THE PROM Review

I never saw a single damn episode of Glee yet it's the project that allowed Ryan Murphy to become "Ryan Murphy" in all the ways he's now heralded as the creator of all that is edgy (and a little self-important) which is kind of funny given what I've gleaned of Glee in the few actual clips I've seen of the show (AKA we're talkin' multiple football fields away from edgy). Never mind the fact Murphy has now become a bigger draw than the actual content on any film or television property he decides to slap his name on (did you see that last season of America Horror Story?), but let us not focus on how much the man has turned himself into a brand all his own and spread himself so thi...I mean, how prolific he's become that there's no possible way his latest endeavor doesn't turn out rushed and rather uninspired, right? No, instead let's remind ourselves that the man who has more ongoing projects with Netflix than Kevin Hart has returned to the director's chair for his first feature in a decade and further, has returned to his musical theater roots! Whatever that might mean...I said I haven't seen Glee, so...is this a good or bad thing? Wherever you fall in regards to your respect for and/or expectation of Murphy's work one thing at least seems to be consistent throughout the man's work and that's his ability to construct atmosphere whether it be in a high school hallway, a haunted insane asylum, or middle-of-nowhere Indiana. With The Prom, Murphy has taken a screen adaptation of the Broadway comedy musical (that is full-on musical and mostly-on comedy) as penned by the writers of the original production (Bob Martin and Chad Beguelin) and stacked it to the brim with stars whereas the material is smart enough on its own terms to elicit just the right balance of rebellion and sweetness. It's not difficult to imagine then, why The Prom - a message musical with major bones to pick with intolerance - will go over smoother than butter on a fresh baked roll. Yes, even in what are apparently hostile Midwestern towns. It’s almost magical how inoffensively the writing deals with the offensiveness of some of the characters and further, is able to convey everything the film wants to say while maintaining a tone akin to the feel good movie of the summer, but this is why atmosphere is key: it chooses to radiate positivity even in the face of ugliness when it could just as easily bury itself in the genuine heartbreak of the story. Though a little long-winded with maybe an extra song or two that could have been cut for reasons of both efficiency and effectiveness, there is no denying the charm of The Prom and its pleasing blend of old school Hollywood musicals with modern ideals and meaning.  

TOY STORY 4 Review

Toy Story 4 is necessary. Know that first and foremost, that not only is Toy Story 4 a necessary addition to the franchise that launched Pixar, but a meaningful one as well. One wouldn't be at fault for thinking the animation studio has been somewhat off its game over the past few years as it turned into a sequel factory of sorts and churned out entertaining enough diversions to more creatively satisfying original films as that's kind of the fact of the matter save for the occasional Inside Out or Coco. Since Toy Story 3 in 2010 Disney and Pixar have released ten films counting this latest Toy sequel and of those ten films six have been prequels or sequels. These have all been of a certain quality, mind you-as even the third Cars film allowed Pixar's most underwhelming franchise to go out on more of a high note than not-and yet, Toy Story 4 feels like the true return to form the studio needed and that audiences were waiting on. With original creative mastermind John Lasseter only credited as a story contributor among a barrage of other contributors it was up to screenwriters Andrew Stanton (Finding Nemo, WALL-E) and Stephany Folsom to crack the story as Inside Out screenwriter and frequent Pixar voice actor Josh Cooley was tasked with his feature directorial debut being the fourth installment in this consistently excellent series. No easy task, but to circle back to the beginning of this review is to reiterate that the most difficult obstacle to overcome with a fourth Toy Story film would be that of justifying its existence. Toy Story 3 ended in such a way that it not only wrapped up the story of these toys and the child they'd belonged to for as long as either of them could remember, but it gave closure to those who'd grown up with the first two films and were now transitioning into adulthood themselves. Almost another decade later and the characters of this world are as endearing as ever with Stanton and Folsom's narrative zeroing in on Woody (voice of Tom Hanks) as he learns that being in charge doesn't always mean being in control. While there were seeds of doubt as to whether or not Cooley and the gang (ah thank you) could find what more there was to be said with these characters and this world, what transpires in Toy Story 4 ultimately provides the necessary comfort to the truth spoken by Toy Story 3; if that previous film eased the transition from adolescence to adulthood then this latest (and presumably final?) film discusses how one adapts to their new role in a mature and positive way.

Official Trailer for Disney's "Live-Action" THE LION KING

The official trailer for director Jon Favreau's "live-action" adaptation of Disney Animation Studios 1994 classic, The Lion King, is here and...can we just talk about how fantastic the music is for a second? Hans Zimmer may now be known as Christopher Nolan's composer of choice the man has had a long history of producing movie scores and the original The Lion King is among some of his best work and that really shines here. While it's easy to be cynical about what are more or less re-makes of your childhood favorites in favor of modern technologies such as motion capture and some downright astonishing CGI over the classic hand-drawn style of animation that mine and so many generations before me were raised on it's also hard to deny the beauty and scope of what Favreau has seemingly been able to accomplish here. As with the filmmaker’s The Jungle Book, Favreau's take on The Lion King will feature a mix of CGI and live-action techniques; the tangible environments only making the CGI, but wholly convincing animals all the more real. The moment that music breaks in though, I dare anyone born between 1985 and 2000 to try and not be won over by what this movie might potentially bring to the table as the majesty and wonder these songs capture along with the pure spectacle these visuals provide will seemingly give audiences plenty to chew on even if the narrative is known. Also of note is the fact Elton John returned to re-record some of his original music for this updated version collaborating with cast member, Beyonce Knowles Carter, in the process; it seems as if the Rocketman will be having quite the summer. The Lion King will also feature the voice work of Donald Glover, Seth Rogen, Eric Andre, Billy Eichner, Alfre Woodard, James Earl Jones, John Oliver, Keegan-Michael Key, Chiwetel Ejiofor, John Kani, and opens on July 19th, 2019.

Official Trailer for Disney & Pixar's TOY STORY 4

First and foremost, while I'm sure Toy Story 4 will feature plenty of new characters that can be sold as toys and plenty of new incarnations of old characters that can be re-packaged for sale in support of this fourth film, there is a strange kind of respect for making your new, seemingly co-lead character a spork with googly eyes and pipe cleaner arms that parents of pre-schoolers can bring home on the daily. Disney, Pixar, and the Toy Story brand are each worth more money than I can comprehend and it would seem that to reach such heights would only garner more greed and more ways to try and increase said wealth and stability, but then they go and make what feels like a purely financial move in green-lighting a fourth Toy Story movie after the third film rounded the trilogy out so perfectly all the more pure by placing at the center of it a toy any young boy or girl regardless of economical status can make for themselves. It's surely a calculated corporate move in some regard, I have no doubts, but it's also kind of *nice*. Still, it's easy to admit that when that final reel of 2010's Toy Story 3 finished rolling it seemed there was no better or more poignant way to complete this trilogy that had begun some fifteen years earlier, spanned my childhood, and revolutionized animation as we knew it. Over the nearly twenty-five years now that Pixar has been in power they have become increasingly more reliant on sequels to the films that originally made them that powerhouse. No matter how much I wished for Pixar to keep that book closed though, it was always something of an inevitability that we'd get another chapter in the Woody and Buzz saga. In this fourth chapter a new toy called "Forky" joins Woody and the gang on a road trip that reveals how big the world can really be for a toy. Pixar vet Josh Cooley makes his feature directorial debut from a screenplay by Stephany Folsom and Will McCormack (Celeste & Jesse Forever). Toy Story 4 features the voices of Tom Hanks, Tim Allen, Jordan Peele, Keegan-Michael Key, Keanu Reeves, Patricia Arquette, Joan Cusack, Annie Potts, Wallace Shawn, Laurie Metcalf, Timothy Dalton, Kristen Schaal, Bonnie Hunt, Jodie Benson, John Ratzenberger, Tony Hale, Blake Clark, and opens on June 21st, 2019.

Teaser Trailer for Jon Favreau's THE LION KING

The first trailer for director Jon Favreau's "live-action" adaptation of Disney Animation Studios 1994 classic, The Lion King, has arrived and while it gives us more than that Aladdin teaser did a month or so ago, this is still very much a tease. While it's easy to be cynical about what are more or less re-makes of your childhood favorites in favor of modern technologies such as motion capture and some downright astonishing CGI over the classic hand-drawn style of animation that mine and so many generations before me were raised on it is also hard to deny the beauty and scope of what Favreau has seemingly been able to accomplish here. Like Favreau’s The Jungle Book, the filmmaker's take on The Lion King will feature a mix of CGI and live-action techniques as is evident in the shots in this first-look footage; the tangible environments only making the clearly CGI, but nearly convincing animals all the more convincing. The moment that music breaks in though, I dare anyone born between 1985 and 2000 to try and be overly cynical or pessimistic about what this movie might potentially bring to the table as the majesty the song captures and the pure grand spectacle these visuals boast is something that-even if we know the story and know what's coming-will be astonishing to experience on the big screen. Speaking of the music, one has to wonder how many of the original songs will be included and to what degree. Favreau included the notable arrangements from the 1967 animated The Jungle Book in his 2016 version, but while there has been talk of cutting certain songs, The Lion King has such an iconic roster of musical moments it's hard to imagine the finished product with any of them missing. That said, Elton John did in fact return to re-record some of his original music for this updated version collaborating with cast member, Beyonce Knowles Carter, in the process. The Lion King will also feature the voice work of Donald Glover, Seth Rogen, Eric Andre, Billy Eichner, Alfre Woodard, James Earl Jones, John Oliver, Keegan-Michael Key, Chiwetel Ejiofor, John Kani, and opens on July 19th, 2019.

THE PREDATOR Review

I was born in 1987 or the same year the original Predator was released. One might think this means something more or that it's led to some long-standing connection I feel with that John McTiernan movie, but it doesn't and hasn't. I say this more to point out I was too far behind to now have any nostalgic or appropriated affection for that movie. In fact, I've only seen Predator once before in preparation for the 2010 re-boot, Predators, and while the Arnold Schwarzenegger flick certainly makes for an enjoyable enough action movie it certainly didn't hit me the same way in 2010 as it likely did those who were in their late-teens to early-twenties in 1987. For me, it was fine, goofy fun and very much a product of the time in which it was made. And while 2018's The Predator will rank miles below that original for those who adore it and place it on this pedestal of action perfection, which I admittedly can't dispute given the credentials of my birth, The Predator is also perfectly okay. There is a lot going on and it wants to do more than its hour and forty-seven minute runtime dares to contain, but at the heart of the issues with the film is the fact the movie itself doesn't seem to know what its heart really wants. Does this mean there is nothing beating within the core of this movie? Does it mean there's no pulse? Not necessarily. There is so much going on that it kind of creates the illusion of this pounding sense of energy and tension, but energy doesn't always equal an understanding or coherence. There are numerous players playing different games, following several different arcs, but none of them thread together to form a satisfying whole despite countless efforts to present a facade that it does in fact do so. The Predator puts on that it knows what it is, but taking in the execution presented it seems the movie only has ideas of what it wants to be. Writer/director Shane Black knows he wants to make a bloody, irreverent, and fun action movie but for one reason or another everything Black throws at the audience feels like both disparate and sometimes desperate attempts to play to what the masses want never landing a single of the many things as well as he's proven he could have.

First Trailer for THE PREDATOR

I was never a huge fan of Predator, but most of this lack of affection derived from the fact I was born to late to really enjoy the testosterone-soaked brutal action movie it was during the heyday of testosterone-soaked brutal action movies. I did eventually go back and re-visit both the original and that 1990 sequel before seeing 2010's Predators though (which I remember liking more than I expected). That being said, I never bothered with any of the AVP titles given they came out in '04 and 07' which was before I had any interest in either franchise. Personal history aside, this latest attempt to re-boot the Predator franchise comes from writer/director Shane Black (Iron Man 3, Kiss Kiss Bang Bang) who starred in the original 1987 Arnold Schwarzenegger-vehicle before going on to write massive hits like Lethal Weapon and Last Action Hero before and eventually moving into directing his own films. 20th Century Fox is clearly hoping that the hiring of Black contributes to the nostalgia factor it is also counting on to pull fans back in for a new film in a franchise that is now thirty-plus years old. And while having never personally been a huge fan of these movies it's not hard to understand the appeal and I look forward to seeing what a unique voice like Black brings to this kind of movie. Black's last film, 2016's The Nice Guys, was a fantastic little slice of a seventies buddy action/comedy, but it only made $62.7 million worldwide on a $50 million budget despite starring "names" like Ryan Gosling and Russell Crowe. The Nice Guys is the kind of movie that would have flourished in the nineties when the movie star on the poster was everything, but in a world dominated by IP's and familiar brands it makes sense the studio would have Black return to his roots and try his hand at something proven that could use a little bit of fresh inspiration. As far as the trailer goes, this looks like what one would expect as far as a summer sci-fi movie goes, but I expect the film itself to be a lot less typical than what this first piece of promotional material suggests as the Predator films have a history of being rated-R and filled with a little more blood and guts than your standard PG-13 summer blockbuster. The Predator stars Jacob Tremblay, Boyd Holbrook, Trevante Rhodes, Keegan-Michael Key, Olivia Munn, Sterling K. Brown, Alfie Allen, Thomas Jane, Augusto Aguilera, Jake Busey, Yvonne Strahovski, and opens on September 14th, 2018.

THE STAR Review

In The Star, the latest production from Sony Pictures Animation (Cloudy with a Chance of Meatballs, Arthur Christmas), we are introduced to a sheep named Ruth (voiced by SNL's Aidy Bryant) who has essentially defected from her flock because of the titular star, an unusually bright heavenly body that showed up around the same time the angel Gabriel appeared to Mary in Nazareth to inform her she was highly favored and would be carrying and raising the son of God. Ruth can't help but to feel the appearance of this star is significant in a way she can't describe or pinpoint, but rather it is something she inherently feels she can't ignore. Ruth follows this feeling even when the rest of her flock continue to travel with their herd. This more or less makes Ruth the greatest embodiment of what true, genuine faith looks like in The Star and while this is a movie based around the nativity story in a way children might be able to more easily access it, this is the greatest virtue it has to offer. Admittedly, the idea of going against the grain, rebelling against the norm for the sake of something you truly believe in is something of a common theme in children's entertainment so as to promote individuality (this is the arc played by our main character, a donkey named Bo (Steven Yeun), actually), but there is a difference in doing something out of desire or drive for the satisfaction of your own life and being able to give of your own life for a purpose you believe is greater than yourself and that is what comes to be the most evident about Ruth in The Star. Ruth exemplifies a selflessness in service of this unwavering faith in something that struck her upon seeing that star start shining in the sky; a feeling she can't explain other than to describe the fact it stirs something inside of her. But faith has always been about not having the right answers, but rather a feeling. A hunch, really. It's a hunch that there is something bigger connecting it all and connecting us all together. For Ruth, and eventually Bo and several other animals that bear witness to the events that take place in The Star that feeling, that hunch, turns out to be God.

WHY HIM? Review

John Hamburg hasn't directed a feature film since 2009, but that film was I Love You, Man. Seven years and several television directing gigs later and Hamburg has delivered Why Him? Personally, I love I Love You, Man. It has become one of those reliable movies you can put on at any given time and are guaranteed to laugh and enjoy while having the added bonus of intelligently breaking down the barriers of masculinity and the weird culture surrounding male friendships. This automatically sets up an expectation that the follow-up won't be nearly as good, especially based on the rather outlandish trailers we received for Why Him? The thing is, it wasn't that I Love You, Man had a more seasoned or credible screenwriter, but in fact Hamburg himself seemingly had a lot to do with both screenplays with his co-writer on Why Him? admittedly having more promising if not limited previous works on his resume whereas Hamburg's co-writer on I Love You, Man, Larry Levin, has such credits as Doctor Dolittle and Dr. Dolittle 2 to his name. Of course, comedy does and doesn't have a lot to do with the writing as the funniest jokes in the world can be written down, but if they don't have the right people to execute them they'll still fall as flat as the worst types of jokes. What is on the paper provides only a basis for the type of comedy hoping to be obtained as well as a launching pad for talented comedians and improvisational actors to take the material to new heights. And so, it isn't that I Love You, Man necessarily had better writing going for it, but rather that it was a novel premise that thrived on the chemistry and appeal of its two stars. Why Him? doesn't necessarily have as interesting a dynamic at its core and its stars aren't nearly as charming as Paul Rudd and Jason Segel, but that doesn't automatically render the film a failure on the comedic front. By all accounts, Why Him? is a perfectly accessible broad if not rather crude comedy that utilizes said broadness to relate to whole families in Middle America, teenagers, and older parents that walk into the film because the trailers featured a scenario familiar to them or because they saw the guy from Breaking Bad being funny. Why Him? is a perfect example of why mainstream comedies both work on certain levels and why they can easily fail on so many others. Though it may not garner me much credibility I rather enjoyed Why Him? to the point I'm not grumpy enough to get mad at a movie for failing to be as introspective about the dynamics it means to document while instead making up for such a lack of substance with easy laughs.

STORKS Review

I see what Warner Brothers Animation is attempting to do here and I can dig it. After finding great success with The LEGO Movie and the fact they acquired the likes of Phil Lord and Chris Miller who directed 21 and 22 Jump Street (as well as Cloudy With a Chance of Meatballs, to their credit) to helm that hit animated movie the thought of continuing to try their hand at bringing in R-rated comedy directors and seeing how they operate within the world of children’s entertainment is a ballsy, but interesting move. Much like with the case of The LEGO Movie Warner Bros. was likely hoping this formula might produce something both mature and goofy with the plus of remaining consistently funny throughout the majority of its runtime. It makes sense and what better way to test said formula than with the likes of Nicolas Stoller, director of such films as Forgetting Sarah Marshall and the two Neighbors movies, thus the reason we now have Storks. Because of this inclination to take someone known for one thing and put them just far enough outside of their element, their comfort zone if you will, I was inclined to be more interested in this seemingly agreeable animated family movie than I might have been otherwise. I love it when directors or studios cast an actor known for one type or style of work, especially comedians, and place them in a different setting where we see them challenged in new/different ways that usually result in a more fascinating piece of work by virtue of the outside influences and persona that performer brings with them. That is kind of what is happening here though maybe not to the extreme of, say, Jim Carrey in The Truman Show. Rather, Stoller is being challenged by the limits of a PG-rating and how far he can go with his comedy inadvertently forcing him to be more creative with how he comes up with the laughs needed for a 90-minute children's film. And so, how does all of this hype and build-up effect the final product? Well, in many ways this is a disappointment when considering the potential the film had considering the interesting premise, its insanely talented and funny voice cast, and of course the presence of Stoller in the director's chair. Instead of producing anything unique or of distinguishable value Storks more or less plays by the rules of Pixar and DreamWorks movies where the narrative sees a couple of characters going on a quest to achieve a goal that will allow them to discover new things about themselves along the way. There's nothing especially wrong with this structure especially when executed in fun and interesting ways and Storks certainly has its quirks, but more than anything the film feels far too routine to be a product of someone who should have really been challenging themselves.

THE ANGRY BIRDS MOVIE Review

Walking into this feature length film based on, not even a legit video game, but an app I had no idea what to expect or what type of story this thing might entail. That said, I didn't expect much from The Angry Birds Movie and so to find out that it wasn't a complete waste of time, but in fact pretty funny in certain spots and put together with a fair amount of competence and investment that it delivered lush visuals and entertaining characters was nothing short of a pleasant surprise. In reality, this is a movie that epitomizes an inconsequential piece of entertainment, as it is neither important nor significant by any stretch of the imagination. What The Angry Birds Movie does well enough though, is serve the purpose for which it was created and that is to keep the kiddos and fans of the game entertained for a brief ninety minutes on a weekend afternoon. Having never played the game I can't really speak to how well the film integrates the elements of the game or if these are done in natural, organic ways as opposed to being shoehorned in for the sake of hitting the more popular elements of the game, but as far as story is concerned the premise that is set up with our three main protagonists is more or less an excuse to have the climactic third act of the film be a more detailed version of watching the computer play a round of the game for you. This isn't really an issue-it's kind of the point after all, but in doing this the question that arose was if the characters we're introduced to are interesting enough to care about when it comes time for them to risk their lives potentially knocking down a pig city. Do we care about what is being risked, what is potentially being destroyed, or what is being sought after? For the most part, the answer is a fine enough yes. There is no reason to become emotionally invested in these proceedings and there is certainly no need to become frustrated with the expected beats this redemption story hits, but in tackling this particular kind of story the film hits the beats well enough that you're willing to go along for the ride, listen to the pop-infused soundtrack, and smile against your better judgement when pop culture references are made for no apparent reason or every time Jason Sudeikis has to spout a bad bird pun.

KEANU Review

When Jordan Peele and Keegan-Michael Key began their sketch comedy series in 2012 I wasn't aware of either comic in any large capacity save for a few supporting roles in random comedies. While I never jumped on the bandwagon that was the huge following their Comedy Central show soon amassed I saw enough clips on YouTube to know these guys were smart, insightful comedians who enjoyed commenting on social expectations by upending them in inventive ways. Most of these having to do with race or gender stereotypes, but nevertheless they were smart enough about their approach that many of their sketches quickly became cultural reference points in the same way Chappelle's show had a decade earlier. When Key and Peele's show ended in the fall of last year it was somewhat surprising given their three year run had yielded them great success, numerous opportunities, and it more or less seemed as if the duo were just beginning to really heat up. Talk about going out on top. It seems that with all the free time ending their show opened up for them the comedic duo decided it was time to take their act to the big screen. With the danger of wearing out their welcome by translating what worked for them in a five minute sketch to feature length as well as taking into account the low success rate of sketches turned into feature films the odds were never in their favor, but alas Key and Peele have made their formula work for them more than it doesn't. Again, coming from a position of having seen only a handful of sketches from what I'm sure is a much larger, more illustrious library than I can even imagine I wasn't exactly sure what to expect from Keanu, but due to the fact I largely enjoy broad comedies with outlandish premises that expose those premises for all they're worth Keanu largely succeeds in the goals it sets for itself. Of course, given I'd seen only what is likely the highest highlights from their show I was hoping for more consistent laughter, but there are enough big laughs here to tide one over when the movie intermittently forgets what it's supposed to be in exchange for the authenticity of what it is supposedly lampooning.

First Red-Band Trailer for Key & Peele's KEANU

The most I've seen of Keegan-Michael Key and Jordan Peele's Comedy Central show that has now come to an end were the clips that gained momentum on YouTube. I always found the clips entertaining and naturally pretty funny and Key has been especially prolific in smaller roles recently where he's stolen the the scenes in which he was included (Horrible Bosses 2, Pitch Perfect 2, Vacation-all golden). All of that said, this trailer for their first feature film (written by Peele and Alex Rubens) had me rolling as it quickly becomes apparent how ridiculous the duo is dedicated to being. Directed by Peter Atencio (who directed every episode of Key and Peele) the film revolves around two very suburban fellas, one of which finds solace in a cute kitten after his girlfriend breaks up with him, who get into a gang war when said kitten is stolen. While clearly a riff on 2014's Keanu Reeves movie, John Wick, this seems to be much more than simply a parody of that particular film, but the action genre as a whole and the always funny circumstances of placing two characters outside of their comfort zone. Kicking this promotional campaign off with a red band trailer isn't a bad idea either as it allows for some strong jokes with sensitive material to come through and set the tone for just what Key and Peele are attempting to capture which, to the comfort of their fans I'm sure, seems to be perfectly aligned with the comedy of their sketch show, but on a much bigger platform. Keanu also stars Tiffany Haddish, Method Man, Jason Mitchell, Luis Guzman, Nia Long, Will Forte and opens on April 29th, 2016.

VACATION Review

It was something of a surprise this new sequel in the Vacation series that also intends to serve as something of a reboot or re-make, but isn't really, included the line from the trailer about how this Vacation will indeed stand on it's own. It seemed a piece of dialogue specifically designed for the marketing campaign so as to let audiences know the movie itself was aware of what it represented and the pressures it might face in convincing audiences it was worthy of the challenge. This line, when given in the trailer, almost made the film more endearing (hey, it knows it has a lot of work to do), but the fact they included it in the final product gave an entirely different impression-one of desperation even. Maybe desperation is the wrong word, maybe a lack of confidence is a better way to put it. The statement itself wants to impose a sense of confidence though, a bold statement of this particular film being it's own thing and being successful on it's own terms whether there was an original or not. Of course, if this were a world where the original Vacation didn't exist we would have (a slightly altered) We're the Millers and that would be it. Instead, as brand recognition and nostalgia are at an all time high thanks to social media and our heightened sense of self-awareness it would be wrong to not try and capitalize on every big brand of generations past. And thus, we have what is essentially a remake (but it's a sequel!) of/to the original film where Stu from the Hangover movies plays a grown-up Rusty with call backs aplenty just in case you didn't get that this was in the same timeline as the 1983 film, but that it's still supposed to stand on it's own. These call-backs are of course intended to make audiences familiar with the 1983 version recognize the correlation and laugh while those who aren't will hopefully just laugh because...the comedy is timeless? All of these particulars don't really matter though as this is little more than a ninety-minute comedy intended to make audiences chuckle. When taken on such simple terms, it does it's job well enough. My qualm is why couldn't we do something with these actors/directors/writers that maybe didn't rely on tapping into nostalgia? If we keep re-making and re-visiting old properties what are future generations going to reboot or re-make? Or even worse, be able to call their own?

TOMORROWLAND Review

There was the suspicion going into the latest from director Brad Bird (The Incredibles, Mission: Impossible - Ghost Protocol) that Tomorrowland would harbor some core mystery that was too great or too big to be revealed in the marketing and that the secrets it held within its narrative structure would not only set it apart from the onslaught of grim, dystopian tales we've received over the last few years, but bring back the fascination of childhood that was present when we truly experienced something wonderful. After seeing the film, I'm not sure what they were talking about or even trying to hide. I guess I shouldn't necessarily be surprised given the sole screenwriting credit outside of Bird is given to Damon Lindelof (Lost) who enjoys asking questions and letting the audience explore possible answers more than actually supplying solutions himself. That aside, Tomorrowland is not without spectacle and strong ideas. In fact, there is a lot to like about Tomorrowland as the first two-thirds of the film whizz by and build exposition and intrigue in interesting ways. Offering up an intertwining tale of two separated by time, but equally innovative minds the film is an attempt to discuss, while not necessarily plot out, why the world has become such a dark place. By preaching the message it does the film inherently makes any critic who discusses the negative aspects of it feel like a part of the problem it is attempting to address. Smart move by Lindelof, but that doesn't make me feel bad enough about myself to keep me from recognizing the shortcomings of Tomorrowland's third act. Unfortunately, I had somewhat high expectations going in given the minds behind the film were ones I admire and the opportunity to see Bird's fresh, retro-futuristic style in full-on live action was beyond enticing. With Tomorrowland though, Bird has crafted his first sub-par film, which is naturally disappointing, but more than that it clearly has so much ambition and so many possible roads to travel that it might have been truly something had the final product lived up to its vision rather than becoming part of the trend it's criticizing.

PITCH PERFECT 2 Review

Back in October of 2012 I said that Pitch Perfect was pure formula if not damn entertaining formula and that formula worked to the tune of $115 million worldwide on a $17 budget. This was not the real story though, what really catapulted Pitch Perfect into the realm of cultural phenomenon was that it had the lucky sense of good timing and strong marketing. Pushing out the DVD and Blu-Ray just two months after its theatrical release and right in time for the holidays Pitch Perfect officially became a "thing" by spinning its rendition of "Cups" into a legitimate radio hit and adding itself to every female tween, teen and shared dorm room collection that Christmas. It was the newest ole' reliable, the one movie you could count on to play and make everyone happy. In capitalizing on this loyal following a sequel has of course been made and while I had doubts it could recapture the lightning in a bottle feel the first one possessed so effortlessly writer Kay Cannon and supporting player turned director Elizabeth Banks have been able to both hit the strongest beats of the first film in new ways with the sequel while at the same time creating something of a different structure so as this doesn't ever feel like a carbon copy of the original. There was certainly hesitation in embracing a sequel to something that had so quickly become beloved, but with Banks taking over there was also intrigue as to what she would do with the opportunity and where she would take the Barden Bellas in their next round. Interestingly enough, Banks and Cannon take that formula and work a little more loosely with it this time around again giving the Bellas an ultimate goal in redemption, but also largely deviating in structure through a mix of several subplots and character arcs that allows for this second film to be just as fun to watch as the original while not hitting all the same notes and let's be honest, that's all the goal really needed to be in the first place.

First Red-Band Trailer for VACATION Reboot

It's hard for me to admit, but I haven't seen any of the Chevy Chase Vacation films sans Christmas Vacation as the in-laws enjoy watching that every couple of years or so when Christmas in fact rolls around. I've seen bits and pieces of the original as well as parts of Vegas Vacation on TBS or TNT at some point in the past, but never have I sat down with the intention of watching any of these straight through. That looks as if it will change this year as Warner Bros. has decided to not necessarily reboot or re-make what you would typically label as a sequel, but kind of is, as it continues the story of the Griswolds, but more by treating us to the next generation of the family that started it all. Given I don't have as much of a history with this series I likely don't get some of the references or jokes that play in this trailer, but as it states outright this is a Vacation that will stand on its own and I can only hope it proves itself right. Ed Helms is playing the grown-up Rusty Griswold who is intent on picking his family up out of its current slump by recreating his childhood vacation to Walley World. Christina Applegate is playing his wife with Leslie Mann filling the role of sister Audrey. Both Chase and Beverly D'Angelo return as Clark and Ellen for what I assume are glorified cameos while Horrible Bosses and Cloudy with a Chance of Meatballs 2 scribes John Francis Daley and Jonathan Goldstein take on their first directing gig. Vacation also stars Chris Hemsworth, Steele Stebbins, Skyler Gisondo, Nick Kroll, Charlie Day, Kaitlin Olson, Regina Hall, Keegan-Michael Key and opens on July 31st.

New Trailer and Posters for TOMORROWLAND

Director Brad Bird's next live action feature, Tomorrowland, has been brewing for some time and I'd love for Disney to keep it that way as this film seems steeped in mystery, but lo and behold we have a third and hopefully final trailer today. With a screenplay from Lost co-creator and head scribe Damon Lindelof and direction from Bird, who has done nothing but prove himself time and time again (The Iron Giant, The Incredibles, Ratatouille and Mission Impossible: Ghost Protocol), I am extremely eager to dig into this collaboration. What I'm most hopeful for with this film is that it will present an interesting world to actually explore rather than simply letting itself become wrapped up in a standard plot. While I'm thankful this latest trailer doesn't give away too much concerning whatever that plot might be it certainly only piques my interest more in the inventiveness of Bird and how well he executes it as the highlight here is clearly a set piece that takes place early on in the film. I'm really rooting for this one to be a break-out hit as it's in a rare position of appealing to almost anyone no matter their age and so it seemingly shouldn't be difficult to find an audience. Disney will also be unleashing six minutes of new footage from the film before Avengers: Age of Ultron so while they've done a solid job on the marketing front so far, let's hope it doesn't go bottoms up three weeks before we get to see the film in its entirety. George Clooney, Britt Robertson, Hugh Laurie, Tim McGraw, Kathryn Hahn, Judy Greer and Keegan-Michael Key star. Tomorrowland opens May 22nd.

First Trailer for HOTEL TRANSYLVANIA 2

I rather enjoyed the first Hotel Transylvania when it premiered back in September of 2012 though I expected that was likely because I didn't expect much going in. Regardless, I still feel like one of the few who still roots for Adam Sandler to make the hard left turn into doing something interesting and not just barely scraping by on the reputation he's built over the years. At least with this animated series he will see the returns he is accustomed to as his live action outings continue to decrease. Joined by his regular gang of pals that includes Andy Samberg, Kevin James, David Spade and Steve Buscemi the sequel to Transylvania will follow Sandler's Dracula and his new grandson that is half-human and half-vampire courtesy of his daughter Mavis (Selena Gomez, also returning) and Samberg's Jonathan. While the teaser hints how this dynamic might play out and is rather funny in terms of seeing Dracula and his friends attempting to convince themselves that their new addition will be more in line with their side of the family than the humans they once forbid in their presence. While the original was of course nothing groundbreaking it was solid family fun and one I actually wouldn't mind re-watching when my daughter gets a little older and in need of distracting Halloween fun. It seems Sony is intent on keeping this sequel very much in line with the original as Hotel Transylvania 2 hits theaters on September 25th and also features the voice talents of  Fran Drescher, Molly Shannon, Keegan-Michael Key, and Mel Brooks.

HORRIBLE BOSSES 2 Review

What do you get when you take an outlandish premise that every middle class American can relate to, mix it with a cast chock full of more diverse talent than any other comedy in recent memory and let them both free to wander where the wind takes them? That would be the original Horrible Bosses which, back in 2011, stuck out to me as one of my favorite comedies so far that year. It was just effortless. And that is saying a lot in a summer that also counted Bridesmaids among its hits. The film was immediately funny and fast paced with a cleverly written script that gave the summer season a feeling the raunchy R-rated comedy was here to stay. Naturally, after this type of high came the downslide with the less broad, but not as bad as everyone says Bad Teacher and the truly terrible Change-Up in which Jason Bateman also starred. Every year we get this slew of raunchy summer comedies intended for the masses that studios have thought we craved since Wedding Crashers truly revitalized their appeal, but only a couple, if any, ever break out to become genuinely funny over time or command real staying power. I liked Horrible Bosses the first time I saw it and probably watched it two or three more times once I bought it on blu-ray, but did it have the staying power of such recent classics that have also commanded sequels such as 21 Jump Street or Ted? Maybe not, but much like with the fellas from the Hangover series I simply like having the opportunity to hang out with these characters so a sequel seeing Kurt (Jason Sudeikis), Nick (Bateman) and Dale (Charlie Day) get into more mischief was completely acceptable and more than justified if not really necessary. At all.