A film spawned so it can use an obvious pop song tie-in from a few years ago, or just a happy coincidence? No matter, either way The Bad Guys has Marc Maron, and for crimes against comedy, the Pierre Perifel feature must be condemned. Etan Cohen writes his way to relevance once more after abysmally forgettable flicks Holmes & Watson and Men in Black 3. Here he is. Back again. How quaint. How terrible. How stacked a cast does The Bad Guys need for its poorly predictable, entirely uninteresting animation style to take hold? Reference here, a wink to the camera there, and thus, Dreamworks have done it again. Their heyday is gone, and audiences are better off without it.
While the western may have died long ago, the modern period of revisionist brutality has paved the way to a few stand-out classics. Bone Tomahawk and The Hateful Eight inspired the attractive allures of hyperviolence and the natural elements cowboys and bandits would face off with. The former was a collation of spectacles and narrative elements that made up the best of the genre, while the latter hoped to capture the tensions of claustrophobia to the backdrop of The Great Silence or McCabe and Mrs. Miller. Both are successful to varying degrees, but it is the bold work of director Andrew Dominik on The Assassination of Jesse James by the Coward Robert Ford that marks the return of the western epic.Continue reading The Assassination of Jesse James by the Coward Robert Ford Review
I was savouring the final few pages of The Green Mile, my first and favourite Stephen King book, for a few days before I plunged into the Tom Hanks led adaptation. It wasn’t that I didn’t have faith in the work of Frank Darabont, who had done a fine job of adapting The Shawshank Redemption, but because I knew immediately that whatever the film looked to achieve, it could come nowhere close to the power and exceptional perfection the book had offered me. Still, it was an inevitable moment, to sit down and power through The Green Mile, a film that released the same year I was born, and considered to be one of the finest movies of its generation.
No matter how little I had come to expect of The One and Only Ivan, there was no doubt in my mind that this would be miserably disappointing. Parading Bryan Cranston around as a circus Ringmaster, it seems Heisenberg found gainful employment later in life. Still, Disney have been in the business of fluffy filler for its streaming platform for quite some time, so the existence of this Sam Rockwell-led family comedy shouldn’t be too big of a surprise. Disney+ caters to families, young children and happy individuals that don’t hold any form of narcissism within them. I’m clearly not the target audience, but it won’t stop me from sitting through this whilst I digest eight martinis.