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Richard Stoker is being buried. He leaves behind his daughter,
India(Wasikowska, quiet and restrained, with a hidden passion
can't take your eyes off hers) and widow Evelyn(Kidman, resentful). But
they won't be the only two residents of the family home for long. Uncle
Charlie(Goode, equally devious and handsome) appears, out of nowhere,
and moves in. Not only does this strain some already bad relationships
isn't there also something strange going on?
This is a polarizing one. You love it or hate it. It's difficult to argue for either side. Because on one hand, this is a beautifully filmed, edited, scored, acted(such subtlety) movie, creepy, full of suspense and tension leading to brutal violence, with a mystery that is gripping until the flat, climax-less ending that takes a lot away as we learn the truth and the symbolism, great, though there's also a bit too much of it. On the other, the story doesn't flow, we never fully understand the characters or scenes(which stop suddenly, or start midway into a conversation), and ultimately, while it is well-told, the plot is not as complex as it may seem at first.
It matters a lot what mindset you go into it with. You should probably know something about director Park Chan-Wook, most known for Oldboy, the Vengeance Trilogy(which I have yet to watch, but they are on my list), going in. He doesn't seem to have been compromised by Hollywood, albeit the language barrier may have impacted the final product. It's very much a slow burn. It owes debts to De Palma, Lynch, Burton, and, especially, Hitchcock without any of them being ripped off. As the first script by Wentworth Miller, this is good, and I hope he keeps working on that this shows promise.
The Blu-Ray comes with the well-done 28 minute featurette Stoker: A Filmmaker's Journey, 16 minute interesting Theatrical Behind The Scenes, 15 and a half minutes of worthwhile Red Carpet Interviews, 10 minutes of good deleted(well, extended) scenes, a great 5 minute musical performance, slick trailers and TV spots(note that they contain big spoilers), and dozens of gripping stills in the Image Gallery, and a bunch from London Theater Design.
In addition to what I've already mentioned, there is some nudity and sexuality(and a lot of sensuality) and breaking of taboos in this. I recommend this to anyone who can imagine themselves liking this. 7/10
In spite of Conviction being dreck, this follows it, even leaving in
the daughter, although we get good drama from the calls to her. A group
known as The Engineers threatens terrorist attacks on US soil if they
do not pull out of overseas bases. Thus, the charismatic villain does
what he should, and bring up a debate. This is not a personal story,
albeit there are flashes of such it never takes over, and they got the
Bourne copying out of their system
hey, I love that franchise, but it
does not mix with this. The plot moves fast, is highly detailed, not
completely avoiding clichés. Tom Clancy(R.I.P.) lived to see the
release of this, and it lives up to his legacy: mature, realistic,
political spy thriller that follows the current climate.
This is the first of these to not have Michael Ironside, and it is a great loss. Recast(in part to allow motion capture by the same man) is Bland, er, I mean, Sam, Fischer(Johnson, driven, some Jack Bauer going on). While it's not his fault, that is still what we ended up with. No, he does well, albeit sounding too young. We have some cool dialog, with humor, banter, and clear relationships. The characters are archetypes, such as the nerd, who is sometimes annoying as the comic relief. Several return from earlier. Everyone is super-serious all the time, Grim isn't just the name of one of the characters, it's the mood of every one of them. The controls are somewhat stiff and not intuitive or fluid. Problems(a few, yes, still, there shouldn't be any at all) arise because one key can do more than one thing, in the same situation.
No, this isn't on par with the first four. Nevertheless, it is pretty good. The levels are organic and cool(reuse of some areas within one mission, and using someone who worked with the bad guys, gets monotonous), based on actual locations around the Middle East and the West, such as a water plant, a mansion, and, of course, in and on the outside of, a train(if it ain't broke). They allow linear progression through some areas, then opening up to ones that have multiple paths, and you choose whether, and how much to, blowing enemies up and away, or sneaking. You have a number of tools focused on the latter, and the former is enabled via the third-person-shooter elements of this. Go direct or use acrobatics: scale walls and go in through an upper window, or climb through a large room via a system of pipes. From up there, you can use one-handed equipment, unless a nearby foe is countering it(!). That means your pistol, stun gun/crossbow and gadgets, the last-mentioned two allowing use of sleeping gas, noisemakers and sticky-shocker. Of course, not your two-handed. These can be restocked at the relatively frequent boxes, or replaced with those of the fallen.
This retains the mechanics of hiding in the dark and in silence, as premiered in Thief. You note patrol paths and guard posts, keeping in mind that they can change when you return to the most saved checkpoint(yes, those get frustrating) and often intersect, and plan how you approach it. They check *everywhere*, and investigate(even when they don't see you do it) if something is toggled a lightswitch, the state of a door(open/closed), and this means both that you have to be careful and maybe take that extra second or two to leave things the way you found them, risking being seen as you do *and* it's a way you can lure someone away from where they were, to bypass them altogether. The sidemissions are samey, and made to be, and thus really feel, skippable. They're there to grind. The coop elements can be awkward. They do also give fun experiences. The graphics look great without requiring too much, and you can almost always turn the camera 360 degrees.
The multiplayer is addictive. There are 5 modes and 6 settings(including a decimated hospital, a Uranium mine and a silo). "Blacklist" and "Classic"(the same, though with almost no light, making it "hide and seek" with lethal results!), the most popular, focus on hacking or defending consoles, the three of which have to be taken one at a time, meaning it gets tougher the closer you are to victory. You have to hide in the area while it's underway, with you and fellow players(teamwork is key!) protecting you. There aren't that many playing today. You are at the mercy of the matchmaking when playing online, unless you set up a private match and/or invite friends. There aren't that many, certainly not enough to keep you around, things to buy and upgrade, unlike something like Assassin's Creed III, perhaps part of why it's less active today. Customizing up to three(in addition to the original 3, so you always have choices) for both sides(and for SP) does enable you to make very different setups, with stats(stealth, speed, armor, etc.), and specific features and counters.
The Spies are fast, agile, climbing walls, hiding and striking from there. Their 10 firearms are largely SMGs. They have defensive, hiding or "tricking" items to use... EMP, smoke grenades, cloaking. Conversely, the Mercs use destructive, revealing or disabling ones proximity mines, tracking vision that detects electronic signals, and a small, flown drone that can explode. They run around each with an assault rifle, a shotgun or even a light machinegun(!), 15 total. Pitting the two against each other challenges and gives some strength to both. Sections and situations favor one over the other, such as camping, with only minor issues following. And they're not limited to using their own team's type in the dynamic and frantic Team Deathmatch, where diverse abilities are constantly in play, and it can be over in mere minutes.
There is a lot of disturbing content and some bloody violence in this. I recommend this to any fan of the series and of the genre. 7/10
Marv(Rourke, hardened) wakes up not knowing where he is. Dwight(Brolin,
a restrained, pre-surgery Clive Owen, and since this is one of several
major characters who are in a very different place, the recasting works
especially well) is trying to keep his rotten life in place, when
Ava(Green, *the* femme fatale, and she's perfect for the role, one of
the best elements in this. And yes, she's naked in all of this), who
broke his heart, comes back into it
and he has to find out, is she
really, as she claims, in danger from her millionaire husband and his
huge bodyguard, Manute(Haysbert, physically powerful and intimidating,
taking over very nicely for Michael Clarke Duncan, R.I.P. And it's
worth noting that Brittany Murphy, R.I.P., for how solid she was and
the role she was to play in this, was omitted, not replaced).
Johnny(Gordon-Levitt, full-of-himself gambler, created for this) tries
to beat Senator Roark(Boothe, despicable, a main villain in both of the
new stories, and more of him is always good) at poker(you knew they had
to go there sooner or later, the card game). And Nancy(Alba, alcoholic
and desperate, and she isn't bad
it's not her fault that it's easily
the least satisfying tale) wants revenge for the only man she ever
This is very much neo-noir with a shot of adrenaline. The action is cool, well-choreographed, and varied. While the gore is more frequent than compelling, it's in no way tedious, and the rest of the violence is very effective, we feel every punch and bullet taken and dealt. Gender-stereotyping sexualizes every woman and renders the men pitiable at best. This is rushed and runs out of steam before the end of the 97 minute running time. That's 3/4 of the first one, which remains superior, though this is a good follow-up, and stands on its own as well, you can take in any one of the separate plots without the others(and this sets up the 3 big ones very early, so we aren't lost when they're followed through on), like with the comics that this is a satisfying adaptation that puts every panel and frame gloriously up on the screen in 3D that adds depth. This doesn't bookend, and the ending falls flat no consequences in a wish-fulfillment climax that almost takes away from that of the original.
I recommend this to any fan of the genre. 8/10
Captain Colter(Gyllenhaal, driven), wakes up on a Chicago subway train,
sitting opposite of Christina(Monaghan, adorable, if less so than she
was in Kiss Kiss Bang Bang
which is still a ton). She knows, and
clearly likes, him, yet he has no recollection of getting on, nor does
he recognize her
or his own reflection! 8 minutes later, the car blows
up. He comes to, back in that same situation. It has already happened,
but he can keep going over that portion of time, and try to find and
stop the bomb. And, lest you think there is no tension or reason for us
to care(as is the case with Edge of Tomorrow), he has to do it fast
was only the first attack, and he is the best chance of preventing the
This gains a lot from the human story in there, with our protagonist's insistence on being more than a tool, by being allowed to contact his father outside of the "replay", and the studio-enforced, yet still sweet, romance. The explanation for the sci-fi aspects strains credulity, though not to the breaking point. It's fun to see him try to crack the mystery, and we are guessing right along with him. Ultimately, the solution has a number of problems: it feels so convenient and simple that I kept waiting for the twist to it, and it's easy once we get there, to the point where the audience wonders why it took so long to get there. The effects, editing and cinematography are very nicely done.
This isn't as clever as it thinks it is. It also doesn't realize all of the ethical issues the concept brings up, in spite of trying to address the ones it can. The subtle exploration of post-9/11 thinking is one of the greatest strengths here. With a running time of 83 minutes not counting the end credits(89 with), and the first(as we're waiting for the film to establish what we go into it already knowing, or at least be entertaining until it gets there) and last quarter of an hour not being all that compelling, we're left with a middle that is enjoyable enough still, I don't expect I'll watch this again. While the ending does make sense, it's rather sappy, and we end up feeling more tricked than surprised.
The DVD comes with the three(the latter two alternate subtitles, every few minutes a short piece of text will come up, neither of them spoil anything, so you can just put them on for the first viewing) informational tracks: #1: audio commentary with Jake Gyllenhaal, Director Duncan Jones, and Writer Ben Ripley, #2: Access Source Code: Trivia(facts that have some connection to what's on screen, such as a "no smoking" sign telling us when such a ban was first done. They don't really have anything to do with the movie itself. It's funny in a quirky sort of way, since it's like watching the film with an easily distracted, sentient encyclopedia, which responds to the visuals with free association after a while, I started trying to guess, sometimes successfully, what it would "pick" to spout stuff about.) and #3: Tales of Time Travel(titles and short descriptions of time travel stories, most of them films, in no particular order decent, but it might as well have been text in a menu), three interesting featurettes: the 26 minute Cast and Crew Insights(interviews), 6 and a half minute Focal Points(the concepts are explained) and 18 minute Expert Intel(physics professor discusses the realism of different aspects of this), trailers for Unknown, Brighton Rock, Attack the Block and this, and an ad for Mars.
There is a little violence, disturbing content and moderate to strong language in this. I recommend this to the biggest fans of stories about time-travel, alternate universes, etc. 7/10
Niko(Hollick, angry yet hopeful; he is emotionally unstable, and his
state of mind often doesn't match ours
and it's not like a distraught
protagonist can't work, Kane & Lynch showed us that) goes to America,
in part because his cousin Roman(Zumwalt, eternal optimist) claimed he
had made it. All relationships in this are credible and dynamic, and
theirs is no exception. He got involved with wrong people that and came
to get away from that, only for it to happen again, and the theme of
revenge and Capitalism are explored.
The multi-player is amazing. It plays like the single-player, as crazy and open, with only the deeper features removed. You can even go around the whole city(which helps us forgive that it's smaller, greyer and less varied, if more detailed)! The modes are sufficiently different from each other, and play to the separate strengths of these race, steal, kill, escort, etc. One is specifically for missions, albeit their design is meh, and they run together. This showcases the ability to pack a four-seater with four different players, all firing one of their two(that goes for every weapon class, at best) pistols, SMGs or throwables anywhere by the smooth 360 degree camera(you can turn as much as you want on the road without losing track of where you aim. You do have to manually adjust it whenever you aren't walking).
This tones down and/or removes a lot of iconic elements, humor, "over the topness", instead going for a more serious experience, with grit here meaning boredom. They add content, and little of it is interactive. The engines graphics, physics(water, objects, rag-doll, dynamic lighting, etc.), etc are improved upon majorly, with the game-play being the same or worsened(with a laundry list of features removed), when that was always something that we were patient with, since what wasn't average was fun, and that has changed here. It's just not as inviting.
The characters are well-cast, covering many ethnicities, with Italians, Irish, Russians, etc. There are offensive stereotypes, in the satire, which is clever, smart, thought-provoking, and targets everyone equally(the sad thing is that the Republicans have been so aggressive in moving further right-wing that when it comes to them, this doesn't parody, but represent). There are perverts, radical feminists, hipsters, reality TV, drugs, corruption, sex, money, a scared-of-sex Conservative, a sham psychic, health-care debate from all sides, global warming fought through T-Shirts, etc., through ads, shows, signs, logos, slogans, etc.
There's a lot of tedium and repetitiveness here. Plot points are repeated(you lose track of how many of your employers are killed or jailed, most before you really get to know them), murder is the solution to most problems(without the stealth we fell in love with), and gunning others down is just not that enjoyable(yup, huge problem right there ). Bullets knock down others(though the explosiveness of barrels is unpredictable and useless) in one of the countless awkward aspects of this, and the cover is awful, to the point where you vie for not using it unless forced to. You don't stick out when bringing up the reticule, only when you pull the trigger, and only while you're holding it down, messing up timing for both starting and ending a burst.
The cell is inspired. Make and receive calls(any "name" you meet in this is added to your contacts list) and photos, and, unfortunately, be harassed by Friends(at least earning favors, such as cheap guns, goons, a ride, all near you, with a cool-down and the requirement that you stay on their good side) to go take in one of the decent-at-best mini-games, or one of the hours' worth of shows, stripping, stand-up, etc. that you don't care about. You or they ask for it to happen "now"(so hurry up and get there, you barely have time, especially if you're far away, and there's at least one where you basically have to be right next to him to make it), you take them there, choosing where, then take them home. The internet allows emailing, engaging with companies, online dating and such, fleshing out the world, and you're not particularly forced into it.
This is less challenging than the earlier ones, albeit it still isn't an Assassin's Creed title. Still, for that amount, you gather guns and ammo(well, they throw both at you, loot bodies and you'll never need to spend a dime on either), explore the area, and come in with as much of a plan as you can, apply yourself during it, and you may still need luck, leading to satisfying, hard won victories. The trademark frustrating unevenly difficult areas return, now worse than ever, because of the contrast. Military, bicycles and planes are gone well, the latter takes off non-stop at the airport, without us being able to block or blow them up and why wouldn't I try to don't you realize what series this is.
Steering a helicopter remains more involved than driving(it should be both or neither yes, one is more complicated than the other, but you can't just sit down and master either just like that), albeit it doesn't handle as bad as cars with skidding and slow response(that goes for much of what you do on foot, as well), and you can use what you've learned before this. It isn't necessary often. Just Cause does far better on this, and there are numerous parts of this that that is true of, add the other Grand Theft Autos to that. The controls, in this and in general, are in desperate need of streamlining. Too often you end up looking at your keyboard, trying to find the right one. Why does your phone have separate ones? You can't do anything but move when you have it out, anyway!
In addition to what I've already mentioned, there is a lot of bloody, violent, disturbing content, strong language in this. I recommend this to the biggest fans, and mainly for playing with others. 7/10
Arms dealer Stonebanks(Gibson, awesomely evil, and starts the trend of
the aging icons who join this being the best part, especially from how
they relate to the returning members, which is with tension and core
conflict, often with Sly
we miss them and their energy and talent
whenever they aren't on screen) turns out to still be alive, and is
determined to kill his former team, The Expendables. So group leader
Barney(Stallone, enjoyable; and his fun facing off with CIA spook
portrayed by Ford puts the latter's gruff authority to good use) he
fires the people we paid to go see, immediately after freeing Doctor
Death(Snipes, yes, that's what he's called here, and his rivalry with
Statham, both of them knife-wielding long-time colleagues and close
friends with Ross) and hiring Galgo(Banderas, who never shuts up, and
is easily the most fun
albeit it is a love-him-or-hate-him kind of
thing), both of whom struggle to fit in with the established team. For
a third or so, this is hijacked by the pilot for a spin-off series, or
possibly the audition tapes for the next Mission Impossible movie... a
modern spy thriller, at least. The young mercs are fine, even good at
points, but they don't belong in this. And ultimately, the old guys are
brought back in.
Three films in, and we've abandoned the 80's throwback "let's get these guys together" concept. The original had a huge(albeit exhausting) climax, the second a massive opening, this has neither. All we do get are epic shots, and this straight-up steals the setup for the last 45 minutes from what I'm told is a far better picture. Did I mention this is an overlong two hours? The excessive number of characters reaches a new high or low, rather, and no one has much to do, even if the young blood actually have identities and roles in the missions. The PG-13 is felt, with bloody, gory violence completely trimmed(and the strong language toned down; people are still gunned down and blown up, you merely don't see any wounds or the like) to remove the edge, but it's the least of the problems here. In general, the "over the top" quality is just about gone. Every cool gag was in the trailer. In spite of the quality that aspect of the last sequel, the action here lacks variety, each sequence ends too soon, it's stealth-heavy and every mêlée fight is done in close-ups and edited to be too fast, eliminating the showcase of the martial arts of the youths that was part of the pitch here they certainly weren't hired for their acting chops.
I recommend this solely to the most patient and forgiving fans. While never a good franchise, this is where it throws in the towel. 5/10
Peter(Pratt, playing it like a mix between Han Solo and Marty McFly,
likable from the get-go) steals a coveted orb, and intends to nab the
reward, until he
realizes that it's too powerful, and has
to be kept out of the hands of religious fanatic Ronan(Pace,
terrifying, psychotic, driven), or he will commit genocide.
Our unlikely and reluctant hero meets others like him(they fight at their first encounter), and these scoundrels(there weren't enough of those in the franchise) form an uneasy alliance, gradually connecting with each other and becoming selfless and heroic. Bounty hunters Rocket(Cooper, angry, bitter, smart), a cyborg raccoon(!) and Groot(Vincent eh, or: Diesel, putting a lot of emotion into three words, naïve, enthusiastic, a big lug with a huge heart), a giant, sentient tree(did I mention this came out of the Silver Age? It's a Saturday Morning Cartoon every step of the way, and gloriously so). Assassin Gamora(Saldana, sultry, deadly, moral) trying to break away from adoptive father Thanos(Brolin, with all the gravitas that requires with only a short appearance, he's not the main villain see above he makes a real impression), and "sister" Nebula(Gillan, sadistic because of her intense jealousy borne from their sibling rivalry), who hunts her down. And Drax(Bautista, who does remarkably well for little experience everyone, character and actor, is solid), essentially Conan(the barbarian, not the O'Brien) of space, who wants revenge on the bad guy for his murdered family... or possibly aforementioned, since she worked with him
There are too many elements in this(groups, people, allegiances, motivations ), and the scope and abilities of some of them is a little difficult to get a proper grasp on, but once you let it sit, probably after the end credits(which you must stay through!), it does all come together. Somehow it splits the focus and time fairly equally between them, if it only hints at, and doesn't explore. This is amazing from start to finish. Everyone has something to bring to it, in action, drama, humor, etc. This is a stand-alone that takes place in the same universe as the Avengers films, and you can go into this with no knowledge of those, or the comics it emulates and is based on. This takes inspiration from Star Wars and Indiana Jones, and lives up to the standards set by those classics.
There is some violence(it doesn't push the PG-13 as much as other recent entries in the genre) and a little strong language in this. I recommend this to anyone who enjoys big, fun Summer blockbusters. 10/10
Sgt. Sarchie(Bana, determined, with a past) struggles to balance his
job, dealing with gruesome New York crime(such as an early creepy scene
at the Bronx Zoo), and a loving family that tries to give him space,
but it is starting to strain their relationship. When the latter are
put in harm's way by the former, he finds himself teaming up with a
priest(Ramirez, exotic and passionate for his calling) that he gets a
bit of a bromance going with, and challenging his notion that there's
no such thing as the supernatural
when he finds himself chasing a
serial killer whose rituals don't seem to be only the work of a human.
Part of what makes this work is that there is more going on than the possession. This is driven by the characters, and their very tangible personal issues. You want to see more of them, including the bad-ass adrenaline junkie partner, Butler(McHale, bringing his hilarious snark in, easing up the otherwise constant strangling tension). The atmosphere is amazing, with little sound or light, and an ominous score, similar to Derrickson's earlier work, Sinister. And yet, this isn't the same movie, albeit they touch upon some of the same themes, in different ways: a flawed, non-superstitious, well-meaning protagonist who has to protect his loved ones but also fight the grisly murders that he finds himself pulled towards mirrored by our attraction to his working against it.
The jumpscares are never purely cheap, with new twists put on existing tricks, and with how it builds yes, there is a sudden shock with a cat, but it's part of an on-going thing. Scenes will hold a tight grip on you as you watch on in terror, without it getting exploitative in spite of a lot of bloody violence, and some graphic gore, much of it effective. While attempts to convince the viewer of the truth of religion, Christianity to be exact, are feeble at best and completely unnecessary, this is compelling as an exorcism piece. The grit and grunge of the city plant it firmly in the real world, and make us pray for the release the end credits will bring, not from poor fiction, rather, from seemingly inescapable, actual evil. There are awkward and silly moments in this, and you do have to suspend a sizable chunk of disbelief to fully enjoy it.
In addition to what I've already mentioned, there is some strong language in this. I recommend this to any fan of horror. 8/10
1987. A bunch of youths who are still stuck living at home with their
parents have to save up money for college and take Summer jobs in the
titular amusement park. Among the unwinnable games, all of these odd
types unintentionally form a sort of dysfunctional family.
James(Eisenberg, nerdy and neurotic) starts falling for Em(Stewart, her
being her usual moody self fitting this, and him, they're cute
together), but things are a little complicated. For one thing, she
secretly has a thing with Mike(Reynolds, charming as usual, former big
time musician), even though he's married.
Outside of one or two chunks where a lot happens, this is uneventful. It's pretty slow, even though the 96 minutes sans credits(102 minutes with) don't really drag. The teen romance is relatively conventional in its progression, but it's also realistic and engaging. With 40 80's pop songs, this has a very distinct sense of setting. It's very indie small, personal, intimate. This isn't a laugh-out-loud comedy, albeit it can be funny. There's enough quirk to go around, with awkward interactions, especially on dates talking past each other, half-answering, ignoring, misreading nonverbal cues.
This contains some drug content, strong language and sexuality, as well as brief bloody violence. I recommend this to anyone who wants this kind of story. 7/10
Married with infant daughter Rosie(the twins Vargas, who we all agree
are adorable and has some of the best moments) and living in suburbia
is boring Mac(Rogen, still wanting to get stoned) and Kelly(Byrne,
dying to get out of the house
she is allowed to let loose, nearly
steals the show, but does also do some of the worst things
the lack of consequences for the couple, and the clear way this sides
with them). When a frat moves in next door, they both worry about the
loud parties(which do get repetitive and exhausting, quick), and see a
way to prove, in part to themselves, that they're still cool and
irresponsible(for a while, they certainly live up to the latter). And
once they call the cops on the bros, an all-out war is declared.
This is very funny, but only the climax is non-stop hilarity. When it crosses the line into the offensive, it does actually make us laugh, it isn't pure shock value. The set-pieces are great, memorable and often inspired. There are some issues with the humor, a lot of it arising from trying very hard to make our sides ache. Too much awkwardness(when some of it, such as the response to a fist-bump, is actually really good), going loud for the end of a scene in place of a punchline, because it's a way to get a reaction(when that, by itself, isn't actually that compelling). And while a lot of solid material comes out of the improvising, it does grind the movie to a halt to let them riff off each other.
In spite of some inconsistencies and vagueness to the personality in the background ones, this does get a lot of strong bits from its characters. Our two protagonists, and how they are together, and it becomes explosive when you add the president of the Delta Psi, Teddy(Ephron, dumb and determined to leave a legacy via a year-end epic blowout and while the whole trio get to play both extremes, his gentle, charming leader-type and his pure, unrestrained psycho are phenomenal). Likewise, this contrasts the two neighbors well(albeit never properly explaining why no one else in the area are bothered by the noise), with both jealous of some of what the other has be it a fun life, or a set future.
This contains constant coarse language, sexuality, drug content, violence, and some nudity. I recommend this to anyone who enjoys a raunchy teen comedy. 7/10
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