Guy Who Hates Movies reviews: Power Rangers

What in the Mighty Morphin’ fuck is this?

What in the Mighty Morphin’ fuck is this?


If the title of my blog hasn’t tipped you off yet- I’m not the most optimistic guy when it comes to Hollywood. I typically think they’re going to operate in a self-interested, if not predictable fashion, and I have a theory that you could probably mathematically calculate exactly what their next movies will be with the right data. That being said, when I heard they were rebooting the Power Rangers, I thought they were taking the piss. I assumed the trailer was just one of those fanmade videos where they snip a bunch of footage together from various movies, with precise placement of audio from the original show to make it seem authentic. I was wrong. After I realized it was legitimate, I hoped they were just making a silly reboot- a grade-A campfest akin to Adam West’s Batman show from the 1960’s. I was wrong about that, too.

So here we are, in 2017, with the umpteenth fucking dark, gritty reboot of an American remake of a Japanese show that had American actors spliced into it between Karate fights, that nobody asked for. This, of course begs the question: just who the hell is this movie for? It’s rated PG-13, so only the cool parents will be taking their kids younger than this to see it. It contains a joke in the first 5 minutes about jerking off a bull (seriously), and there’s some occasional swearing in it. “Shit” is uttered at least once.

I would naturally assume that this is targeted at older millenials- 20 something’s who grew up with the Mighty Morphin’ Power Rangers show in the 90’s. However, that show was silly, campy, fun, corny, over-the-top, and featured a pre-Breaking Bad-fame Bryan Cranston. Is this an attempt to grab a new generation of kids firmly by their prepubescent necks? Is it simply an effort to dip back into the wallets of the older millenials who grew up with it? If either of those are true, they sure did a hell of a job hiding it amidst all the gritty, grounded realism in a movie about rainbow-colored ninjasuit teenagers fighting purple ooze monsters in between lunch period and Language Arts. In case you need a refresher, this is the series they’re rebooting:

 

Now for the movie itself. Power Rangers is essentially the same core premise as the show: 5 teens with a ‘tude stumble upon an ancient spaceship belonging to Zordon (played by Bryan Cranston’s naked ass in heavy blue makeup). While initially reluctant to play nice with each other, they must learn the value of friendship and teamwork-  for alas, they are but teenagers with attitude. Unfortunately, it’s an hour and forty-five minutes into the movie before we ever witness them don their suits. They spend the first 100 minutes having their run-of-the-mill, done-to-death superhero origin stories set up and squabbling amongst themselves about just who gives the least amount of fucks.

The first 80% of this movie is insufferable garbage, if I’m being honest. The set up is essentially The Breakfast Club– the star football player can’t stop fucking up, so he’s placed into detention with your everyday, athletic, funny, witty, charming, genius… loser outcasts! All but the Red Ranger are social outsiders, dealing with super heavy issues: Pink is a pariah who sent a nude text of her “friend” to a guy, then punched him in the face, so she cuts a bunch of her hair off in the bathroom- how rebellious! Blue is a picked-on nerd, who confesses that he’s “on the spectrum”, and therefor doesn’t understand humor or social interaction (first The Accountant, now the Blue Ranger…go go Super Autism Team!). Black is a squatter who spends most of his time doing karate in the local mining quarry and taking care of his dying mother. Yellow is a punkass girl with a “go fuck yourself” attitude who is definitely the least excited about the prospect of teaming up with these other kids.

All of this would be totally fine if it were confined to the first 45 minutes or so of the movie. Unfortunately, at 90 minutes into the movie, when you’re listening to a highschooler drink beer around a campfire and confess to her being gay- you start to wonder when they’re just going to shut the fuck up and karate kick something already. As it stands, the young actors portraying the Rangers are…fine. Their annoying bickering and trumped-up teen attitudes gets pretty tiresome after an hour, but that’s mostly the fault of the script. The acting is okay, for what it is.

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And then…there’s Elizabeth Banks as the villain sans-eyebrows. In an inexplicably confusing turn of events, she appears to be acting in an entirely different movie than the rest of the cast. What starts out as a villain portrayed as a horror movie monster soon devolves into the camp and silliness that you would expect from a Power Rangers movie. Unfortunately, she didn’t get the memo that literally no one else is doing that.

While the kids are set up to be grounded, realistic portrayals- Rita Repulsa slurps down gold jewelry like soba noodles and cocks her head inquisitively like a fucking Cocker Spaniel, grunting and squealing all her lines as if a Power Ranger punted her in the taint. Also, she murders four people while the kids are having their campfire bonding sesh.

Obviously, this makes for an extremely confusing clash of tones. This movie is all over the place. It can’t decide whether it wants to be The Breakfast Club meets The Avengers, the Power Rangers meets The Ring, or just a two-hour long Krispy Kreme commercial. Oh yeah, I nearly forgot- this movie has the single largest product placement deal I think I’ve ever witnessed. I’m not kidding. No less than 20 minutes revolves around it. Just how big is it? Well, a Krispy Kreme store is actually integral to the fucking main conflict. Oh, and Bill Hader voices the comic relief.

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In the end, Power Rangers spends so much time trying to be so many different things at once that it forgets to actually be fun. By the time they finally “earned” their armor, I was so long past checked out- I was fucking overdue. Making matters worse is the fact that you’ve already seen the suits if you’ve seen the trailer.  They spend one dissapointing fight sequence battling CGI rock-monsters in their armor for maybe 3 minutes, before scrapping that and hopping into their Zords. There’s no fun experimentation sequence in their vehicles; they just hop in and get right to it. After all the gritty, emotional set up, the Mighty Morphin Power Rangers theme song, complete with steel guitar plays as they jet around for a few minutes in their brand new alien Ferraris. I mean…why? It feels like an afterthought- like they shot all of this at the end, realizing only too late that they now had to wrap this thing up, like…now.

Truthfully, I went into Power Rangers cautiously optimistic, and with an open mind. I do think that had they stuck to one specific tone, it would have been just fine. Dare I say, it may have even been enjoyable. As it stands, however, it feels a lot like Elizabeth Banks trying to be a method actor and stay true to the cheesy-ass source material in a movie that wants to be Batman Begins. I genuinely don’t understand who this movie was made for. If you’re like me, and you’re tired of seeing the bottom of the barrel being scraped for gritty, realistic reboots, then we need to take a stand. We have to stop paying these studios to shit out polished turds every year around summer.

You Should See This Movie If: You’re one of those nostalgia suckers who waits in anticipation with their wallet out for anything even vaguely resembling something from their childhood (Ooh! Biker Mice From Mars is getting a movie? Where do I pay?)

You Shouldn’t See This Movie If: You ever want to see another original film made.

 

FOUR THUMBS DOWN

 

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An open letter to Hollywood, from a Guy Who Hates Movies

The First Step is admitting you have a problem.

Take a seat right over there, Hollywood. We’re all here because we love you.


Hey man, it’s me. I know we haven’t been close in quite some time. We’ve both been busy with our lives, but I’ve been following your work from a distance for a while now, and it’s obvious that you’re currently going through some heavy stuff. When we were younger you were funny, original, artsy, clever- you were the coolest dude around. Everyone looked forward to seeing you; you made us laugh, made us cry, wow’ed us with your awesome stories, blew our minds with clever twists, impressed us with your unique special effects. Sure, you put out the occasional Marketing Campaign Movie for a toy-line, or a garbage romantic comedy, but at the end of the day you actually cared about quality entertainment. You were willing to try new stuff, and because of that we ended up with a bunch of movies that everyone now considers classics- The Greats.

Look man, I get it. It must tough- you crank out a couple thousand of these movies and eventually you’re bound to get a bit cynical and nihilistic. “Who gives a shit about originality? All these idiots want is the same thing repackaged over and over again. I’m not taking any more risks on something new and losing my investment”, I can hear you saying. I understand that the consumers are partially to blame- after all, they’re the ones who keep paying to see reboots and retellings and prequels and sequels and formulaic bullshit. Lately, however, you’ve been getting a bit out of control. Y’know, you experiment a little bit with a couple of really fun, seemingly harmless things. It pays off alright for you, so you say “Alright, just one or two more times, and then that’s it.”

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“Y’all got any more of them reboots?”

It’s never quite that simple, is it? The high is too good, and at first nothing bad comes of it- so you come back to it a little more often. Initially it’s easy and safe. “It’s no big deal, I’ll just go back to writing original screenplays in a couple weeks. For now I’m just cutting loose a little.” Right. 

I remember vividly the first time I saw you do it. I was 10 years old, the year was 1999. I looked up to you, hell I even admired you. In my eyes, you could do no wrong. I came into the theater wide-eyed with anticipation, excited beyond belief. A beloved franchise that I grew up with was being continued, and their origin stories were about to be told! However, even as a young boy, I knew something wasn’t quite right. While I was too young to identify exactly what was happening, I still felt a bit dirty and uncomfortable. It was the cinematic equivalent of being violated. Maybe you remember that day- it was still pretty early on in your “experimentation”.

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Look at it. Don’t look away, I need you to see this.

At first, things were pretty okay. I didn’t mind too much, my love for Star Wars outweighing any disappointment I may have had. You may not have been proud of what you did; in fact, at the time, you may have even thought that you were doing the right thing. For a couple more years, things were alright. You still kind of had your shit together, but alas- the high was too appealing. Then in 2003, you did this:

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That’s the mustache of a Date Rapist if I’ve ever seen one.

I can already hear you saying “Hey, come on! What’s the big deal? It was a fun, lighthearted retelling of a classic heist film! It didn’t do too bad!” You already had a taste for the high, and it was starting to become more appealing than real work. The kids love a good heist movie, and all the Baby Boomers would be sure to flock to theaters to watch this remake of a classic from their adolescence. Unfortunately, “not too bad” started to become your goal. A safe bet started to become preferable to originality. After all, $176 million sure “wasn’t too bad” for the early 2000’s.

But there’s another atrocity I’ll bet you think I don’t remember from around the same time. Oh, but I do. Kids are impressionable and receptive, after all. After the success of The Mummy (which itself was an, albeit loose, remake of a 1931 movie) and The Mummy Returns, you thought you’d return to the pond a little bit to drink from that sweet, sweet spinoff money. You grabbed a professional wrestler who was vaguely brown and might pass as a Movie Egyptian, and off you went.

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Look at it. Look at it!

C’mon man. These days, I hardly even recognize you. You’ve been spending a ton of time with Adam Sandler, David Spade, and Kevin James. We’re tired of hearing “I know what I’m doing! It’ll be okay!” We’ve heard it all before- every excuse in the book. I know how it is, you hit a little bit of a midlife crisis- all your kids are considered classics & are out of the house, and you’ve been running around with all these supple, young reboots. I know that a string of meaningless flings with attractive young reboot characters seems appealing, but I promise it’s more rewarding to pursue a fulfilling relationship with a quality, original character.

Lately, Hollywood, it seems like you’ve lost your passion for creativity and you’re dragging yourself in to work all the time just for the money. I started a list of your spinoffs, reboots, prequels, midquels (Rogue One)- you may not remember all these, but for the rest of us, these painful memories are still very raw.

  • 3:10 To Yuma
  • 21 Jump Street
  • Alice Through the Looking Glass
  • The Amazing Spider-Man
  • The Amityville Horror
  • Assault on Precinct 13
  • Bad News Bears
  • Batman Begins
  • Battleship
  • Beauty and the Beast
  • Bedazzled
  • Ben-Hur
  • Black Christmas
  • Blade Runner
  • Carrie
  • Casino Royale
  • Chloe
  • Clash of the Titans
  • Conan the Barbarian
  • Dawn of the Dead
  • Dark Water
  • Day of the Dead
  • The Day the Earth Stood Still
  • Death at a Funeral
  • Death Race
  • The Departed
  • Dinner for Schmucks
  • Disturbia
  • Dracula Untold
  • Dredd
  • Evil Dead
  • Fantastic Four (twice)
  • Footloose
  • Four Brothers
  • Friday the 13th
  • Fun with Dick and Jane
  • Get Carter
  • Ghostbusters
  • Godzilla (twice)
  • Gone in 60 Seconds
  • The Grudge
  • Halloween
  • The Hills Have Eyes
  • The Hitcher
  • Hitman: Agent 47
  • The Hobbit 
  • House of Wax
  • I Am Legend (redone three times)
  • The Incredible Hulk (twice)
  • Independence Day: Resurgence
  • Indiana Jones
  • I Spit On Your Grave
  • It
  • Insomnia
  • Jack Ryan: Shadow Recruit
  • Jason Bourne
  • Jumanji
  • The Jungle Book
  • Jurassic World
  • The Karate Kid
  • Kong: Skull Island
  • The Ladykillers
  • Last House on the Left
  • Let Me In
  • The Lone Ranger
  • The Longest Yard
  • The Manchurian Candidate
  • Mad Max: Fury Road (I will defend this movie until my death)
  • Man of Steel
  • The Mechanic
  • Mirrors
  • Mr. Deeds
  • The Mummy (a remake of the remake coming this year)
  • My Bloody Valentine
  • A Nightmare on Elm Street
  • Night of the Living Dead (twice)
  • Ocean’s Eleven (and Twelve, and Thirteen, and an all-girl remake in the works)
  • The Omen
  • One Missed Call
  • Oz
  • Pathfinder
  • Planet of the Apes (once in 2001, three more in the last 5 years)
  • Point Break
  • Poltergeist
  • Punisher (twice)
  • Wanted
  • Poseidon
  • Premonition
  • Power Rangers
  • The Producers
  • Prom Night
  • Psycho
  • Pulse
  • Pusher
  • Quarantine
  • Red Dawn
  • Red Dragon
  • The Ring
  • Rings
  • RoboCop
  • Rollerball
  • Secret in Their Eyes
  • The Secret Life of Walter Mitty
  • Shutter
  • Sideways
  • Solaris
  • Spider-Man: Homecoming
  • Star Trek (four since 2000)
  • Street Fighter
  • The Stepford Wives
  • Straw Dogs
  • Star Wars
  • The Sum of All Fears
  • The Legend of Tarzan
  • Taxi
  • The Texas Chainsaw Massacre
  • Teenage Mutant Ninja Turtles
  • Terminator: Genisys
  • Thir13een Ghosts
  • Tomb Raider
  • Total Recall
  • Transporter: Refueled
  • True Steel (seriously? Rock ‘Em Sock ‘Em Robots?)
  • Vanilla Sky
  • Walking Tall
  • War of the Worlds
  • What Women Want
  • The Wicker Man
  • X-Men (seriously, how many fucking timelines are there?)
  • Zoolander

abstinence_over_harm_reduction-04_0

This has gone on long enough, don’t you think? That list is, of course, incomplete and only accounts for the year 2000 and sooner. It also doesn’t include every movie under each franchise. Yeah, it’s pretty obvious by now, man- you need help. Professional help. You stole a couple hundred dollars out of my wallet! Nobody asked for a dark, gritty reboot of Power Rangers,  but here we are.  These stories have all been done already, but in your stupor, you went ahead and told it for the 5th time, completely oblivious to the fact that we’d heard you tell it already. I don’t know if you’re just blacking out, or whether you’re doing this on purpose, but it’s gotten out of control. Your actors are sullenly dragging themselves back for these re-tellings, sighing as they cash another paycheck for a movie they didn’t want to do. Harrison Ford called me the other day, and he sounds incredibly worried about you. He said you’ve put him in no less than three reboots in less than 6 years?!

Listen, it’s obvious by now that you’re in some pretty deep denial about your struggles. I’ve got this friend who went through the same exact things you’re going through now; he’s been going to these meetings to help him come up with a fresh start before the critics and consumers eat him alive. The only other road is a complete collapse similar to Television’s fall a la Netflix. His name is Videogames, and I think he can help. I know it’s easy to just keep doing the same thing over and over again- it’s comfortable and familiar. Sometimes, however, we have to challenge ourselves to step out of our comfort zones and do what we know in our hearts to be right. I’ve known you since I was a kid, hell, I grew up with you, and I believe in you. Maybe if we help each other, I can go from the Guy Who Hates Movies to the Guy Who Believes In You. Good luck, old friend.

 

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Guy Who Hates Movies reviews: Mastodon’s “Emperor of Sand”

Emperor of Jams

We Thank You For This


As a pissed off white guy who likes Pantera, I consider myself a bit of an expert in the consumption of Metal. Mastodon is the most precious metal of all. I consider Mastodon to be metal for intelligent, patient people (and stoners, and intelligent, patient stoners). If you’re the type to listen to the first 30 seconds of a song and change it after becoming bored- Mastodon is not for you. Often times, their songs will begin with an intro, or an acoustic guitar, or hell, even a banjo, before launching into the meat and potatoes of the song. Some are comprised of 2-3 different time signatures, not exactly lending itself to Pop-Popularity, but rewarding those with the taste for complex time-signatures. Try listening to “March of the Fire Ants in it’s entirety, and then struggle uselessly to get that lurching, pounding guitar riff out of your head for the rest of the day.

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So it is with the boys’ seventh complete album, Emperor of Sand. Patience, as it turns out, is the key. Upon initially listening to the first single released, “Sultan’s Curse”, I was all set to hear more of the same from Mastodon (which is not necessarily a bad thing, from my perspective). Then, Show Yourself came out- and, like the adorable sloth who descends his tree but once a week to take a big, disgusting shit: the grimy, acne-covered basement trolls crawled out of their hovels to declare that this was “Pop garbage.”

“Mastodon sounds nothing like Remission anymore!”, they squealed. “Make more Crack the Skye! This isn’t metal!”, they insisted. “I smell my own farts, live in the same town I’ve lived in since I was a child, listen to the same 5 bands and the same 10 albums I’ve liked for twenty years, and I hate change!” Look, if you like their first two albums so much- go listen to those two albums. Mastodon going back to the sound of Remission or Lifesblood would be akin to Pantera returning to the stylings of Power Metal– those two bands are not the same people they were 10 or 20 years ago, and it wouldn’t make any sense for them to stick with one sound. They are progressive, after all. These fans tend to forget that there are real people behind Mastodon who are going to change and grow and evolve over time. As such, their sound is going to progress and morph with their experiences and their changing outlooks on life.

I must admit, I myself was initially put off by “Show Yourself” as well; their usual sound giving way to a more radio-friendly “rock” song. I’m happy to report that the more I listen to it, the more it grows on me.

I’ve listened through Emperor of Sand maybe 15 or 16 times from start to finish, and I have to say: I love this fucking album. As with most things Mastodon, the sound changes and morphs into different experiences upon later listening. “Show Yourself‘s mid-song breakdown is constantly on repeat in my head, lodging itself into my brain and occupying the part of my brain that apparently demands a riff or song be playing on repeat. When listening straight through Emperor of Sand, it really does lend itself to a story. Similar in spirit to Crack the Skye‘s dedication to drummer Brann Dailor’s sister passing away, that story is born from the band’s recent tragedies. Guitarist Bill Kelliher’s mother passed recently from a brain tumor, “front”man Troy Sanders’ wife was diagnosed with breast cancer, and solo-shredding Brent Hinds was injured in a motorcycle accident.

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Artwork for the single “Show Yourself”

Thankfully for us, Mastodon are artists- artists who can turn that grief, angst, sadness, denial, and rage into something truly enjoyable. Emperor of Sand kicks off with “Sultan’s Curse” and “Show Yourself”, before breaking into the flesh and bones of the rest of the album, which I’ll break down below.

  • “Precious Stones” begins with a heavy guitar riff and proceeds into a very Mastodonian sound reminiscent of Once More Round the Sun. It’s precise, yet aggressive: the exact sound Mastodon fans show up for. When the guys wail in the chorus “Don’t waste your time, if it’s the last thing that you do”, I really get the sense that they’re singing about their own lives.
  • “Steambreather”, followed directly after “Precious Stones” is what really sold me on this album. Immediately after listening to the fourth track in it’s entirety, I was ready to declare that Mastodon was really, truly back. It’s everything one could hope for in a prog-metal song: its powerful, heavy, lurching intro setting the tone and tempo for the rest of the song. It’s dark and deliberate, yet the vocals are easy on the ears as drummer Brann Dailor heads most of the vocals in it. Heavy enough to please the majority of metalheads, while simultaneously melodic enough to please the average listener.
  • “Roots Remain”, the 5th track of the album, reminds me very much of Crack the Skye in it’s tone. Troy Sanders’ trademark bellowing is on full display here, with Brann providing the chorus. It’s fast-paced and hammering in its beginning, before giving way to a more harmonic breakdown, eventually morphing and concluding with a beautiful Brent Hinds trippy solo.
  • “Word To The Wise” is frenetic and agile, managing to be both technical and messy, with Brann’s vocals featuring heavily sandwiched between two Brent Hinds solos. A particular favorite line of mine: “And much to my surprise, I was to blame for all the rain.”
  • “Ancient Kingdom” is another favorite of mine (I’ve acquired several from this album). It contains a neato little story, and alternates between growling guitar riffs and harmonic vocals. All three vocalists are on display in this one, with Kelliher providing the rhythm for another solo during a mid-song breakdown.
  • “Clandestiny” starts right out with grinding, pounding riffs once again, eventually giving way to a trippy breakdown featuring some synth/keyboard work before returning to the aggressive tone set at the beginning. The chorus “Give your life so I can breath” is a highlight for me.
  • “Andromeda” is another homerun. Bill Kelliher’s opening riff is dark and twisted, and the repetition of the beautiful chorus is an almost needed break from his delightfully ear-wrenching primary riff. Brent Hinds once again displays his solo-creating skills with another fantastic solo.
  • “Scorpion Breath”‘s intro takes me back to my days of Diablo II’s dark, haunting music. This song also has tones of Mastodon’s “Divinations” in it, with a furious banjo-picking opening that would make the little inbred demon-child from Deliverance flush with envy.
  • “Jaguar God” is a new all-time favorite for me. Arguably a magnum opus for Mastodon, this emotional journey feels like the metal equivalent of a “Bohemian Rapsody” or “Knights of Cydonia”. Opening with a somber, reflective tone, it soon transforms (as seems to be the premise of the song) into a dark, beautiful, adrenaline-pumping middle ground that alternates between chopping power chords, Troy Sanders growling, and Brann’s soothing tenor singing. Finally concluding the album with some solo work by Brent and bellowing by Troy, and fading out slowly- it’s the perfect conclusion the album.

All in all, Emperor of Sand is another can’t-miss album from one of the mainstays of prog-metal, who continue to impress by reinventing their sound whole staying true to the same core essence their fans love so much. It’s only “more of the same” in the sense that it’s another inventive, thematic, original record. While “Blood and Thunder” remains my single favorite metal song, Mastodon adds another unique blend of their complex time-signatures, godlike drumming, fantastic guitar solos and rhythmic riffs to their catalogue. Anyone bitching about Mastodon needing to go back to their original sound clearly does not appreciate what it is that this band actually does. Maybe the people who create aren’t concerned with your delicate sensibilities, y’know? Maybe your problems are your own.

ONE THUMB DOWN

Guy Who Hates Movies reviews: the Taclight Lamp commercial

Quality not included.

Quality not included.


 

From time to time at work, I’ll run across this commercial for the “Bell and Howell Tac Light Lantern”. Perhaps you’ve seen their other commercial before:

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“Check out my Dick Light!”

If you’ve not had the joy of witnessing their new product’s commercial (above), I’ll break it down for you. A brief glimpse at that picture pretty much tells you everything you need to know about this company: it’s the As Seen On TV product section for the wannabe Paramilitary type who wears camo in the suburbs and carries his fucking M4 with him everywhere he goes.

So the Tac-Lantern commercial begins with a quick, vague reference to the lamps used by our military in the past, before the color fades into the commercial and it’s implied that now the military uses the Tac-Lantern (that’s not true). Not that it would matter, anyway. I’m quite certain that if our military is currently using it, it’s probably not available for public purchase.

Out of an oldschool military truck jumps this doofus:

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“I want to show you my workout room…”

I’ve seen this guy in several other commercials, so out of curiosity I looked up this scowling, needlessly angry, pseudo-military looking fitness expert.  I had always assumed, based on these commercials, that Nick Bolton was a former Navy SEAL or ARMY Ranger or something, so imagine how shocked I was to discover that he’s a personal trainer in Los Angeles and has no connection to the military. It’s simply implied that he’s some sort of tough-guy type through the camo pants and gorilla-like physique. That would be like someoneclaiming that they’re a real-life movie reviewer, when in reality they’re just some jerkoff with a keyboard.

Michael Nick Bolton here informs us of a couple of key points about why this Tactical Lantern is so super-badass:

  • The LED’s are on a cob! (“Everything is on a cob! Let’s get out of here!”)
  • It can survive being thrown into a fire
  • It collapses into “full armor mode”!
  • It can survive the cold, dark recesses of a fish tank
  • It can fill an entire room! (this is demonstrated by a guy lighting up the family room for his wife, after which they both smile as if they’ve never seen fucking light before)
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They seem to have a thing for needlessly attacking their products. Ooh look, he said “humvee”!

They also demonstrate the lantern being frozen solid into a block of ice. Yes, even after the warm glow of life has left your hypothermic body, long after you’re dead, the Tac Lantern will keep on shining, whether you like it or not. He then proceeds to fold it up, chuck this piece of shit into the back of his WW2 Army truck, and drive forward at about 10 mph. A cut-shot to the trailer of the truck shows exactly one briefcase falling on top if it while he’s driving. Wow! It can survive a Metric Briefcase worth of force! After pulling it out of the truck, he growls “Takes a beating, and keeps on working!” Was “takes a licking and keeps on ticking” trademarked or something?

“So let’s review:” he says helpfully, in case his audience is incapable of remembering 4 fucking points of information. After his pop-quiz on the ScatTac-Lantern, he breaks the wonderful news to us: if we act now, we’ll get a second Tac-Lantern with a magnetic base! We’re shown a guy standing in his garage with the lights off, sticking the magnetic lantern to the open hood of his car. You’re in your garage, why don’t you just turn the fucking lights on? If the power is out, my next question is: what in the actual fuck are you doing working on the car during a power outage?

So let’s review:

NickBolton4

This guy desperately wants you to buy a cheap ass, “based on a real military product” lantern than you can freeze, light on fire, shoot rockets at, can survive the cold vacuum of space, run over with a briefcase, or throw in your fishtank (fuck those fish). There’s a new demographic being carved out right now- the angry white dude who’s never served in the military, but won’t shut the fuck up about military equipment, every SEAL raid that happens, modding out his AR, how cool military surplus stores are, etc. I live in Arizona, so these guys are everywhere. And apparently, they really, really fucking hate lanterns.

FIVE THUMBS DOWN

 

 

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Guy Who Hates Movies reviews: Get Out

Needs more white people.

No really, you should probably leave.


Get Out is the directorial debut of comedian Jordan Peele of Key and Peele fame. It stars Daniel Kaluuya, Allison Williams, and Bradley Whitford (the weasely cunt of a villain from Billy Madison, and a prominent figure in West Wing). The premise is pretty straight-forward: Chris is a young black man from the city who’s dating a white girl from a well-to-do family. When they set out to spend a week at her family’s place upstate, Chris is apprehensive about the fact that Rose has yet to inform her family of his…ahem…pigmentation. Once there, Chris is treated to the world’s most awkward first meeting with a family ever, as her dad does his Awkward White Guy best to try to relate to him and make him feel comfortable.

It’s not long before it becomes apparent that something sinister is going on at the estate, as the only 3 other black people Chris meets seem to be either uncomfortable with his presence, work for the family, or simply “not there” mentally. All of the white people he meets are mostly interested in discussing his race, or awkwardly attempt to connect with him based on some arbitrary subject (“I would have voted for Obama a third time”). In the interest of full disclosure I’m going to be entirely honest: I put off seeing this movie out of a fear that it would be heavy-handed subject matter about black/white relations, or simply villainize  all white people as wanting to exterminate black culture.

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Thankfully, my fears (silly as they were) were unfounded. At its core, this movie isn’t so much about race as it is one menacing group of people with sinister ulterior motives. While this movie does have something to say about race relations, identity and culture if one only looks a little more closely, ultimately it is a horror movie at heart. Chris is a very straight-forward protagonist, neither a cartoonish caricature of black culture, or a whitewashed imitation of black culture. He’s just a guy. He happens to be black, and while you certainly get the impression that that may have provided him a different life experience than you if you happen to be white, it’s not his defining characteristic. He’s a reasonable, relatable guy who responds to these situations as most of us would.

Get Out does several things very well, one of which is building tension. The awkward white family interactions begin as very run-of-the-mill stuff, an uncomfortable situation we’ve all been in regardless of race. Rose’s brother wants to discuss sports and mixed martial arts as soon as he meets Chris, awkwardly complimenting him by way of remarking that “with your genetic makeup and frame, you’d be a monster.” Anyone who’s ever seriously lifted weights can relate to meeting some new guy who just immediately wants to talk about your size, what sports you play, if you’ve ever been in a fight, how they “wouldn’t fuck with you”, etc. It’s the type of thing that certain people focus solely on, unable to relate to relate to you in any other way than discussing the “elephant in the room”.

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These awkward conversations soon give way to the menacing secret at the core of Get Out. As the tension builds and the Evil White motives begin to unfold, this movie plays its cards close to the chest, never quite making it obvious what’s actually going on. It’s engaging, unnerving, and genuinely creepy. Get Out does a good job of balancing real world limits with its horror plot- it’s just believable enough to be terrifying, yet not so unrealistic that it becomes laughable. There is, however, one hilarious (probably only to me) scene where the Council of Ricks Whites play what I like to call White People Bingo (presumably White People Bingo is getting a 700 credit score, listening to country music, and drinking Starbucks).

One of the highlights of this movie is Chris’ hilarious friend, played expertly by Lil Rel Howery, who is the grounded everyman character that seems to always say exactly what the audience should be thinking. I am definitely going to be keeping my eye out for more of him, as I would be very surprised to not see him in more things after this. Also worth noting is that Stephen Root (Milton Waddams, the Stapler guy from Office Space) has a small role in Get Out. Guy just wants his fucking stapler, man.

You Should See This Movie If: You’re craving a completely original horror film, or want to know what an average day in the life of a young black man is (Jordan Peele’s words, not mine).

You Shouldn’t See This Movie If: You’re one of those people who constantly complains that “They can say it, but we can’t?! I mean, rappers say it all the time. I’m just saying, NO ONE should be able to say it!”, or you secretly fear that if those crazy liberals take things too far, you’re going to lose your White Privilege card.

 TWO THUMBS DOWN

 

Guy Who Hates Movies reviews: The Belko Experiment

Experiment results: negative.

All pain, no gain.


 

Going into The Belko Experiment, my mind was racing as I imagined possibilities this movie could have. I bet there’s some crazy, ingenious twist, I thought- What if The Belko Experiment IS The Belko Experiment, and we’re the test subjects? Will this movie have a lot to say about corporations and their treatment of humans? Some subtle metaphor about 9-5 jobs and what they do to us? Sadly, about 3/4 of the way through this movie I realized that that was far more thought than anyone put into making it. Touted as “Office Space meets The Purge“, the only thing it has in common with either of those movies is that it takes place in an office (and John C. McGinley), and people kill each other- some unwillingly, others not so much. This movie is about as entertaining as an ISIS attack. Let me be very clear with you on this movie, since the trailers are incredibly misleading: this is not a dark comedy. It is exactly as straightforward as a movie about people having to kill each other can be.

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Belko is set in the fictional city of Bogota, Colombia. I say “fictional” because I’m an American, and any place outside of White Europe might as well be fictional to us. We’re introduced to the group of employees through a slow-motion tracking shot, learning who everyone is based off of quick intros that give us a brief character snapshot of what to expect from each of them in the chaos. All around Belko’s interior are standard motivational posters, with sickeningly bland phrases like “Together we achieve more”, and one in particular stands out- “Business Without Boundaries”. I’ll say. I know corporations are evil and all, but a Kill ‘Em All-style murder experiment is a new low. This is what our bailout money is going towards?!

Right, the characters. The group is comprised mostly of boring-ass stereotypes; every time you think there will be an interesting development in a character, they either die or turn out to be just one-dimensional caricatures/archetypes. There’s a stoner character who says typical Movie Stoner bullshit (“Man! Fucking come on maaan! Fuck, man! What the fuck, maaaaannnnn?!”) delivered in his best Shaggy impersonation, there are a couple of pacifists, there are the standard Office Alpha Males, John C. McGinley’s creepy, veiny-penis-armed Wendell being one (I like to describe him as Fat-Jacked), along with the head honcho of this particular building who’s an “ex special forces” guy.

There is somewhat of a protagonist in the form of the one seemingly normal guy who is constantly trying to solve their problems, only to be met with “What the fuck are you doing, have you lost your mind?” every time he tries anything other than crying, pissing his pants, or killing someone. I suppose we’re expected to actually give a shit about him because he’s the only one who actively objects to killing innocent people based on a voice from the intercom, and because he was totally bonin’ that hot Mexican broad in her office.

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The Belko Experiment is extremely disappointing in it’s execution of a really interesting premise- another Trolley Dilemma movie (Philosophy nerds are having the best couple of months right now) involving graphic violence in slow motion set to the backdrop of the occasional opera song. I was actually fairly excited to see this movie, and genuinely expected this movie to be a dark comedy based on the trailers, or at least explore what would happen to people who have been stuffed in this sardine can, corporate setting for so long that they’re just dying to get their hands bloody. If you put me in a cubicle for 9 hours a day, surrounded by fakeass Office Speak and a bunch of repressed males who have become neutered, I’d want to start the experiment myself. Perhaps I’m the only one who got that vibe, but Belko legitimately makes zero attempt at comedy. The only time I even forcibly exhaled through my nostrils was a shot where graffiti in the women’s bathroom read “Belko sucks my vag.” You and me both, sister. (There was one other time I laughed when one character begs another one not to die on him. “No no no! Don’t die, don’t die!”- Oh shit! I’m glad you said something, I really didn’t feel like dying today.)

It sets itself up as a movie grounded in reality: there’s no hyper-stylized killing sprees, nobody really seems to take any genuine glee in their killing, the end result of which is that the violence just feels like…well, violence. This begs the question: why? What was the point of this movie? It doesn’t have anything to say, there’s no clever twists, it lacks any of your standard dark comedy tropes, or comical over-the-top gore. Much to my chagrin, the answer to that question came in the last 3-5 minutes of the movie- that answer, unfortunately is money. After the chaos is over, I’m not exaggerating when I say that everything that happens post-experiment wraps up in about 5 minutes, shoehorning in a stupid, run-of-the-mill ending that leads directly into a sequel. No thanks, I’m fine with this being my only foray into the Belko company.

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I was really looking forward to a goofball gorefest a la Planet Terror or Tucker and Dale Vs. Evil. I was willing to watch a planet of people Purge the shit out of each other, if it was perhaps a bit silly or had endearing murderers at its center. Sadly, I think my eyes might have been bigger than my stomach on this one, Morty. When your film lacks a clear protagonist, is grounded in reality, and any emotional investment into a character’s story arc inevitably leads to them suddenly dying, it’s really hard to give a shit. It starts right out with the experiment, never giving us a reason to give a shit, and abruptly ends with nothing more than a cheap “Save your money for the sequel now, kids!” It’s all premise- no payoff and no reward. All pain, no gain. The biggest positive to reviewing this movie is that at the end, it occurred to me that I really can’t lose doing these reviews- either the movie is good and therefor hard to shit on (in which case I just got to watch a good movie), or it’s a pile of shit and my job is now super easy. How’s that for a corporate Mission Statement?

 

You Should See This Movie If: You’re the type of person who posts gore to 4chan, anxiously awaits the next beheading video put out by jihadis, or just generally speaking enjoys watching people suffer.

You Should Not See This Movie If: You liked Office SpaceBattle Royale, or The Purge and were excited about their potential spiritual predecessor- or you’ve ever romantically pursued someone who was very attractive, only to discover that they’re just as boring as you feared.

FOUR THUMBS DOWN

Guy Who Hates Movies reviews: The Boondock Saints

Two Brothers. It’s just called…Two Brothers.

Beers, bros, and Boston.


 

Come with me, on this holiest Day of Patrick’s, on a magical journey of one average Bostonian who followed his dream, and finally brought to life the dumbass story of two Irish brothers/angels/superheroes/sharpshooters/philanthropists he must have been daydreaming and doodling about in his notepad since the 5th grade.

The Boondock Saints was the first and only movie directed by a man named Troy Duffy, whose desire to bring this story to life was so great, he would have done anything to achieve it. The story goes that Troy wrote this screenplay whilst playing in his band- can you guess the name of it?

YUP, it’s The Boondock Saints. So desperate was he to bring these heroes to life, he went around to every movie studio that would listen and pitched the idea. Shockingly, all but one studio basically laughed at the first time writer/director who wanted to make a movie named after his band, and in his desperation, Duffy settled a deal with Franchise Pictures for a one-time payment of several hundred thousand dollars for his work. He was given no back-end distribution royalties, and with a production budget of $6 million, the film grossed just $30,000. Only later would it go on to achieve cult status.

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Now, the plot of The Boondock Saints centers around two Irish-Catholic brothers who, sickened by the recent slew of mob activity and crime in their city, are inspired by the (real-life) murder of Kitty Genovese in broad daylight to become vigilantes- bringing down the righteous fury of God on the various crime syndicates of Boston. Decades of repressed Irish Rage bubbles over in their various rampages. Look, I grew up eating bland food and getting slapped around for fidgeting in church, too; you don’t see me murdering anyone.

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Starring Norman Reedus (The Walking Dead‘s Daryl) and Sean Patrick Flanery (who, hilariously, plays Powder in the film of the same name), Troy Duffy’s brainchild tries its hardest to paint these two as totally justified in their killing sprees. When we meet our protagonists, the brothers MacManus are innocently plugging along in their meat factory jobs, bustin’the chawps of the resident Dyke coworker, getting drunk on St. Patrick’s Day (ugh), and just generally being universally loved, faux-Irish goofballs that everyone knows as kind-hearted ruffians who din-do-nuffin’ wrong, when they kill a Russian mobster in self-defense.

From there, the boys go into hiding and team up with their foul-mouthed, alcoholic friend Funny Man, who has connections to the most stereotypical Italian crime family in history. As it turns out, a good portion of this movie revolves around stereotypes. It’s the type of movie a 5th-generation Irish Bostonian would make, had they never met an actual Irish person in their life. The Irish are fucking Irish, what with their Lucky Charms accents and fluent knowledge of Gaelic (seriously?). The Italians are Italian as shit, delivering half-hearted mobster lines a teenager could have written. The Russians are cold-blooded Ruskies, constantly sounding like they have a mouth full of peanut butter. Weirdly enough, not one mention of the Irish Republican Army, let alone any Righteous Murdering of anyone even remotely Irish.

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The Boondock Saints is a guilty pleasure movie, to be sure. When I first watched it, I was a frustrated, teenaged, “half-Irish” suburbanite who basically envisioned my adult life to hopefully end up like these two vigilantes. In other words, I loved it. What could be better than speaking 8 languages, getting hammered all the time, starting fights, and justifiably killing weird-sounding foreigners? Later viewings in my 20’s gave way to a new type of nostalgia I was unfamiliar with- Nostalgia PTSD: the horror of realizing that something you loved is dumb as shit. This movie is basically lifestyle-porn for every guy who’s ever had a throbbing erection for being able to blow some crook away with a shotgun for breaking into their home and not only suffer zero consequences, but deep-down knowing that the cops approve. Their fantasy seems to entail a foaming-at-the-mouth drug addict/rapist/murderer who’s there to take your hard-earned money, have his way with your wife, and then kill you both. The reality is usually much less glamorous: somebody who just drunkenly stumbled into the wrong house, and after they’re scared off and the lights come on, you realise that you froze in place and pissed yourself.

Watching The Boondock Saints later on in life feels a bit like that. You could have sworn that it was going to be awesome and glorious, but as it turns out, it wasn’t nearly as much fun as you imagined.

Look, if you still love this movie, I don’t blame you. Nostalgia plays The Hits. Ultimately, if you enjoy it, my review will mean very little to you. The acting is rough, the accents are terrible, and every kill is followed by a screwball comedy punchline. A cat is accidentally blown to pieces, Ron Jeremy is in it, Willem Defoe cross-dresses (and is legitimately mistaken for a female prostitute?), everyone is constantly drunk, and Billy Connolly eventually arrives as the boys’ Angel of Death father who writes their Murder Poems and without a second thought, immediately joins their cause. They place coins over their victim’s eyes (presumably so they don’t have to watch them roll their fucking eyes), say a prayer every time they kill someone- they’re Irish, you see. It’s all very Catholic, you wouldn’t understand.

At the end of the day, if you’re already in love with The Boondock Saints even after all this time, chances are you’re probably going to spend ol’ Paddy’s day getting hammered and watching it with friends, wistfully pretending you’re the long-lost third Brother MacManus. Maybe you’ll laugh at how cheesy and kitschy it is, maybe you’ll change your mind and decide to swear this movie and drinking off forever (only one of those resolutions is likely to stick). Much like the Shamrock Shake, this movie comes around once a year, and every time I think I want it, I typically just end up disgusted with myself.

You Should See This Movie If: You enjoy cheesy movies about killing mobsters with a clear conscience, being beautifully Irish (and somehow tan? what the fuck?), getting drunk, and ending up universally loved, instead of grtting divorced over your chronic alcoholism and murderin’.

You Shouldn’t See This Movie If: You like good movies and are over the age of 20, or are actually Irish.

THREE THUMBS DOWN

Guy Who Hates Movies reviews: Passengers

All Passengers please locate your nearest exit.

Can I get off this ride now?


 

Passengers is the next movie in line in a series of big budget films about beautiful, A-list celebrities experiencing disaster  in space (GravityThe MartianLife, InterstellarArmageddonApollo 13Prometheus, etc.). During a colonization mission to an as-of-yet uncharted Goldie Locks planet, Jim (Chris Pratt) suddenly finds himself being awoken from cryosleep only 30 years into a 120 year trip. After he discovers he is the only human being currently awake (his only company being Arthur, an android played by Michael Sheen), Jim grapples with the temptation and subsequent consequences of waking a passenger (Hey! That’s the title!) for selfish reasons.  There are just over 5,000 humans on board the Avalon, a sort of luxury cruise ship for space (one wonders if the Homestead company is a subsidiary of Virgin Airlines), with their final destination being Homestead II, the second planet outside Earth to be colonized by humans.

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After just over a year of Space Dance Dance Revolution, drunken solo Wii basketball, unfulfilling conversations with an android, and one near suicide attempt, Jim finally caves under the isolation and becomes obsessed with a writer still in cryosleep named Aurora Lane (wow, was Anastasia Steele taken or something?). He watches her bizarre audition tape for the colonization trip, in which she says things like “We need stories so we know we’re not alone!” and “Give me a cup of coffee and a view of the Chrysler building and I could write all day.” Ugh, give me your vomit bag so I can regurgitate all day. Can’t anyone in a movie just be a fucking writer because they’re good at it? Presumably Jim is a mechanical tech because he just loves what a great metaphor for life gears are.

As his solitude becomes too much for him, Jim consults his android bartender for advice, who should have responded “This isn’t fucking West World, I can’t answer existential crises. I’m a robot.” The soonest his S.O.S message will receive a response is 36 years, and there are absolutely no staff on board the ship who aren’t also in stasis. Ultimately, he decides to wake her from deep-sleep. This was the most interesting aspect of the movie to my taste; a fascinating Trolley Dilemma in space aboard what is essentially a luxury cruisliner. If you’re both doomed to die of old age long before the ship’s arrival, is releasing her from stasis considered murder? Is suffering alone with nothing but activities and luxuries noble enough of a pursuit to endure total isolation for the next 50-90 years? Would it be worth having the company of a beautiful companion, despite the guilt of robbing her of her future weighing on your conscience? If you had discovered that your awakening from stasis was no accident, but in fact orchestrated by the only other awake passenger, could you ever forgive him? It’s a fascinating premise that unfortunately gets bogged down and squandered when the inevitable MacGuffin shows up.

 

 

 

As the pair become acquainted, their bond forged through mutual suffering eventually blossoms into a relationship (isn’t that what all relationships are anyways?), because of course it does; it’s Jennifer Lawrence and Chris Pratt. About 2 days into isolation with his dumb, adorable face and I’d let him be the Guardian of my Galaxy, if you know what I mean. I’m not exactly an expert on relationships, but even I could warn you that that’s not going to be a fun argument down the road.

“You never listen to -”

“YOU WOKE ME UP OUT OF CRYOSLEEP, YOU FUCKING ASSHOLE!”

There’s no doubt these two actors have some chemistry, as they frolic around playing videogames, going on Spacewalks, and eventually knocking Gravity Boots. Side note: does nobody in any movie ever use a condom? Do they not have condoms in the future? Are they just holograph condoms? Are there tiny nanobots in your body that just exterminate all your sperm before you climax? These are important questions humanity desperately needs to answer before we go gallivanting off to new solar systems in a ship full of booze, videogames, and supermodels.

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Eventually, the central plot point/conflict rears its ugly head, and before too long our heroes have critical problems to deal with. It’s your standard Space Catastrophe Movie macguffin; the quantum carburetor has slipped out of the flux capacitor, causing the reactor core to experience spatial differential levels not compatible with the microverse battery. The technical problems are yadda-yadda’d out, and they have to set out to attempt a patch on the ship. This leads to exchanges like:

“What are we looking for?”
“Something broken!”

“Outer door unresponsive.”
“What does that mean?!”
“The outer door is jammed…”

There’s some typical Space Problems, what with gravity being temporarily lost and switches and levers that need to be pulled while one’s shirt is off (Movie Solution C-137: Get sexy). This ultimately leads to the typical Hero’s Sacrifice, where “there’s only one!” or “there’s no time!” and a character inevitably has to make a selfless sacrifice. In the end, we’re given a generic, upbeat Synth-pop song to let us know exactly what feelings we should be having.

When all is said and done, Passengers is a very enticing premise that gets bogged down by its need to conform to Hollywood norms and screen-testing polls, opting to abandon its moral dilemma for the same tired logistical space-travel problems we’ve seen a dozen times already. While the titular characters do have enough charisma to carry it to the 40-yard line (I know Jennifer Lawrence is the “It Girl” right now, but I honestly can’t stand too much of her. “Look how goofy and down to earth she is! She’s just like us!”), the strength of their chemistry and likability isn’t quite enough to get us into the endzone.

You Should See This Movie If: You’ve always wanted to see ol’ Andy Dwyer in space, but without his laser guns and charismatic comic book team.

You Shouldn’t See This Movie If: You’re hoping for a thought-provoking moral quandary about whether or not it’s acceptable to creep on Jennifer Lawrence while she’s not aware you’re watching her. I guess The Fappening will remain  a mystery.

 

      THREE THUMBS DOWN

Guy Who Hates Movies reviews: John Wick Chapter 2

Sad Keanu Hitman takes no pleasure in his job.

As a guy who hates pretentious movies full of heavy handed metaphors  about “the human experience” or “how we deal with grief”, I’m a real sucker for straight forward movies. John Wick was a surprise hit in 2014, seemingly coming out of nowhere. It was directed by Chad Stahelski and David Leitch, two Hollywood stunt veterans with a laundry-list of big-name movies on their resumès, who had wanted to make their own movie for years. A movie that stunt men would enjoy, full of gunplay as close to accurate as is possible in a movie meant to entertain. I went into the original John Wick incredibly skeptical (surely not the Guy Who Hates Movies!), wary from all the hype it received and I have to admit; what a happy little surprise that movie was.

Chad Stahelski and David Leitch had apparently been building the John Wick universe for over a decade while working on other films, creating rules and currencies and businesses for this hyper-stylized comic book movie about assassins to exist in. At it’s core, these movies are some of the most distilled action films in recent memory. This isn’t some aggrandized piece of garbage made to keep the career of an unlikable douche going (*COUGHTaylorLautnerCOUGH*), or an attempt to be bigger, badder, crazier, and more ridiculous in an effort to stand out (Crank 2: High Voltage). We don’t have to listen to how tortured our protagonist is, and how justified his actions are (“I was just a good cop, but these drug dealers raped my wife, now I’m out for blood!”). We’ve seen the trailers, we know there’s a bunch of shooting. You kill a dog, you get what you deserve, buddy. Most of us could care less about the premise: it’s Keanu Reeves shooting guns. We get it. We’re already on board. Save the character-building for another time. Right now I wanna see that gun go “bang bang bang”. Guys steal his car, they kill his dead wife’s dog. Boom. Rampage will commence in 5…4…3…2…

John Wick picks up mere moments after the end of the first film. These two films are essentially one really bad week in the life of John Wick. After John takes his car back from the Generic Russian Gang, he heads back to his McMansion for a long-overdue retirement. Not an hour after he buries his guns for the second time (do assassins collect Social Security?), he’s visited by an old colleague demanding to collect on his Assassin’s Pinky Promise from Wick. After John vehemently denies this shifty-looking Sicilian’s request, insisting he’s now retired for good, his old Killin’ Friend chuckles and says something to the effect of “Come on man, it’s 10 minutes into the movie. We can’t fucking roll credits yet.” He fires a grenade into Wick’s house (thankfully the new dog survives this one), providing him all the necessary motivation for this new adventure. Friendships will be tested, pinky promises will be broken, and you can bet your ass a lot of nameless stunt men are going to die horribly.

The plot is there loosely, involving a mafia family vying for control of New York City, an organization that manages the International Brotherhood of  Assassins, Hitmen, Private Security,  Body Disposal Crews, Surveillance, Tailors, and Bartenders (no veterinarians?), a little dash of betrayal, but mostly just lots and lots of shooting and stabbing and killing. Chapter 2 takes some time to further expand on the world they’ve created here. When John arrives in Rome for a job, he has access to a tailor who will craft him a Kevlar 3-piece suit, a weapons dealer who speaks in euphemisms about guns, comparing them to different wines (the whole thing is played with a very 50 Shades of Grey cheesiness to it), and some sort of engineer with blueprints to any location a hitman might need. That they managed to continue to build this world without distracting from the fun of the movie or boring us to death speaks to just how much we can be willing to remain invested in a movie if it is fun at the end of the day.

Ah yes, the fun. John Wick: Chapter 2 oozes it out of every orifice like a big, bald stuntman who’s just been shot 10 times. John Wick 2 is the Beastie Boys of movies; it might be a bit silly, but the beats are good and it’s fun as hell. Us normal jerkoffs go to movies to be entertained, to have fun. Only an actor is desperate for a movie to make them feel something profound, because they’re so busy pretending to have emotions themselves (presumably the ennui of being disgustingly wealthy is really getting to them; for just $0.25 a day, you can help support a really sad actor). JW2 is chock-full of cheesy lines, scenes that feel like they’re shot just for fun, and actors who are clearly having a blast in their roles.

The fight scenes and gunplay are expertly choreographed, which is even more impressive when you consider that the directors had to use a revolving door of 10-15 stuntmen and make them look like 40 or 50. There are uncut action set-pieces in this movie where Keanu moves through a tunnel or an open space, continuously killing dozens and dozens of faceless bad guys, switching out magazines when they’re empty, changing to new guns when he’s out of ammunition: it’s all very impressive when you consider the logistics behind shooting something like that. Not to mention the fact that each individual stunt-man and Keanu all have to hit their exact marks precisely on time for it to look as believable and fluid as it is.

Laurence Fishburne has a brief cameo as The Bowery King, who has somewhat of a history with our titular character. Ruby Rose of Pitch Perfect plays a deaf/mute hitman (hitwoman?hitperson?) who inexplicably speaks terrible Sign Language. She and Common are peers of John Wick, as they all work for the same seemingly public organization and end up at odds with the assignment John is tasked with. Common’s character is portrayed as a hitman working a bodyguard gig, putting him in the way of Reeve’s Wick, and he seems to be the only one who can go toe-to-toe with Wick’s level of expertise. Riccardo Scamarcio plays a former comrade of Wick, whose assistance in the past is implied to have helped mold John’s reputation as it stands today. So fierce is Wick’s reputation, in fact, that one of his targets promptly slits her own wrists upon realizing that his presence in her bathroom means her inevitable death.

As for the man himself, Keanu is clearly having a lot of fun with this role, and if you doubt the authenticity of his stuntwork, there are a few videos floating around that showcase him prepping for this movie with tactical gun training, and speed-shooting courses. His obvious expertise and investment in practicing pays off, and when paired with the combined decades of experience from the directors stuntwork, we’re left to reap the rewards of an immaculately made action movie. Reeves’ Wick feels like a real person, cursed with an incredibly gifted ability to neutralize anyone he sets his mind to (He’s the best there is at what he does, but what he does isn’t very nice). He doesn’t talk shit, and he doesn’t waste energy in his movements. Every action seems to be deliberate, as he employs a Navy SEAL-style approach to combat. Two rounds to the chest, one to the head. One or two quick movements of a knife with surgical precision. Whatever guns he is outfitted with, he uses and then discards when out of rounds; he doesn’t magically summon brand new guns simply because the scene demands it. He takes cover and reloads, or grabs a new firearm off his (many) dead antagonists. All of this serves to help John Wick feel like a comic book character mostly bound by the laws of our reality.

Ultimately, John Wick 2 does a solid job of continuing to build upon the world they’ve established, while not boring us with minute details or overstaying its welcome. The scenes away from the action feel like a welcome respite from the constant gunfire, and deliver moments that help establish the rules and logistics of this worldwide organization as well as the occasional laugh. Thankfully, no adorable puppies are killed in the sequel. In the end, John Wick: Chapter 2 is very much akin to an Arby’s sandwich. Is it the most wholesome sustenance you can get? Hell no, but damn if it isn’t tasty. You can have your organic kale smoothie another day; for now it’s time to pig out.

You Should See This Movie If: You liked the Matrix, but wished more heads would explode.

You Shouldn’t See This Movie If: The only excuse not to see this movie is if you’re currently dead.

           TWO THUMBS DOWN

 

Guy Who Hates Movies reviews: Kong: Skull Island

Dicks out for Kong.

Kong: Skull Island is a lighthearted comedy about a group of mismatched friends who go on vacation to the tropical island paradise of Skull Island, to hang out and pal around with their friend Kong. When the Creedence Clearwater Revival playing from the helicopters proves to be a little too loud to Kong’s liking, a hilarious misunderstanding leads to Kong savagely killing about a dozen U.S servicemen. Hijinks!

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If that opening plot-summary confused you, then I’ve done my job in conveying the conflicting tones in this movie. In all seriousness, this is a tough movie to review. It doesn’t quite know exactly what it wants to be. The simplest way to describe this movie would be 300 meets Mighty Joe Young. Even the trailers were confusing upon initial viewing, a by-the-numbers Monster Movie one minute, the next minute we’re laughing at John C. Reilly saying something silly. As it turns out, the actual film doesn’t prove to be much different. Part comedy, part Vietnam War flick, part King Kong, part Land of the Lost (which starred Will Ferrell, I’m starting to see a pattern here), part AvatarKong changes tones so often during the course of it’s 2-hour runtime that you’d think it was directed by 10 different people.

Traditionally, movies set up their premise by introducing us to the characters, giving us somewhat of an explanation for their motivations and cluing us in on what to expect from these characters. Kong: Skull Island wastes no time with that. There’s no real development to our characters, they just kind of…show up. There’s no explanation for why Kong exists, or why this tiny island with a limited ecosystem is home to hundreds of species of towering creatures outside of a rudimentary mention of a “perpetual storm” that envelops Skull Island. Thousands of years of being hidden from the world, hundreds of downed ships and planes surrounding it, and 15 minutes in, our heroes simply fly right through the storm with little trouble (apparently all you need is a gruff Samuel L. Jackson type to recall the story of Icarus while you fly through).

John Goodman plays…some guy, who heads a SETI-like organization called Monarch which believes that there are monsters on Skull Island, and pursues their discovery. He pesters a congressman, receives his blessing, and is provided with a fleet of soldiers who were juuuust on their way out the door in Vietnam. Naturally, everyone is super bummed out about this except for Samuel L. Jackson, who just loves killin’ (Krombopulous Michael, anyone?). Naturally, the group needs a Tracker, so two of them pursue the brow-furrowing expertise of Tom Hiddleston (Mr. Swift himself), whom they discover in a bar in Saigon. His introductory scene comes in the form of a classic Billiards Bet In A Bar Gone Wrong So They Attack Him But He’s Super Badass And Kicks Their Asses With A Pool Stick sequence that immediately ends as soon as John Goodman needs to talk to him. Apparently, former S.A.S soldiers have nothing better to do than beat the piss out of disenfranchised locals after hustling them in pool. John C. Reilly plays a World War 2 pilot who crash-landed on Skull Island 20-some odd years ago and has been living there ever since. Brie Larson tags along because she’s a photographer, and there are several other characters with about one sentence of introduction who are just…there. Look, it’s a movie about a 100 foot tall gorilla, everything else is about as interesting as a stranger trying to make small-talk with you at the urinal: it’s awkward, unnecessary, and you can hardly be bothered to pretend to give a shit.

Once in the vicinity of Skull Island, they immediately start dropping bombs, because this is a movie, and it wouldn’t feel right unless the Big Dumb Army Guys were needlessly destroying everything for no reason (apparently Hollywood thinks being in the service is basically just followin’ orders, bustin’ balls, constantly failing to listen to the Pencil-dicked scientists, and not takin’ no shit from nobody, including a giant monkey). This leads us to our first encounter with Kong, the main action scene on display in the trailers. This sequence is certainly the most fun to be had in the movie, as Kong destroys helicopters in inventive ways, and everyone is dumb enough to shoot at him because in movies, ARMY=just shoot at shit if you don’t understand what’s happening. Our protagonists are of course among the survivors, and from there the plot just kind of becomes a mess. There’s a society of humans living on the island who never speak and worship Kong (untouched for thousands of years?), there’s a subplot about one soldier who ended up on his own and needs rescuing, there’s an exit strategy that becomes conflicted when of course one half of the survivors want to do one thing and the others just want to promptly GTFO.

Kong’s main issues lie with it’s trying to have-it-all approach. It feels as though Director Jordan Vogt-Roberts had simply watched 20 or 30 of his favorite films leading up to this, and jotted down in a notebook “BIG EXPLOSION!! BOOM BOOM!” followed by something like “dramatic music, tender moments!“, followed by “snarky dialogue, LOTS OF CCR!”. Tonally, this film doesn’t know what the fuck it wants to be. Is it Step Brothers meets Pacific Rim, or Godzilla and Tropic Thunder? Who knows? All we know for sure is this movie had to be made to set up for the Monster Throwdown movie that’s coming. You can almost hear the exact moment the screenwriters threw down their pens and said “There’s your fuckin’ movie! Let’s get outta here and do some coke!”

It’s worth noting that Kong isn’t without it’s share of entertaining moments. John C. Reilly’s character in particlar is certainly the most likable, on account of how out-of-touch he is with the world, his seclusion, desperation for human contact, and penchant for delivering funny lines when you’re not expecting it (“You’re a great group of guys to die with! Haha, we’re gonna die! Heh, should’ve never come here!”). As for the big action set pieces, they vary from entertaining, to downright laughable. There’s a sequence in this movie where Tom Hiddleston’s character is thrown a katana, slips on a gas-mask, and proceeds in slow-motion-to-fast-motion-to-slow-motion to kill a handful of bird-monsters while surrounded by toxic gases (do the SAS learn how to swordfight as part of their training?). About 10 seconds later, whilst still standing in a cloud of deadly nerve gas, he removes his gas mask dramatically and furrows his brow (I told you that would come in handy!), completely unfazed by it’s presence.

At the end of the day,  this movie accomplishes what it set out to do: be a big, dumb, monster movie to create the opportunity for a crossover or a sequel. The characters are mostly pointless, and since we’re never provided any reason to care, it’s tough to remain emotionally invested in the outcome of all the action sequences and carnage. As much as I dislike pretentious movies that focus too much on dialogue or character-building, we still need to be rooting for our heroes, not just shrugging off their deaths our outright bursting into laughter. When the only hero in this movie is a primate the size of the Sears Tower who can’t speak, you’re left with little else to do other than wait for the next big fight to happen, and when those fights just look like a bunch of actors running around in front of a green screen, it can be tough to care. I was also very disappointed that there wasn’t a scene in which Kong throws a 20 foot pile of gorilla shit.

You should see this movie if: You liked Platoon, Godzilla, Tropic Thunder, Pacific Rim, Step Brothers, Avatar, Mighty Joe Young, and Tarzan, but wished someone would play them all at once and was constantly blaring CCR.

You shouldn’t see this movie if: Questions like “How could a 20-story tall gorilla not immediately kill something half it’s size? A 150 pound chimp would fuck me up, you’re telling me this little Lizard piece of shit can go toe-to-toe with 300,000 tons of pure muscle?! Come on!” gnaw at you while watching movies, or you’re an annoying killjoy (welcome to the club).

         THREE THUMBS DOWN