerman made purposefully idiotic conversation on Kroll’s favorite sandwiches, Kroll’s “impersonations” of celebrities like Christopher Walken and Al Pacino (which all end up being a bad Sylvester Stalone saying “Hey, I’m Adrian”), the ages of people from past decades in current times, and Jon Hamm’s auto-correct accident in telling Scott that he’s on his way. The chemistry between the two is delectable, and as present as ever. It’s a nice reminder that Kroll, out of character, is quite a hilarious and inquisitive personality. As soon as Hamm arrives the grilling begins. But immediately, Hamm is clued in and messes around in talking about Mad Men, and some of the formerly mentioned topics, making for easy but enjoyable fun.
Eventually, the trio accidentally strays into character territory, and in an exciting turn, Jon Hamm joins in on the character fun. El Chupacabra pops up into the studio as if he’s been there the entire time, and in tow is his twin brother, a Mexican celebrity named “El Chupacabro.” The two immediately have Sklar Brother levels of chemistry in bouncing absurd nothings, gibberish, and overdone Spanish accents. They’re quick on their feet, and Hamm brings a lot of the creation to the table, or at least as much as Kroll normally does. They talk about their vacation around the world, Chupacabra’s raping of a penguin (Auk-dog gives slight mention to Jack Sjunior), and the duo’s tour around LA and its various attractions like the EnTOURage, Pink’s (not pink) hot dogs, all with the hopes of burying their mother in LA. As well, we hear about the duo’s prowess down in Mexico, doing voice dubs in English with Spanish accents for shows like Mad Men, The League, and other such projects. It’s a quickly growing and progressing story the two work with, and it never has a dull moment in its progression. It’s especially impressive when Hamm and Kroll bounce back and forth between their selves and their characters. Kroll is one to do this, but Hamm really managed to hold his own, and have an absolutely great time with it. I mean I feel like I’ve always known he’s capable of such weird things, but this was just an absolute pleasure to hear.
This episode is an assured fan favorite, with crowd-pleasing guests doing what they do best. I’m so tickled that Comedy Bang! Bang! has been so consistently good these past few weeks, and with the show coming back, I can’t help but feel like we’re reaching, or are in the best times of Scott Aukerman and crew, and I doubt they’ll stop any time soon.
Here are Nick Kroll and Jon Hamm’s earwolf pages, and I highly recommend listening to their episodes. As well, on Netflix, check out the episode of Comedy Bang! Bang! TV they did together. It’s amazing, trust me.
Spring Breakers (2013) - Harmony Korine
Spring Breakers is my favorite project that Harmony Korine has taken on in his career so far. While I’ve loved his work thus far idealistically, or of what I’ve already seen, this film seems like an incredibly well executed experiment with an actual sort of point to its mindlessness, or exact opposite of such. Sure, he’s always had something to say with the crazy things that he makes and depicts, but here, if there was a message to be detected or ideals to be placed, anti or not, I felt it and felt it hard. Filled with disturbingly natural and beautifully cartoonish (James Franco is an absolute monster in this film) performances of pure energy and vigor, and a kinetic style that’ll please the eyes of both art house and action film fans, Korine’s efforts with Spring Breakers feel like they’re being fired off on all cylinders, but with brilliant tonal intention and consideration on his mind. On either end of the spectrum, you’ll either get to observe thick ego and action in fascinating depictions of youth and minor power, or enjoy a tense and strangely humorous thriller that’s so absurd and tense that you’ll be laugh and/or cringing regardless. The great thing is that both sides will still be seeing the same exact piece of life lit by neon lights and gunfire, scored by party anthems and operatic orchestrations, highlighting innocence and bare asses all at once. Regardless of which end of the reception spectrum you stand on, and no doubt it’s a love it or hate it situation, it’ll be hard to deny that Spring Breakers is nothing short of fascinating.
Comedy Bang! Bang! - A Spiritual Journey
It’s a strange worry that I have, but every time the main guest on Comedy Bang! Bang! is someone who really isn’t with the whole alternative comedy scene or fits into it in some way, I fear for un-fun awkwardness. One thing I think we all (mainly myself) must take into account is how greatly Scott Aukerman has grown into his position as host, and comedic presence on his own. In a safe 98%, if not 100% of the time now, Scott manages to make the experience for the guest and listeners a good one some how, making the awkward and magical all part of the fun. No matter who the guests are, big and small, Aukerman always manages to pull off a great episode with their help.
With episode 210, I didn’t necessarily feel my initial fear too badly, as the guest is Adam Brody. I’ve always found Brody to be completely capable and hilarious in almost everything he does, especially in weirder things like The Ten, or Jennifer’s Body, or even Grind. Similar to Michael Cera (who has really grown into his own, but that’s for another conversation) or Colin Hanks, Brody was a fantastically low-key, but entirely participating guest for the show. Fun bits were shared, and even when Joe Wengert’s much weirder character of Shelby Orangina comes into play, Brody stepped up to bat and even helped push the ridiculousness. Major kudos to him, especially these days for branching out and doing more interesting projects, like indie films or participating in things like Comedy Bang! Bang! or Burning Love. His great talent is warmly welcome and fits well into the stylings.
This episode is a special one in bringing to light some of the show’s best character players that happen to be somewhat underrated. Joe Wengert and Lauren Lapkus seem to each have a special brand of character they like to mess with, but dammit do they do it well, mainly because overall, they’re just purely talented and funny people. Lapkus’ recent turn as Scott’s nephew Toby made for a blast of an episode, and in this episode as a high schooler (unknown if friends with Marissa Wompler) named Traci Rearden, she really got to stretch her legs and create an interestingly weird character. Independent yet emotional, Lapkus’ Traci made fantastic additions and playful banter as a co-host, being the right amount of weird while staying with Scott. I’d love to see more of Lapkus, as I think that she’s on the precipice of some really good recurring characters.
Along with Lapkus comes improv monster Joe Wengert. The two worked together beautifully in an episode last year with Tim Heidecker, and they don’t disappoint again as separate characters that when combined, make for great chemistry and insanity. The same kind of magic happened with this episode, pleasingly so. Shelby Orangina is a character with a simple bit, but Wengert just knows how to exploit it and really run with a premise, using all of its worth by the end of the episode. It reminded me of a Superego character, not only in terms of voice and comedic direction, but because Wengert is just so fast on his toes. Wengert is a favorite on Matt Besser’s Improv 4 Humans, and his comedic ability transfers quite beautifully in much more long form affairs. His wit is quick and strong, rivaling that of CBB favorites. In correlation, he’s incredibly playful with bits and scenarios, always making for something funny. Either on his own or with another character player like Lapkus, among others, Wengert is a strong presence that deserves some more air-time and attention.
This episode, along with 208 with Steve Yeun, was a warm reminder that Scott Aukerman can still pull off a great episode with a guest that isn’t entirely familiar with the show. He’s always generally been able to pull off a good episode, but as of recently, he’s done nothing but that. In fact, the guy is getting much better as it. As mentioned in a recent interview, “Auk-Dog” said that the podcast is basically improvised fun that doesn’t require too much thought anymore. After 200+ episodes, Aukerman proves that to be absolutely correct, and that his ability comedically and as a host is just improving project by project. Comedy Bang! Bang! TV has him working a unique personality, as well as writing some of the most ridiculous comedy in recent years, and the podcast keeps him on his toes. I cannot wait for the world to get more and more of Scott Aukerman, mainly because the more he is just himself, the more it’ll weird out most people, and that’s funny to me.
Also, check out the last episode with Wengert and Lapkus, as well as Lapkus’ other great appearances. Hell, check Wengert on Improv 4 Humans. You’re gonna love them, I’m sure of it.
Delocated’s series finale is a fantastically directed and written piece of comedy that showcases what you love about the show, and exactly what you’ll miss about it. It’s the apex and perfect example of Glaser’s absurdist humor and vision coming to life in such a blatantly serious way, despite the insanities of context. He plays it all straight and perfectly, even with his characters ridiculous nature- he plays true to that as well, making everything work most of the time, if not all the way. It was a perfectly knit little series that reached for the stars and grabbed a few before it was pulled back down. It stuck to its premise all the way through, even going to the occasional extremes that felt necessary in reaffirming what was actually going on. For that, I salute Glaser and crew for sticking to their guns, and taking Delocated to a dark, but hilariously proper point of fruition.
Even before the pilot, Delocated jumped the shark with its premise. The shark was rolling into work with his coffee in hand, and Jon Glaser and crew jetted over it in a fucking rocket, blowing the shark up in the process. The joke of a guy with a ski mask on and having his voice modulated is hilarious as is, and in many ways, could probably only work as a small sketch in other contexts. Jon Glaser instead made it a staple, and drove it home by bringing even more insanity to it. The show proceeded to mix elements of action and thriller sensibilities with ideal directionality that leaves the feeling that this show is probably run by an insane person. On the contrary, honestly, as Jon Glaser hand in crafting this show is quite a brilliant and bold one. By the third season, he had set up such a crazy world and plot concerning this character and the Russian Mafia that one couldn’t help but feel that like an off the rails improv scene, he has taken himself into such an extreme corner that he’ll have to explode out of. In common practice, Glaser didn’t disappoint in heightening the absurdity, but working with respective rationale that made Delocated’s closure feel fitting, in addition to its dark, strange outlook.
Writing and performing the character of Jon is a special art form, mixing magical confidence with a certain level of idiocy that you observe with a cocked head and awe as if it were a puppy, or your friend who makes the dumbest decisions all of the time. He’s an idiotic, self-proud dummy that we all love, and “The Frrt Identity” remolds this character without compromising what is so great about him in the first place. As per the name, we see Jon in this strange, unexpected action hero position. Glaser plays it perfectly, and sells the action surprisingly well, for being somewhat of a normal bodied man. And mixing Jon’s beloved, crude mindset and personality into it made for such an interesting tone shift that I was left wanting more. This episode fulfills some of my weirder dreams of Jon being some sort of fucked up action anti-hero with the exact same attitude. If Deadpool were to have a true voice, it would be Jon from Delocated. It was a bit of an aside, I know, but you can’t say that that wouldn’t be pretty amazing, right?
As mentioned before, I must say that this is a truly well directed episode, in terms of upholding Delocated’s comedic pacing and tone, and in terms of delivering action in a disturbing but still humorous light. Firstly, to get rid of any spoiler-specific moments, I’ll touch upon where the show is left off. Let’s be honest, it was a quite messed up direction to go in, but the ridiculousness was maintained, and they really went for it in terms of tone. The usage of a specific song in a certain moment was truly inspired and dark, but I got a little giddy during it, in a way that I only get for shows that showcase such style in truly unnerving moments, like Breaking Bad or Eastbound and Down. And if it was trying to mock those kinds of scenes in tone, then they pulled it off perfectly, with expert precision. In bothering to go to this darkly humorous corner for its end, I simply applaud Jon Glaser and director John Lee. Also, in showing Jon’s face? The casualness and voice still being modulated made it still work perfectly. They really went all out with it, and made it fit to the show, and yet somehow beat expectations in such a gleefully rough way.
In matching with the Bourne films’ tendency to do action scenes in a visceral, music-less light, director John Lee did a great job of playing with subtle parody, but also upholding the great visual tone that the show has worked with from day one. The show’s reality show conceit became less and less present, yet visually upheld as the show moved on, but still, the shakiness of hand held camerawork and usage of censorship and crash zooms always added a great sense of comedy through and through, similar to the style’s success in shows like Arrested Development, and a little more overt in something like Parks and Recreation. Though even with “drama” and intensity, the show managed to have such a surreal, unique voice that whether or not a scene was funny or inherently funny in concept, it’s still quite striking in deliverance. It’s such a fun, weird show with a look that they made their own from the beginning. They did the conceit right, and always kept it fresh comedically, and for that, among many other reasons, I will miss it. Granted, I‘m glad they went out on such a strong episode.
So long, Delocated. You deserved a movie, or more seasons, or at the very least a box set with the entire series on there. What the future of Jon’s adventures is at this point, I do not know. What I do know is that the ride we were taken on, though short, was sweet, daring, and utterly insane. I’ll miss it, and never forget it.
Jack The Giant Slayer (2013) - Bryan Singer
I suppose my favorite thing about my viewing experience of Jack The Giant Slayer is that I saw it at the Metreon in San Francisco, CA. They apparently have the largest IMAX theater in the country, and goddamn does it live up to that, and not disappoint. Plus, 3D glasses are getting bigger, which is good for us glasses wearers. I always say they should just make 3D visors that layer in front of glasses. Or maybe lenses that can just be slapped onto glasses. That’d be cool, right?
Oh shit, I saw a movie too, huh? Okay, well, let’s start here: Jack The Giant Slayer is okay! Kind of! It’s a pretty dumb film, but fun enough to warrant at least a decent time if you watch it correctly. Technically, it’s really well done. If you can see it in a 3D or IMAX capacity, I’d recommend watching it there. Otherwise, this is a movie that would be on TV in the lobby of some place that you can watch and have zero investment in, and you’ll be okay. The humor and set up are upsettingly familiar- GRANTED, it’s based on the well-known story. You know how this goes down. But even in executing upon certain levels of magic and wonder through the eyes of children and youth, or striking fear, the film is quite middling until they actually reach the Giants. I just realized that maybe a film about a dude named Jack slaying all players of the San Francisco and New York Giants would be a hell of a film, and I’ve optioned it, that’s mine, I called it.
The action is quite interesting, with few points of tension that are actually executed quite well. And then you see the size difference between giant and human. It just looks funny, to be honest. Regardless, the film is playful and has some decent action here and there. Acting wise, there is one key performance worth watching, which is Stanley Tucci as a dastardly backstabber. What a delight of fun ham his performance is- a great source of entertainment, no doubt. Otherwise, I just didn’t care for anyone, maybe with the exception for Ewan McGregor’s character. Nicholas Hoult’s face still annoys me but is negated by his decency as an actor, but the script doesn’t give him a lot to play with, unlike something like Warm Bodies did. This is just a film that slaps you in the face slowly and whispers into your ear that a majority of this was done in green screen. While most of this stuff looks good, it’s still a obvious fact that if not on board, can really suck you out of the movie and into thoughts of what the people two seats in front of you are thinking.
I hate to be negative, but this film doesn’t have much meat on its bones, maybe other than technical aspects of action. Seriously, don’t bother unless you’re watching this in a heightened capacity; I mean that movie theater wise, or physically and mentally- I don’t know what your deal is, but what ever floats your dick. Jack The Giant Slayer truly fascinated me in some of the choices it made, especially in where it ends, but as a movie-going experience, I’d say it’s the right amount of ironic fun and genuinely neat technical filmmaking to make for a decent time at the theaters with friends or something. Otherwise, there’s not much going on here that I can hold it high graces.
Oh, I got another one: Jack: the GIANT Slayer. He turns into a member of Slayer that happens to be giant. I know, I’m great at this stuff.
