"CATCH YOU FUCKERS AT A BAD TIME?"

Posts Tagged ‘Andy Garcia’

Expend4bles

Monday, September 25th, 2023

EXPEND4BLES is the official title, not just the internet nickname, for the fourth EXPENDABLES movie. It’s hard to believe that this series has now been going for 13 years – the first one is as old as COP LAND, ONCE UPON A TIME IN CHINA AND AMERICA, THE PEACEKEEPER, THE JACKAL, BATMAN & ROBIN and DOUBLE TEAM were when it came out. So most of us have long since given up on our dream of what we thought an all-star team up of iconic action stars could or should be. THE EXPENDABLES was never a return to the glory days of ’80s and ‘90s action, always hamstringing itself with misguided attempts to appeal to some other audience. It was never an amplification of the stars’ powers, as they had to work so hard to fit them all in that most of them didn’t get a chance to shine. And it was never the action genre at its best, as the scripts were never focused enough, they were often too winky, with jokes that were so basic they arguably don’t even count as jokes, and even the one Stallone directed had him trying to fake some bullshit modern style instead of do what he did best.

Surprisingly for a part 4, and one that came out a full 7 years after part 3, EXPEND4BLES is not trying to reinvent the wheel or correct any of those missteps. It’s just like yeah, we’re stilling doing these, why wouldn’t we? It looks cheaper than the others (with the most generic settings imaginable, even when they’re just fake looking green screen backdrops), but for the most part not all that much worse or better than I remember the others being at the time, though admittedly I haven’t rewatched them. This has a few funny ideas, a few okay fights, some funny splatter moments (digital), but mostly its strengths are that it still has some of the same guys, who I enjoy seeing in movies, and also it has some new guys who I enjoy seeing in movies. Even though this is none of their best work. (read the rest of this shit…)

Geostorm

Tuesday, January 31st, 2023

I guess time flies, because I’ve kind of wanted to see GEOSTORM since it came out, and I didn’t realize that was more than five years ago. It’s the theatrical feature directing debut of Dean Devlin, former writing/producing partner of Roland Emmerich. Devlin wrote the script with Paul Guyot (two season 2 episodes of something called “Felicity”; also Chow Yun Fat’s assistant on THE REPLACEMENT KILLERS).

In my household Mrs. Vern is the fan of disaster movies. The best ones make her giggle. She loves the broad stereotypes, the corny speeches, the cataclysmic destruction, and especially the montages where different countries set aside their differences to save the world together. Unlike me she likes INDEPENDENCE DAY, but she’s not one of the people who considers it to be an actual well made blockbuster movie. She just finds it a little more hilarious and alot less annoying than I do. So she’s the reason we saw and got a kick out of 10,000 B.C. and 2012 in the theater and MOONFALL on video. I skipped THE DAY AFTER TOMORROW and she still gets excited and explains to me what’s happening when we come across it on cable. So although I would like to take credit for reviewing this as part of some post-PLANE Gerard Butler study, it’s really because she spontaneously decided the time had come to watch it, and I agreed it was a good idea.

Butler plays Jake Lawson, the chief architect of a web of climate-controlling satellites built through international cooperation in the futuristic year of 2019. Nicknamed Dutch Boy (a term I really got sick of hearing), the system successfully neutralizes climate-change-exacerbated weather events. (read the rest of this shit…)

Dead Again / Defenseless

Monday, August 23rd, 2021

August 23, 1991 saw the release of two American suspense thrillers by notable overseas directors. Best reviewed, highest grossing and first alphabetically was Kenneth Branagh’s DEAD AGAIN, starring Kenneth Branagh and his then-wife Emma Thompson, written by Scott Frank (PLAIN CLOTHES).

Under the opening credits are an old timey montage of 1940s newspaper headlines detailing the story of a singer named Margaret Strauss (Thompson), who was stabbed to death with scissors, and then her husband Roman “The Maestro” Strauss (Branagh) was convicted of murdering her. The opening is done in black and white, with The Maestro getting a weird haircut and posing with evil smiles in the shadows as he tells reporter Gray Baker (Andy Garcia in his followup to THE GODFATHER PART III) that he loves his wife. When Baker asks if he killed her, he leans over and whispers to him and you’re supposed to wonder what he said I guess. But, like, what would he say? Definitely no? Arguably yes?

Anyway the main story is 40 years later when private detective Mike Church (also Branagh), who specializes in finding lost heirs and speaks in a shifting series of dorky American accents that I don’t think is intended to be funny, reluctantly agrees to do a favor for a priest he knows (Richard Easton, YOUNG WARRIORS). A mysterious amnesiac woman who does not speak (Thompson again) showed up at the orphanage where he grew up, and he agrees to drop her off at the hospital, but when he sees all the scary mentally ill people she’d be with he feels bad and lets her sleep at his apartment. No, he doesn’t do anything untoward, but yes, he quickly falls in love with her and acts like a weirdo. (read the rest of this shit…)

The Mule

Wednesday, January 2nd, 2019

Well, it’s a new year, and I’m keeping my tradition of kicking things off with a Clint Eastwood review. I think Warner Brothers may know about this practice, because they keep releasing his new movies at the end of December. (It’s not for Oscars – I heard they didn’t even screen this one for critics.)

Clint has been directing for almost 50 years. You don’t think of him as a guy who changes with the times, but he’s doing something to stay relevant at least some of the time. Here’s a guy from a couple eras ago still working while we have a cultural movement toward taking stock of our pop culture heroes, in some cases realizing that they were assholes the whole time, or worse. We find out about some horrible shit they’ve gotten away with or they say some shitty thing that makes us reconsider our respect for them.

This accountability is a good thing. Nobody should get away with abusing others just by being a movie star or rich or whatever. Personally I try not to have an itchy trigger finger on the “cancel” button though because I think there needs to be room for context and growth and making amends, if and when possible. But if you start to think some movie star has been a toxic force on the earth maybe it’s harder to enjoy watching them, say, appear in a weirdly titled Chinese propaganda movie starring Mike Tyson. I understand separating the art from the artist, but I can’t always do it. (read the rest of this shit…)

Ghostbusters (2016)

Tuesday, July 19th, 2016

tn_ghostbusters16GHOSTBUSTERS was a popular movie in 1984 and we still remember it and it has a good logo and it’s 2016 so obviously there’s a remake. Luckily they chose director Paul Feig, who has gotten big laughs with BRIDESMAIDS, THE HEAT and SPY, and he brought along past collaborators Melissa McCarthy and Kristen Wiig, plus current SNL cast members Kate McKinnon and Leslie Jones to bust open those ghosts and devour their delicious green centers or whatever it is that ghostbusters do.

Like in the original, the ghosts and the quasi-science of busting are pretty much presented with a straight face. I guess come to think of it it’s the ABBOT AND COSTELLO MEET FRANKENSTEIN method. For this one it’s all digital FX, from what I can tell, but that works well for these glowing, floating, rotting, transforming, transparent entities. It’s kind of a retro Haunted Mansion type of ghost I guess, not the type you’d expect to see in a James Wan movie or something like that.

Then within this story (scripted by Feig with co-writer Katie Dippold) of some unorthodox scientists starting a ghost extermination business and uncovering a plot to summon evil spirits to New York City there is comedic riffing. The jokes come at a much faster rate than the original, so even in the scare-based opening scene there are some big laugh lines. I think this is a wise approach since they’re not working with a new concept this time around. (read the rest of this shit…)

Vern’s Seen SMOKING ACES!!

Thursday, December 7th, 2006

SPOILER ALERT !!

Hey, everyone. ”Moriarty” here.

Carnahan fans have been waiting a while now for his follow-up to NARC, and it seems crazy that it’s almost here.

If you’re a fan, you might want to hop over to CHUD, where Devin Faraci has been fielding questions that Carnahan’s been answering on his very own blog.

In the meantime, let’s see what our own Vern has to say about this film that I’m eagerly looking forward to:

You know what this movie is, it’s a remake of BOBBY. Almost the whole movie takes place in and around this hotel. And you got your huge all-star cast of characters with their various intersecting stories going on. But instead of them all living their lives and making corny speeches not knowing Bobby Kennedy is about to be assassinated, they are all trying to sneak into the hotel to kill Jeremy Piven. And instead of tons of stock footage of Kennedy speeches there is all kinds of fighting and guns. So it’s a reflection of our times. Or a very loose remake. A reimagining. (read the rest of this shit…)