Film Review: Replicas (dir by Jeffrey Nachmanoff)

Posted on September 20, 2019 by Lisa Marie Bowman

Don’t even ask me to explain what’s going on in Replicas, a sci-fi film that was released way back in January to terrible reviews and non-existent box office.

Admittedly, this film has a plot and you can kind of follow it if you force yourself to. And really, it’s not that unusual of a plot. It’s another one of those things where a scientist is shocked to discover that his top secret research is actually being funded by the military and everyone in the audience is supposed to be like, “OH MY GOD! NO! NOT THE MILITARY!” As you can probably guess from the title, the film is also about clones. Have you ever noticed that bad sci-fi films always seem to involve cloning?

It’s not so much that the plot can’t be followed as that the film’s storyline just feels oddly underdeveloped. Watching Replicas, you get the feeling that the filmmakers got bored with the plot and just decided to go ahead and make the movie, without thinking everything through. As a result, the film touches on all of the ethical and philosophical issues that come along with cloning people but that’s all it does. Instead of actually exploring any of those issues or trying to come up with an original spin on the story, Replicas just mechanically moves from one scene to another.

Keanu Reeves plays William Foster, a scientist who, along with his longtime friend and partner, Ed Whittle (Thomas Middleditch of Silicon Valley fame), has figured out a way to transfer a dead person’s mind into a robot’s body, hence bringing the person kind of back to life. A big evil corporation has set up a lab in Puerto Rico for Foster and Whittle to do their research. The problem is that every time that they put a dead soldier’s mind into an android body, the dead soldier gets pissed off and destroys the body. Evil Mr. Jones (John Ortiz) demands that they figure out a way to keep the dead soldier from getting mad. Somehow, it doesn’t occur to Foster or Whittle that Jones wants them to put the soldier’s mind in the android’s body so that the android can then be used as a weapon of war.

(Also, if you want to use androids as soldiers, why not just do some sort of remote control thing like they do with drones? Seriously, I don’t think Jones has thought his evil scheme through. The less complicated the better.)

Anyway, Foster and his wife, Mona (Alice Eve), and his three children decides to spend the weekend camping and things don’t go well. In fact, they go so badly that Foster ends up crashing the SUV and his entire family ends up dead. Not to worry though! Foster’s a scientist and he knows how to create clones. So, he’ll just clone his family. Of course, to do that, he’ll have to pretend that they’re all still alive and, because he only has room for three clones, he’ll have to pretend like his fourth child never existed.

Does Foster succeed? Well, the movie is called Replicas. What’s weird is that it’s obvious that Foster’s going to succeed but the movie still spends an entire hour with Foster and Whittle trying to figure out how to bring the clones to life. I understand the movie wanted to at least pretend like there was a chance that Foster might not be able to do it but, again, the movie is called Replicas.

Anyway, Foster does eventually resurrect his family but then he discovers that Jones is actually a bad guy and soon, Foster and the Replicas are fleeing for their lives. It really doesn’t add up too much because the film doesn’t bother to really explore any of the issues that it brings up. Potentially big moments — like Foster deleting his youngest daughter’s existence — happen but are never really explored. You keep waiting for some sort of twist — like the clones turning on their creator or Foster discovering that he’s a clone himself — and it never happens. Instead, the film turns into a rather standard if not very exciting sci-fi action film.

To give credit where credit is due, Keanu Reeves does appear to be taking the film seriously and he has a few scenes that suggest that the film would have been improved if it had played up the idea of Foster being a mad scientist. The rest of the cast seems to be either bored or miscast but Reeves does try to bring some heart to the film. Otherwise, Replicas is pretty forgettable.

Trailer: John Wick 3

Posted on January 18, 2019 by Lisa Marie Bowman

Hi, everyone!

I have a theory about movies, specifically about the people who go to see the movies. My theory is that audiences really like to watch Keanu Reeves kill people.

I think a lot of that has to do with the fact that Keanu seems to be pretty centered in real life. He’s one of the few celebs about whom you never seem to hear anything negative. Whenever Keanu’s in the news, he’s either volunteering at a homeless shelter or he’s in the park feeding ducks. You never hear about Keanu acting obnoxious and pulling a star trip on anyone. He seems to be at peace with both the world and his place in it. While all the other celebs are on twitter being grumpy, Keanu seems like he should be hanging out on a ranch and having a beer with Kurt Russell and Jeff Bridges.

In short, real world Keanu seems to have reached a state of perfect zen. So, it’s kind of fun to watch him tear through these action movies, battling either computer viruses or international mobsters. The man who once known as Neo is now best known as John Wick. When we first met John Wick, he won our hearts by avenging a dog. Judging by the just released trailer of John Wick 3, he’s still a friend to animals.

He’s also still got people looking to kill him, of course. Judging from the trailer, John Wick 3 looks like it will be an action spectacular. You have to wonder about the mercenaries and killers who keep getting sent after Wick. I imagine that, when they find out what they’re expected to do, a lot of them quit on the spot. No one can kill John Wick.

And if you need proof, just check out the trailer below!

Here’s The Trailer for Keanu Reeves in Siberia!

Posted on June 8, 2018 by Lisa Marie Bowman

The action film career of Keanu Reeves continues this July with Siberia!

In this one, Keanu’s a diamond trader whose partner disappears in Russia. Keanu hops on an airplane so he can investigate. I’m going to guess that it will all somehow involve the Russian mafia because almost everything does nowadays.

Personally, I think they missed an opportunity when they didn’t call this one, “John Wick in Siberia.”

I also think that someone needs to team Keanu and Liam Neeson up for an action film. Speaking of Liam, did you remember to see The Commuter earlier this year? It was surprisingly good.

Anyway, here’s the trailer for Siberia!

A Movie A Day #239: Act of Vengeance (1986, directed by John Mackenzie)

Posted on September 4, 2017 by Jedadiah Leland

Act of Vengeance is an uncompromising look at union corruption and how it hurts the workers while benefitting the bosses.

The year is 1969 and the United Mine Workers of America is one of the biggest and most powerful labor unions in the country. The UMWA was founded to protect the rights of miners but the current union president, Tony Boyle (Wilford Brimley), is more concerned with enriching himself and consolidating his own power. Despised by the workers that he represents, Boyle has managed to stay in power through fixed elections and his own fearsome reputation. When 80 West Virginia miners are killed in an accident, Boyle defends the owners. That is the last straw for Jock Yablonski (Charlies Bronson), a lifelong miner and proud union man. Yablonski runs against Boyle for the UMWA presidency and, when the election is stolen from him, Yablonski challenges the results.

Boyle’s solution? Working through one of his supporters (played by Hoyt Axton), Boyle hires three assassins (Robert Schenkkan, Maury Chaykin, and a young Keanu Reeves) and orders them to kill not only Yablonski but his entire family too.

With a name like Act of Vengeance and a star like Charles Bronson, it would be understandable to assume that this is another Cannon action film where Bronson gets vengeance by blowing away the bad guys. That’s not the case, though. Made for HBO, Act of Vengeance is based on a true story of union corruption and murder. There is violence but very little of it comes from Bronson. Instead, this is a well-made docudrama about what happens when workers are betrayed by the very people who are supposed to be looking out for them.

Bronson grew up working in the mines and he never forgot the poverty of his youth. He knew men like the men depicted in this movie and Bronson gives one of his most naturalistic performances as Yablonski. Brimley is at his gruffest as Boyle and the performances of the actors playing the three hapless but deadly assassins also feel authentic. Ellen Burstyn and Ellen Barkin are also well-cast as, respectively, Yablonski’s wife and the wife of the main assassin.

The Things You Find On Netflix: To The Bone (dir by Marti Noxon)

Posted on August 26, 2017 by Lisa Marie Bowman

Way back in January, when I first heard about To The Bone, I had high hopes for it.

After all, To The Bone was the directorial debut of Marti Noxon, who is well-known both for her work on Buffy the Vampire Slayer and for co-creating Unreal. To The Bone was reportedly based on Noxon’s own struggle with an eating disorder and it was said to feature an outstanding lead performance from Lily Collins as an artist struggling with anorexia. Even the casting of Keanu Reeves as a doctor sounded intriguing.

And, to me, it didn’t matter that To The Bone got mixed reviews at Sundance. Who would seriously expect critics, especially male critics, to understand a movie about body issues and eating disorders? When I heard that To The Bone had been purchased by Netflix, I did sigh a little. Far too often, Netflix is where good films end up getting lost in a sea of mediocre offering. But then again, perhaps To The Bone was exactly the type of intimate character study that would actually benefit from being viewed on a small screen. After all, it’s not a film about a bunch of space lizard attacking the great wall of China. It’s a film about a young woman struggling with an eating disorder.

When Netflix finally released To The Bone back in July, I was excited.

Then I actually watched the movie.

To The Bone actually gets off to a pretty good start. The first 20 minutes or so are dedicated to establishing who Ellie (Lily Collins) is. She’s 20 years old. She’s smart. She’s sarcastic. She’s an artist. She’s a college dropout who apparently used to have a very popular tumblr that dealt with being thin. She’s also anorexic and, from the first minute that we see her, Ellie looks like she’s on the verge of death. (To the film’s credit, it makes clear that there is a huge difference between being naturally thin and being anorexic. That’s a distinction that is far too often overlooked.) We meet Ellie’s dysfunctional family: her frustrated stepmother (Carrie Preston), the father who often can’t be bothered, and the half-sister (Liana Liberato) who both loves and resents her. The relationship between the two sisters is especially well-handled. Even if it takes a while to get used to Keanu Reeves playing a compassionate but tough-talking doctor, the film still works during his first few scenes.

Then, Ellie joins Reeves’s inpatient program and moved into a house with six other patients and this is where the film started to annoy me. Ellie is such a well-drawn and well-acted character that it makes it all the more obvious that the rest of the patients are not. Instead, the rest of the patients are all easily identifiable types. As soon as they show up on screen, you know everything about them and you know exactly what is going to happen to each and every one of them. From the minute that Ellie reluctantly steps into that house, To The Bone starts to feel less like an honest look at anorexia and more like a well-meaning and predictable PSA. One of the patients is pregnant and always talk about how worried she is that her eating disorder is going to lead to her losing the baby. Can you guess what happens?

And then there’s Luke (Alex Sharp). Luke is the ballet dancer who is recovering from a knee injury. As soon as I saw that Luke was the only male in the house, I knew that he was destined to eventually declare his love for Ellie. But my problem with Luke has less to do with his predictable character arc and more to do with just how annoying a character he is. Luke is relentlessly upbeat. Luke constantly tells corny jokes. Luke just will not stop talking! When Luke leaves a room, he starts singing a song called Sugar Blues. When Luke reenters a room, he is still singing Sugar Blues. SHUT UP, LUKE!

(Whenever Ellie would visit Luke in his room, I would find myself distracted by the posters on his wall. The majority of them said “Jazz Festival” and featured some saxophone clipart. As strange as it may sound, it really started to annoy me that there was no date or location listed. Why would you go through all the trouble of making — or buying, for that matter — a poster for a jazz festival and then not bother to include a date or a location? That may sound like a minor thing but, as I watched the film, that inauthentic poster came to represent everything that felt inauthentic about Luke as a character.)

I guess the main problem with To The Bone is that it never succeeds in convincing us that the inpatient program is actually going to do any good for Ellie. It’s not for lack of trying. However, the scenes in the house are too overwrought and predictably scripted. There’s a scene where Reeves takes the patients on a field trip and it’s supposed to be inspiring but it doesn’t work because, as a first-time director, Noxon doesn’t trust her material enough to allow us to draw our own conclusions. Instead, she beats us over the head with her message. For To The Bone to work, it needed a director like Andrea Arnold, someone who specializes in a naturalistic performances and who is willing to embrace ambiguity and take the time to let a scene play out. Noxon makes the mistake of not trusting her audience to draw the right conclusion and, as a result, To The Bone goes from being an intriguing character study to being the cinematic equivalent of the last 15 minutes of an episode of Intervention.

Though it all, Lily Collins continues to give a good performance. Even when she’s forced to deliver some unfortunate dialogue, she’s the best thing about To The Bone. Unfortunately, the rest of this movie just collapses around her.

Jazz Festival

Playing Catch-Up: The Neon Demon (dir by Nicholas Winding Refn)

Posted on January 22, 2017 by Lisa Marie Bowman

What to say about The Neon Demon?

See, this is a film that you have to be careful about discussing. From the moment that it premiered at Cannes last year, The Neon Demon was the love-it-or-hate-it film of 2016.

Those of us that loved The Neon Demon really, really loved it.

And those that hated it — well, let’s just say that they really, really hated it. They complained that The Neon Demon was exploitive. They found the subject matter to be sordid. They accused the movie of being both pretentious and ultimately pointless. The plot made no sense, they complained. The film was overlong and featured about a handful of false endings. It almost seemed as if Nicholas Winding Refn was taunting anyone who expected him to make a typical melodrama about life in Hollywood.

All of that is true but, honestly, what were these people expecting? As a result of the success of Drive, many people have made the mistake of thinking that Nicholas Winding Refn is a mainstream director. He’s not. Refn is a provocateur. He is a director who often dares his audience to walk away. In The Neon Demon, each false ending challenges the audience’s assumption about how a story — any story — should end. Some people, I’m sure, would complain that Refn is all style and no substance. However, The Neon Demon is about a world where one’s worth is determined by their style. Style is substance. The world of The Neon Demon may be empty but the film is not.

For all the debate about the film’s deeper themes (or lack of them), The Neon Demon‘s story is a fairly simple and deliberately familiar one. A teenage runaway comes to Hollywood, finds some success as a model, and discovers that the world of show business is not as romantic as she may have initially believed. When we first see Jesse (Elle Fanning), she’s posing for her boyfriend and she’s pretending to be dead. Death, beauty, and sex go hand-in-hand in The Neon Demon.

Jesse’s an interesting character, one who constantly challenges our assumptions. At first, Jesse seems like a typical innocent. She’s a virgin who is so introverted that she can barely carry on a conversation. She lives in a cheap apartment, under the menacing gaze of her sleazy landlord (Keanu Reeves, having fun playing his skeezy character). She has a boyfriend and on their dates, she tells him about how she’s always dreamed of being a star. It’s only as the film progresses that you start to realize how little you actually know about Jesse. That she’s a runway is implied early on. We never learn what led to her running away. In fact, we learn next to nothing about who she was before she appeared in Los Angeles.

In Los Angeles, Jesse is everything that the fashion industry values. She’s beautiful and, even more importantly, she’s young. We watch as Jesse goes to a casting call and we’re struck by the blank-look on her face. We wonder if there’s anything going on underneath the surface. Jesse has hallucinations, seeing a shining triangle and kissing her own reflection. Someone asks her what it’s like to be desired. She replies, “It’s everything.”

Jesse befriends Ruby (Jena Malone), a makeup artist who lives in a gigantic mansion, overlooking an empty swimming pool. When Ruby isn’t working in the fashion industry, she works at a morgue, applying makeup to corpses and occasionally engaging in necrophilia. She makes the dead beautiful so that they can be buried looking their best. Again, beauty and death are intertwined throughout The Neon Demon.

Ruby has two other friends, Gigi (Bella Heathcote) and Sarah (Abbey Lee). They’re both models, struggling to maintain their careers even as younger models, like Jesse, continue to flood into Los Angeles. Gigi has had so much cosmetic surgery that none of her original features remain. Gigi is neurotic and fearful. Sarah, on the other hand, is confident and sarcastic. When asked what she did the last time another model screwed her out of a job, Sarah calmly replies, “I ate her.”

Sarah isn’t necessarily joking either. Without giving too much away, The Neon Demon features, among other things, a character eating an eyeball that another character has just thrown up. Not surprisingly for a Refn film, there’s a lot of blood in The Neon Demon. It’s a film that opens with fake blood and ends with very real blood.

Combining the visual sense of Dario Argento with the thematic concerns of Jean Rollin, The Neon Demon is a triumph of pure style. The visuals are so strong that it’s impossible to look away, even when the film’s themes are deliberately obscure. The Neon Demon is a surreal journey into the dark side of Hollywood, a mixture of ennui, alienation, decadence, and sacrifice. It may not always make sense but it’s always fascinating to watch.

Personally, I think The Neon Demon would make a great double feature with La La Land. Two triumphs of style, two very different views of Los Angeles.

John Wick: Chapter 2 Cordially Invites All to A Party In Rome

Posted on October 8, 2016 by Arleigh

In 2015, a little film from Lionsgate came out during that time between the summer blockbuster and the awards seasons. It’s sort of the time of the cinematic year when a film is not good enough to be a blockbuster and not enough pedigree to be seen as awards-worthy.

This film was John Wick and it starred Keanu Reeves. It was also directed by two filmmakers more well-known for choreographing fights and action scenes than a full feature film.

John Wick had the last laugh as it surpassed everyone’s expectations to become one of the best action films of recent memory. It helped resurrect Keanu Reeves as a bonafide action star once again.

At this year’s New York Comic-Con the first teaser trailer for the second chapter of the John Wick story dropped to the howling delights of all attending.

We still have to wait until 2017 for John Wick: Chapter 2, but until then let’s stare in awe at John Wick doing what he does best.

Back to School Part II #25: The Night Before (dir by Thom Eberhardt)

Posted on September 7, 2016 by Lisa Marie Bowman

For the past two and a half weeks, I’ve been taking a chronological look at some of the best and worst films made about teenagers, high school, and even college! We are 25-reviews into the 56-review series and we are quickly approaching the 1990s. However, before we enter the final decade of the 20th Century, let’s take a look at one last film from the 80s.

Released in 1988, The Night Before (which should not be mistaken for the recent HBO series or the Seth Rogen Christmas comedy that nobody saw) opens with 17 year-old Winston Connelly (Keanu Reeves) waking up in an alley. Winston isn’t the type that you would expect to find in an alley. For that matter, he’s also not the type who you would usually expect to be played by Keanu Reeves. He’s the president of his school’s astronomy club, a nice but socially awkward kid. Even stranger than the fact that he’s waking up in an alley is the fact that he’s waking up in an alley while wearing a tuxedo!

How did Winston end up in that alley? Well, it turns out that he was on the way to prom. His date was Tara Mitchell (Lori Loughlin), a popular cheerleader who only asked Winston to the prom because she lost a bet with one of her friends. (In a revealing bit of character development, Winston doesn’t care that she only asked him because she had to. He’s just happy to have a date!) When Winston was driving her to the prom, he took a wrong turn and he ended up in the bad side of town. Then his car broke down and, as we see in several flashbacks, he and Tara stepped into a nearby bar and asked for help…

And the rest is the blur. All Winston knows is that, upon waking up, his car has been stolen and Tara has disappeared. And a pimp named Tito (Trinidad Silva) wants to kill him!

Uh-oh!

Will Winston be able to find his car, Tara, and discover what happened during his blackout? You’ll have to watch the film to find out!

And, actually, I liked The Night Before. It was a well-directed and energetically acted movie. It takes a while to get used to Keanu Reeves playing such an innocent character but he actually gives a really likable and genuinely funny performance. The film was directed by Thom Eberhardt, who also did Night of the Comet and Sole Survivor, and he keeps the action moving a nice pace. The movie won’t win any points for originality — the debt to Adventures In Babysitting is especially obvious — but it’s still an entertaining 80s teen comedy.

Add to that, Keanu Reeves and Lori Louglin made a super cute couple! I wonder if they spent their time on set sharing memories of making Brotherhood of Justice together?

I sure hope they did!

Back to School Part II #21: Brotherhood of Justice (dir by Charles Braverman)

Posted on September 5, 2016 by Lisa Marie Bowman

For my next back to school review, I want to take a look at one of the best films that you’ve probably never heard of, the 1986 made-for-TV film Brotherhood Justice!

Brotherhood of Justice takes place at a California high school. It’s a school that is pretty much ruled by the football team and the divide between the children of the upper and the working class is often violently apparent. After several acts of violence, drug dealing, and vandalism, the school’s principal (Joe Spano) is left with a choice. He can either hire full-time security guards and turn his school into an armed camp or he can meet with the most popular seniors and ask them to do their part to maintain order at the school.

He goes with the latter option.

At first, quarterback Derek (Keanu Reeves) is excited about doing his part to make the school a better place. He and his friends quickly form the Brotherhood of Justice and make out a list of trouble makers. At first, Derek and his friends are just roughing up drug dealers and demanding that all students show some school pride. (In order to maintain their anonymity, they all wear masks to hide their faces. However, no effort is made to disguise anyone’s voice, which means that this film takes place in a world where no one can recognize the voice of Keanu Reeves.) However, things quickly escalate. One member of the Brotherhood — Les (Billy Zane) — is especially enthusiastic and he has a thing for knives.

Meanwhile, Derek is having issues with his girlfriend, Christie (Lori Loughlin). Christie, who is apparently incapable of recognizing her boyfriend’s voice whenever he’s wearing a mask, thinks that the Brotherhood is idiotic. Christie also has a new job as a waitress and one of her co-workers is Victor (Kiefer Sutherland). Victor obviously likes Christie and he also bravely stands up to the Brotherhood when they try to harass a student who is named Pasty. (I kid you not.)

When Derek grows disillusioned with the Brotherhood, they decide that the situation with Christie must be distracting him. So, they decide to blow up Victor’s car…

It’s all in the name of justice!

Obviously, one of the best things about Brotherhood of Justice is that it’s a chance to see Neo and Jack Bauer compete over Aunt Becky while Cal Hockley plays with a switch blade in the background. (Oddly enough, Derek’s younger brother is played by Danny Nucci, who later appeared with Zane in Titanic.) But there’s more to Brotherhood of Justice than just the curiosity value of the cast.

That plot hole about the voices aside, Brotherhood of Justice is actually a really good movie and one that everyone should watch. If anything, it’s even more relevant today than it probably was when it was originally made. It’s easy to be dismissive of the self-righteous and judgmental Brotherhood but actually, how different are they from the outrage brigade who show up everyday on twitter? When the Brotherhood demands that everyone follow the rules and love their school, how different are they from those assholes who, today, claim that anyone who disagrees with the president or questions the moral authority of the government is somehow guilty of treason? If the Brotherhood existed today, they would be cyberbullying and doxxing anyone who they felt had failed to say or think the right thing.

Let’s face it — we currently live in a fascist culture. In its own modest but important way, Brotherhood of Justice is one of those films that can tell us why.

And you can watch it below!

http://www.youtube.com/watch?v=0L1x2XI1t-I

Film Review: Keanu (dir by Peter Atencio)

Posted on April 29, 2016 by Lisa Marie Bowman

“KEANU!”

Meow!

“ARE YOU OKAY, KEANU!?”

Meow!

Greetings, fellow lovers of movies and cats! So, Jeff and I just saw the new comedy, Keanu. It’s the first film to star the quickly-becoming legendary comedy team of Keegan-Michael Key and Jordan Peele and it’s full of the type of humor that made their Comedy Central show, Key & Peele, such a success. Perhaps even more importantly, the film stars an amazingly adorable little kitten!

You’ve seen the trailer, right? You know how, when Peele first holds up his new kitten, Key immediately starts laughing and says, “Oh my God, that’s the cutest cat I’ve ever seen in my life!?” Well, he’s not lying. While I don’t think any cat is cuter than that one that I live with, Keanu the Kitten is definitely the cutest cat that I’ve ever seen in a movie.

Add to that, this kitten can act! When this kitten stares, you truly believe that he’s listening to the dialogue being exchanged. When he runs through a gunfight while bullets fly around him, you truly believe that this kitten is running for his life and you breathe a sigh of relief when he survives. When he meows, your heart melts with each squeaky sound. This is one amazingly talented kitten!

And it’s not surprising the everyone in the film wants Keanu. The 17th Street Blips (led by Method Man and created as the result of a merger between the Bloods and the Crips) not only want Keanu but they want to rename him New Jack as well. Their rival (played by Luis Guzman) wants Keanu and plans to rename him Eglesias. Two mysterious assassins — the much feared, very sadistic, and always silent Allentown Boys — want Keanu too. Since they don’t speak, they never say what they want to name him but it would probably be something cool.

And what really makes the film work is that none of them have a reason for wanting Keanu beyond the fact that he is literally the cutest kitten in Los Angeles. This film is full of dangerous and violent people but all of them love this cat. Everyone wants Keanu.

Well, I should say that everyone wants Keanu except for Anna Faris, who plays herself. All Anna Faris wants is a chance to do the latest designer drug, Holy Shit. (“It’s like smoking crack with God!” Method Man explains.) It’s probably a good thing that Anna Faris doesn’t want a cat because, as this movie reveals, she also has a potentially dangerous fascination with sharp swords and playing truth or dare.

Of course, Keanu technically belongs to Rell (Jordan Peele). They say that cats chose their owners and Keanu definitely does that when he shows up outside of Rell’s house. Rell has just been dumped by his girlfriend and existence has no meaning for him. But once Keanu shows up, Rell again learns to embrace life. He spends two weeks taking pictures of Keanu reenacting scenes from classic movies. But when the 17th Street Blips break into his house, mistakenly thinking that Rell has a supply of Holy Shit, they take Keanu for themselves.

Rell and his cousin Clarence (Keegan-Michael Key) team up to track down and retrieve Keanu from the Blips but there’s a problem. Rell may brag about growing up in New York and Clarence may have stories about his childhood on the streets of Detroit but both of them are painfully out-of-place in the violent world of Blips and Anna Faris. (Clarence is obsessed with George Michael while Rell “sounds like John Ritter all the time.”) Fortunately, Rell and Clarence happen to look exactly like the Allentown Boys. Method Man makes a deal with them. If Rell and Clarence — who are now going by the names TekTonic and Sharktank — train the Blips then he will give them Keanu.

(Method Man’s character is actually named Cheddar. Jeff just pointed out to me that Method Man previously played a character named Cheese on The Wire.)

While Rell struggles to fit in with the Blips, the nominally more straight-laced Clarence (who, unlike Rell, doesn’t even smoke weed) is soon having the time of his life. It turns out that Clarence specializes in corporate team building and he’s excited to introduce these techniques to Blips. (During one shootout, Clarence proudly announces, “They’re communicating!”)

Admittedly, Keanu is an uneven film. It’s essentially a collection skits and some of them are funnier than others. However, Key and Peele both bring so much commitment to bringing this insane story to life that they literally carry the audience over the occasional rough spot. It may not be perfect but it’s a film that announces that, whether on TV or in the movies, Key & Peele are a comedic force to be reckoned with.

Plus, that kitten is so damn cute!

(And, in case you were wondering, Keanu Reeves does make an appearance of sorts.)

This film is 90 minutes of laughter and that’s certainly something that we all need right now! See Keanu!

(Since you’ve probably already seen the trailer for Keanu — here it is, if you haven’t — let’s close this review with some exclusive audition footage.)