'Blu-ray or Bust' - PITCH PERFECT 2

'Blu-ray or Bust'

PITCH PERFECT 2 (PG-13, 2015, 115 minutes, UNIVERSAL)

The Barden Bellas are back.  And as much as I adore Elizabeth Banks and Anna Kendrick, part of me wishes they weren’t.

It isn’t that the performances are bad; the always reliable Kendrick (50/50, and the TWILIGHT films, which I forgive her for, because she’s so damn cute) returns as “Beca”, as do the rest of the misfit toys that make up the group.  These misfits include the gorgeous Alexis Knapp (COUPLES RETREAT, PROJECT X), Brittany Snow (HAIRSPRAY, JOHN TUCKER MUST DIE), and the usually hilarious Rebel Wilson (BRIDESMAIDS, PAIN AND GAIN), who plays “Fat Amy”.  The biggest problems lie with the addition of Hailee Steinfeld, whose character “Emily” is just downright annoying at times.

This is by no means the worst sequel ever made; Banks is a reliable director, and the cast works well with what they have to work with—which is a script that, at times, feels contrived and too well plotted.  The charm of the first movie was that it was surprisingly funny, and did not adhere to the typical Hollywood formula.  This time around, some of the scenes run too long, and some of the jokes seem too forced.

There are several moments that are quite funny.  Most of those involve Banks and veteran comedic actor John Michael Higgins (“Arrested Development”, “Wilfred”), who return as competition announcers Gail and John.  Much of their back-and-forth sounds improvised, which makes it that much better.  Everyone else in the film appears restrained by the script, but these two look like they are having the most fun.

 

The plot of the film is such: the Bellas are humiliated during a birthday performance for the President when Fat Amy’s pants split from the back to the front, spilling out her lady-parts.  To regain their reputation and to be admitted back into the school a capella program, the ladies enter the World Championship, and their rivals this time are a daunting German group called “Das Sound Machine”.  The Germans are all about production, so the Bellas have to step up their game, regain their confidence, and find their group voice to overcome the dastardly good…yeah, okay, that totally sounds like a frigging Disney movie or After School Special.  But that’s exactly how parts of this movie feel.

And Steinfeld… if her character had only one quirky trait, it would have been a more honest performance.  But to go from giddily psychotic one minute to mousy and demure the next totally belies the possible capabilities of this talented actress.  Her performance in TRUE GRIT was phenomenal for her age, and her inclusion in this film feels more like a payday than it does an interest in the material.

Thank goodness Keegan-Michael Key as an abrasive record producer is on hand to steal every single scene he appears.  The absence of Fat Amy’s humor is obvious, and Banks couldn’t have picked anyone better than Key to pick up the slack.

The special features include several extended music performances; quite frankly, I was worn out of the a capella bit by the time Amy is rowing a boat across a lake and singing solo to her boy-toy.  The gag reel is underwhelming—even some of the mess ups appear forced.  I’m sure everyone had a blast filming it, but that feeling did not come across in the finished product.  The musical premise of this film necessitates that you get this on Blu-ray.  No, there are no special effects to feast your eyes on, but your ears will appreciate the effort.  The groups cover several different genres, and it sounds better in digital surround

If you are a big fan of the first film, do yourself a favor and stay away from this one.  It doesn’t seem so much re-hashed as it does overdone.  And in case you were worried, PITCH PERFECT 3 is already in pre-production.  Just don’t expect me to review it… I’ll be busy… watching HUNGER GAMES or pulling my teeth out or something…

           

Film Grade: C

Special Features: D

Blu-ray Necessary:  If you like the music, yes.  If you don’t like the music, why the hell are you reading this review anyway?

"SKumm’s Thoughts" - X-FILES - Week VIII

"SKumm’s Thoughts"

X-FILES - Week VIII

“The X Files” (FOX, 1993, 9 Seasons)

Why Mulder Went Bye-bye

The end of season seven was the mother of all cliffhangers.

Mulder is abducted, Scully is pregnant, “dogs and cats, living together!  MASS HYSTERIA!!”  But you could feel the set-up happening throughout that season; with the tone of the show, how that season began, and how it proceeded, was all about a change of the guard.

Think about it:  David Duchovny and Gillian Anderson had been at it for seven years straight.  Plus a freakin’ movie!  So when Duchovny entered contract negotiations, the future of the show wasn’t so much in question as HIS future on the show was.  Chris Carter, benevolent demi-God that he is, realized that Mulder’s character was starting to fray a bit.  There were too many plots afloat by this juncture to end his role as lead on the show suddenly, which would leave too many unanswered questions.  The fans would have jumped ship—many of them did during season eight anyways.  Make major changes to a show which features the best chemistry between two leads, and you are bound to lose a few viewers.

Remember what happened to “Moonlighting”?  “Cheers”?  At least those leads got to get it on before the demise of the shows, even if that is what caused them to fail…

The big differences, besides Scully getting a new partner before slowly being written out of the show herself, are these: during the main titles, Duchovny’s name only appears during the episodes he is in, which was roughly half of that season’s shows.  Scully has taken over the role of believer, and her new partner, John Doggett, is the skeptical one.  Anderson does an excellent job making the transition believable.  Half the time, she seems lost without Mulder, and the look on her face when she is struggling with a plausible yet fantastical explanation is a wonderful touch.

So the seventh season was an end of times move, and season eight had the audacious task of transitioning to a new beginning (the ninth and final season).  Carter took the entirety of the seventh to work Mulder out, and all of the eighth to try and get you used to the changes.  Carter never lost his vision, but losing his leads would mean the death knell of a beloved show that broke barriers and boundaries, and provided years of entertainment for a voracious fan-base.

(Next week: Season Eight)

T.S. Kummelman

The 'Not-So-Critical' Critic: BLACK MASS

The 'Not-So-Critical' Critic: 

on BLACK MASS (2015, 122 minutes, R)

The Quick of It -

I may not be the best person to review a 'based on a true story' film.  They always seem lacking to me... and this is the case here, possibly justified.  Don't get me wrong, these movies are at the core a tough project to capture on film, to have a real-world pacing that promises to keep the audience engaged.  For me, BLACK MASS struggles, almost to the point of dragging ass along the carpet in short spurts.  The acting is above par, which is no surprise with such an intense cast.  The cinematography and on-screen character interaction are strong, as director Scott Cooper proved he can in OUT OF THE FURNACE.  But the story seemed so ephemeral and never pushing into the darker history of the man that is James 'Whitey' Bulger.  The narrative treatment of having the tale told through third party perspectives may have been intentional and clever, but this style of storytelling made the process lackluster in the end.  The action you hope to see is quickly glossed over or never touched.  You almost feel that everyone involved was afraid to expose the greater demons hidden deeper in the truth for fear of retaliation.  Who knows...

Grade: C+

“Blu-ray or Bust” - FURIOUS 7

“Blu-ray or Bust”

FURIOUS 7 (2015, PG-13, 137 minutes, MEDIA RIGHTS CAPITAL/UNIVERSAL)

Allow me to make one thing perfectly clear: I hated the first film.  Couldn’t even finish watching it.

The acting was horrible and the writing horrendous (my butt produces better dialogue on Taco Salad Tuesdays).  It was trying to be POINT BREAK with cars.  I made it an hour in and got to a scene where Vin Diesel (at the time, I remember wondering if that was his stripper name, or did he find it at that awesome rest stop called “South of the Border”, stamped into the bottom of a snow globe—MADE IN VINDIESEL, or something of that nature) is sitting at a picnic table, trying to act.  The “dialogue” was such that it broke the state of stupidity the film had thrown me into, and I was able to flee the room, screaming like a bee-stung infant, able to cling to the tiny part of my intelligence that still remained.

I have not watched any of the other films since then.  Steered clear of them, like a recovering crack addict stays away from pipe cleaners.  So why attempt to watch one of the sequels now?

Because of ‘The Rock’.  And, Diesel’s acting has improved markedly since that first turd hit the screens.  And because if this film represents the finale of the late Paul Walker’s career, I figure I should at least find out what all of the fuss was about.

Turns out, this film is better than the first.  It isn’t great; it is not a cinematic masterpiece, it isn’t a flawless example of how great film can be, and it certainly is not a lesson in physics.  The key is to go in looking to be entertained.  That is what these films are: high adrenaline stunts in settings that try to outdo the previous crazy-as-hell spectacles of eye candy.  The story itself is not very complicated; it can’t be, or its target audience would be bored and confused.  The story is about a crew of speed and reckless endangerment junkies being hunted down by the brother (Jason Statham) of the baddie from the previous film.  Don’t worry if you haven’t seen the last thirty films—I didn’t either, and I wasn’t lost.  The only things you should know going in is that Walker’s character has a wife (the sister of Diesel’s “Dom”) and a baby, and Michelle Rodriguez cannot remember a thing from the previous movies (which I suspect is on purpose—I mean, does she really want to remember?  I wouldn’t…).

The rest is cars driving out of airplanes, cars building-hopping, and cars zooming through the streets.  The Rock shows up with a gun as big as his own guns, Ludacris and Tyrese Gibson are on hand to crack wise, and the director, James Wan, lets us see how big his mental testicles really are.

Again, it’s entertainment for the sheer sake of entertainment, and if the tribute to Walker at the end feels like it runs a wee bit long, forgive the filmmakers; no matter how much I hate the first film, this is a seven film franchise.  If it were not successful, if it did not have a fan base, none of the spectacle would matter.

There are several special features on the disc, included a thirty-minute long piece during which Wan breaks down several key scenes (aka, stunts).  They also show you how they did the stunt with the C-130, which is pretty cool.

Diesel and Statham will both be on hand for the next installment of a franchise that, from this outing, is starting to resemble THE EXPENDABLES in that they are attracting other action stars.  One of the biggest payoffs of this film is watching Kurt Russel back in action.  And, it will be interesting to see what stunts they can come up with for the eighth go-round. Mark my words now: they’ve conquered land and air—aquatic cars, anyone?

Film Grade: B-

Special Features: B+

Blu-ray Necessary: Most Definitely

T.S. Kummelman

"Obscurities and Abject Pandering: What You’re Missing on NETFLIX"

"Obscurities and Abject Pandering: What You’re Missing on NETFLIX"

NEW ARRIVALS

Drama/Crime/International

THE SUICIDE THEORY

(2015, R, 96 minutes, SEVEN8 MEDIA)

This Australian film is one of the best character driven thrillers available on Netflix right now.  Steven (Steve Mouzakis, of WHERE THE WILD THINGS ARE and I, FRANKENSTEIN) is a hitman hired by Percival (Leon Cain, from Fox’s short lived “Terra Nova”) to kill him.  It seems Percival has had a difficult time dying by his own hand and wants an assist from a professional.  Needless to say, a friendship forms between the two as Percival survives each murder attempt by Steven.  To say much more about the plot would ruin the experience.  Just know that this exquisitely crafted tale of absolution is more about the tragedy of man than it is his strive for retribution or forgiveness.  The performances by Mouzakis and Cain are wonderfully detailed; Steven has nothing left to lose, and the gay Percival wants to lose what he is left with—his life.  A mind-blowing journey that shows how people react to that one tragic moment when life suddenly and irrevocably changes.

Drama/International/Action

THE DEAD LANDS

(2014, R, 107 minutes, GENERAL FILM CORPORATION/XYZ FILMS)

Filmed in New Zealand and spoken in that country’s native Maori language, this film of retribution and spirituality centers on the son of a dead chieftain.  His village slaughtered by another tribe, he sets off to deliver repayment to the spirits with the aid of “The Monster”, the brutal inhabitant of a cursed part of the forest.  What follows is a bloody, unapologetic look at how these Polynesian people lived, and survived.  The cinematography alone is worth the watch, but the story is complex and the characters rich.  The representation of the Maori mysticism is wonderfully rendered; makes you wonder at what is missing in today’s “civilized” world…

Sci Fi/Horror

EUROPA REPORT 

(2013, PG-13, 90 minutes, WAYFARE ENTERTAINMENT)

I should start a regular feature here called “Because You Didn’t Listen the First Time”…if I were to do that, this film would definitely be one of the first I would re-tell you about.  This quiet little voyage to one of the moons of Jupiter is surprising in its attention to technical detail, its detailed story, and the Lovecraftian bent that makes you want to watch it a second time.  Starring Sharlto Copley (DISTRICT 9, MALEFICENT) and Anamaria Marinca (FURY, “The Missing”), a deep space mission starts losing crew members after unearthing an organism beneath the ice of Europa.  Not to mention that they have the worst luck of any astronauts in history…  This is a tight, well-spun tale that will keep you guessing.  And thanking me for reminding you about it.

BECAUSE YOU DIDN’T LISTEN THE FIRST TIME:

EUROPA REPORT

(2013, PG-13, 90 minutes, WAYFARE ENTERTAINMENT)

See what I did there?  I’m such a stinker…okay, try this one:

UP IN THE AIR

(2009, R, 109 minutes)

George Clooney leads a stellar cast including Vera Farmiga and Anna Kendrick in a movie written and directed by Jason Reitman (JUNO, YOUNG ADULT).  The smooth and debonair Clooney plays corporate shmuck Ryan Bingham, a man tragically caught up in the frequent flyer miles game as he travels the country firing people at other companies.  There are some funny honest moments here that makes this film one of my favorites in Clooney’s extensive career.  He plays a jerk that knows he’s a jerk, but wants to think better of himself.  And hit frequent flyer royalty.  And Kendrick…(insert thumping heart emoticons here…)

Make up a queue kids, and put me to work!  Suggestions are always welcome, so get creative!  I’m always up to new challenges!  Halloween is lurking right around the corner, and I already have a challenge for next time involving foreign horror—but it’s a long month…hint, hint…

T.S. Kummelman

"SKumm’s Thoughts" - X-FILES - Week VII

"SKumm’s Thoughts"

X-FILES - Week VII

“The X Files” (FOX, 1993, 9 Seasons)

Season 7 marks the beginning of the end; continuing the storyline from last season’s end, there is an obvious shift in focus.  Mulder no longer seems to be THE main character on the show.  While there are a few great episodes, the season, as a whole, feels much different than the prior ones.  And more confusion; sometimes, Scully is a believer; other times, she isn’t.  It’s almost as if someone is being written out of the show…

SEASON 7

Episodes 1 & 2: The Sixth Extinction

This two-part wrap-up to last season gives us a psychic Mulder, a true believer in Scully, and a nefarious smoking man.  Also included is a major surgery, that you will have forgotten about after the third episode starts... because everyone else seems to have forgotten about it, too.

Episode 3: Hungry

Unique in that this episode focuses entirely on the MOTW, the shift in perspective continues.  Both of the agents seem minor players in this gory morality tale of a burger flipper with a rather suspicious eating habit.  Greatly drawn characters and performances to match make this one of the better episodes of the season.

Episodes 6: The Goldberg Variation

The guy with the best luck on the planet runs afoul with the mob and Mulder falls through a floor.  MOTW, but fun.  It seems that some of the best episodes now are the ones with no ties to the alien conspiracy.

Episode 7: Orison

In this episode, Scully kicks some ass.  Seriously.  This MOTW episode is important as it lays the foundation for Anderson to be the front-runner of the show, an unsubtle hint at the future of “The X Files”.  Bringing back a weirdo from a previous episode, a serial killer is back on the loose, and he has Scully in his sights.  Poor bastard.

Episode 9: Signs & Wonders

"Snakes... why’d it have to be snakes?"  In this season’s requisite religious episode, the agents are pitted against a backwoods preacher that plays with reptiles.  Cool ending, poor execution.  No pun.  (Digital Drawback: An older woman... with a bouffant hairdo?!?  Also: the world’s worst staple remover.  Also, that ending...)

Episode 10 & 11: Sein und Zeit/Closure

The death of another minor character (aren’t they running low by now?) and the kidnapping of a little girl keep the agents busy flying coast to coast, and Mulder almost has a breakdown.  Also, another unsubtle hint at things to come:  Mulder gets some closure pertaining to his sister.  And the journey to said resolution goes totally against some of the prior conspiracy points established as cannon.  Not the only example of questionable writing this season…

Episode 12: X-Cops

Enjoyable MOTW shot by the cameramen of the “Cops” TV show.  Mulder and Scully chase a shapeshifting entity around a neighborhood in Los Angeles.  I honestly believe they were chasing Gozer, but nobody ever listens to me....  Also, the absolute worst ending to an episode EVER.  It feels like more and more often, Carter doesn’t know how to end some of these shows.

Episode 17: All Things

Written and directed by Gillian Anderson, Scully is at the forefront.  And the way this one starts will leave you guessing for the entire episode.  Shows you just how talented Anderson is, both in front of and behind the camera.  A former professor/lover is on his death bed, and Scully runs around town suffering from the worst case of ennui in X Files history.

Episode 19: Hollywood A.D. (The One With Gary Shandling and Duchovony’s Wife Tea Leoni)

A screenwriter follows the agents around as they try to solve the mystery of a bomb going off in the catacombs of a big church.  An atypical MOTW, as the only real supernatural bent comes at the very end.  And it is kind of a “did you really just do THAT, Chris Carter?!?” sort of moment.  Yet still a nice deviation from how serious most of the other episodes of this season were.  Look for the scene in which Scully teaches Leoni how to run in heels... funniest moment of the series, period.  (Digital Drawback: that ending...)

Episode 21: Je Souhaite

A genie grants three wishes to two morons, and craziness ensues.  A fun episode, especially seeing Scully having fun with an invisible corpse.  Yep.  I said it.

Episode 22: Requiem

The season finale, after a season that seemed to stay far away from the alien conspiracy at all costs, slaps us in the face with a questionable future.  Krycek and the Hot Blonde are back, the Cancer Man is still dying, there is a UFO in the woods of Oregon, and then there is all the green alien blood and the alien bounty hunter.  Mulder takes a trip, and Scully trips out.  (Digital Drawback: wavy lasers, and I SAW THE DEAD GUY BLINK.)

T.S. Kummelman

The 'Not-So-Critical' Critic: THE VISIT

The 'Not-So-Critical' Critic: 

on THE VISIT (2012, 94 minutes, PG-13)

The Quick of It -

Mr. Shyamalan has returned to the scene.  Following his last outing with AFTER EARTH, THE VISIT is a story about a brother and sister visiting their grandparents for the first time.  As with all Shyamalan films, he weaves a tale that leads you to the hidden truths.  What makes this film a worthy watch is the gems of levity sprinkled throughout.  Yes, this film is a tension-horror but the boy, Tyler, played by Ed Oxenbould (from the extremely lengthy, thesaurus-jumble of a title, ALEXANDER movie and other smaller projects) crushes his role.  The genius of the script with his delivery will convince you I am right, and you will know what I am referencing when you hear it... Shakira.  Olivia DeJonge is overshadowed by Oxenbould's performance but yet is a great compliment in the pairing.  The grandparents Peter McRobbie (a filmography that could choke a horse) and Deanna Dunagan (mostly a "lady of the small screen") make for loving grandparents... sorta.  The plot and conclusion are easy enough to figure out, so no surprises (and I think intentional, not meant to completely deceive the audience).  But that is okay, the ride is still worth it. 

Grade: B-

Side Note:  Although the U.S. found AFTER EARTH lacking, the rest of the world made the movie a financial success.  Unfortunately, the same happened to THE LAST AIRBENDER, which was an abysmal imitation of the show.