Review by Dan Skip Allen Sometimes I come into films completely cold. I'll have no idea what I'm going to be watching, and when I've finished watching the said film, I'm pleasantly surprised. One of those instances was Stay Awake. I was recommended this movie by a fellow film critic and friend. I'm glad he recommended it to me because it's very relatable for me now once I've watched it. I was pretty surprised by what I saw. This film focuses on two brothers, Ethan (Wyatt Oleff) and Derek (Fin Argus) and their obese mother, Michelle, played by This Is Us star Chrissy Metz. At first glance, this family seems okay, except there's an undercurrent of drug abuse on behalf of the mother. She has gone through some traumatic stuff in the past. Now, her two sons have to deal with their burgeoning romances, school, work, and their ill mother. It's a lot for two young men their age to handle. As I mentioned, this film hit home for me for two main reasons. One is that my mother was obese and had many health issues. She had to raise four kids while being overweight and sick most of the time. Throw in an alcoholic husband/father who wasn't there most of the time, and you can see how this can be difficult for anybody, especially a single mother. The Metz character has similar issues, just in a different context. The second thing that is very relatable in this movie is that I have a twin brother. We lived at home most of our lives, so we got a firsthand taste of my mother's illnesses and the domestic problems between my mother and father. My brother wasn't a little older than me, like these two were, but like them, we were very close. And for a long time, I truly loved my mother, but she did something to me where I couldn't love her anymore. These two boys had similar issues, with their mother being selfish and not caring about her kids. You rarely find a film that reflects your own background, like this one did for me. Yes, this story took place in Virginia, whereas I was from Massachusetts. It doesn't matter where you come from, though. This is a story that many people may relate to on some level. Alcohol was the demon in my family, not drugs, but they both can do similar damage. They can both cause trauma for the individual affected by them and the family on the periphery of said abuse. In this case, the two sons.
Wyatt Oleff has been a young actor who has found prominence recently with his roles in the It films and most recently in City on Fire, the Apple TV+ streaming series. Fin Argus is a relatively newer actor on my radar. They both played characters I was somewhat familiar with, though. One has a dead-end job at a bowling alley, and the other has a future he has to go forward with without his girlfriend. She would have just caused him distractions in his young life. Going to school away from her is probably a better idea than being distracted all the time. It reminded me of my younger brother, who went into the Navy to escape the town we lived in. Both actors played their roles well. I felt for the situation they were both put in regarding their mother. Chrissy Metz has been nominated for various awards for her role in This is Us. She is obviously considered a good actress. Still, I don't think the director did enough to get her to go to the places she needed to go to in this role. We the viewer see her in various places where we know she is getting treatment for her illness, and multiple times in the hospital because of her addiction, but she doesn't go to the next level where other actors in similar times have gone there. I would have liked to see her go to the next level in this role. All that said, Stay Awake was a good film with relatable topics for me personally. The mother specifically, but also the two brothers, reminded me of myself and my family. It was an eye-opening film because I didn't expect to see something hit home so much while watching it. The writer-director Jamie Sisley got the film into a place where it will be relatable and affecting to others watching. I hope people give this a chance. It's not your normal family drama, but it has enough drama to go around for all the characters involved. Stay Awake hits theaters on May 19. Rating: 3.5/5
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Review by Sean Boelman
The new animated series Gremlins: Secrets of the Mogwai wowed audiences at Annecy last year with an early preview. You might be hoping that this show is the Gremlins prequel we didn’t know we needed. Although that might not be the case, because it’s hardly necessary in any way, it’s cute and fun enough to be worth watching.
The show is set in China in the 1920s as young Sam Wing — the antique store owner in the original movie — goes on an adventure with Gizmo the Mogwai. It’s an origin story for the Gremlins franchise, and while it can certainly be argued that it really doesn’t add much to the lore, it’s still a fun time. One of the biggest questions viewers may be asking with this series is who exactly it is made for. The answer to that question is a lot more complicated than it may seem. Stylistically, it feels like a Saturday morning cartoon, which would imply it’s perhaps too kiddie for adults nostalgic for the original movie. On the other hand, it has some moments of menace and (cartoonish) violence that are perhaps a bit too much for younger viewers. The result is a show that exists in an odd middle area. Ultimately, it’s almost best to evaluate the show independently of the original, with the exception of the lore. This show shares very little in common with Dante’s horror-comedy classic, instead opting for a more fantasy-inspired, Amblin-esque adventure set in 1920s China. In many ways, the show is more reminiscent of something like Indiana Jones than Gremlins.
The show boasts an impressive voice cast full of legends in the Asian and Asian-American communities. The lead role is voiced by young actor Izaac Wang (Good Boys), who is charming beyond belief. Wang is supported by a phenomenal ensemble, including James Hong, Ming-Na Wen, BD Wong, and (in guest roles) Randall Park, Sandra Oh, George Takei, and Bowen Yang.
Matthew Rhys is also impressively sinister as the series’s villain, and he is clearly having a boatload of fun acting the part. Nonetheless, Rhys unfortunately sticks out like a sore thumb — being one of the show’s few examples of whitewashing. (The sidekick character, played by Gabrielle Nevaeh, is another prominent instance.) Of course, the real star of the show is the lovable Gizmo, and while original voice actor Howie Mandel didn’t return to the role, A.J. LoCascio does a solid job of voicing the creature. It helps that the animation for the character — and the rest of the Mogwai — is gorgeous, but so too are the settings. Gremlins: Secrets of the Mogwai is not the Gremlins we remember, but that’s not a bad thing. It’s also likely not to be of much interest to younger audiences due to its unusual tone. Still, it’s a pretty good show, and hopefully it can straighten out some of its kinks in the already-greenlit season two. Gremlins: Secrets of the Mogwai streams on the service that will then be known as Max (but is still known as HBO Max for the next week) beginning May 23, with new episodes streaming subsequent Thursdays. All ten episodes reviewed. Rating: 3.5/5 Review by Dan Skip Allen The Fast Saga has defied all odds regarding its success over the past twenty years or so. A veritable who's who of Hollywood has put one or more of these films down as part of their filmography, as well as several action directors. The latest is Louis Leterrier who's been part of the MCU and the Now You See Me and Transporter franchises. He was the perfect candidate to revive this struggling billion-dollar franchise. Fast X isn't the last in the franchise, but it may, in fact, be the best, and a lot of that credit goes to Leterrier. At this point, it's obligatory to mention that family has always played a part in the Fast Saga. I think everyone knows that by now. It's how much the star, writers, and directors infuse that mantra into each movie over and over again that is pretty amazing. In the past, it has gotten annoying and stale, but not this time around. The family aspects of the movie work so well throughout this two-hour twenty-one-minute action extravaganza. I cared so much about this family, I couldn't believe it. I was so invested in their story. Another thing this series of films does that has gotten old at times — except when a character like Agent Hobbs (Dwayne "The Rock" Johnson) was introduced in Fast Five — is all the cameos and guest stars. Some actors would pop up for a one-off, or they'd get brought back time and again. Take for instance Deckard Shaw (Jason Statham), Cipher (Charlize Theron), or Helen Mirren as Statham's and Luke Evans’s characters’ mother. This film might have the best villain yet, in Dante (Jason Momoa). Like all the villains in the other entries, he has an ax to grind with the Torreto clan. Jason Momoa is known as a rather serious actor. His characters in Game of Thrones, Dune, and Aquaman in the DCEU would prove that. Momoa takes a different approach to his character in this movie. He decided to go in a lighter, more comedic direction. It paid off in big ways for him and the film. I laughed constantly at his witty repartee. He just cracked me up from the first time I saw him on screen. He might have been akin to the Joker from the various Batman films, if I had to make a comparison. Whatever he was going for, he knocked it out of the park. (clockwise, from left) Letty (Michelle Rodriguez), Han (Sung Kang), Ramsey (Nathalie Emmanuel), Dom (Vin Diesel), Little Brian (Leo Abelo Perry), Abuelita (Rita Moreno), Mia (Jordana Brewster), Tej (Chris ‘Ludacris’ Bridges, back to camera) and Roman (Tyrese Gibson, back to camera) in Fast X, directed by Louis Leterrier. Peter Mountain / Universal Pictures. Gravity hasn't always been a friend of the Fast Saga — I think people would agree on that point. Cars flying out building windows into other buildings isn't mathematically logical, but we go with it because it's the Fast and the Furious. It's become the norm for this series of films to one-up itself from film to film. Yes, dragging a heavy safe around Rio De Janeiro and using it as a battering ram was one thing, but having a giant marble-shaped bomb rolling around Rome like a pinball, bashing into whatever is in its way, is completely insane in a great way. I felt like I was literally watching a giant pinball machine. It was insane, to say the least. That's just one of many incredible jaw-dropping action sequences in Fast X.
The last two Fast films were what I'd call a letdown. They lacked the enjoyment factor that the previous four films in the franchise had, which had saved this dying series. This movie had so much enjoyment factor, it was on steroids. Just when something crazy would happen, I'd say to myself “there is no way they're going to do that,” and they would do just that. I was literally beside myself with jubilation from the very beginning to the end credits of this film. I just couldn't believe how much I was invested in the characters, cameos, action sequences, and everything in between. I can't believe I'm writing this, but this is the best Fast and the Furious film to date. It's definitely going to earn a billion dollars like a few of its predecessors, and maybe even more. Vin Diesel has pretty much been the spearhead of this franchise since the beginning. Like the Jurassic Park franchise, Universal Pictures has held onto him and it as the golden goose they are — even when they laid a couple of bad eggs the last two times out. They doubled down on what has made these films great in the past, and got rid of the ridiculousness. People were making fun of how ridiculous this franchise has gotten. Should I mention they shot a Fiero into space with rockets attached to it? Probably nobody wants to be reminded of this. Family, guest actors, and amazing jaw-dropping action sequences are what the bedrock of this franchise is built on. Diesel, Leterrier, and Universal got back to basics, and it worked with flying colors. I'm astounded by how much this movie works in all aspects of filmmaking. Fast X is the best in the franchise, and they now have a lot to live up to in “Fast XX,” if that's what the next one will indeed be called. Fast X opens in theaters on May 19. Rating: 5/5 MASTER GARDENER -- Paul Schrader Tries Hard (Maybe Too Hard) To Make Something Challenging5/17/2023
Review by Sean Boelman
Paul Schrader is one of the more acclaimed screenwriters and directors working today, but he does have a few stinkers in his filmography. Still, his recent hot streak had some people confused by the mixed reception to his newest outing, Master Gardener. It’s understandable why the film has been so divisive — as Schrader has attempted to make a challenging work, and the results don’t always achieve what he sets out to do.
The film follows a horticulturist with a mysterious and dark past whose life tending to the plants is thrown askew when his boss, the owner of the grounds, forces him to take on her distant relative as an apprentice. Part moody, contemplative drama and part gritty thriller, Schrader’s newest film can’t decide exactly what it wants to be, and therein lies many of its issues. One of the big problems with the script is that it doesn’t have much of a thematic focus, instead feeling somewhat aimless. Schrader takes some huge swings — especially when it comes to the neo-Nazi redemption arc — and they almost never pay off. The film is also full of Schrader-isms: lines of dialogue that are depressed and vaguely philosophical, but don’t make a ton of sense. The fundamental problem of this film is that it is meant to be a story about forgiveness, and yet it doesn’t give the character much reason to be forgiven. We see a couple of flashbacks to the protagonist’s racist past that imply he has done some bad stuff, but the film seems to be showing him as reluctant in the first place. And what he does to redeem himself isn’t much better — as his redemption for a life of racism is just falling in love with a woman of color. It’s a bit of an odd message to be sending, especially since Schrader fails to connect point A to point B.
Like The Card Counter and First Reformed before it, the biggest strength of Master Gardener — the conclusion of Schrader’s so-called “Man in a Room” thematic trilogy — is its lead performance. Joel Edgerton is much better than the role that has been written for him, as his performance makes the character feel quiet and contemplative, rather than aloof and distant.
The supporting performances are also somewhat interesting, because they clash directly with Edgerton’s. While Edgerton stands out by radiating humanity that the character shouldn’t have had, Sigourney Weaver and Quintessa Swindell are much colder than their characters should have been. Still, Weaver in particular is a ton of fun to watch with an almost sinister turn. Ultimately, it seems that Schrader has grown more as a director over the course of these three films than as a writer. For the most part, the film is absolutely gorgeous — but it would be a travesty if it wasn’t given that so much of the film is set in and around botanical gardens. There is one CGI sequence in the film that will likely earn it some heat, but it’s little worse than the levitation scene in First Reformed. Master Gardener is undoubtedly the most Paul Schrader-y of Paul Schrader’s recent output of films, for better or worse. The script is undeniably rough, yet there is something so alluring about the film — mostly thanks to strong performances and direction — that it manages to work despite its flaws. Master Gardener hits theaters on May 19. Rating: 3.5/5
Review by Sean Boelman
Genre cinema is full of people who shoot for the moon, and Ryan Stevens Harris’s Moon Garden does just that. Moon Garden is certainly one of the most ambitious independent productions of the year, and while Harris shows all the makings of a future true visionary, his talents in the writing department need a little bit more refining.
The film follows a five-year-old girl who, after being knocked into a coma, must travel through an industrial wonderland to find her way back to the world of the living. It’s a combination of Alice in Wonderland and Pan’s Labyrinth with much more prevalent horror elements than either — but it’s arguably more effective as an experiment in aestheticism than a meaningful narrative. What’s most frustrating about this movie is that it struggles to find the balance between overtness and ambiguity. Many of the things the film has to say about abuse and trauma are compelling, but the movie’s commitment to being so expressionist often undermines its attempts to resonate with viewers. Disappointingly, the film begins to grow monotonous after a bit. Even with a 90ish minute runtime, the repetitive nature of some of the scenes does feel somewhat cumbersome. There are certainly some unsettling moments throughout, and plenty of poetically beautiful ones too, but the initial intrigue wears off soon after you are thrown into this world.
The character development in the movie is also somewhat lacking. Obviously, any viewer with a heart will sympathize with the young protagonist for the agony she is being put through. But in many ways, that agony feels somewhat exploitative — like we are being asked to pity the protagonist as voyeurs rather than legitimately connect with her.
That being said, the film makes up for its narrative shortcomings with visuals that are absolutely transfixing and some of the most creative you will see all year. The movie touts the fact that it was shot on “expired 35mm film stock,” which certainly helps the movie achieve its dreamlike look. There are also some impressive practical effects, costuming, and production design throughout. The one area in which the film does, unfortunately, begin to show its budget is the acting. The most recognizable name in the cast is Augie Duke, who has had a few recurring roles in television shows and pops up in a couple of indie genre movies here and there. Her delivery often feels over-the-top and direct for what is an otherwise mostly ambiguous movie. Young actress Haven Lee Harris is solid, but then again, the role doesn’t appear all that involved — at least not on the surface. Moon Garden is certainly a well-crafted movie in a visual sense, and it earns every ounce of respect it deserves in that regard. Unfortunately, many viewers will leave feeling something to be desired by the narrative, which isn’t quite abstract enough to be experimental, but not quite concrete enough to be riveting. Moon Garden hits theaters on May 18. Rating: 3/5
Review by Sean Boelman
The star-studded straight-to-VOD action movie is a tough genre — sometimes you’ll be pleasantly surprised with a fun time, but you’re mostly let down with a bunch of garbage. Assassin Club falls firmly into the latter category: a derivative, uninspired mess that fails to take advantage of its talent in front of the camera.
The film follows the world’s top assassin as he is thrown into a game where he is pitted against other elite killers who have been assigned contracts on each other’s heads — with the last person standing winning the sum. Of course, there’s a conspiracy to uncover, and it’s just as nonsensical as you would expect. Ultimately, the story is little more than a connective tissue to bridge one action sequence to the next, and that’s all it should have been looked at as. Unfortunately, the movie suffers from a bloated hour-and-fifty-one-minute runtime filled with a story that doesn’t make a whole lot of sense. It’s a shame, because when the film actually gets to let loose and focus on its action, it can be a decently fun time. It was never going to be a groundbreaking piece of action cinema, but it could have worked as a mildly enjoyable B-movie. The action choreography is gritty and brutal, and the quick editing and shaky cinematography are somewhat kinetic.
The thing that this film is missing that prevents it from reaching the level of fun of other “assassin world” action flicks is memorable characters. The reason people remember the John Wick villains is that they all feel unique. The most memorable calling card in this is “she likes to use blades,” which is a perfect representation of how uninspired the writing is.
It’s becoming increasingly apparent that Hollywood desperately wants Henry Golding to become the next great action star — and it just isn’t going to happen. He wasn’t bad in the Snake Eyes movie, and he tries his darndest here, but even all of his charm and swagger can’t save a character that has the personality of a wet noodle. The supporting cast also has a few recognizable names — Sam Neill, Noomi Rapace, Daniela Melchior — and of all of them, only Neill seems like he’s even having a remotely fun time here. Rapace, in particular, is frustrating because her role has all of the pieces in place that she would have needed to ham it up as an exaggerated villain, yet she doesn’t. Assassin Club is not a good movie, and it’s because too much effort was put into trying to make the story make sense. Had some of the fat been cut, and this trimmed back into a lean ninety- or hundred-minute thriller, it could have been entertaining; as is, it’s too much of a slog to work. Assassin Club hits VOD on May 16. Rating: 2/5 Review by Tatiana Miranda The Great returns with its classic humor and historical inaccuracy with Season 3 of the acclaimed Hulu series. Created by the co-writer of The Favourite, The Great has a similar satirical look at European royalty and historical figures. The Great centers around Catherine the Great as she comes to reign Russia. The latest season opens as Catherine and her recently overthrown husband Peter III deal with the actions that occurred between them in the Season 2 finale. After Catherine’s failed attempt to kill her husband at the end of the last season, the two must learn to reconcile and find a way to exist together peacefully. To do this, they begin a sort of couples therapy to work through their long list of issues. While they eventually come to terms with their situation, that doesn’t mean all of their problems are fixed. Instead, Catherine must deal with a possible uprising, raising her son, and separating friend from foe — all within Season 3. Like the previous two seasons, a fair bit of the humor in Season 3 of The Great is situational. Even scenes that aren’t likely to be construed as funny, such as character deaths and sex scenes, have tinges of dark humor throughout. Compared to earlier seasons, though, Season 3’s storyline is more dramatic and darker as Catherine is put through more hardships than ever. While the show has always had its fair share of heartbreaking scenes, Season 3 struggles to balance its humorous and dramatic moments. Part of this is due to a shocking storyline choice that happens midway through the season that leaves both characters and viewers disoriented. Although the performances are at their best this season, most of the characters — including the titular Catherine — don’t seem to be properly utilized. Other characters, such as Peter’s ex and Catherine’s assumed nemesis, Georgina, have some of the more interesting scenes and storylines this season. Georgina, following the same path she had in Season 2, is attempting to kiss up to Catherine. Her wild outbursts praising Catherine are perhaps some of the funniest scenes as this starkly contrasts her behavior from earlier in the show. Even characters in the show point out how confusing her change is, and it’s never quite clear whether her actions are genuine or not.
Peter III has also steadily become a fan favorite. Originally obnoxious and disinterested in Catherine and his position as King, he has grown to be a lovable goof who only wants to raise his son and make Catherine happy. While their relationship is extremely complicated, Catherine and Peter’s love story is one of the greatest turns the show could have taken, and it only gets more affecting as the show progresses. Season 3 of The Great is by no means the best season of the show so far, as it has its flaws — namely its disjointed tone and odd storyline choices. Along with those, Catherine’s character has also become more unlikable as the show progresses, making it hard to root for her and her reign. With the season’s semi-ambiguous ending, there’s still hope that a future Season 4 will right some of Season 3’s wrongs. The Great Season 3 is now streaming on Hulu. All ten episodes reviewed. Rating: 2/5 Review by Adam Donato Disney+ is such a strong player in the streaming wars due to their long catalog of classic films and latest blockbusters. Seldom does Disney+ put big money into a direct-to-streaming feature film that isn’t a sequel or reboot of some kind. Crater is an original film from the producers of Stranger Things. It cost just over $50 million to make, but don’t worry about the marketing budget because it’s almost nonexistent. Still, that’s a lot of money to pour into something you don’t have a lot of faith in. For Disney to quietly dump this on their streaming service, this must be a terrible movie, right? Surprisingly not! Crater is a refreshing change of pace compared to cheap shots like Peter Pan & Wendy, Disenchanted, and Pinocchio. Its strength lies in its likable group of young rebels leading the way. There’s good chemistry all around. It feels like a bunch of teens naturally riffing with one another and some of it is genuinely funny. McKenna Grace previously worked with Stranger Things star Finn Wolfhard in Ghostbusters: Afterlife. She shares most of the spotlight here with Billy Barratt and Isaiah Russell-Bailey. The two play friends on a lunar mining colony who use the girl as an opportunity to break out and explore a crater on the moon. The standout in the group is Orson Hong, who had his own musical number in John Mulaney and the Sack Lunch Bunch. It seems the Stranger Things producers were able to recapture a little bit of the magic that made them famous. This story is a whole lot of fun. It’s like when your friends would explore abandoned places. The stress of potentially getting caught. The jokes along the way. It’s truly a coming-of-age tale in space. Speaking of the science fiction element of the story, the special effects and production design are both solid. It’s a goo- looking movie compared to most live action family films. This is an extremely positive sounding review because Crater stands head and shoulders among its peers. The pre-teen demographic is the target and they’re sure to enjoy this, but it’s good enough to mildly entertain adults too. These characters, while fun, are not as memorable as peak movies in this genre like the recent It movies. Still, it’s a step in the right direction and it deserves more than Disney is marketing.
Crater is a good-time throwback to hanging out with your childhood friends. Its story and characters are relatable to youths and adults alike. With a solid cast and solid visuals, Crater is worth checking out on Disney+. Audiences vote for what they want more of with what they click to watch. This original feature is worth the risk of a lack of brand recognition. Crater is now streaming on Disney+. Rating: 3/5 Review by Tatiana Miranda Florida-native Ethel Cain’s music deals with what she knows: religious fervor in the South. Yet her music resonates with more than just the small population she is familiar with, as she even plays acclaimed festivals such as Coachella. Other pieces of media like the recent film Bones and All give a voice to the inhabitants of mid-America in a way that seems idealized yet eerie, similar to Ethel Cain’s discography. Laurel Parmet’s directorial debut, The Starling Girl, follows in this footstep, as it centers around a teenage girl living in rural Kentucky surrounded by Christian fundamentalists. As lyrics about religious upbringings flood TikTok and denim maxi skirts make a return, The Starling Girl can’t help but being incredibly meta, whether intentionally or not. While its depiction of Christianity might feel extremely familiar to those with religious backgrounds, its coming-of-age tone is applicable to almost anyone. The film opens with 17-year-old Jem Starling as she performs in her local church’s dance troupe. As she talks to her family and pastor, another woman in the church pulls her aside to tell her that she could see her bra through her top. Like how anyone who has grown up in the church would react, Jem suddenly feels ashamed and dashes out of the church to cry. This is when she bumps into Owen Taylor, the pastor’s son who has just returned from a mission trip. Owen resumes his role in the church as the youth pastor and his weird way of leading bible study catches the attention of Jem. Soon she finds herself itching to get closer to him and gain his approval. Her interest in him mixed with her courting his younger brother, Ben, signals the beginning of her romantic life and entry into womanhood. Jem’s perception of Owen starkly contrasts that of his brother. In one scene, she is disgusted as Ben talks about a sick animal he once saw. Meanwhile, she perceives Owen as caring and mature. This is all through her rose-tinted glasses, though, as his true nature comes out sooner rather than later.
Even though Parmet’s teenage years were quite different from Jem’s, as she is the daughter of cinematographer Phil Parmet, she captures the youthful infatuation and sexually repressed confusion in an incredibly nuanced way. The Starling Girl’s depiction of religious beliefs is never criticized in and of itself, but instead points out the flaws that come from the people around Jem who manipulate the religion to fit their agenda. Even Owen, who she believes is above that, routinely uses Christianity to justify his decisions. Religion is at the heart of the movie, and it would have been easy for it to take an overly critical route. Instead, it points out its downfalls but also how it provides a sense of hope and belonging for Jem. The Starling Girl is perhaps one of the most accurate fictionalized portrayals of Christian fundamentalist communities, and it does so in a way that doesn’t feel condescending or judgmental. The Starling Girl is now in theaters. Rating: 5/5
Review by Sean Boelman
Sharing its name with a 1921 silent classic by Cecil B. DeMille, Fool’s Paradise is the directorial debut of It’s Always Sunny in Philadelphia star Charlie Day. Generally uninspired, the film isn’t terrible, but it’s certainly disappointing how bland it is considering what seems to be numerous favors Day called in to get A-listers in front of the camera.
The movie follows a man off the street who becomes an accidental celebrity, only to repeatedly find himself at the wrong place at the wrong time, causing him to lose it all. It’s a premise that feels like it should be some sort of bawdy Hollywood satire a la Babylon, but Day seemingly doesn’t have much to say about modern Hollywood — which is unsurprising, given that this was in the can five years ago and things have changed a lot in that time. Given that the film has so little to say, it ends up feeling rather monotonous and uninspired after a time. The hijinks that our lovable fool stumbles his way into aren’t particularly original — with all of the usual slapstick beats getting hit. It doesn’t help that the movie can’t entirely decide who it’s for, splitting the difference between wholesome and raunchy in a confusing and unsatisfying way. For the most part, the film is focused on the dynamic between Day’s character and his publicist, played by Ken Jeong. Day clearly is attempting to channel his best Charlie Chaplin in his mute performance, but it’s an odd choice — Day’s whole gimmick tends to be him shouting loudly, after all. Jeong, on the other hand, is doing his usual gimmick, and it just feels out of place and overwhelming here.
The character development in the movie is somewhat underwhelming. The beginning of the film gives us a bit of expositional background on the protagonist and his condition before he is thrown into a series of wacky situations. Although the people he encounters along the way are pretty fun, the movie fails to effectively connect us to the hero of our story in any way.
That being said, although Day and Jeong have a majority of the screen time in the film, it’s the rest of the cast who shine. It feels like everyone else is getting to legitimately have fun in their goofy roles, while Day and Jeong are kinda laboring. People like Adrien Brody, Kate Beckinsale, and Glenn Howerton are fun to watch in their silliness. One would think that a comedic actor with as many years of experience under his belt as Day would have a great understanding of physical comedy, but that’s not really the case. The physical gags here have no energy and while they won’t cause you to cringe, they also don’t elicit much laughter. The production design also isn’t all that impressive. The only thing that manages to keep Fool’s Paradise afloat is the commitment of the supporting cast, most of which is enjoyable to watch here. Charlie Day is certainly a talented comedic actor, but he’s made a directorial debut that completely fails to take advantage of his skills. Fool’s Paradise hits theaters on May 12. Rating: 2.5/5 |
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