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#140RVW

Another one of those movies that looks like a really stupid concept but makes for a fantastic film because of brilliant execution. #NoBrakes

What’s more:

I’m always amazed how certain “high concept” movies get made; movies that rely on a central premise that seems limiting. The Fast & Furious movies, for example; they are all about cars and crime, but there’s a limit to how much crime you can undertake while driving – sooner or later you need to get out of the car. Reminds me of the tv show spoof on the Simpsons years ago about a crime-fighting boat.

So I felt reasonably justified in dismissing Premium Rush outright; a chase movie on bicycles. Sounds ridiculous.

Fortunately, the presence of Joseph Gordon-Levitt convinced me to give it a try. JGL is money, plain and simple, and usually worth sticking around even if the project seems weak.

Glad I made the time; the loss would have been entirely mine, otherwise, because Premium Rush is a tight little action picture. A thriller, yes, but really mostly a chase movie. There’s little to no mystery involved, and the outcome is never really in doubt.

David Koepp has written or co-written some of the biggest movies of the last 25 years, but this is only his fifth directing gig. He keeps the action really tight and engaging. He uses visual tricks like map overlays and a neat effect where the courier visualizes potential outcomes of his route choices; these work well.

He also screws with the timeline, speeding up the story, then darting back to fill in blanks, all while a clock zooms to track what time it is; this works less well. The whole flashback/forward thing is best used sparingly and in movies with more mystery to them.

Also, when the clock first appeared on screen I thought that the courier’s delivery was going to unfold in real time and was excited by this great storytelling device. So I was even more let down when it didn’t happen. Run with that idea, screenwriters…

This is a minor quibble; I wouldn’t have even mentioned it except that speed and the lifestyle of these bike couriers is so integral to the feel of the story. And that tone makes for a very good film. It helps that it wisely doesn’t pad the runtime; it’s a quick 90-minutes of constant movement. Great stuff.

Poster:

Trailer:

Bechdel Test:

The Representation Test Score: B (7 pts)

(http://therepresentationproject.org/grading-hollywood-the-representation-test/)

Main Cast	Joseph Gordon-Levitt Wilee, Michael Shannon Bobby Monday, Dania Ramirez Vanessa, Sean Kennedy Marco
Rating	PG-13
Release Date	Fri 24 Aug 2012 UTC
Director	David Koepp
Genres	Action, Crime, Thriller
Plot	In Manhattan, a bike messenger picks up an envelope that attracts the interest of a dirty cop, who pursues the cyclist throughout the city.
Poster
Runtime	91
Tagline	Ride Like Hell
Writers	David Koepp (written by) &, John Kamps (written by)
Year	2012

#140RVW

What could’ve been yet another mindless remake of a B-list property becomes riotous send-up  with filmmakers like these. Unexpectedly good.

What’s more:

Is it faithful to the show? Well, I never watched the show, so I have nothing to judge that by. I do know that the show was a drama that took itself seriously – based on that info alone I’d have to say this has nothing in common with the series.

21 Jump Street really embraces all the stupid stuff that comes with this kind of movie. And that is a really good decision. They have fun with teen movies, buddy cop movies, and many other action movie conventions. It really is brilliantly irreverent.

I gotta say I laughed a lot harder and a lot more often than I ever expected I would. And not just because I assumed I wouldn’t laugh at all. Even once.

After you see the credits, though, the success of the movie makes a bit more sense and is less surprising.

• Jonah Hill worked on the story with Michael Bacall, who developed the screenplay. He previously wrote Scott Pilgrim vs. the World.
• The movie is directed by Phil Lord & Christopher Miller, the directing duo behind Cloudy With a Chance of Meatballs & The Lego Movie.

The casting is pretty good. Hill always brings something interesting and Tatum is particularly good, playing through several different John Hughes roles in the same movie.

As with every comedy made in the past ten years, it’s needlessly gross. The physical humor is mostly not a distraction but it certainly isn’t an addition. The movie is also revels in being un-pc, but as with the rest of the script, has a bit of fun on that score. No complaint.

Poster:

Trailer:

Bechdel Test:

The Representation Test Score: D (2 pts)

(http://therepresentationproject.org/grading-hollywood-the-representation-test/)

Main Cast	Jonah Hill Schmidt, Channing Tatum Jenko, Ice Cube Captain Dickson, Brie Larson Molly Tracey
Rating	R
Release Date	Fri 16 Mar 2012 UTC
Director	Phil Lord, Christopher Miller
Genres	Action, Comedy, Crime
Plot	A pair of underachieving cops are sent back to a local high school to blend in and bring down a synthetic drug ring.
Poster
Runtime	109
Tagline	The only thing getting blown tonight is their cover.
Writers	Michael Bacall (screenplay), Michael Bacall (story) …
Year	2012

140 Character Movie Review – #140RVW

Reportedly Buster Keaton’s least favorite of his films. Don’t know what’s not to like. Very slow start gives way to the greatest chase ever.

Spoiler-free Movie Review of Seven Chances:

First big surprise: Seven Chances opens in Technicolor. It’s an early and very crude version, but it is Technicolor. Wild. It’s a neat test; it’s only for the opening scenes.

Seven Chances is based on a stage play that was popular at the time. It’s hard to imagine its climax being performed on a stage. I suspect the film bears little resemblance to the production.

Even for such a short movie (it’s less than an hour long) the beginning moves slowly. There are some good gags, and Buster Keaton is always engaging, but I was beginning to understand why he wasn’t a big fan of this picture.

James Shannon (Keaton) is down on his luck; he and his partner’s brokerage is about to go bust and they are looking at financial ruin and possible jail time. Hope arrives in the form of an inheritance of $7 million dollars from his grandfather. The catch? He must be married by 7pm on his 27th birthday. That’s today…

After blowing his proposal to his long time sweetie, he is coerced by his partner in proposing to the titular seven girls he can think of. Keaton plays the hapless Shannon well here, but the story doesn’t pick up until his partner plants a story in the newspaper.

What follows is possibly the finest chase ever filmed. It is simply amazing to watch the world’s greatest physical actor completely go for it. Keaton, who also directed, is a master at scripting these things.

It’s more than the individual elements of the chase, which are brilliant in their own right; it’s the assembling of these pieces and the timing. It’s not madcap – you don’t burst out laughing at the start. He builds it slowly, leading you in with progressively funnier bits as you shake your head, and before you know it you’re laughing and marveling at his talents, swearing that this is the funniest thing you’ve ever seen. It may be…

Poster:

Trailer: (well, a scene, anyway…)

Here’s a clip of the final chase scene. Do yourself a favor and watch the whole movie, though – it’s only 56 minutes…

http://youtu.be/3Y_EMkLj4ko

Bechdel Test:

Fail

The Representation Test Score: D (3 pts)

(http://therepresentationproject.org/grading-hollywood-the-representation-test/)

[schema type=”movie” name=”Seven Chances” description=”A man learns he will inherit a fortune if he marries. By 7 p.m. Today.” director=”Buster Keaton” actor_1=”Buster Keaton” ]

Main Cast	Buster Keaton James Shannon, Ruth Dwyer His Girl, T. Roy Barnes His Partner, Snitz Edwards His Lawyer
Rating	Not Rated
Release Date	Wed 11 Mar 1925 UTC
Director	Buster Keaton
Genres	Comedy, Family, Romance
Plot	A man learns he will inherit a fortune if he marries. By 7 p.m. Today.
Poster
Runtime	56
Tagline
Writers	Roi Cooper Megrue (adapted from David Belasco’s famous comedy by), Clyde Bruckman (screen version) …
Year	1925

#140RVW

Locally shot comedy follows in long line of what used to be quirky indie feel-goods. They lose nothing by being more mainstream. #rockwell

What’s more:

Hard to be really unique with certain movie genres at this point in film history; so many things have come before. The genre of coming of age comedies, for example, is certainly a very well-attended party. While you can generally count on them to be funny, it’s hard to find your own bit of fresh air.

The Way, Way Back is a little bit like this. First off, let me be clear: it’s a very good film. I definitely recommend it. It just feels somewhat familiar.

Call it a victim of success. These movies used to be on the outside looking in. You know the type – quirky, funny quiet films with biting dialogue, awkward moments, authentic emotions and adults behaving oddly. Usually a fun little soundtrack with newer little-known artists and one or two intentionally ironic out of date songs. Excitingly unknown actors and arty cinematography to taste. Well those aren’t “indie” anymore. Every major studio has a smaller studio entity to put these out. Those actors aren’t languishing in obscurity – they’re on the red carpet.

Which is a good thing, of course. It’s wonderful that so many different types of films are able to find a voice now. It’s getting a little harder to be heard with so many venues for films to be made and released, but the playing field has levelled out. The biggest challenge is no longer just getting your picture made; now you get to duke it out with all the other films for an audience; which, to be fair, the majors have been doing all along.

The Way, Way Back marks the directorial debut of Nat Faxon & Jim Rash, who also wrote the original screenplay. Faxon & Rash took home an Oscar for writing The Descendants, although I prefer their work here. It’s a far leaner tale – more satisfying.

One sort of strange characteristic of the film is that it was originally set in the 1980’s, but budgetary considerations turned it into present day. I didn’t know that particular fact until after seeing it, but I still got that impression while watching the movie. Maybe it’s the clear similarities between this and other recently filmed 80’s set comedies like The To-Do List and Adventureland.

Or maybe it’s the clear Bill Murray/Meatballs influence. I absolutely adore Sam Rockwell and he’s a blast here, but he’s not exactly blazing trails; variations of this character have appeared so often it should have a title. There is a very nice non-verbal moment in one of his last scenes that distinguishes his performance; he simply steps in front of the protagonist to shield him – it’s a very small gesture, but it provides a depth to the character that wasn’t explicit until that point.

The acting is, of course, fantastic. Usually is in this caliber of film. Steve Carell plays against type as a complete bastard with an authenticity that really makes you hate the guy. Being such a funny, talented and likeable guy it comes as a bit of a shock; I hope he only uses his powers for good. No one else stretches themselves notably, which is no criticism – they just turn in the usual great performances. Child actor Liam James blossoms in his starring role. You’re not a 3, kid…

Poster:

Trailer:

Bechdel Test:

Pass

The Representation Test Score: B (7 pts)

(http://therepresentationproject.org/grading-hollywood-the-representation-test/)

Main Cast	Steve Carell Trent, Toni Collette Pam, Allison Janney Betty, AnnaSophia Robb Susanna
Rating	PG-13
Release Date	Fri 26 Jul 2013 UTC
Director	Nat Faxon, Jim Rash
Genres	Comedy, Drama
Plot	Shy 14-year-old Duncan goes on summer vacation with his mother, her overbearing boyfriend, and her boyfriend’s daughter. Having a rough time fitting in, Duncan finds an unexpected friend in Owen, manager of the Water Wizz water park.
Poster
Runtime	103
Tagline	We’ve All Been There.
Writers	Nat Faxon (written by) &, Jim Rash (written by)
Year	2013