Clever lil’ goobers Phoebe and Podcast are incredibly endearing, and so is Paul Rudd’s lil’ Grooberson, and Wolfhard’s got his goofy teen thing going, and there’s gooey and hilariously homicidal marshmallows too, and ghosts and gunner seats, and it’s all just gobs of fun, though the character and setting-setting up first half works better than the second, where it feels like the all the good character work gets possessed and discarded by nostalgia and cameos and a big end-of-the-world plot.
The discovery of a massive river of ectoplasm and a resurgence of spectral activity allows the staff of Ghostbusters to revive the business. (IMDb)
The fall from grace and quick rise back to it feels as contrived as it did in the first movie, but the pink slime plot following this is quite enjoyable in its investigation/teamwork angle (the ‘busters are always better together) and “positive emotion” climax. Venkman still slips in some misogyny here and there but it’s mostly overshadowed by the film’s good smattering of quirky comedy elsewhere (Louis’ opening statement was a riot: “Because one time, I turned into a dog and they helped me”).
Three former parapsychology professors set up shop as a unique ghost removal service. (IMDb)
I mean, it’s alright. The original trio have a good amount of chemistry together (Ramis the nerd, Murray the deadpan cool guy, Aykroyd the straight man) but on his own Murray’s schtick gets misogynist and tiresome real quick. Plot-wise, their rise to success feels too sudden and honestly, it’s way more enjoyable early on when they’re down-on-their-luck underdogs. The wild apocalyptic elements contrast nicely with the crew’s dry, down-to-earth vibes but highlight some terrible visual effects.
Maxwell Smart, a highly intellectual but bumbling spy working for the CONTROL agency, is tasked with preventing a terrorist attack from rival spy agency KAOS. (IMDb)
A few standout funny bits (I nearly cried laughing at that perfect in-tree cameo), a few standout not-funny bits (the fat jokes and xenophobia didn’t sit well), but mostly just a breezy and easily-consumable action comedy with a unique lead (Carrell’s dry delivery really works well with a character that’s sometimes the butt of the jokes, and sometimes making the jokes), good central odd-couple chemistry, and solid action sequences. Bonus points for the pacifist conflict resolve on the rooftop.
Set in Japan, Isle of Dogs follows a boy’s odyssey in search of his lost dog. (IMDb)
Awe-inspiring animation, as expected, with an amazing attention to detail (petals on noses, fur blowing in the wind), breathtaking landscapes (see the journey montages), a variety of unique shots (see the shadowy discussion in the bottle cave), creative storytelling devices (see the split-screens), and fun flourishes (see the sushi-making). A welcome surprise is the engaging hard-boiled political drama added to Anderson’s typically quirky comedy (the gossiping goofy alpha dog pack is great).
A weatherman finds himself inexplicably living the same day over and over again. (IMDb)
Starts off as a funny (thanks to Murray’s signature dry wit) but standard comedy as the characters are introduced (Larry is a classic comic sidekick) and the premise is milked for the easy surface-y/hedonistic humour. But as the day continues to repeat itself (the repeated settings alternate nicely) it takes on surprising dramatic weight as Phil moves through different stages of dealing with his (smartly unexplained) predicament (see his climactic interaction with the homeless man).
7.5/10 (Really Good)
Two friends who are dissatisfied with their jobs decide to join the army for a bit of fun. (IMDb)
Thanks largely to its tried and true “ragtag team of misfits” trope (gotta love Candy), this has its moments (see the platoon’s unimpressive obstacle course run, unconventional graduation drill routine, conflict with uptight captain), but leads Ramis and Murray’s cocky slacker schtick is annoying more often than funny, and their tangential exploits are the same (their flirtations–not to mention the unbearable mud wrestling scene–reek of misogyny, and the trip to Czechoslovakia was just silly).
As the extremely withdrawn Don Johnston is dumped by his latest woman, he receives an anonymous letter from a former lover informing him that he has a son who may be looking for him. A freelance sleuth neighbor moves Don to embark on a cross-country search for his old flames in search of answers. (IMDb)
On one level, a thoughtful camera with an eye for capturing the beauty in every detail of the mundane mixed with the script’s scattered quirkiness makes accompanying Murray’s melancholy Don on his cyclical journey across America and back to visit various ex-lovers a uniquely cozy experience. On the other hand, the story’s refusal to dig deep, wrap up, or at least piece together even slightly any of the otherwise interesting parallels and “clues” from each visit make it frustrating in the end.
Wallace Ritchie is mistaken for a spy and must stop a plot to assassinate international leaders at a banquet. (IMDb)
The humour is mostly just from that one note of dramatic irony, but Murray’s consistent charm as the oblivious wannabe actor Wallace (“Please don’t call me by my real name, it destroys the reality I’m trying to create”) and a wide variety of escalating situations in which he unknowingly and hilariously vanquishes his enemies (maybe it was just the goofy hat, but I was in tears during the entire banquet scene) keep it fresh and funny all the way til the end. A simple but effective comedy.
A faded movie star and a neglected young woman form an unlikely bond after crossing paths in Tokyo. (IMDb)
Just a hug would have been better, but aside from that and a few other missteps in the final act (the singer sleepover came out of nowhere), it’s the ultimate in soothing cinema, thanks to its down-to-earth script that manages to capture all the beauty (and often humour) found in the mundane things of hotel/tourist life and friendship (see the falling asleep while talking scene). Solidly acted and remarkably edited and scored, it’s a marvel of refreshing authenticity (see the first night out).