That's My Boy (2012)

Director:

Sean Anders

Writer:

David Caspe

Starring:

Adam Sandler, Andy Samberg, Leighton Meester
Genre:
Comedy
Rating:
15

If Adam Sandler was the King of Comedy, then maybe we could excuse him of a bad film once in a while. If he was making blockbusters back-to-back, left, right and centre, then maybe we could forgive him. A terrible joke, a badly timed punch-line… it could all be overlooked if only, if only Adam Sandler didn’t return to our screens every few months, begging on his knees for our giggles and our snorts and only ever getting our sighs and our cringes.

All of this to say – That’s My Boy was an okay (ish) surprise. It would be risky to go as far as to say that Adam Sandler is finally getting closer to the King Of Comedy title (currently held by Ben Stiller in many opinions), but there were more than a few chortles from the audience during the film.
If you ignore the irritatingly raspy growl of Donny Berger (Sandler), then you can sort of get your head around the story. Donny is a burned-out, lowlife of a former reality TV star who nabbed his 15 minutes of fame for impregnating his high school teacher (now serving a 30 year sentence in a women’s prison) at 14 years old. The result of the disturbingly paedophilic, cringe-into-your-hand affair was a son, Hans Solo/Todd (Andy Samberg), who understandably cut off all contact with his incompetent, heavy-drinking, debt-facing, woman-grabbing excuse for a Father and made it on his own - now an engaged millionaire, living with his past behind him. That’s My Boy follows Donny as he is approached with the dilemma of serving a prison sentence or paying a $43,000 bill total, forcing him to get back in touch with his estranged love-child in return for a $50,000 TV endorsement. 

In utter embarrassment, the awkward and endearing Todd (suitably played by the Saturday Night Live star) decides to tell his future family (an uptight fiancé (Leighton Meester), snooty in-laws (Maegen Fay, Blake Clark) and a stern, quick-tempered Marine brother (Milo Ventimiglia)) that Donny is in fact, his “best friend”.  Donny is determined to prove himself as a Father and is eager to rebuild his relationship with his son, but it wouldn’t be a story worth telling if that were all to happen without a series of mishaps and bumps along the way.

Any film done by Adam Sandler’s film company Happy Madison ensures that you the viewer are in for a crude, gasp-worthy yet lengthy cinematic experience, filled with profanity and inappropriate humour (I’m talking incest and Granny-sex). Sandler once again steps into the role of the trash-talking, middle-aged embarrassment figure, as easy as you and I can step into our pants in a morning. Although he was slightlyamusing in parts, watching him take on a character that has the potential to be quite funny and yet ruin it with bad habits, was simply painful. Adam Sandler is nothing more than Adam Sandler to us anymore. He’s had far too many fall-backs (Anger Management aside) for us to accept him as a successful comedic actor, so now his films seem too cliché and too samey to be considered anything other than average.  The chemistry between Sandler and Samberg lacks sincerity and fails to interest, however it is a Vanilla Ice cameo and smaller roles (Will Forte, Peggy Stewart, Susan Sarandon, James Caan) that add the infinite hilarity that That’s My Boy needs.

It can be argued that the only humour depicted in the film is a result of a snappy script and way-with-the-camera, or it could be suggested that it was in fact the 80s-esque soundtrack that distracted us from all the bad parts… whatever we do say, That’s My Boy does not succeed because of an original plot or a flawless cast (although avid Sandler fans may be able to tolerate it a little more). That’s My Boy does not succeed because of a deeper hidden meaning, or even a single hilarious one-liner. That’s My Boy doesn’t succeed because of any of that stuff. That’s My Boy, simply, just doesn’t succeed. At all.

The Amazing Spider-Man (2012)

Rating:
 12ADirector:
Marc WebbScreenplay: James VanderbiltGenre: Action/Adventure/DramaStarring:
Andrew Garfield, Emma Stone, Martin Sheen, Rhys Ifans

How can one justify a remake – or retelling – of a blockbuster movie only ten years prior to the original? Surely that’s not leaving enough time for minds to be cleansed and bodies to be prepared?
Exiting the theatre, something dawned on me – no body is ever prepared enough for Andrew Garfield in spandex.
The Amazing Spider-Man has pinged us back to the beginning, with a tidier, smarter and cooler leading man to make his own spin on the newer, more epic storyline.  The plot remains faithful to the trusty comics – seeing bullied geek Peter Parker (Andrew Garfield) adopt ass-kicking, stomach lurching and ball-busting superpowers following a nasty bite of a – you guessed it – spider. 2012’s Spider-Man is a science geek, and the lead up to his transformation is well explained and more developed than before. We are not supposed to just believe that a bite from a spider can turn us into a hero - a safer, cleverer plan, because now the kids won’t be pestering for pet tarantulas anytime soon – we now understand the science behind the transformation and can therefore grow to love fellow Science geek, Gwen Stacey (Emma Stone) even more.
Redhead Stone went blonde for her role as Gwen to mark the clear contrast between new damsel in distress Gwen and old news Mary-Jane. However, unlike the original Spider-Man film, this lady is less of a girl waiting to be saved and more of an accessory in Spider-Man’s adventures against creepy, lizard villain, Dr Curt Connors (Rhys Ifans).
The special effects are debatably “special” however Marc Webb’s direction is incredible, with slick and unique camera shots and angles that really put the audience inside the film - 3D or no 3D.
The Amazing Spider-Man is not just a film about a teenager-turned-superhero that can save the world in a spin of a finger – it is a movie that can bring out the superhero in all of us. Andrew Garfield is terrifically awkward and relatable – like most teenagers – and doesn’t lose sight of himself despite his new abilities. His endearing relationship with on-and-off-screen lover Emma Stone brings the element of romance and drama to the flick and, teamed with a dry, witty script from James Vanderbilt, creates a movie for everybody.
It is inevitable that The Amazing Spider-Man will be compared with the old movies. And that’s what they feel like after this – old. True, there are similarities, but the similarities have been improved. The death of Uncle Ben (Martin Sheen), the absence of Peter’s parents, the tricks, the quips, the falls and the soars… they’re all much better, therefore making The Amazing Spider-Man a fantastically modernised, Marvel-ous  cinematic experience.

Snow White And The Huntsman (2012)

Rating: 12A
Director: Rupert Sanders Screenplay: Evan Daugherty, John Lee Hancock and Hossein Amini. Genre: Action/Adventure/Drama Starring: Kristen Stewart, Charlize Theron, Chris Hemsworth, Sam Claflin


Once upon a time, a young British commercial director Rupert Sanders grabbed a camera and made a rushed clip of what he envisioned the truth behind Snow White’s story to be. His vision was one of beauty; where light can overcome the dark and magic is something you can not only see, but something you can feel. Where empowerment and empathy make you the fairest, and where beauty only exists if you have the strength of heart to back it up. Snow White and The Huntsman is an enthralling and thought-provoking take on this timeless fairytale.  Unlike few modern attempts to re-create the classic fairytales (ie. Sleeping Beauty starring Emily Browning – a strange and haywire take on the original story), Sanders remains truthful and traditional, taking the tale back to its Grimm roots, with a faithful medieval script and plot, carefully written by a talented trio of Evan Daugherty, John Lee Hancock and Hossein Amini.

There is a fine line between cliché and tradition, and the film approaches this line very nearly, however not enough to deem Snow White and The Huntsman as boring and predictable. The dark twists and eerie turns in the movie are what actually capture the audience, keeping them on their seat, not knowing what will happen next. Those who go see Snow White with the idea that they know what they are in for should re-consider. This is not the fairytale of Snow White that we know and love. There is no singing down a wishing well in this film. Kristen Stewart is playing Snow White, for God’s sake, and she does it remarkably.
Charlize Theron is ball-busting as the raucously evil Queen Ravenna - the beautiful new wife of dashing widower King Magnus (Noah Huntley) whose daughter Snow White is considered the most stunning in the land. Ravenna, who was told “beauty is power” by her late Mother, is angered by this, and commits many solemn acts in retaliation, one of which results in the poor Snow White spending her teenage years locked in a dirty tower. Miraculously, she did this without the need to pluck her eyebrows and without sprouting any acne. Showing the first signs of gusto, Snow White breaks free, only to now become the Queen’s “Most Wanted” escaped-prisoner. Drunken widower, Huntsman (Chris Hemsworth) is ordered to bring the Queen her heart so that she can “live forever”. Armed with an axe, he trudges into the woods, however, the endearing widower’s conscience gets the better of him. The film follows their journey through the dark forest, on the travel to meet with the Duke (Vincent Regan). There, with help from charming Prince William (Sam Claflin) they will attempt to defeat the Queen together.
For his first feature, Sanders is astonishing, approaching the tale with enough to darkness to startle and enough lightness to add beauty. The recurring theme of darkness and lightness effectively conveys the true message of the film – that strength and beauty of heart is more powerful than anything else. Kristen Stewart’s gutsy yet endearing Snow White is a giant leap away from a portrayal of Bella Swan that some may argue as “weak”. Although, the two characters share similarities in selflessly fighting for the things they care about. This side of Kristen not only can convince haters of her true acting ability, but also provides a visual treat with her natural yet enigmatic beauty. The beauty of Snow White’s strong soul captures the heart of many – whether they be in the audience or in the film.
It wouldn’t be Snow White without the dwarves. For an unknown reason, there are eight of them, but whatever the number, the burly creatures (including Nick Frost, Ray Winstone and Ian McShane) provide laughs and a mild-profanity to the film. What we see unfold is an army made up of strong human traits. This ain’t no superhero movie. We can actually relate to the characters and experience their discomfort without knowing they’re going to make it out okay. The film is gritty and challenging, with the perfect balance of horror and realism. Oscar-winner Colleen Attwood’s costumes are simple enough not to distract, but thoughtful enough as to help contribute to the Medieval setting so effectively created by the visual effects team and Alice In Wonderland producer Palak Patel. Teamed with James Newton Howard’s triumphant score, the result is a special cinematic experience.
Snow White and The Huntsman sets the bar for all upcoming fairytale action flicks. It is gutsy, thrilling, haunting, energetic, imaginative, funny, heart-stopping and breath-taking, with an all-round fantastic cast and captivating visuals that will stay with you even after you leave the movie. The films that inspire are the best kind of films, and Snow White inspires even the weakest of children, convincing them that if you do something with all of your heart and strength, then you’ll all live happily ever after.

Update

HELLO HELLO :) I AM ALIVE. 

I am not dead, although it feels like it sometimes! (I'm exhausted).
I don't have the time to post a review lately due to exams and other priorities that I wish weren't priorities but unfortunately have to be :(
I haven't watched a movie in a week! That is a record, for sure, however it is not a choice and hopefully I will have a review up by Sunday night - but even that seems unlikely!
If I do manage to write one, then the movie of choice will be American Pie Reunion - I have high hopes!
Anyway I thought I'd just write this to whoever actually reads my reviews (I know there are many of you! Thanks!) and make sure y'all know the blog still exists.
Thaaaank you for reading my reviews hopefully they are of some help etc etc. Let me know if you've listened to one and watched/not watched a movie because of it!
Gracias amigos.
Bye :) 

Letters To Juliet (2010)

Rating: PG
Director: Gary Winick 
Screenplay: Jose Rivera, Tim Sullivan
Genre: Comedy/Romance/Drama
Starring: Amanda Seyfried, Vanessa Redgrave, Gael García Bernal, Christopher Egan.

Letters To Juliet speaks for itself. Though occasionally charming and sweet in parts, this chick-flick is yet another clichéd film that lacks relatability and is full of one-liners that will provide you with nothing but cringes, as it follows Seyfried’s Sophie – a wholesome, American woman - who ventures on a pre-wedding holiday to the romantic Verona with her busy, fast-talking, selfish fiancé, Victor (Bernal) – a man who keeps yelling “Incredible! Incredible!” at pasta, bread and cheese.  

It is in Verona, where Sophie discovers “Juliet’s Secretaries” – a group of women selflessly replying to other teary-eyed women’s pleas to Shakespeare’s Juliet, begging for help with love.

Being a fact-checker, eager to begin her journalism career, Sophie jumps at a chance to run a story when she finds an un-answered, yellowed letter tucked away in the wall. Dun-dun-dun. Here, is where we are - supposedly - gripped.

After finally receiving a response to her pleas, Vanessa Redgrave’s Claire and her grandson, Charlie (Egan) embark on a long journey with the annoyingly cheerful Sophie to find Claire’s long lost love, Lorenzo Bartolleni, getting to know each other along the way.

Meanwhile, fiancé Victor is swanning off sniffing parmesan and popping corks, and already neglected Sophie feels drawn to charming Brit Charlie. We didn’t see that one coming. That’s not sarcastic; at first, we really didn’t see that one coming – but maybe that’s because the limited dialogue and vapid storyline had enticed us to sleep. 

Letters To Juliet is enjoyable (or more appropriate; ‘not painful to sit through’) for the forgiving romantics, but some may not relish in the idea of watching Vanessa Redgrave stare into the eyes of hundreds of aged Italian men for an hour and forty minutes. The film is a solid block of cheese. Despite what Victor may claim, this cheese is not incredible; it’s not quite Halloumi - but it is good. Like Cheddar. Or Dunlop – sweet, with an offish taste that not many can bear.

Welcome To The Riley's (2010)

Rating: 15
Director: Jake Scott 
Screenplay: Ken Hixon 
Genre: Drama 
Starring: Kristen Stewart, Melissa Leo, James Gandolfini

It is Stewart’s electrifying performance as the deeply damaged and foul-mouthed prostitute Mallory/Allison that drives this prolonged independent drama to the very end. Though lengthy and quiet in some parts, Welcome To The Riley’s is a terrifically compelling story that ticks all the boxes in becoming a unique and charming independent drama. The film gained much critical acclaim after its Sundance Festival buzz; and there was a special recognition for Kristen Stewart – the ‘Twilight girl’ – and her dynamic portrayal of the teenage sex runaway whose life lacks fundamentality such as being able to make a bed or clean a toilet. After her Mother died in a car crash when she was a child, Mallory has lost all sense of moral and ethics and can’t make it through the day without smoking a joint or – as frequently put – “f*cking” a customer.
Gandolfini is gruff and captivating as middle-aged Doug Riley – a man stuck in an empty marriage with Lois (Melissa Leo) following the death of their teenage daughter. On a work trip to New Orleans, seeing similarities in troubled Mallory to those of his own daughter, he decides to help Mallory in the best way he can. The two form a bond that is unlikely, earnest and fun, with a memorable back-and-forth humour well-played by Stewart and Gandolfini, as the two characters seek refuge in each other’s loneliness.
Leo is dynamite as hermit Lois as she makes a miraculously brave move in going out to get her husband, leaving the house for the first time in several years. When reunited, Gandolfini and Leo present a relationship that is profound and worthy of your tears as they realise what the grief has done to their marriage. The couple stand as the parent type figures for the orphaned teen and Stewart’s Mallory is enchanting;  giving the perfect balance of tough and hopeless as she repels their help, claiming “It’s too late for that sh*t.”
As a trio, the range of styles and personalities these actors present merge to make a film that is all at once hilarious, haunting and touching. The hazy cinematography blends Welcome To The Riley’s in with all the other American independents, and its scarce script offers us a silence that is thoughtful to some; frustrating to others. It is a shame that its minor mistakes are the ones that make it slightly fade into the background, as Welcome To The Riley’s is a truly poignant and sincere film that deserves to shine.

The Help (2011)

Rating: 12A
Director: Tate Taylor
Screenplay: Tate Taylor
Genre: Drama
Starring: Octavia Spencer, Viola Davis, Emma Stone, Jessica Chastain, Bryce Dallas-Howard.

Tate Taylor has proved to be ‘one-to-watch’ with his faithful adaptation of Kathryn Stockett’s international best-selling novel, The Help, following Skeeter Phelan (Emma Stone), an aspiring author during 60s America, as she makes the courageous decision to write a book from the point of view of the African-American maids facing the struggles of racism as they work for white families throughout the civil rights movement.
Tate Taylor is barely a toddler in terms of the film industry; The Help being only his third directing credit, and the first to gain much critical acclaim (scoring four Academy Award nominations) for its depth, hilarity and warmth. However, for Taylor, the future is now bright. The film has the correct balance of humour and profoundness, with a script that stays faithful to the novel and a cast that react with one another so well that it is hard to imagine them acting without each other in any future projects.
Well-known for her work in comedies, Stone was the perfect choice for Skeeter – perfectly embodying her ditzy and determined nature with just the right amount of light-hearted wit to relieve The Help of its serious truth. Stone’s performance as Skeeter presents her in an entirely new field, proving she can do more than joke her way through a sketch.
Aibileen (Viola Davis) and Minny (Octavia Spencer) make a wonderful on-screen twosome, providing us with laughs and tears, however it is their individual performances that truly shine. Davis’ Aibileen is endearingly vulnerable beneath her strong armour, taking care of another woman’s white child as she mourns the loss of her own. All the while, Mother, Elizabeth (Ahna O’Reilly) swarms around worrying about dining and dresses, paying as little attention to her ‘baby girl’ as she does the maid.
Aibileen finds a connection in telling Skeeter her stories – no matter how taboo they are. She finds it her responsibility to convince the other maids to tell theirs too – Minny proving to be the hardest to induce.
Spencer is sassy and brash as the no-bullshit Minny, getting her own back at irrational employer, Hilly – played disgustingly callously by Bryce Dallas-Howard - in the most gasp-worthy way, serving up a damn good slice of revenge and establishing by far the funniest moment of the film. Losing her job was the best thing to happen to her as she stumbles upon a job working for the sweet and naive Celia (Jessica Chastain), feeling more freedom and happiness than she has in a long time. Celia, along with Skeeter and the other maids, provide Minny with a release from the violent hard-ships of her home life.
As we embark on the long road with the on-screen team that soon become our friends, we are invited into a sad and engaging world that really opens our eyes to the upsetting truth of a history which effected millions. The film is worthy of your tears, your giggles and your gasps – with a gut-wrenchingly earnest cast, a beautifully composed score (Thomas Newman), together making a film that is lovable, enjoyable and poignant all at once.