Brad’s thoughts on MISSION: IMPOSSIBLE – THE FINAL RECKONING (2025)

Posted on June 22, 2025 by Bradley Crain

I’ve been trying to make it to the theater to watch the latest, and reportedly the final, “Mission: Impossible” film featuring Tom Cruise as Ethan Hunt. I was finally able to make it this weekend! This film series has been a big part of my life, with the first film opening when I was just a 22 year old kid, and the final film being released when I’m a 51 year old grandpa! Going back to 1996 when Brian De Palma directed the first in the series, I have seen all eight at the movie theater. I have enjoyed all of them, with MISSION: IMPOSSIBLE II as my clear least favorite, which is quite strange since it was directed by John Woo, my favorite director of all of them. I still like it though. This Mission: Impossible franchise has done the near impossible in the fact that it has gotten better and better over the course of its twenty nine years in existence. The first four films in the franchise experimented with different directors, some of the best in the business. The fifth in the franchise, “ROGUE NATION,” was directed by Christopher McQuarrie, who would then direct the rest of the series, including this final installment. McQuarrie’s sure hand has brought us to this final place. In a way, I’m sad to see it coming to an end, but time seems to take a toll on all of us, even Ethan Hunt / Tom Cruise.

MISSION: IMPOSSIBLE – THE FINAL RECKONING, a direct sequel to MISSION: IMPOSSIBLE – DEAD RECKONING PART 1 (2023), opens two months after the prior film. With the evil “Entity” continuing to corrupt global cyberspace and create chaos, it appears the world is headed for a sure nuclear war. With no other choice, U.S. President Erika Sloane (Angela Bassett) reluctantly puts her faith in Ethan Hunt (Tom Cruise) and his team of IMF agents, including Benji (Simon Pegg) and Luther (Ving Rhames). He also gets help from Grace (Hayley Atwell), Paris (Pom Klementieff), and Theo (Greg Tarzan Davis). Together this team goes after Gabriel (Esai Morales), an evil terrorist who’s been working with the “Entity,” in a last ditch effort to eliminate the end-of-the-world threat for a bunch of people who will never know what has been done for them.

I think that MISSION: IMPOSSIBLE – THE FINAL RECKONING is an excellent conclusion to the series featuring Tom Cruise as Ethan Hunt. There are several reasons I feel this way. First, this final episode gives us the things that we’ve loved about the series from the beginning. For example, there is always a section of the film where the team will have to do something that is impossible. They’ll go through the plan with us, the audience, and they’ll explain why it’s impossible and the worst case scenarios they could run into. You can always count on the actual execution of the mission being even worse than the “worst case scenarios,” with the fun being in how they finally achieve their objective after all sorts of complications. We definitely get that here. Second, the relationships that Ethan Hunt shares with his long term team of Luther (all 8 films) and Benji (6 films) bring something special in this final episode. Luther (Ving Rhames) has been with Ethan from the very beginning, and this final episode proves that Ethan isn’t the only person on the team willing to give everything he has to protect a bunch of people who will never know his name. Benji (Simon Pegg) has been with Ethan since the third installment, and the series has seen him go from being nerdy comic relief to an important and trusted member of the team. He’s still funny, but he’s also right in the middle of everything. I like Pegg and it’s been satisfying seeing this character arc. Third, the action sequences are incredible. The final sequence where Ethan Hunt must climb on board not one, but two different biplanes to stop the evil Gabriel from getting away is awesome. These stunt sequences are incredible, and I actually got weak in the knees as I watched the death defying maneuvers, mostly featuring Tom Cruise himself. Fourth, this final installment enjoys revisiting past missions and characters, tying these prior events to where we are now in Hunt’s story. My favorite is the re-introduction of the character William Donloe (Rolf Saxon), the CIA Analyst from the very first film who ran the impenetrable, secure room that Hunt’s team is able to break into in Langley, VA. We learn that his character was banished to a remote post on the Bering Sea as a direct result of what happened 29 years earlier. When he re-emerges here, it’s revealed that his reassignment was the best thing that ever happened to him, and he’s also made an integral part of this final installment. It’s good stuff.

Finally, I want to finish my thoughts on MISSION: IMPOSSIBLE – THE FINAL RECKONING by discussing actor Tom Cruise. It’s my personal opinion that Cruise is the last of a dying breed, the true movie star who gives everything he has for his films. There are no others who do what Tom Cruise does, which is put his life on the line to entertain us. Jackie Chan did the same thing in his heyday, and there aren’t any others left. The stunts that Cruise completed for this film, as well as the prior films, will never be matched again by a major movie star. That may even be a good thing, but my respect for Cruise’s commitment to his craft places him alone in my book as the greatest movie star on the planet. They certainly don’t make them like Tom Cruise anymore.

At the end of the day, MISSION: IMPOSSIBLE – THE FINAL RECKONING is an incredible close to the extremely successful franchise. It’s probably not the best in the series as it may try to cover too much ground in its efforts to close everything out. Time and repeat viewings will determine its ultimate reputation, but I know that I enjoyed every second of it. I even had some moisture well up in my eyes at the end as the film was reaching its conclusion. I honestly doubt we’ll ever see such prolonged excellence again in a movie franchise.

Icarus File No. 21: Reach Me (dir by John Herzfeld)

Posted on April 1, 2025 by Lisa Marie Bowman

The 2011 film, Reach Me, opens with a rapper named E-Ruption (Nelly) appearing on a morning show and talking about how, while he was serving a prison sentence, he read a self-help book called Reach Me. It asked him to consider whether or not his childhood self would be happy with his adult self. The book was written by a mysterious man named Teddy Raymond. No one knows who this Teddy Raymond is. He’s never appeared in public. People film themselves reading the book online and then upload to YouTube as a way of sharing Teddy’s wisdom. I honestly can think of nothing more annoying and boring than watching someone else read a self-help book but whatever. I live in Texas. The movie takes place in California.

Tabloid editor Gerald (Sylvester Stallone) takes a break from action painting to order one of his reporters, Roger King (Kevin Connolly), to track down Teddy Raymond. Roger wants to write the great American novel. He doesn’t care about self-help. He meets Teddy’s associates, Wilson (Terry Crews) and Kate (Lauren Cohan) and Wilson talks about how Teddy magically cured Kate’s stutter. Roger then wanders around the beach, asking random people, “Teddy Raymond? Are you Teddy Raymond?” Oh look! There’s a guy named Teddy (Tom Berenger) who reluctantly cures Roger of his smoking addiction by ordering Roger to yell at the ocean …. over and over and over again.

Collette (Kyra Segdwick) has just been released from prison. Reading Teddy’s book has inspired her to try to become a fashion designer. Collette’s daughter, Eve (Elizabeth Henstridge), is an aspiring actress who was earlier groped by a sleazy star named Keating (Cary Elwes). Collette and Eve literally crash their car into a car being driven by Wolfie (Thomas Jane), a sociopathic undercover cop who enjoys killing people and who goes to confession after every shooting. (At the start of the movie, he guns down Danny Trejo.) The alcoholic priest, Father Paul (Danny Aiello), refuses to hear any more of his confessions.

Meanwhile, wannabe mob boss Frank (Tom Sizemore) is upset because another mob boss, Aldo (Kelsey Grammer), doesn’t treat him with any respect. Frank sends two of his hitmen, Thumper (David O’Hara) and Dominic (Omari Hardwick), to kill a man who owes him money and to also shoot the man’s dog. Thumper has been reading Teddy Raymond’s book and doesn’t want to shoot the dog. Dominic realizes that his heart isn’t into the mob life so, taking the book’s message to heart, he calls Frank and says, “My heart’s not in it.”

(Don’t try that with any real mobsters.)

Eventually, all of the characters do come together. They don’t exactly come together in a plausible manner but they do all end up at the same location so let’s give the film credit for that. Let’s also give this film credit for leaving me seriously confused. I have no idea whether this film was meant to a parody or a celebration of the self-help industry. At first, I suspected that it meant to be a parody because all of Teddy Raymond’s advice was painfully shallow and the type of basic crap that anyone could come up with. I actually found myself losing respect for the people who claimed that Teddy had changed their lives. But at the movie progressed, I realized that I was supposed to take Teddy and his advice seriously. This was a film that I guess was meant to have something to say but who knows what exactly that was.

That said — hey, everyone’s in this movie! Director John Herzfeld was a former college roommate of Sylvester Stallone’s and, once Stallone agreed to appear, that apparently convinced a lot of other “name” actors to take the risk as well. There’s a lot of talent in this film but little of it is used correctly. Kelsey Grammer as an Italian mobster instead of the editor? Sylvester Stallone as the editor instead of the Italian mobster? Thomas Jane as a sociopath who has a girlfriend by the end of the movie, one who smiles and tells him, “Try not to shoot anyone?” Kyra Sedgwick as an ex-con? These are all good actors but just about everyone, with the exception of the much-missed Danny Aiello, is miscast.

It’s a true Icarus File. It was a just a little more self-aware, this would have been a Guilty Pleasure. But, in the end, self-help cannot help itself.

Previous Icarus Files:

Hot Shots! (1991, directed by Jim Abrahams)

Posted on January 23, 2025 by Jedadiah Leland

There are a lot of reasons why it’s hard to take Top Gun seriously but, for me, the biggest problem is that I’ve seen Hot Shots! Directed by Jim Abrahams, Hot Shots! does for Top Gun what Airplane! did for disaster movies.

Charlie Sheen plays Topper Harley, the hot shot Navy Pilot who is haunted by the death of his father. (“I’ve even got my father’s eyes,” Topper says before revealing that he carries them around in a cigarette case.) Topper has left the Navy and is living in a teepee with the Old One. Command Block (Kevin Dunn) asks Topper to return to the Navy to take part in Operation Sleepy Weasel. Topper puts on a leather jacket and hops on a motorcycle. The Old One tells Topper to pick up some batteries for his walkman.

Cary Elwes plays Kent Gregory, who says that Topper is not safe in the air. Valeria Golino plays Ramada, the psyciatrist who helps Topper deal with his father issues. Jon Cryer is Washout, who has wall-eyed vision. Kristy Swanson is Bo, the only female pilot. William O’Leary is the pilot who has the perfect life and wife but who everyone calls “Dead Meat.” And finally Lloyd Bridges is Admiral Tug Benson, who has never successfully landed a plane and who has suffered and recovered from almost every war wound imaginable. Tug is clueless but he loves America and his admiral’s hat.

Hot Shots! is one of the better parody films to come out in the wake of Airplane! Charlie Sheen’s limitations as a dramatic actor actually made him a good comedic actor and Cary Elwes does a decent Val Kilmer imitation. Some of the jokes have definitely aged better than others. In 1991, Valeria Golino singing on a piano automatically brought to mind Michelle Pfieffer in The Fabolous Baker Boys but does anyone remember that film (or that scene) in 2025? (The 9 1/2 Weeks scene is even more of a distant memory to most but Valeria Golino is so appealing in those scenes that most viewers — well, most male viewers — won’t mind. In this case, the parody is far more successful than the original.) Hot Shots! is at its best when imitating Top Gun‘s kinetic, music video-inspired style. The mix of quick-cut editing and ludicrous dialogue is hard to resist. After watching Charlie Sheen dance on his motorcycle and Cary Elwes explain what a chafing dish is for, it’s hard to take Top Gun seriously ever again.

Guilty Pleasure No. 73: Days of Thunder (dir by Tony Scott)

Posted on January 1, 2025 by Lisa Marie Bowman

In 1990’s Days of Thunder, Tom Cruise plays Cole Trickle, a talented but headstrong racecar driver who is recruited by businessman Tim Daland (Randy Quaid) to become a NASCAR champion and to also provide some publicity for Daland’s Chevrolet dealership. Tim convinces Harry Hogge (Robert Duvall) to come out of retirement and serve as Cole’s crew chief. Harry builds cars in his barn and then he talks to them, whispering sweet nothings into their side mirrors. (This happens quite a bit.) Both Cole and Harry have something to prove. Cole has to prove that he’s the best. Harry has to prove, to himself, that an accident that killed one of his driver was not his fault. Harry also has to prove that he’s not insane. That’s not an easy thing to do when you’re always in the barn, talking to a car.

At first, Cole’s rival is Rowdy Burns (Michael Rooker) but, after Rowdy is seriously injured in a crash and told that he will never race again, Rowdy becomes Cole’s closest friend and supporter. With Rowdy off the circuit, Russ Wheeler (Cary Elwes) becomes Cole’s main rival. We know that Russ is a bad guy because he never has a hair out of place and he’s played by Cary Elwes, who for some reason was always cast as the smug bad guy in films like this despite having a rather charming screen presence.

Cole’s love interest is Dr. Claire Lewicki (Nicole Kidman), who is there to help Cole deal with his anger issues and who is surprisingly forgiving of all the times that Cole acts like a complete and total jerk. That happens quite a bit. Cole is a bit of brat but eventually, with the help of everyone around him, he learns how to be a great driver.

The first time I ever saw Days of Thunder, I was pretty dismissive of it. The film was producer and directed by the same people who were behind Top Gun and it pretty much tells the same story, except the jets are replaced with cars and the stakes are a bit less than saving democracy. Like Top Gun, it was a film where Tom Cruise played a character who wants to be the best but who has to learn how to set aside his own ego and take control of his impulsive nature. The first time I saw the film, I shrugged and said that, while Nicole Kidman and Tom Cruise had a lot more chemistry than Cruise and Kelly McGillis, it was still nothing that I hadn’t seen before.

But I have to admit that, since then, I’ve rewatched the film a few times. It’s one of those movies that I never specifically seek out but if I see it playing somewhere on cable, I’ll usually watch a bit of it. Some of it is because the race scenes actually are exciting, even if they do get a bit repetitive after a while. Tony Scott was a director who knew how to film action. The other major reason why I often find myself watching Days of Thunder is for the totally over-the-top performances of Robert Duvall and Randy Quaid.

“We looked like a monkey fucking a football out there!” Quaid exclaims, not once but twice. It’s a phrase that doesn’t make the least bit of sense and it’s one of those lines of dialogue that reminds us that Days of Thunder went into production with a script that was being written and rewritten on a daily basis. But Randy Quaid’s delivery is so emphatic that line works despite being totally stupid.

As for Robert Duvall, his performance here is a perfect example of how much fun it can be to watch a legitimately great actor overact. There’s nothing subtle about his performance and I doubt Days of Thunder will ever be a film that shows up when people are talking about the highlights of his legendary career. But when Duvall talks to his car, you believe every minute of it. It’s such a silly scene but Duvall pulls it off like the pro that he is.

Finally, if you’re going to watch a movie about two cocky race car drivers who are constantly taunting each other, wouldn’t you want them to look like Tom Cruise and Cary Elwes? Good lookin’ guys in fast cars, drivin’ around Southern racetracks, what’s not to love?

Previous Guilty Pleasures

The Films of 2024: Rebel Moon Part 2 — The Scargiver (dir by Zack Snyder)

Posted on May 19, 2024 by Lisa Marie Bowman

In some other galaxy, a bunch of annoying farmers are living on the moon of Veldt. The evil army of the Motherworld, led by Atticus Noble (Ed Skrein), wants to conquer the moon and steal all of the grain for themselves. A bunch of rebels — including a long-winded former general named Titus (Djimon Hounsou) and painfully dull former solider of the evil empire named Kora (Sofia Boutella) — are on the moon and help the farmers prepare for battle. And then the battle happens and the movie ends and somehow, it takes more than two hours to tell this extremely thin story.

Admittedly, I have not seen the first Rebel Moon but I doubt it makes much of a difference. I’ve seen enough science fiction movies and enough Zack Snyder films that I feel like I can follow this sequel without having seen the first film. In fact, the only question that I have as a result of not seeing the first film is whether the absolutely ludicrous flashback to Kora’s past was lifted from the first film or was it specifically shot for the sequel? The flashback reveals that Kora became a rebel after her mentor attempted to frame her for the murder of a good space emperor and his family. I have to admit that the overwrought, slow motion-heavy flashback did inspire a few chuckles on my part. There was an orchestra playing in the background of the scene and they continued to play, even while the emperor and his family were being murdered. You have to wonder just what exactly the musicians were thinking while all of that was going on.

As for Rebel Moon Part Two, it has some nice visuals but the story is a mess and there are some moments that simply leave you wondering whether to laugh or sigh with frustration. There’s the fact that the fearsome imperial spaceships are apparently fueled by men shoveling coal into a furnace. There’s the fact that fearsome imperial space laser gun takes forever to aim and fire, presumably to give the rebels time to sabotage the ship. (That seems like a pretty big design flaw.) There’s the fact that the evil empire turns out to be so inept that it’s hard to feel like the farmers really needed to spend as much time training as they did. By the end of the film, I felt like I probably could have beaten up the evil empire single-handedly. They just weren’t that impressive.

The main problem is that the farmers were kind of annoying and, even when they finally did fight the evil empire, it was still hard to feel that they still didn’t have any control over their own fate. First, they were being ordered around the bad guys. Then, they were being ordered around by Titus and the rebels. Titus, himself, is one of those annoying characters who can’t ever say anything without turning it into a speech. On the one hand, Titus insists that the farmers don’t have much time to get ready. On the other hand, Titus continually wants to waste what little time they have by giving a monologue. Kora, meanwhile, rarely speaks. This has less to do with her being a strong, silent warrior and instead it’s all about her not really having much of a personality.

The majority of the film’s runtime is taken up with the battle and it’s hard not to notice that for all of the explosions and presumed death, most of the main characters somehow manage to survive. It left me thinking about we were supposed to celebrate the survival of the Daily Planet staff at the end of Man of Steel, despite the fact that thousands of others undoubtedly died while Superman and General Zod were ripping apart Metropolis.

To be clear, there are quite a few Zack Snyder films that I really do like. I am not, by any means, an anti-Snyder person. I thought Sucker Punch was a masterpiece. I admire and respect what he did with Watchmen. I’m not a fan of his work with the DCEU but then again, with the exception of the first Wonder Woman, I’m not really a fan of anyone’s work with the DCEU. The important thing is that I think that, with the right material, Zack Snyder can be brilliant and I love the fact that, even in his lesser films, he still goes all out to bring his vision to life. As a director, Snyder is not scared to go over-the-top with sweeping, dramatic moments. He’s someone who understands that movies — especially action films — should be big. But Rebel Moon 2 never really works. If anything, it sometimes feels like Snyder on auto pilot. I’ll always be willing to take a chance of Zack Snyder but I hope that doesn’t mean having to watch Rebel Moon 3.

The Crush (1993, directed by Alan Shapiro)

Posted on October 4, 2021 by Jedadiah Leland

Darien or Adrian? Adrian or Darien? Who does Alicia Silverstone play in The Crush? It depends on which version you saw.

When the movie came out in theaters, she was named Darien because she was based on a real girl named Darien who writer/director Alan Shapiro claimed was obsessed with him. When the real-life Darien saw the movie and saw that she was portrayed as a psycho stalker, she was understandably pissed off and she sued Shapiro. As a result, when the film was re-edited for TV and later released on video, Darien suddenly became Adrian.

Whether Silverstone’s playing Adrian or Darien, the movie is still fairly lackluster. This movie came out when Alicia was still known for playing the lead in several sexually-charged Aerosmith videos and it features her doing the whole Lolita thing, which was very popular in the 90s. She becomes obsessed with her neighbor, Nick (Cary Elwes). Nick tries to be nice but when it become obvious that he’s not going to risk going to jail even if the the girl next door does look like Alicia Silverstone, Adrian/Darien starts trying to make his life Hell. She also tries to kill Nick’s girlfriend with a bunch of bees. Nick’s girlfriend is played by Jennifer Rubin, who was one of the best of the straight-to-video actresses of the 90s.

(Unlike Alicia’s other pre-Clueless starring turn, The Babysitter, The Crush was not straight-to-video but probably would have been if not for those Aerosmith videos. The Babysitter is also not very good but it’s an unsung classic when compared to The Crush.)

The Crush is one of those movies that got a huge push when it came out. MTV was all over it and the commercials were edited to make it look like a steamy thriller starring the girl that every boy had a crush on in 1993. I can’t remember if the movie got an R-rating or a PG-13 but I do know that my friends and I were bummed out when we were told we weren’t allowed to see it. Later, we rented it on video and discovered, not for the first time, that we were misled. The movie itself is really tame and Alicia’s miscast. She actually seems too level-headed to be the type who would try to kill Jennifer Rubin. Cary Elwes goes through the whole movie with a pained expression on his face, like he’s wondering how he went from The Princess Bride to this. Kurtwood Smith plays Alicia’s father and he was always good as a bad parent. It’s also always good to see Jennifer Rubin, even if her role here doesn’t allow her to show off the wicked playfulness that made her a late night Cinemax favorite. She definitely should have been a bigger star.

The main lesson to learn from The Crush? If you are going to portray an acquaintance as a murderous psycho, at least be smart enough to change the name. It will save you a lot of money and trouble.

Stranger Things, S03,Ep4, Review By Case Wright

Posted on July 10, 2019 by casewright

stranger-things-titles(1)

Episode 4 had a lot going on. It’s like the show doesn’t know how to maintain suspense from one episode to the next. The previous episode had nothin goin on and this one was like 10 pound sausage in a 5 pound bag. This is actually a pretty good season and the creators know that they peaked in the first season because of the incessant flashback clips to season 1.

We open with Heather and Mullet-Renfield setting up her parents to be disgustingly consumed/converted by the Monster Vampire- It’s Gross! Of course, after following the NXIVM case, maybe we should let the Vampire Monster win? Are we really that great that ya know we DESERVE to live.

This season is all about breaking up, reuniting, and moving on. Dustin is breaking away and making older friends. I’m pretty sure that Will is about to come out- Good for Him and good for the show!

Speaking of Dustin, he, Robin, and Steve are trying really hard to infiltrate the Russian mall area and they recruit Erica (Sister of Lucas) to do it. I gotta write that she was a scene stealer. It’s clear to me that she could be a huge star. Erica fits through the air vents, which are actually normal sized- Good work set department. When they enter the secret room, they hit a BAD button and they accidentally go DEEP underground.

Hop and Joyce are on the hunt for information and they get it by beating the snot out of a very smarmy Mayor (Carey Elwes) we learn that he was on the take with the Russians, the Russians own the mall, and they are buying up most of the town. Evil Mall, Evil Russians, Evil Food Court!

The kids get back together to do battle with Mullet-Renfield. They surmise that because the creature likes cold, they will lock Mullet-Renfield in the pool sauna. And…. it kinda works? They manage to activate Mullet-Guy into a vampire drone, but El, unlike previous seasons, gets her ass beat. It’s brutal. She does throw Mullet-guy through a wall, but why do this anyway? Did they really need to prove his guilt? They could’ve just followed him back to his evil lair and he wouldn’t have known they were on them. The problem they all took their stupid pills off camera. Kids yesterday?

It would seem that we have reached a major Arc Spin-around. It would make sense for all the heroes to lose a lot soon. Hop will probably lose his job, Mullet-Renfield has amassed an army for the Sticky Vampire Monster, The Russians are evilling, and Dustin, Robin, Erica and Steve are going down a mineshaft.

Side plot: Creeper and Nancy get fired from the paper by the converted Editor, but she will keep pursuing the story …. for some reason. Nancy, why not just go to community college? What are wasting your time for? Is this Barb guilt?

It’s looking grim, BUT this is a good thing. This season is actually keeping my interest and has real suspense even if the episodes themselves are uneven. I’m not sure the series deserves another season yet; so, I’m hoping they give some closure this season.

“Going All Kanye On You”: New Year’s Eve (dir by Garry Marshall)

Posted on January 1, 2019 by Lisa Marie Bowman

“New Year’s Eve is the worst, people who don’t drink or party all year suddenly going all Kanye on you.”

That line was delivered by Ashton Kutcher in the 2011 film, New Year’s Eve. Seven years ago, when the film was first released, I thought it was an awkward line, partially because Ashton Kutcher sounded like he was drowning in self-loathing when he said it and partially because the sudden reference to Kanye West felt like something that would be considered clever by 60-something screenwriter who had just spent a few hours scanning twitter to see “what the kids are into nowadays.”

(Of course, hearing the line in 2018 was an even stranger experience. People who don’t drink or party all year suddenly going all Kanye on you? So, they’re putting on red MAGA caps and spending New Year’s Eve tweeting about prison reform? True, that’s the way a lot of people celebrated in my part of the world but I’m not sure how exactly that would play out in Times Square.)

In New Year’s Eve, Kutcher plays a character named Randy. Randy is a comic book artist, which means that he’s snarky and cynical and doesn’t really see the point of celebrating anything. Fortunately, he gets trapped in an elevator with Elise (Lea Michele) and, with her help, he comes to learn that New Year’s Eve is not the worst. Instead, it’s the most important holiday ever created and, if you don’t think so, you’re worse than the devil.

Fortunately, Hillary Swank is present to make sure that we all get the point. Swank plays Claire Morgan, who is in charge of making sure that the ball drops at exactly the right moment at Times Square and who gets a monologue where she explains that the purpose of the ball is to make you think about both the past and the future. As she explains it, the world comes together one night a year, all so everyone can watch that ball drop. Apparently, if the ball doesn’t drop, the new year doesn’t actually start and everyone is trapped in a timeless limbo, kind of like Iron Man at the end of Avengers: Infinity War.

Of course, there’s more going on in New Year’s Eve than just Randy taking Kanye’s name in vain and Claire refusing the accept that Times Square is not the center of the universe. There’s also an old man (Robert De Niro) who wants to time his death so he passes right at the start of the new year. Sarah Jessica Parker plays the mother of frustrated teenager Abigail Breslin and gets to make a “girls gone wild” joke. (A Kanye reference and a girls gone wild joke in the same film? It’s like a pop culture tsunami!) Michelle Pfeiffer tries to accomplish all of her new year’s resolutions with the help of Zac Efron. Halle Berry worries about her husband (Common) , who is serving overseas. Josh Duhamel searches for a woman who once told him that his heart was more important than his business. Seth Meyers and Jessica Biel compete with Til Schweiger and Sarah Paulson to see who can be the family of the first child born in the new year. Jon Bon Jovi thinks about the woman that he nearly married and Katherine Heigl wonders if she’s ever going to have a career again. In other words, New Year’s Eve is an ensemble piece, one in which a bunch of slumming Oscar winners and overachieving TV actors step into small roles. It leads to some odd pairings. De Niro, for instance, shares scenes with Alyssa Milano while Sofia Vergara and Ludacris are both relegated to playing sidekicks. Michael Bloomberg, New York’s then-mayor and general threat to civil liberties everywhere, also shows up, playing himself with the type of smarminess that already has many people dreading the prospect of his 2020 presidential campaign. This is one of those films where everyone has a familiar face but no one makes much of an impression.

New Year’s Eve was directed by the late Garry Marshall and it’s the second film in his so-called holiday trilogy, sitting right between Valentine’s Day and Mother’s Day. By most accounts, Garry Marshall was a nice guy and popular in the industry, which perhaps explains why so many familiar faces were willing to sign up to appear in New Year’s Eve. Though the film is ruthlessly mediocre, it’s actually the best of the holiday trilogy. For all the schmaltz and forced sentiment, one gets the feeling that the film actually is sincere in its belief in the importance of that ball dropping in Times Square.

I remember that, when New Year’s Eve was first released, a lot of people joked that Marshall was going to make an ensemble romantic comedy about every single holiday, all with the hope that at least one of them would eventually become a television perennial in the style of It’s A Wonderful Life or The Ten Commandments. Interestingly, that’s exactly what happened with New Year’s Eve. Yesterday, E! aired New Year’s Eve three times, back-to-back! For better or worse, this film is probably going to outlive us all, ensuring that, in the far future, viewers will spend New Year’s Eve asking themselves, “What’s a kanye?”

Film Review: Billionaire Boys Club (dir by James Cox)

Posted on November 2, 2018 by Lisa Marie Bowman

http://www.youtube.com/watch?v=XkdZzOM2VGA

Have patience. This is kind of a long story.

Billionaire Boys Club, a fact-based film about two murders that occurred back in the greed and cocaine-filled 80s, was first announced in 2010. After five years of pre-production, the film started shooting in 2015. It featured up-and-coming stars Ansel Elgort and Taron Egerton in the lead roles and Emma Roberts in a key supporting role. It also featured a certain two-time Oscar-winning actor, who we will talk about shortly. There was speculation that Billionaire Boys Club could be an Oscar contender. At the very least, that two-time Oscar-winning actor might pick up another supporting nomination. Shooting started in December of 2015 and wrapped in January of 2016.

And then …. nothing.

What happened?

Kevin Spacey happened. On October 29th, 2017, Anthony Rapp told how, when he was 14, an intoxicated Kevin Spacey made a sexual advance towards him. Subsequently, 15 other people came forward with stories about Spacey making similar advances towards them. At the time, the Oscar-wining actor had key supporting roles in two upcoming films: All The Money In The World and Billionaire Boys Club. The producers of All The Money In The World replaced Spacey with Christopher Plummer and hastily refilmed all of his scenes.

Unfortunately, that really wasn’t an option for the producers of Billionaire Boys Club. Whereas Spacey’s role in All The Money In The World was basically an extended cameo, he was a key part of Billionare Boys Club. Spacey had been cast as Ron Levin, a flamboyant con man whose murder led to the collapse of an 80s investment firm. There was really no feasible way to replace Spacey without reshooting the majority of the film. As a result, Billionaire Boys Club sat a while in limbo before finally getting an extremely limited release back in July. On opening day, the film made a total of $126. (The final weekend gross was $618.)

As for the film itself, the behind the scenes drama is far more interesting than anything that actually happens on screen. Elgort and Egerton play Joe Hunt and Dean Karny, two middle-class guys who want to be rich in the 80s. They do this by starting an investment firm called Billionaire Boys Club and, for a few months, everything seems to be perfect. They appear to be making money. They drive nice cars and live in big mansions and throw big parties. There’s all the usual stuff that you expect to see in films about rich twentysomethings: cocaine, swimming pools, black lingerie, and fast cars. In fact, that’s kind of the problem with the film. There’s nothing surprising about what happens to Joe and Dean. If you’ve seen Wolf of Wall Street, you’ve seen it all before. In fact, if anything, the film’s recreation of greed-fueled decadence is almost too tame. I mean, sure — we get the shot of the lines of cocaine getting snorted off a counter top but it’s hardly the mountain of coke that usually shows up in a movie like this. If anything, this movie needed more cocaine.

Of course, everything eventually falls apart. It turns out that Ron Levin, their main financial backer, was actually a con man who had managed to trick everyone into thinking that he was a millionaire. In the end, it all leads to two murders, one prison sentence, and one new life in the witness protection program.

The film tries to critique the culture of greed but it fails because it never seems to understand why that culture would be so attractive to two guys like Joe and Dean in the first place. Despite the efforts of Elgort and Egerton, Joe and Dean just come across as being two ciphers who maybe watched Wall Street one too many times. It’s never clear what made these two click or why they were able to trick so many people into believing in them. Unlike something like The Wolf of Wall Street, Billionaire Boys Club is so busy scolding everyone for being greedy that it never acknowledges that being rich can also be a lot of fun. (It doesn’t help that Billionaire Boys Club features first person narration, which often leads to the film telling us what it should be showing us.)

As for Kevin Spacey, he gave the same performance that he gave in any number of similar films. He’s arch and sarcastic and sometimes ambiguously flamboyant. He gets upset whenever anyone says anything against his dog. When he announces that he’s a “hustler” and brags about how he can get away with anything because he’s convinced people that he’s something that he’s not, it’s hard not to cringe. It’s not really a bad performance, as much as it just kind of a predictable one. It feels destined to be remembered only for being Spacey’s final appearance in a feature film.

Billionaire Boys Club will be making its Showtime premiere later tonight. It’s not a terrible film but it’s not a particularly memorable one either.

Elwes Unbound: American Crime (2004, directed by Dan Mintz)

Posted on October 1, 2018 by Jedadiah Leland

Smalltown reporter Jessie St. Clair (Rachael Leigh Cook) has stumbled across the story of her career. A stripper and a prostitute have been murdered. Before committing the murders, the killer sent each victim a video tape of him stalking her. With the help of her producer, Jane (Annabella Sciorra), and her cameraman, Rob (Kip Pardue), Jessie sets out to try to solve the case but when she receives a videotape that indicates that she might be the next victim, she quits her job and vanishes.

Then, Albert Bodine (Cary Elwes) shows up in town. Albert says that he’s the anchor of the UK’s top true crime show, American Crime, and that he wants to investigate not only the two murders but also Jessie’s disappearance. When both Rob and Jane are suddenly fired by their station, they reluctantly agree to work with Albert. Albert soon proves himself to be so incompetent that his new colleagues start to wonder if he’s actually who he says he is. Meanwhile, another videotape turns up, this one starring Jane.

The tone of American Crime is all over the place and it never seems to be sure if it wants to scare us or if it wants to make us laugh but there are some tense scenes and a good twist ending. American Crime tries to strike a balance between being a horror/thriller and a satire of media sensationalism. It doesn’t always succeed but you really haven’t lived until you’ve seen Cary Elwes play a sleazy tabloid reporter. Imagine an even more hyperactive version of Robert Downey, Jr’s performance in Natural Born Killers and you’ll have some idea of what Cary Elwes does in this movie. Elwes sweats profusely, bulges his eyes, speaks with an extremely affected English accent, and plays with his hair every time he passes a mirror. Everything sets him off, from his camera falling off of its tripod to people questioning his journalistic credibility. Though the movie does feature good roles for underappreciated actresses like Rachael Leigh Cooke and Annabella Sciorra, Elwes is definitely the best thing about and the main reason to watch American Crime.