Works well as a rain-soaked, chilly/ing to the bone thriller; Lou is badass (see her shoulder pop-in and “Fuck!”), the violence is brutal (see the cabin fight), the villain is frightening, and the cinematography and music are both excellent (see the haunting opening sequence). It falls apart, unfortunately, when it overcomplicates things with a lackluster twist, puncturing the cool air of mystery around the central character and muddying up the climactic third act with tons of exposition.
A desk-bound CIA analyst volunteers to go undercover to infiltrate the world of a deadly arms dealer, and prevent diabolical global disaster. (IMDb)
A forgettable plot is saved by its fresh and funny characters that subvert the spy genre’s typical line-up by poking fun at the alpha male (Statham’s satire is gold–see his hilarious boat farewell) and putting the females at the forefront, with Byrne as the ridiculous villain and McCarthy (still with her usual arsenal of great vulgar one-liners) as the unassuming desk worker who’s actually super smart and bad-ass. Surprisingly awesome action is also notable (see Susan’s kitchen fight with Lia).
Faced with an unplanned pregnancy, an offbeat young woman makes an unusual decision regarding her unborn child. (IMDb)
For all of the film’s briefness, the characters have remarkable depth–the most surprising being the supporting Bateman and Garner’s cool but flaky Mark and uptight but sympathetic Vanessa. Their shaky marriage adds an intriguing layer of drama to the already witty yet genuine teen pregnancy/love storyline, featuring the awkward but gentle Cera and the offbeat quick-talking Page, and dressed with a quirky screenplay and an ever present soundtrack both cutely whimsical and sugary sweet.
After losing her job and learning that her husband has been unfaithful, a woman hits the road with her profane, hard-drinking grandmother. (IMDb)
McCarthy is the only highlight here; her trademark blend of self-deprecating slapstick and decidedly “unfeminine” and unaware mannerisms produces lots of laughs throughout. Elsewhere, Sarandon is awfully awkward and forms a terribly miscast three generations of women with Janney and McCarthy. The rest of the oddly stacked cast flounders amidst the film’s weak attempt at being a romantic dramedy, with its contrived storylines and insubstantial characters. Some good comedy here but not much else.