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Kevin Smith, if you are reading this, then recognize how hard it is for
me to say this: Red State isn't perfect, but it's got enough good ideas
going for it, that it makes what could have been average seem slightly
better, and I didn't enjoy watching it as much as I wanted to, but I am
glad I did see it.
For Everybody else, Red State follows three kids, all generic no-names, who find a website that allows them to find women who are more than willing to fool around. As such, they set out to meet with said stranger, finding out the next day that the person that has drugged and is holding them captive is actually Abin Cooper's Five Points Church, a cult based off of Fred Phelps and the Westboro Baptist Church from Kansas.
The movie has an intro, a middle and an end, and it's sad to say that both the middle and intro lack so much character and definition from Smith's previous movies that if you didn't recognize it was a Kevin Smith film from the beginning, you'd assume it was some random pulp exploitation picture made by a bunch of no names starring Melissa Leo, Michael Parks and John Goodman and a bunch of kids in movies you've probably never seen.
The movie had so much riding on it, from the moment Kevin announced it, I was on board. I've been a Kevin Smith fan for some time, perhaps not as long as most fans, but I still enjoy his work. However, when he made this movie, it didn't feel as strong as a Kevin Smith film or even a horror film, for that matter.
The villianry of Abin Cooper's flock comes off as silly in some parts, and it's sad that it had to be done in such a cut-paste style of other cult pictures. An Example has a man being executed and one of the members starts chanting, "Send the Sinners straight to hell", and while not a poor delivery, it's so cliché that it took me out of the picture. Not to mention, nearly the entire flock sport accents that sound native to the deep south and again, hearing phrases like, "I'll take care of it, Daddy", seem comical, which is wrong, because it shouldn't be so funny, but it breaks the flow because the accent and the nonchalant delivery makes it seem so average.
None of the characters have backgrounds, being more caricatures than people. The saving graces (A term I use lightly) of the picture are the actors, who do a fine enough job with what is written in front of them. Michael Parks in some scenes tries to act with dialog that's rather wooden, where I get the feeling if he were allowed to ham the performance up, it might have made the character seem more villainous. He does have some moments, such as when he's surrounded by death all around him, Parks makes Abin seem so detached that all he does is remark how the Bible says they did good. Not to mention, a real tense scene with Abin talking to a cop over a radio was the type of evil that really needed to be within the whole picture.
Melissa Leo does as good as she can, most of her scenes have her doing the kind of overacting that made Raul Julia's performance in 1994's "Street Fighter" fantastic.
The film sadly squanders the other actors, John Goodman, Kevin Pollak and Stephen Root do what they can, and of the time they are on screen, they don't do too much.
The problems with the film are simple: if you have a villain that's toted as "so bad, Nazis don't even want to have their politics associated with them", It would help if we got some kind of indicator, instead of lots of talking.
However, the ending is probably going to be the polarizer of the year. I actually like the ending, because of the way Smith ends the picture, it's an ending that people should follow whenever we see the WBC protesting for one reason of another. Short of that, the first two halves of the film don't make the picture seem anything more than generic, the horror isn't horrifying enough and the action is nearly non-existent.
I will say as a Kevin Smith fan, however, don't watch the film expecting "Clerks" or anything living within the View-Askew universe. I recommend it for seeing what an director can do wrong, but what he can do right, All the same, if you saw the movie and didn't like it, I understand entirely why, but if you liked it, I could understand why all the same.
I won't lie when I say that I liked 1990's Dollman. Tim Thomerson
running around as Brick Bardo was simply the highlight of what could
have been the worst movie in the world, but oddly enough, that movie
was filled with enough humor and camp to make a movie that was only a
hour and 17 minutes feel like a complete picture, even if one or two
parts of the movie kind of slowed everything down.
Now, I cannot speak on the behalf of either "Bad Channels" or "Demonic Toys", but all I can say is that if "Dollman Vs. Demonic Toys" is an indicator, "Demonic Toys" would be an insult, but somewhat laughable attempt at trying to cash in on the "Child's Play" series of films from the 80s, and Bad Channels would seem like something of an original idea kind of like how "Dollman" was an original idea.
When I sat down for "Dollman Vs. Demonic Toys", I wasn't expecting anything other than maybe a less than average horror movie with a movie character I would be rooting for to defeat the Chucky Knockoff possessed toys. What I got was a movie that was padded so much, leaves so little explained and a plot that was squandered, which I feel is disrespectful for its target audiences, which would have to be the purists who watch these low budget movies to begin with.
The problem with Versus movies is that for the most part, you have to cover both sides of the tracks for the characters that are going head to head, and you run into the issue of giving away almost all the back story or none of the back story. This movie, unfortunately, pads the entire picture with all three major characters' back stories, With Dollman's back story being the longest, since he actually has more plot and character to work with.
This is insulting for the audience, because if you already know the back story (again, only the fans would watch this sequel because they have seen all the movies), this stuff you just fast-forward, and then you take off what feels about 4 to 5 minutes of film. The film also insults its audience by using lots to tactics to make the movie longer, such as having almost four minute intro credits, four minute out credits, and one very obnoxious long shot of a guard reading a magazine that didn't look like he was reading a magazine so much as it looked like he was...ahem, having "fun" with himself.
The movie also avoids explaining how in the beginning, Dollman was hitching a ride, and the next time we see him, he magically meets Nurse Ginger from "Bad Channels", or how the cop found Nurse Ginger without anything more than a reporter saying she lives in a select town.
The movie is really nothing more than continuous padding, and by the time we get to the versus part of it all, it's so anti-climatic, you almost feel like apologizing to somebody that's not you for wasting the complete hour you used to watch this movie. And let's not even touch on the fact that every one of the Demonic Toys is more obnoxious than Beetlejuice and Drop Dead Fred on a caffeine high. I don't understand how there are fans of the toys, but I know that Chucky is more tolerable than the continuously laughing clown or the baby doll with a potty mouth so lame that George Carlin would have cried in embarrassment over the thought that somebody would find some part of this threatening or even funny.
The movie is an insult to us all. For all the fans of their respectable films, watch those movies over again. At least you know you can honor their films with more respect than this. It doesn't matter whether the film is "Alien Vs. Predator", or "Freddy Vs. Jason", if you watch this versus, it really, really doesn't matter who wins, we all lose.
I remember the first time I saw the previews for Jonah Hex, and I'm
sure you might have seen it too. It had shown, in the brief flashes of
a 30 second commercial, a scene where the aforementioned lead is shown,
on horseback, cranking the handles of two Gatling guns along the back
of a rearing horse. I think people that went into this movie thinking
it was going to be a serious picture were probably the same misinformed
people who thought a movie like "The Watchmen" was going to be a action
packed superhero movie for kids based entirely on the fact that
everybody was in costume.
Jonah Hex is a sci-fi western quite unlike any other. In fact, I would be more inclined to think less about The Good, The Bad and The Ugly or Once Upon a Time in the West and more along the lines of Hellboy or The Crow when seeing this movie. The Story begins almost immediately as Jonah Hex (Josh Brolin), tied up outside his home and approached by a villainous Confederate general, Quentin Turnbull (John Malkovich), who we learn, is proclaiming vengeance for the death of his son, kills the only family Hex had, and then branding him with a mark he will never forget.
Supranaturally, Hex dies and is brought back to life by a Native American tribe. Hex, reborn, now has the ability to speak to the dead, and his first order of business; Find and kill Quentin Turnbull.
I will say right now, this movie had no aspirations of being serious. Even in the opening credits, the Warner Brothers logo comes up and the sound of "As Time Goes By" is played on a swaggering guitar more suited for the score of Raising Arizona than a comic book movie, or even a western, for that matter. That should be an indicator that this movie is not going to be a real serious affair. Hell, Scott Pilgrim Vs. The World did it to the Universal Logo, and that was a blast.
The film is actually just fine. It's not great, but it's not utterly horrible, and everybody involved seems to do, well, okay, not great, but given the script by Nevaldine and Taylor (Who wrote and directed Gamer and Crank's 1 & 2), What else can you complain about?
The problem with the movie is that it is a cash-in. It has to be, because if anyone truly respected the source material, we would have had more told to us about Jonah himself, or the hooker with a heart of gold, Lilah (Megan Fox from Transformers), or Quentin Turnbull himself. In Fact, Jonah's story in the beginning is told with two minutes of animated visuals, so instead of showing us like a Superhero movie might do, this one tells us. The movie score seems to mix together a traditional western sound in some parts, but it's mostly electric guitar chords, which told me the movie is, again, a cash-in. The problem with this movie is that is was written as a sequel and not as a real origin story. Had the movie been written as a real origin story, We would have seen Jonah Hex develop his abilities as a speaker of the dead instead of telling us; We would have learned how Lilah and Jonah are so comfortable with one another, and we could have understood the story a little bit more and it wouldn't have had to been so frantic in its presentation.
Strangely enough, though I criticize everything wrong with it, I just can't get myself to give it the truly negative review I want to give it. The movie isn't a brain drain, more like a brain shut off; you go in for about 1 hour and 10 minutes and there you go. If nothing else, you killed time watching a steampunk fantasy about a supernatural cowboy and a loyal hooker. I can't think of any movie more deserving of being called a guilty pleasure quite like this one. I certainly couldn't recommend it to anybody without laughing about it, but I enjoyed it enough that on a TV edit, I'd watch it again.
Street Fighter is a strange video game movie. The game is an amazing 2D
fighter with a wide array of characters from different continents who
battle it out for...something.
The Movie, surprisingly, has more plot than you would think. M. Bison (Raul Julia, in his final performance) is now portrayed as a megalomanical super villain who has dreams of causing collapse to the entire world, such as killing a large number of hostages unless paid a ransom worthy of Dr. Evil standards, creating a breed of super soldiers and kidnapping the Queen of England and create his own world based off of his image. Trust me, it is as silly as it sounds.
Lt. Guile (Jean Claude Van Damme) approaches the situation in that he has to save the hostages and hopefully put Bison on ice, once and for all, thus stopping his plans for world domination.
From there on in, the movie is basically an almost two hour fan service with various subplots with almost all the characters from the Street Fighter universe. Zangief and Dee Jay work for M. Bison as Muscle and Computer Technician, respectively. Chun-Li, Balrog and E. Honda are all out for get revenge and Ken and Ryu are professional fighters hoping to score a battle against the vain Vega and evil Sagat.
Like I said, the rest of the movie is nothing short of fan service, since all the actors deliver some truly awful one liners aside, Van Damme's Guile almost sounds like Tommy Wiseau ("The Room") when you close your eyes, and the whole plot itself is actually quite boring.
Well, why in the world would someone defend this movie then? I'll give you three reasons, two are part of the movie, and one is a personal thing.
1. Raul Julia's M. Bison. A villain who looks rather powerful should be given a great performance. While Raul Julia did die after this movie was over, there is no denying that he went out with a bang rather than whimper. His performance is laughably over the top, but at no point do you look at his face and see a man who seems to think he's in a movie, and as a result, he makes the movie quite amazing. If anything, he gives us a theatrical villain which, for his character, works very well.
2. There was a lot of room for potential here. Let's be honest, writing a movie is easy, but writing a good movie is hard. The director (Who is also the writer) took a fighting video game and crafted a movie out of it, and a fairly well done one at that. Sure, not in execution, but in originality, it works.
3. It was a movie from my childhood. I was a child of the 90's, and as such, I can remember my parents letting me watch this at a very young age, and it was awesome. Damn the Nostalgia factor, but it's what makes this movie really good. I can remember how intimidated I was in the final battle scenes, and how cool M. Bison was to me (in that over the top Saturday Morning Cartoon style of cool).
This movie is a very easy one to attack for just not being good, but understand from my point of view, even knowing how bad it is, having no character development, some truly cheesy one liners and awful performances, including Van Damme giving a performance that makes him sound like Tommy Wiseau if he smoked cigarettes for ten years and you closed your eyes real tight, I still like it.
It's cheesy, terrible and ridiculous, but all you need to know is that Raul Julia delivers some of the best lines for years to come, and you know you are dealing with a kind of cult classic when one of the film's greatest lines is, "This is merely superconductor electromagnetism. Surely, you've heard of it." In other words, go see this movie if you haven't already.
Before this review starts, I must state that I am an Elm Street fan. I
happen to own the first movie twice on two different editions, the
fifth movie in Rated and Unrated (DVD and VHS, respectively) and spent
an entire evening trying to finish the "Never Sleep Again" documentary
about the particular series of movies. It should also be mentioned that
not just by a fan's standpoint, but also by a legitimate reviewer's
standpoint that this movie is not very good.
The movie's story is familiar, but for the uninitiated, the story is about the killer Freddy Krueger (We are already out of the gate with "Freddy", not "Fred", as he was called in the original) who kills his first victim in, I'm not kidding, the first five minutes, not withstanding credits.
The children of Elm Street start dreaming of a man with horrible burned skin, red and green sweater, and a pair of razor fingers who follows them in their dreams. They seem to figure it out rather quickly that if you fall asleep and die in your dream, you die in real life. Knowing this, they begin many sleepless nights, hoping that the next minute isn't the one where they slumber- eternally, that is.
It can be said nearly from the beginning that the movie tries to incorporate enough of the first movie without trying to be a complete shot-for-shot remake that surprisingly enough, the movie suffers because it doesn't do just that.
The reason why the original worked so much better was that the special effects were truly special, most of them handcrafted. This version resorts to CGI in just about every aspect: The Deaths, Any tricks Freddy pulls off, and I get the feeling a lot of the sets. The original was scary because it didn't really have stages, or a lot of money, so even creating nightmares was, pardon the pun, a nightmare. Here, you can almost feel Michael Bay (Who is producer) having no issue coughing up a cool million to put a new special effect in, even if it's purpose is to brag that it has money to do it.
The Characters also suffer because every one of them is as one-dimensional as cardboard. We have a Nancy, but guess what? Except for drawing, we don't know anything about her. We have newcomers Dean, Jesse and Kris, but we have nothing to make us like them, nothing to dislike them, nothing. In fact, even Freddy suffers from this too, because he's too developed.
This movie brings in a concept that the original movie's director, Wes Craven, chose to drop when he filmed his version, Which was that Freddy was a possible child molester. While this idea has divided fans of the original movie to even vow not to see this remake, I praise the writers and the director for even considering it, but it is just about where my praise wraps up.
Another weak link in this movie is Jackie Earle Haley's Freddy Krueger, who plays the performance scary, but it comes off being lackluster. The special effects are as plain as the nose on your face (or For Freddy's case, the lack thereof) as Freddy's bottom lip almost never moves, his voice carries this aggravating rasp, and his dialog becomes too long.
The original Freddy did talk, of this much we know, but Freddy wasn't given 100 lines in a movie, either. The original Freddy would either yell or tell a one liner, this one carries complete sentences, and it gets old very fast. Jackie Haley's performance, as you listen, sounds more like his performance as Rorschach in 2009's Watchmen, which better used Haley's acting ability instead of this movie using Haley for his familiar voice and not much else.
Another conflict is that the movie is rather lacking in Nightmares, or dreams, which is odd considering that with all the money they had working on this movie, dreams should have been the most explored idea within the picture.
This movie is not good, with the exception of the new Freddy storyline and better actors (They act well, they just haven't got any character traits to make me care for them), this movie could have been called "Freddy's On Elm Street" and at least it would have been more honest than the whole "Nightmare" word in the title.
Because of the poor writing and conception, you could gather this movie was made more to make a buck than to pay respects to the long running series, and because of this, we aren't given a movie that could have been praised with the original, but feels like a parody of the entire series. Let me put it this way: This movie isn't scary, it isn't nightmarish, and it isn't enjoyable. Pretty much the only way to connect to my fellow Elm Street fans is, it's one movie on par with almost three of the original Elm Street movies (The three worst ones, that is).
Derrick Comedy have been known over the last couple of years for their
offbeat, quirky and sometimes very unorthodox ways of getting a laugh
out of its key demographic, which is safe to assume is mostly made up
of teenagers, mostly boys, but it would be wrong of me to think girls
weren't fans too.
After a comedy group becomes big, it becomes the norm to create some kind of outlet to show your fans how much you love them, and what better way than to create a movie. Lorne Michaels and the Saturday Night Live "Not yet ready for Prime Time Players" did it, Monty Python did it, and while we have yet to see the Whitest Kids U' Know touch base with us on that (and no, Miss March does not count), we have "Mystery Team", a very clever, sometimes bordering on outright disgusting movie.
Picture if you will, The Hardy Boys trying to hide their own 5 O'clock shadows from each other or Encyclopedia Brown trying to figure out what exactly happened to the punch bowl at the high school dance, and you could kind of place what this movie is trying to be.
Three kids, who dubbed themselves the Mystery Team as kids, solve the town's big mysteries, like where is the missing cat, or who shoved their finger into a fresh baked pie, but get handed their biggest mystery when a young girl asks the team to find out who murdered her parents.
Of course, the guys get involved and approach this situation as serious as a heart attack. On the surface, this movie might sound cliché and familiar, ala the Andy Samberg 2006 picture, Hot Rod. However, it would be a disservice to persuade you that they are the same movie. While they are similar in many ways, Mystery Team has something that feels a little more genuine. Hot Rod had a character who thought he could do it all, and the movie had many over the top scenes. Mystery Team is grounded in enough reality to make you realize that none of this could be pulled off by a couple of less than street wise kid detectives, and the movie makes you fully aware of it.
However, in this grounding, it makes the characters have some kind of background. Not a fully recognized background, but something for you to work with. Being a handful of high school kids who really never grew up kind of rings funny, but everybody around them knows they are just trying to hold on to whatever youth they have left, a defense mechanism to help themselves prove they are still important.
The movie is met with some flaws, the characters are never truly fleshed out and become more or less, cardboard cutouts of what kids think is heroic, but when you were a kid and you invented you're own persona, did you really think beyond "Super Smart" or "Super Tough"? Even in this case, it still works.
Typical in most comedies too is a joke that doesn't work here and there, but it is for the most part, consistently funny.
I would say if the plot is enough for you or you need a dumb funny laugh, look no further than the Mystery Team.
Of the Last Decade of so, Horror had been on a downhill slope in a lot
of the movies that have come out. Ever so rarely are we treated to a
movie that scares us by what we aren't seeing, or the horrors of what
Science, Mankind or any combination of the two can do.
Horror movies have also, sadly, been in the can. With the last few years, Sub-genres have opened up, the ever popular Gore-no, which rhymes with "Porno". These movies are very easy to find; They typically have no real plot to speak of, shocking displays of violence and mostly naked people placed in spots to fulfill the idea that if you are going to sit in a theater for what you've paid for, might as well have a naked woman show up.
From the last couple of months, people have been trying to say that the new controversial Serbian Film, aptly named "A Serbian Film" and (what I'll address as "Srpski Film" to avoid confusion) is either yet another grotesque exercise in showing excessive violence or classified as a movie with Artistic intent. Having finished it, I spent a few hours as this was being prepared to say I haven't got a clue what I'm going to say about it.
The Story follows Milos(h), a former porn star with a young boy and gorgeous wife, who has fallen on some hard times. A Porn Star Milos has worked with, Layla, tells him of an offer to make the adult film of a lifetime from a director named Vukmir. Vukmir is a clever man, well educated of Milos work.
When Milos shows up to perform in something he hasn't even a script to, he refuses. Vukmir, however, is not going to take no for an answer.
This is the part of the movie where the term "Double Edged Sword" comes into play, I think. The question this movie asks you is if the content in the movie is mindless or artistic. The Answer is a difficult one to answer. If you say it's artistic, it almost makes you have to ask the question if you are necessarily Vukmir, who thinks his pornography is artistic itself.
If you say it's garbage, than it almost invokes the question if perhaps you missed some point about the commentary to it all, which people almost all bring up when talking about this movie, and you went in for some awkward blood lust quota that wasn't fulfilled.
In all honesty, it is a movie that cannot be submitted to the star review system of the IMDb. I will say that the movie doesn't have a great plot, all that interesting characters (With the disturbing exception of Vukmir). It is a graphic motion picture, with visuals that will make you feel absolute disgust, but whether you are disgusted with yourself for watching or the cast for filming it is kind of open. Surprisingly, the blood effects aren't in fire-hose mode, in that all the blood we see is almost near the end, which was kind of refreshing.
Although it is a very slow movie. The content we are seeing isn't fast, and the conversation we hear is only so interesting, nothing is really background information on any of the characters (Vukmir and Milos are the only ones with backgrounds) so if you go, it would be because of the horror stuff you might have heard about it. The sex is almost constantly in view, but none of it is erotic, nor is it meant to be. It almost feels like it is kind of a satirical look at the feel of modern pornography.
The Problem comes is where I stand on the movie. If I say I liked it, It's because of the last 20 minutes, which I felt to be the most tense of any movie I've seen in a long while. If I say I hate it, it sounds like I was looking for a ton of blood effects and sex and wasn't satisfied.
I leave it up to you. If the trailers, story or hype sounds like something you want to see, It is your money. It is a difficult thing to say, but I truly think that in order for me to give a final consensus, a second viewing is needed, and I think I won't give this movie a second viewing for awhile.
In this world, there are big men. Big men can be big in stature,
ability or a combination of the two. Seeing Peter Dinklage as the
character Finn in 2003's The Station Agent, made me realize something:
Peter Dinklage is a big man, in both stature and ability, and I almost
feel like classifying him as one of my favorite actors of all time (A
claim that is difficult for me to say).
Peter Dinklage plays Finn, a man with Dwarfism who works in a model train shop with one of his good friends, who passes away. Finn's best friend leaves in his will, a train depot. Finn takes refuge in the small, but spacious area, and comes across some very unique characters.
Joe (Bobby Cannavale) is a hot dog and coffee vendor who, in his part time takes care of his ill father and tries to make friends with Finn. Olivia (played by the gorgeous Patricia Clarkson) is a woman who just seems to have found friends in Joe and Finn, and it seems to be the best medicine she can get.
What is encountered isn't a movie that challenges anything major, difficult or is particularly risky, but is more or less, an emotional study of people and seclusion. The three characters in the movie are around many people, but they all have some kind of pain held within themselves.
What makes the movie and its use of emotion so great is that it takes the time to help us learn who these people are, instead of spelling it out, and it doesn't seem forced, not even for a second.
When I went into this movie, I was a little bothered with how Dinklage's character was being used. I felt like this movie was going to be rather one note in nature, but the surprise was pleasant, mainly because the movie stopped looking at Finn's height as a focus for the movie and instead evolved the character, to show a man with a fixation for trains, people and communication.
Bobby Cannavale and Patricia Clarkson, as well as some brief, but great scenes with Michelle Williams playing a young and confused librarian and young actress Raven Goodwin playing a little girl named Cleo kept me smiling, but intrigued. The characters are unique without being overly silly, but their problems are real, being the greater part of it all.
I could go outside right now and meet all of these people in the small town I live in and it wouldn't seem silly or ridiculous, as compared to most independent movies where townspeople usually have something odd and quirky about them that takes away from the intrigue of it all.
As I said in the beginning, There are big men in this world, and I consider Peter Dinklage a big man. People might argue that, but I think he is a great actor. Every scene with him in it is amazing. In a world where the roles of actors of short stature are mostly relegated to playing a munchkin character who becomes the punchline for just being on camera, Dinklage can convince anyone that Dwarfs can play just as good leading men, if not better than the average height actors out today.
It is very strange that when I read the user reviews of this site, so
few actually talk about why the movie is so bad. Well, I'd like to take
a moment to say why I didn't, and in better detail than most,
hopefully, enjoy the movie.
Dumb and Dumberer is a prequel, which if the word "sequel" is of any indication, means it is a continuation from the first. Well, "Prequel" implies it as a "beginning of" story, sort of what happened in the childhoods of Harry and Lloyd, who were originally played by Jeff Daniels and Jim Carrey, respectively.
The characters in the story are Harry and Lloyd, two simple minded teenagers, who lack any real charm or clever idiocy that was played so well in the original. The idea in this movie is that the principal, played by the legendary Eugene Levy (Jim's Dad in American Pie and most of its sequels) is trying to find a get rich quick scheme, so he develops a special needs class to make the money, but he needs students.
If that part of the plot doesn't offend you, don't worry, the rest will.
Harry and Lloyd go on a search to find kids who are just like them, (although its so insulting to think special needs kids can't tell an Asian girl from a mentally handicapped child) and needless to say, a class is formed.
Jessica, a very smart teenage girl (which only implies the entire school isn't smart enough to recognize this plot) sees the ruse, and uses our heroes to dig up the dirt on the principal.
To be honest, if the movie didn't have the "Dumb and Dumber" moniker or even a mentioning of Harry and Lloyd, this movie probably would have faded into obscurity, nary, even been made, and if it did, it might have been a cult classic if it had been better written and not as relying on the first movie's jokes.
The movie has some references to the original picture, but the problem is that references aren't usually funny. So when this movie references the laxative from the original as a large truck carrying said product, it doesn't make it funny, you are just implying that you watched the movie enough to notice it.
The problem with this movie is just lazy writing. The creators probably thought watching enough of the original was a good idea to create a sequel, but what it does is insult anyone who tries really hard to write good comedy with insulting retreads from classic movies.
Harry and Lloyd aren't some kind of smart, they are all kinds of moron. In the original, it is implied they aren't smart, but in reality, it's that their ideas of intelligence is slightly askew from most people, but it was mostly honest mistakes. Lloyd hearing the country Austria and playing it off as Australia is believable, and more than likely a mistake a person has made before, as opposed to say, talking about who Benjamin Franklin is (Where Lloyd explains that Ben Franklin was the "Pilgrim who invented Penicillin and defeated Godzilla").
Critics and most writers will tell you that was is usually funny isn't funny, it's what you play off as serious that's funny. The characters aren't serious people doing funny things, they are played off as funny people doing funny things, and that doesn't always equal funny.
The actors seem rather detached from the project, as if they all simultaneously had a large bill to pay, so they played their appropriate roles just to pay it off to do better movies. It was strange that from the years 2003 and 2005, people thought that making sequels to previous Jim Carrey movies was to be cinematic gold, was actually just copper painted up and advertised as gold.
It is always going to be argued that sequels are never better than their original counterparts, and that's understandable, only so many movies have that bragging right. That doesn't mean if you have an idea for a sequel and you feel strongly in making a sequel that you have to do it poorly in every means possible: in writing, in acting, in character development, music, staffing, ETC. It should be room to improve. A sequel, in particular, a prequel should challenge the audience to see how the characters became who they are when we remember them, not putting them in a less than original story.
This concludes my review, I give it a 2/10.
Freaknik is the Adult Swim 1 hour program that stars rapper T-pain, the
rapper notoriously known for his use of Auto Tune throughout his
I can't say I'm a follower in the legion of T-pain fans (I'm classic rock, I have to say) but I do watch a lot of Adult Swim, and unlike most of the shows, I couldn't get myself to miss this.
The story starts when the major character, Freaknik, an Atlanta rapper who was at the top of his game, was arrested and eventually killed (A obvious reference to many famous rappers, who die so mysteriously) but a cool little summoning brings back the spirit of Freaknik, and thus, the voice that is the Auto-Tune sound of T-Pain arises.
The story kind of moves into a rag to riches story that plays by the numbers. It may be an entire hour, but to be honest, it is not the story I was watching it for, because I have seen better; it's the actors, the music and the character, Freaknik.
Again, I am not a rap music enthusiast; In fact, if I had to advocate any rap music, it was everything in the 90s and that was the end of it, and I do not enjoy T-Pain's music, and yet, I was intrigued by it all. T-Pain sounds like a character when he "Raps", so in said case, the Auto Tune voice makes the character seem a little bit more lively.
The actors in the movie are probably the reason I wanted to see this for the most part: You have Snoop Dog, Andy Samberg and Bill Hader, Charlie Murphy, many great celebrity personalities to hear, but most are so underused in this project, Samberg and Hader used for about 3 minutes, Charlie Murphy for about a few seconds, and Snoop Dog for about a minute, all to bring us back to a few characters whose are dull as dishwater, actually.
So, all that leaves to judge is Freaknik, the character, who was actually the best part. The character, a spirit, is actually real lively in speech, and The songs Freaknik does range from the over-excesses of Women, Drinks and Money, to helping strippers getting out of their awful jobs and getting them into college.
This is where the movie excels, and unfortunately, that's as good as it gets. You get a handful of songs and a few chuckles here and there but that's it. It is a picture of little redeemable value.
I think the problem was so much of the ideas were based on T-Pain that everything was given a backseat, so in order to make the movie watchable, it was just up to hiring a few well known rappers to give most a movie part in something.
But, if this were a full length motion picture, I'm sure the story would be better than it is, and honestly, I'd like to see that. Freaknik is interesting character, perhaps in another longer project, just recreate the entire story to make characters who are interesting, not cardboard cutout ghetto characters with no passion or drive, you lose interest too quickly and it shows when the writers really create nothing more than an an overly long party sequence and a troupe of Flying Malcolm X's to wrap up the movie.
So in conclusion, If the character comes back, make it more interesting, let T-Pain do what he does best, and come back with more interesting characters.
A disappointing but brutal 4 out of 10.
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