Plenty of laugh-out-loud moments in a movie packed with solid
material, seamless plotting, characters you’ll care about and
some twists and turns you won’t see coming. Good to see that
someone still knows how to construct a funny movie that can
deal with topical issues without indoctrination.
RED NOTICE (2021)
Internationally infamous art thief Ryan Reynolds is caught by
FBI agent Dwayne Johnson, but both fall prey to Gal Gadot,
another internationally famous art thief. And a series of fights,
chases, escapes, more fights, more chases, more escapes
follow for the next two hours before Netflix mercifully suggests
It's not enough that the streaming service uses algorithms to
determine your tastes, Netflix has now allowed their AI to write
a movie, and this is the result.
And the end product is a movie in which Reynolds and
Johnson play characters they’ve played before and say things
they’ve said before and do things they’ve done before in
service of a tired, contrived, simple-minded mess of a buddy
flick. The characters live a life without consequence as they
are beaten, blown-up, concussed and fall from great heights
without the slightest harm. If the MCU was a germ that sent
Hollywood down this dead-end road, this movie is the corona
There is not a single original exchange or line of dialogue in
this movie. The characters all speak in the same voice as if
they’re at a production meeting. Worse than that, it’s like the
notes on the script found their way into the actor’s mouths as
though mis-typed on the final draft by an inexperienced studio
The cast exists inside a bubble with no interaction with the real
world. There’s no sense of a larger universe. I suppose giving
life to anyone other than the five main characters proved
problematic for the limited abilities of the program that came
up with this. This claustrophobic effect in the writing is
heightened by the painfully obvious use of greenscreen and
CGI effects that fail to convince. (Hint to filmmakers: stop
trying to fool us with those phony lens flares until you figure
out how to do them)
To call this movie a train wreck is an insult to the old Ninety-
seven. At least train wrecks
are exciting and surprising.
THE TRIP (2021)
It’s on Netflix.
Soap opera director Aksel Hennie plans what he believes is
the perfect crime. He’s going to murder his wife during a weekend trip to the
family’s summer cabin. Unfortunately for him, his wife is Noomi Rapace who,
film fans know, is virtually unkillable. Things go sideways, pear-shaped and
ass backwards in a big hurry.
The kind of movie no one makes here anymore. What starts out
as a dark comedy gets grimly serious it the second act and winds up being a satire
on the state of current entertainment. Oddly, though essentially a bloody and
hyper-violent horror action flick, this movie follows the same basic plot development
as Preston Sturges’ SULLIVAN’S TRAVELS, the only other movie I can think of
that starts as a comedy, leaps to suspense film/tragedy in the second act and
comes back to offer a timely observation about human nature and the arts.
But, like I said, it’s a bloody romp. Slickly made and highly suspenseful with lots of highs and lows for the characters and a bitterly satisfying conclusion. And, once again, Rapace does her best to maintain her title as most physically abused woman in cinema history.
THE PRESIDENT’S ANALYST (1968)
THOSE WHO WISH ME DEAD (2021)
Angelina Jolie is a smokejumper assigned to a remote
watchtower in the Montana wilderness. Her lonely days are livened up by the
arrival of a little boy with two killers on his back trail and an approaching
A pretty darn good action drama with some moments of high suspense
and a pair of truly despicable villains. Angelina’s proven her action star
chops in the past and doesn’t disappoint here or, more importantly, doesn’t engage
in the kind of superheroic antics that have infested the genre.
Written and directed by Taylor Sheridan, it seems to be his foray
into action flick territory. While good, it’s very much inferior to his earlier
efforts like the two SICARIO movies, WIND RIVER and the YELLOWSTONE TV series.
And the MacGuffin, a hastily scribbled note containing information dangerous to
some powerful people is of of step with the times. The idea that a little boy
carrying around a piece of paper that could bring down a government or
corporation is beyond naïve in a world where a laptop filled with information incriminating
the president of the United States and his family is treated like a
Still, one of the better thrillers I’ve seen recently with
some impressive set-pieces and a good cast.
An on a side note, does Sheridan love or hate Jon Bernthal?
The guy gets put through the grinder in every movie the director makes.
Dennis Hopper plants a bomb on an LA city bus that will go
off if the bus slows below 50 mph. It’s up to courageous Keanu Reeves and perky
Sandra Bullock to keep the bus at speed until a solution can be fond to save
the passengers from going boom.
This crowd-pleasing thriller still works after all this time.
The earnest performances, fast pace, masterful editing and the entirely
CGI-free effects help lift this above the endless spate of DIE HARD knock-offs
the studios churned out for ten years following the events at Nakatomi Plaza.
Hopper is creepily effective as a psychopath with a twisted
worldview and warped sense of entitlement. Reeves is properly heroic and
self-effacing. But the standout here is Bullock providing humor and heart into
what could have been purely a shrieky victim roll. This is the movie that made
Sandy a star and where audiences first fell in love with her. I recall seeing this
at a packed house multi-plex and her effect on the audience was palpable as she
drew laughs and cheers from all.
The only flaw in the flick is the obviously tacked-on ending
that takes place after they finally get off the bus. We’re “treated” to the
kind of one-liners Stephen DeSouza might inflict on us as well as expected to believe
that disabled Dennis Hopper could hold his own against Keanu Reeves atop a speeding
subway car. But, by the time the movie turns silly, we’re all too giddy to
question what happens next.
Still, I’d much preferred to see Hopper go down in a hail of
bullets from the SWAT team than the ludicrous series of events that close out
this solid actioner.
THE GUILTY (2021)
It’s a Netflix thing.
Jake Gyllenhaal is a cope working overnights as a 911 operator
while on probation for a shooting incident. At his rope’s end in his persona
and professional life, he gets too involved in a woman’s call for help risking
all involved as he responds to the mystery voice.
This was a tough one to pull off on so many levels. The movie
primarily takes place in the LAPD call center and Gyllenhaal is on screen for almost
the entire running time. It’s essentially a one-man play though there are few
ancillary characters. But the most important members of the supporting cast are
the characters on the calls. Obviously, the lead actor carries a movie like
this on his shoulders and Gyllenhaal is more than up to the task. Thanks to his
performance, the movie is riveting beginning to end.
On the writing side, it’s quite a task to make a story like
this compelling but the work here is superior, and we’re drawn into the story
even though we only experience much of it through voices over a phone line. The
reveals are well placed and presented without contrivance. They are also played
out in such a way as we begin to get a really bad feeling about where things
are going long before Gyllenhaal’s character begins to realize he consequences
of his actions.
STARSHIP TROOPERS (1997)
Earth is in danger of annihilation from a distant planet
populated by an insect race. Johnny Rico and his school friends enlist to go to
space and face the alien threat head-on.
This is the rare film that works as a parody, a pastiche and a straight-up
badass action extravaganza all at the same time. Paul Verhoeven set out to make
a movie that simultaneously glorifies and mocks fascism and the military. What
makes it work is that he allows both sides of every argument to establish their
points logically and earnestly. I mean, you can be appalled by Michael Ironsides’
stated world view or be nodding along. This is much the same approach that Stanley
Kubrick took in DR, STRANGELOVE; presenting opposing views while not telling
you how to think about each even though he filmmaker’s point of view was clear.
All that said, though clearly a pastiche, all care is taken
to give the movie a clear, compelling through line, a logical (if often
coincidental) series of events and a cathartic ending meant to evoke a wide and
varied range of emotional responses from viewers. The cast is terrific as they fearlessly
lean into the cartoonish aspects of their characters. The end result is that we’re
drawn into their lives despite the fact that their characterization is as thin
as the ensemble in an Archie comic.
And Verhoeven delivers on the action in spades. This is the
mankind versus aliens movie I’ve wanted to see since I was eight and no one’s
yet topped it even though there’s some excellent efforts in recent years.
Sidenote: I saw this in the theater with my buddy Flint
Henry who was not a STAR WARS fan because that franchise didn’t have enough
nudity or gore. I’m cleaning up his actual remark here. As the end credits
rolled on STARSHIP TROOPERS I turned to him and said, “This is your Star Wars.”