Final Destination.

Review #1749: Final Destination.

Cast:  

Devon Sawa (Alex Browning), Ali Larter (Clear Rivers), Kerr Smith (Carter Horton), Kristen Cloke (Valerie Lewton), Daniel Roebuck (Agent Weine), Roger Guenveur Smith (Agent Schrek), Chad E. Donella (Tod Waggner), Seann William Scott (Billy Hitchcock), Tony Todd (William Bludworth), Amanda Detmer (Terry Chaney), Brendan Fehr (George Waggner), and Forbes Angus (Larry Murnau) Directed by James Wong.

Review: 

“I was actually flying home to Kentucky and I read this story about a woman who was on vacation in Hawaii and her mom called her and said ‘Don’t take the flight tomorrow, I have a really bad feeling about it.' She switched flights and the plane that she would have been on crashed. I thought, that’s creepy- what if she was supposed to die on that flight?”

Oh sure, throw a wrench into the horror film with tinges of the supernatural, that is sure to work out. Technically speaking, having no visible murderer is probably the logical step in trying to make new horror films in the new 21st century without relying on all of the clichés from before. The idea came from Jeffrey Reddick, who was an employee of New Line Cinema for years (working in the worldwide marketing department). A horror fan growing up in Kentucky, he was so gripped by A Nightmare on Elm Street (1984) that he actually wrote a brief script revolving around a sequel (sending it to New Line Cinema's chairman Robert Shaye, who encouraged him to keep writing). With the script that became this film, it had actually started as an idea for a spec script for The X-Files, but it was the advice of a work colleague that persuaded him to try and make it into a film script (which was done as a spec script sold to New Line). After working with producers Craig Perry and Warren Zide in developing the script for sale, James Wong and Glen Morgan (a writing pair who had written for the show) were brought in by New Line to produce and direct, and they became involved with re-writing the script in order to have it be made as a film; Wong was quoted as wanting to do for "planes and air travel what Jaws did for sharks and swimming". Four follow-up films followed in the next eleven years (2003, 2006, 2009, 2011), with a potential for a sixth in the near future.

Sure, they wanted to do something that makes you weary about planes like Jaws for sharks, and I guess the build-up to the plane sequence is the most interesting part of the movie in terms of claustrophobia. They wanted to make the entertainment value in the ride and not so much in the outcome that supposedly respects its audience. Honestly though, the ride just is not that interesting to go with, mostly because a ride is only as good as the amount of distractions that get in the way (besides, I am reminded of William Castle when it comes to "ride movies", and he knew how to make a gimmick count). With a movie like this, there are just too many distractions for me to appreciate the movie as anything other than a very average movie that either could have been manipulated for dark laughs or something weirder - the only respect that comes out is that it respects folks who want the easiest deaths possible with the bare minimum of suspense. Honestly, the biggest problem with the movie is that you could probably think of a better movie with the bare ideas presented here than what actually has come from something that probably thought more about the death scenes than what really could have been an interesting way to make a movie about someone cursed with the knowledge of impending death. Of course, my interpretation probably doesn't differ much from the intended idea: instead of having a lead character that looks like a freak to some of the folks (as opposed to say...thanking him?), how about just making him an actual weirdo right from the jump? Or hell, why not a series of deaths that could actually be interpreted as something beyond obvious "accident" material (i.e. more than just a guy slipping on water)? Think about it: a dude goes around telling you the plane is going to explode and a bunch of folks get snared into not dying: what better way to test out fate than by putting them to the test (and it would probably help without having bumbling FBI agents)?  Instead, one is stuck with a middling movie that goes through all the motions with the bare minimum of suspense, which thinks it is clever with the use of John Denver references every now and then (naming your characters after horror directors only works if you aren't thinking about the directors, incidentally). Cardboard cut-outs getting killed with Rube Goldberg-type deaths is still cardboard cut-outs getting killed. The curse of knowing the potential for death could have made an interesting movie, really. That, or maybe it really was something suited for television. Sawa, to his credit, gives it his best for a generic movie, filled with lingering confidence that for the most part keeps on the level with the whole "well, I saw death but I dare to not go insane" thing; simply put, he could be less polite. Larter is also alright, gripped with a sense of knowing that comes from the generic outcast role (incidentally, she would be the only returning actor for the sequel). Smith might be flat, but at least the character is semi-interesting when it comes to one scene near the climax involving trying to get out of the cycle of death (at least, until its end note). Technically, the best performance is from Todd, who has exactly one scene to go and talk about death and runs with it (which includes saying "mack daddy", somehow), which I guess helps out if one needs exposition. The others are pretty flat, in that clichés only work if the ride is fun. It isn't really, but that probably plays into my weird creep theory (the only one who reacts in any interesting way is someone who shows irritation when two of the survivors fight, which is immediately followed by them dying); Cloke is the only adult among teenagers (a loose term, but it checks out), and she has the least to really do besides the death scene (look, you can't spoil a movie that only has a finite bodycount among seven); when you are wondering how much more you could have involving Scott as comic relief, you might have a problem. Roebuck and Smith stumble with the blandest of possible procedural clichés (which only reminds me of how this might have played out before 2001). As a whole, it is a slasher movie with all the middling clichés from before except the part where there is a visible slasher figure. Sure, it has a few decent effects and ideas, but as a whole, making a silly horror movie with one neat trick is still making a silly horror movie, no matter how much gloss you put on it. While I undoubtedly will look on the follow-up films at some point, I can only hope they found better ways of trying to make the ride count for something beyond what they did here.

Overall, I give it 6 out of 10 stars.

Next Time: Saw (2004)

Goon.

Review #1693: Goon.

Cast: 

Seann William Scott (Doug "The Thug" Glatt), Liev Schreiber (Ross "The Boss" Rhea), Alison Pill (Eva), Jay Baruchel (Pat), Marc-André Grondin (Xavier Laflamme), Eugene Levy (Dr. Glatt), David Paetkau (Ira Glatt), Kim Coates (Coach Ronnie Hortense), Richard Clarkin (Gord Ogilvey), Jonathan Cherry (Marco "Belchie" Belchior), Ricky Mabe (John Stevenson), Georges Laraque (Huntington), Curt Keilback (Rod McCaudry), and Larry Woo (Park Kim) Directed by Michael Dowse.

Review: 

There is plenty to go around when it comes to hockey, the good and bad. Referees, dubious team management, the feasibility of a sport that can be wracked with head injuries, and the innate ability of bad timing within television broadcasting. But, I imagine there is something interesting to say about the role of the goon, an enforcer that is tasked with responding to violent play in kind. On the one hand, one doesn't really want to see their guy get decked out and potentially suffer short-term injuries or even worse in the future. On the other hand, the violence is what one can dig when it comes to seeing goons take one out on each other for the good of their team. There are plenty of examples to list, such as Slap Shot (1977) with the Hanson Brothers (played by real-life hockey players Jeff Carlson, Steve Carlson and Dave Hanson). Of course, there is also the case of enforcer John Scott, a beneficiary of voting for the NHL All-Star Game (via fan online voting, which as a fan I deem embarrassing for all leagues despite doing it anyway, mostly for baseball), or infamous enforcers like Marty McSorley and Todd Bertuzzi, but the real life inspiration for this film comes from the exploits of Doug "The Hammer" Smith, who co-wrote Goon: The True Story of an Unlikely Journey into Minor League Hockey with Adam Frattasio. Smith played for seven teams over the course of six seasons after being encouraged by Frattasio to try enforcing after boxing with the Golden Gloves; Jay Baruchel and Evan Goldberg (who you might recognize as the co-writer of films such as Superbad (2007) with Seth Rogen) wrote the screenplay for the film, one mostly shot in the province of Manitoba, and it seems appropriate to have a Canadian at the helm for director with Michael Dowse, directing his fifth feature (his most notable feature was likely his first with FUBAR (2002), a cult hit shot in digital).

So, here we are with a hockey movie for folks who want a few raunchy chuckles while seeing quite a few fights and blood to spare from the ol' hockey game. Strangely enough, this was not actually a hit with audiences upon initial release (making just barely half of its $12 million budget), but it became a bit of a hit with video releases that ended up with a sequel being greenlit in Goon: Last of the Enforcers (2017). There is probably a small comparison to be made to films like Slap Shot or Superbad (2007). I guess this can be a compliment, despite the fact that what we have here is a warmly crude average movie. It is probably the strangest example of a movie that is so earnest in its attempts at balancing heart and grimey charm. When it comes to "Canadian nice", I'd say this is a pretty good example of it, at least for a movie featuring a guy who finds his calling in beating folks up on the ice rink. Look, I care about what I see here, but I don't feel that I care enough beyond just saying it is okay - I think it is the cult hit effect, where if one hears about the notices, the expectations sometimes just won't meet the (loose) reality. The best things about the movie are Scott and Schreiber, really, and that generally will result in a good thing if one is up for it (because the journey is what matters most), and I guess it is interesting enough as a sports movie to go with some chuckles for a mild 92 minute movie. Scott plays the lead role with earnest curiosity that rolls with a film parading clichés as one might expect without being swept into staleness, friendly to what goes on around him. Schreiber provides a useful contrast within the theatrical ice-hitman in careful brooding interest amidst the fights. Pill serves fine with her offbeat chemistry when paired with Scott, which works alright for small moments off the ice. Baruchel gets to play the loudmouth, which might prove familiar for those who follow a sport intently (in theory). Grondin eventually ekes a few interesting moments, although really it is Coates as the blathering coach that generates the most interest (again though, sometimes the cliché roles work the best). As a whole, the hockey action is fine, the comedy and the atmosphere prove fine, the fighting is relatively reliable, and yet here I am wondering why I didn't really think of it as anything pretty good. It is as inevitable as when one watches Slap Shot, but somehow there is something more involving in that film that I can't quite quantify. Maybe it is the sensibility of the filmmaker (George Roy Gill vs Dowse), or maybe it is something more, but when it comes to hockey movies, there are a few good ones one can sport out and consider for fun. In that regard, Goon makes for a useful experience to sit around with, hearty enough in sticking its love letter to a hockey goon fit for the Canadian flavor.

Overall, I give it 7 out of 10 stars.

Ah yes, the Stanley Cup is upon us once again. Tampa Bay, Montreal. Easy choice: Go Habs.

American Pie.

Review #1110: American Pie.

Cast: 
Jason Biggs (Jim Levenstein), Chris Klein (Chris "Oz" Ostreicher), Thomas Ian Nicholas (Kevin Myers), Tara Reid (Victoria "Vicky" Lathum), Eddie Kaye Thomas (Paul Finch), Alyson Hannigan (Michelle Flaherty), Seann William Scott (Steve Stifler), Eugene Levy (Noah Levenstein), Jennifer Coolidge (Stifler's Mom), Mena Suvari (Heather Gardner), Shannon Elizabeth (Nadia), Natasha Lyonne (Jessica), Chris Owen (Chuck "Sherminator" Sherman), and Lawrence Pressman (Coach Marshall) Directed by Paul Weitz and Chris Weitz.

Review: 
The fact that this movie (not to be confused with the catchy song of the same name by Don McLean) came out in the year of 1999 and not 2009 must say something about the progression of teen comedies involving certain body elements, or it must be more amusing that this film is nearly two decades old. I'm not surprised that it took me so long to get to this movie, but I suppose it was eventually going to happen after having seen films of its ilk such as Fast Times at Ridgemont High, Superbad along with lesser films such as Porky's and Sex Drive - and American Pie happens to fall alongside the middle, with some fairly successful laughs combined with some crude nature. Perhaps it is the fact that these characters seem interesting to follow along with that makes this a fair experience to watch, where they aren't used to just to push some gross-out gag without any sort of feel for who they are (or what they're meant to be, anyway). The main quartet of Biggs-Klein-Ian Nicholas-Kaye Thomas sure is an interesting one, having their fair share of moments together in showcasing their pact without coming off as obnoxious or too annoying to watch. Reid and Suvari prove fair in scenes with the others, making their plot-lines work to make the film run consistently without just resorting to over-stuffing itself in gags or weak plot-lines. Other highlights include Hannigan and her brief but amusingly useful time on screen, complete with spunky energy, William Scott and his arrogant but readily amusing time on screen, and Levy, who manages to play his clueless role with the right sense of tone that certainly comes off as amusing. While there are quite a collection of moments that some could consider disgusting, the film never goes completely overboard with being just a gross-out film, knowing when to spend some time to cultivate a quick plot or have the characters make a deserved laugh without cheapening itself. It's an uneven movie, but it is a movie that has enough points in its direction to come out okay. To the surprise of probably no one, the run-time for the movie is 95 minutes (while being made on a budget of just $11 million dollars), which is a fair thing to accept for anyone willing to let the movie showcase some laughs, with the crudeness working just enough to come out a winner.

Overall, I give it 7 out of 10 stars.

Movie Night: Dude, Where's My Car?

Review #366: Dude, Where's My Car?

Cast
Ashton Kutcher (Jesse), Seann William Scott (Chester), Jennifer Garner (Wanda), Marla Sokoloff (Wilma), Kristy Swanson (Christie), David Herman (Nelson), and Hal Sparks (Zoltan) Directed by Danny Leiner.

Review
This movie feels like it was made on a whim, made with sub plots held together by a very loose string made (obviously) in the turn of the millennium, and because of that, this film is deeply rooted in the 2000's, nothing more, but is there any hope for this film? Maybe if you were really, really, really bored or needed 100 minutes to waste, sure. Kutcher and Scott are strangely a decent duo, only because they match in annoyance, oddly enough they remind me of a 2000's like version of Bill and Ted, which is either sickening or just sad. The jokes are hit and miss and sometimes annoying to the point where I just yell "Get to the point", which changed from a playful annoyance to an irritated yell which thankfully did not make me want to throw my hockey puck. The story is strung up easily but it feels like the jokes are the only thing making the movie last longer, which is what most would call "padding", which gets old. There's no point in judging the acting because there's not much point, but at least some comedies try to be a bit subtle, but oh well. The movie isn't "North" bad, it's around the level of "Happy Gilmore" level.

Overall, I give it 5 out of 10 stars.

Movie Night: Role Models.

Review #053: Role Models.

Cast
Paul Rudd (Danny Donahue), Seann William Scott (Anson Wheeler), Christopher Mintz-Plasse (Augie Farques), Bobb'e J. Thompson (Ronnie Shields), Elizabeth Banks (Beth Jones), Jane Lynch (Gayle Sweeney), Ken Jeong (King Argotron), and Kerri Kenney-Silver (Lynette Farcques). Directed by David Wain.

Review
This film tries to be a crude comedy that delivers laughs...and it surprisingly works. the film is actually a little funny with a little inspiration that isn't as jaded and unoriginal as it might sound. The acting is decent, with at least some memorable things happening to pass the time that makes it a decent film for the most part.

Overall, I give it 7 out of 10 stars.