Before we jump into the ring for Round 2 of "Late-Night Boredom Reviews," I'd like to thank all of you who took the time to send complimentary texts and emails about Volume I. I promise to keep the movie reviews coming, as requested.
In addition, as we move forward, I'll keep Power Rankings at the bottom of each post. Hopefully I'll be able to recommend some films worth your time.
No superhero films from me...I'm sorry.
10 CLOVERFIELD LANE (2016)
10 Cloverfield Lane is a film I wanted to see since the release of its initial trailer because the mystery elements of the plot were instantaneously intriguing. Everyone likes twists and big reveals, right?
The immediate questions that popped to mind were why is Howard (an unpredictable John Goodman) keeping Michelle (Mary Elizabeth Winstead, in "Final Girl" mode) and Emmett (a better-than-usual John Gallagher Jr.) captive? And is there really a catastrophically apocalyptic event going on outside Howard's secluded, rural "safe house"?
10 Cloverfield Lane answers those essential questions, but takes its time getting there. I really wanted to like this movie going in, so I have to keep those tilted preconceptions in mind as I review the film. Little-known director Dan Trachtenberg -- who received a major opportunity here from powerful producer J.J. Abrams -- does a nice job perpetuating the thought, what exactly is going on? throughout the proceedings, but I'm not sure his film lives up to its 90% score on Rotten Tomatoes. I saw this movie a couple of months ago, and the question that continues to nag me is do I want to watch 10 Cloverfield Lane again?
And at this point, I'm pretty sure the answer is no. The underlying problem with screenwriters Josh Campbell and Matthew Steucken's setup is that we're constantly wondering about what's going on outside of Howard's home, instead of being engaged by what's going on inside. That doesn't make for a good ratio when 95 percent of the plot takes place inside.
Goodman keeps us guessing in his showy role -- is he a misunderstood hero who saved two young people from certain death, or a twisted sicko in desperate need of some company? -- and Winstead and Gallagher are both good, but I didn't particularly care for the screenplay or its pacing.
Some of its saving graces are sort-of subtle nods to Stephen King's Misery and The Shining, Alfred Hitchcock's uber-famous Psycho and horror-fan favorite, Saw. Abrams is a seasoned industry vet with vast and detailed knowledge of the horror/suspense genre and it shows, especially in the first third of the film, when three of those references take place.
All aspects considered, 10 Cloverfield Lane has an interesting premise and a few surprises, but Tasha Robinson's analysis of its subtext is more consistently interesting than the film itself.
** JOHNNY FRO'S RATING: 7 out of 10 **
And at this point, I'm pretty sure the answer is no. The underlying problem with screenwriters Josh Campbell and Matthew Steucken's setup is that we're constantly wondering about what's going on outside of Howard's home, instead of being engaged by what's going on inside. That doesn't make for a good ratio when 95 percent of the plot takes place inside.
Goodman keeps us guessing in his showy role -- is he a misunderstood hero who saved two young people from certain death, or a twisted sicko in desperate need of some company? -- and Winstead and Gallagher are both good, but I didn't particularly care for the screenplay or its pacing.
Some of its saving graces are sort-of subtle nods to Stephen King's Misery and The Shining, Alfred Hitchcock's uber-famous Psycho and horror-fan favorite, Saw. Abrams is a seasoned industry vet with vast and detailed knowledge of the horror/suspense genre and it shows, especially in the first third of the film, when three of those references take place.
All aspects considered, 10 Cloverfield Lane has an interesting premise and a few surprises, but Tasha Robinson's analysis of its subtext is more consistently interesting than the film itself.
** JOHNNY FRO'S RATING: 7 out of 10 **
BAD MOMS (2016)
Bad Moms was peddled by an unusual marketing campaign; one quite contrary to the film's defining tenets. Yes, at one point Amy (Mila Kunis) convinces Carla (Kathryn Hahn) and Kiki (Kristen Bell) to be "bad moms" with her, but they never actually deliver on that pact. Even the stuck-up bitches, Gwendolyn (Christina Applegate) and Stacy (Jada Pinkett Smith), are good moms in this movie. The only one who teeters on unfit is Carla, and even she has her merits as a funny, foul-mouthed single mom who doesn't take shit from anyone.
So, when you watch Bad Moms, you'll quickly begin to realize that it's really about good moms who need an occasional break from the frenzy. Working full-time jobs, rushing the kids to school, keeping everyone fed and wasting precious time at painful PTA meetings -- they may sound like cliches, but directors Jon Lucas and Scott Moore put them up on the big screen, and they scare the shit out of us.
How do moms do all of this, and somehow manage to keep it together? It truly is amazing. Sure we live in an evolving American society where stay-at-home dads are popping up here and there, but let's be real -- mom is still carrying the load in most families. Forget about TV and movies; how many stay-at-home dads do you personally know? My grand total is zero.
Bad Moms is a really good movie with many strengths, but its greatest strength is undoubtedly its cast: Kunis is so natural and likable in the everywoman lead; Bell is adorable as a cheerily submissive and sheltered mother (it's funny how she has transitioned from sexy parts in Forgetting Sarah Marshall, Couples Retreat and Burlesque to more wholesome roles since becoming a mom in real life); Hahn is as over-the-top and hilarious as ever, and David Walton (as Mike, Amy's soon-to-be ex-husband) and Jay Hernandez (as Jessie, a widower and her refreshing new love interest) are both effective in the movie's only significant male roles.
Kunis, Bell and Hayn have wonderful chemistry and comedic timing as a trio, and Walton and Hernandez are both good fits for Kunis. Walton plays a total douchebag who still manages to be funny at times, and we really root for Kunis and Hernandez when the romantic sparks begin to fly. Any real woman would say Jessie is too good to be true, but we want Amy to have him because her home life is such a friggin' whirlwind. This woman needs to exhale.
As the movie progressed and I found myself continuing to agree with most of the screenwriting decisions, I decided to research the scribes. Boy was I surprised to find that directors Lucas and Moore also wrote their material.
Why is that surprising? Because these are the guys who wrote The Hangover.
Not exactly who you were expecting, right? Bad Moms is extremely fair to women and astutely understanding of their unequal burdens as modern-day mothers; whereas The Hangover's primary female characters are a prostitute (Heather Graham) and a stone-cold bitch (Rachael Harris). Upon The Hangover's release and subsequent smash status, its detractors pounced on its raging misogyny.
Are Lucas and Moore trying to "write" past wrongs here? Or are they simply more versatile and open-minded than haters initially thought?
I think the latter. Check out Bad Moms -- it's a nice movie for both women and men, with some laughs and a universally relatable message. The interview sequence during the closing credits is particularly touching. Make sure you watch all the way to the end.
** JOHNNY FRO'S RATING: 9 out of 10 **
Late-Night Boredom's Completed Rankings:
1. Bad Moms (9/10)
2. The Shallows (7.5/10)
3. The Night Before (7/10)
4. 10 Cloverfield Lane (7/10)
5. The Walk (7/10)
Reviews to Come...
Nerve
The Hateful Eight
Mike and Dave Need Wedding Dates
How to Be Single
Basquiat
Deadpool
A Perfect Murder
The Revenant
Joy
And more...
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