A lifelong feud between two neighbors since childhood only gets worse when a new female neighbor moves across the street. (IMDb)
Lemmon and Matthau have good chemistry, but the titular schtick gets, well, old pretty quickly, and kind of weird when it gets intense and you’re not sure if you should laugh or not (see Max going crazy at the ice fishing spot). Meanwhile, the romance plot is silly (Ann-Margret overacts) and the ending is terrible (where’s the comedy in her actually choosing one of them? And how was the other just A-okay with it?). Also, I’ve never hated a soundtrack more (“I’m Too Sexy” made it automatic).
When a group of hard-working guys find out they’ve fallen victim to their wealthy employer’s Ponzi scheme, they conspire to rob his high-rise residence. (IMDb)
Why would they have to sneak past the very hotel workers that they plan to give the spoils of the job to? This and many other plot holes riddle this half-assed heist flick, so while the vicarious pleasure of Robin Hood-esque stealing is still there (see when Mr. Malloy sees his car is missing) it never lasts for long (surely a car made of gold would be too heavy for an elevator). Mediocre characters and scant humour (Murphy’s wild Slide is probably the highlight) don’t do much to help.
An eight year-old boy genius and his friends must rescue their parents after the adults are abducted by aliens. (IMDb)
The late 90s pop soundtrack is a little lame, and the charmingly ridiculous plot (the wild “no parents!” party is an early highlight) does occasionally push the limits (see Jimmy converting numerous amusement park rides into spaceships within what seems like 15 minutes) but the lively one-liner humour stemming from the hilariously voiced oddball characters (from slow sidekicks Sheen and Carl to oblivious Mr. Neutron and the wacky alien villains) never lets up and keeps the film a fun ride.
Flint Lockwood now works at The Live Corp Company for his idol Chester V. But he’s forced to leave his post when he learns that his most infamous machine is still operational, and is churning out menacing food-animal hybrids. (IMDb)
Amped-up animation featuring the fantastically imaginative foodimals (the accompanying puns were a delight as well) keeps this thing afloat in spite of the generic and painfully predictable plot (the left-hanging dad neglect thread probably would have been more interesting; the environmentalist sub-theme that came to a head in another wacky climax certainly was). The main characters lost a little of their luster, but Chester V was a pretty funny addition (see his super bendy arms).
A local scientist is often regarded as a failure until he invents a machine that can make food fall from the sky. But little does he know, that things are about to take a turn for the worst. (IMDb)
The “frustrated young adult failure with big dreams and a disapproving dad” opening act is generic, but sharp humour keeps it engaging (see Flint’s “saying what I’m doing!”) and a wild second half makes up for it, with its fantastically animated food action (see especially the meatball mission) and emotional climax (see dad, translated) as potent as the barrage of self-aware (“The disaster seems to be hitting all the major cities first”) and wacky (see macaroni head) hilarity leading up to it.
A punk rock band is forced to fight for survival after witnessing a murder at a neo-Nazi skinhead bar. (IMDb)
Like an underground punk rock band, it’s full of grisly, violent riffs, sweaty people losing themselves in the emotion of it all, and writing that’s maybe a little rough around the edges. The attack then retreat to green room formula works well though, while still managing to surprise you at points, and the cast of villains led by a chilling Stewart is definitely creepy, if maybe a little over-the-top. Hard to watch, but only because it’s so effectively crafted and disturbingly unflinching.
7.5/10 (Really Good)
Rey develops her newly discovered abilities with the guidance of Luke Skywalker, who is unsettled by the strength of her powers. Meanwhile, the Resistance prepares for battle with the First Order. (IMDb)
It was the cons I was thinking about when I left the theatre–the jumble of rollercoaster plot threads and tones, the bloated run-time, the sometimes cheesy dialogue (“Every word in that sentence was wrong”)–but it’s the pros that have been popping up for me ever since: The fantastic female representation, the fascinating relationship between pro- and an-tagonist, and the bold (often fourth-wall) subversions of tradition and expectations (see Yoda’s lightning, Poe’s humbling, Rose’s save).