The Films of 2020: I Still Believe (dir by the Erwin Brothers)


I Still Believe is based on the true story of musician Jeremy Camp (played by KJ Apa) and his first wife, Melissa Henning (Britt Robertson).  Jeremy meets Melissa in college.  They become friends.  They try to date but the relationship is complicated by the fact that Jeremy’s mentor, Jean-Luc LaJoie (Nathan Parsons), is also in love with Melissa.  Over the Christmas break, Melissa is taken ill and discovers that she has Stage 3C liver cancer.  Jeremy and Melissa marry and try to find happiness and maintain their faith in the time that Melissa has left.  Though Jeremy grows angry and has his moments of doubts, Melissa remains convinced that, though it may be hard to understand, there is a deeper reason for her suffering and it’s all apart of a bigger plan.

I Still Believe is the type of film that will bring out the cynic in most professional critics.  That said, it’s also the type of film that’s pretty much critic-proof.  It really doesn’t matter how much time or energy one might spend criticizing the film or its script or its belief system, the target audience of I Still Believe will love the film.  I Still Believe is a film that’s either going to inspire snark or it’s going to inspire tears.  It all depends on how you feel about the idea of a terminal illness all being a part of God’s plan.

(As far as that’s concerned, I’ll be keeping my own opinion to myself.)

Unlike a lot of the faith-based films that I’ve reviewed for this site, I Still Believe actually feels like a real movie.  As opposed to the God’s Not Dead films, there are no cardboard atheists standing around and waiting to be shown up by the clever heroes asking how they can be angry at God if God doesn’t exist.  The film, for the most part, avoids the trap of getting preachy and, to its credit, it treats Jeremy’s moments of doubt with respect.  It doesn’t shame him for getting upset over something that, regardless of what you may or may not believe, seems terrible unfair.  KJ Apa and Britt Robertson are both appealing performers and they have a believable chemistry as Jeremy and Melissa.  Finally, the film look gorgeous.  The farmlands of Indiana and the California campus where Jeremy and Melissa meet both feel vibrantly alive in this film.

At the same time, there’s nothing particularly surprising about I Still Believe.  It’s a predictable film and the minute that Jeremy gets that phone call telling him that Melissa has been taken to the hospital, you’ll be able to guess everything that’s going to follow.  If you’re not inclined to view Christian faith sympathetically, the film will not change your mind.  When I was looking over some of the other reviews of this film, the most common complaint I saw was that the film “preaches to the choir.”  It’s a valid complaint but, at the same time, I think it can also be argued that almost every film ever made has preached to one choir or another.  You could say the same thing about the political films of Adam McKay and Jay Roach or, for the matter, the majority of outspokenly anti-religious films.  Most message films tend to appeal to an audience who already agrees with what the film has to say.  Typically. when someone complains that a film preached to the choir, what they’re really saying is, “It didn’t preach to my choir.”

I Still Believe is a well-made film that will probably be best appreciated by people who already share its view of life and religion.  Though production on the film obviously started before the pandemic, it does feel like a film specifically made for these quarantined times.  It’s a film that argues the faith and strength can be found in even the worst of circumstances.  Whether that’s true or not is up to the viewer to decide.

 

 

The Films of 2020: Bad Boys For Life (dir by Adil & Bilall)


Bad Boys For Life came out in January of this year.  It was the first big release of 2020 and despite some skepticism (mostly from people like me, who pointed out that it had been 18 years since the release of the previous Bad Boys film), it went on to become the most financially successful January release of all time.  Not only did audiences love it but critics were surprisingly positive as well.

When I watched the film last week, I occasionally felt as if I had stepped into a time machine.  Even though the movie was just released a few months ago, it really does feel like an artifact from another age.  I mean, here we have a film named after the theme song of Cops, a once inescapable reality show that has largely been memory-holed as its uncritical depiction of the police has fallen out of fashion.  The film even features several scenes of the heroes singing the Bad Boys song, a song that declares that there’s nothing you can do now that the police are coming for you.

Of course, the film itself is about the type of supercops who, up until a few months ago, were popular in films and television.  These are the type of cops who are always quick with a quip and who have no problem trampling all over the Constitution in their pursuit of the bad guys.  The film celebrates the idea of the “super cop” in a way that seems almost unthinkable in our current cultural moment.  Defund the police?  How could you possibly want to do that when the cops are as charming as Will Smith and …. uhmm, Martin Lawrence?

Smith and Lawrence return as Miami Detectives Mike Lowery and Marcus Burnett.  Played by Smith, Mike is a confident and cocky playboy whose carefree façade hides a complicated path.  As played by Lawrence, Marcus is a mild-mannered family man who thinks that his partner needs to settle down and perhaps show a little bit more caution with some of his life choices.  Together …. THEY SOLVE CRIMES!

No, this time I’m not joking.  That is literally what they literally do.  They’re famous for solving crimes and Mike is known as being the “bulletproof cop.”  However, they’re both getting older.  Mike’s beard is going gray.  Marcus wants to spend more time at home.  Even their old boss (Joe Pantoliano) is talking about his retirement.  Unfortunately, a man named Armando (Jacob Scipio) is riding around Miami on a motorcycle and murdering anyone who was involved in the arrest and incarceration of an infamous Mexican drug lord.  He’s doing so on the orders of his mother, Isabel (Kate del Castillo), who is also known as La Bruja.  When Armando targets Mike, everyone is forced to reconsider their plans.

That may sounds simple and straight forward but the film complicates things with a third act twist involving Mike and Armando’s relationship.  It’s a twist that really shouldn’t work and yet it does, largely because Will Smith is a strong enough dramatic actor that he makes Mike seem like an actual human being, as opposed to being just an infallible action hero.  Smith gets not only the best dramatic moments but also some of the best comedic ones, especially when he ends up working with a bunch of younger cops who aren’t as impressed with Mike as Mike is with himself.  Martin Lawrence doesn’t get to do as much as Smith but he has a few funny moments and, most importantly, the friendship between Mike and Marcus feels real.  Lawrence and Smith have an undeniable chemistry that works in both comedic and dramatic scenes.  When Marcus says that he can’t stand to see Mike putting his life in danger, you believe him.  When Mike reacts to Marcus’s desire to retire as being some sort of personal betrayal, you understand exactly what’s going through Mike’s head to make him overreact.  You believe that Mike and Marcus really do care about each other and it adds a surprising amount of emotional depth to certain scenes.

Bad Boys For Life is a good action film, one that has a surprisingly big heart.  The action scenes are well-handled.  The chase scenes are exciting.  Will Smith again shows why he’s a movie star.  Though the film may seem like a relic of a bygone era, it’s undoubtedly entertaining.   (Considering the ADD-nature of popular culture nowadays, it’s easy to imagine that supercops will be back in fashion sooner than later.)   Naturally, it ends with the promise of sequel and I imagine that we’ll eventually get one.  The only real question is whether or not Marcus and Mike will still be singing their theme song.  Let’s hope so.

The Films of 2020: Bloodshot (dir by David S. F. Wilson)


As a result of the COVID-19 pandemic, 2020 is the first year since 2008 not to feature any new Marvel films.  Despite the fact that Wonder Woman 1984 still has a Christmas release date, it wouldn’t surprise me if it still got moved back into 2021.  With the exception Tenent, 2020 has been the year of the anti-blockbuster.

I have to admit that, at first, it really bothered me that I was going to have to wait to see both Black Widow and the new Wonder Woman film but, as more time has gone by, the less I actually care about either one of them.  I think one reason why comic book films have been so popular over the past few years is because they were relentless.  There was always a new one coming out.  If you were disappointed with Captain Marvel, you could still say that the trailer for Endgame looked really good.  If you were less than thrilled with Batman v Superman, you could at least look forward to Wonder Woman.  Now that we’re no longer being inundated on a daily basis with new MCU trailers and DCEU gossip. it’s a lot easier to realize that a few of those films were surprisingly good (and I stand by my declaration that Guardians of the Galaxy was the best film of 2014) and some of them were notably bad but the majority of them were entertaining without being particularly memorable.

That bring us to Bloodshot.  Depending on whether or not Wonder Woman 1984 holds onto that Christmas release date and if The New Mutants are forgotten about, Bloodshot could down in history as the only major comic book film released in 2020.  It stars Vin Diesel as Ray Garrison, a dead Marine who is revived and turned into an invulnerable super soldier.  Dr. Emil Harting (Guy Pearce) sends Ray after the people who previously killed him and his wife, Gina (Talulah Riley).  Ray kills a lot of people over the course of Bloodshot.  He also continually wakes up in that laboratory, with no memory of who he is.  Could Harting just be using Ray to kills own enemies?  It’s possible, if just because I don’t think there’s been a heroic character named Emil in a comic book movie.

As a film, Bloodshot is …. well, it’s okay.  If you’re going to make a movie about a relentless super soldier who can’t be killed, Vin Diesel is probably the best actor that you could get to star in it.  (Yes, Dwayne Johnson could play the physical aspect of the role but his natural likability would go against the whole relentless killer thing.  Diesel, on the other hand, can actually convince you that he’s planning on murdering everyone that he sees.)  And if you need someone to play a smarmy mad scientist named Emil Harting, Guy Pearce seems like the obvious choice.  The action scenes are well-done, even if they do go a bit overboard on the slow motion.  The CGI is convincing.  When Ray gets a bit of his face blown off, it legitimately looks like a chunk of his face is breaking off of him.  (Fear not, Ray has super healing.)  Much like Ray, the film has a job to do and it doesn’t let much get in the way of doing that job.

And yet, the film itself is never exactly memorable.  There’s none of the little quirks or unexpected moments that distinguish the better comic book films.  Instead, Bloodshot feels like a throwback to the days before comic book films became a big deal.  We know that Guy Pearce is evil from the minute he shows up, just as we know that the film is going to end with a battle the involves a lot of flashy CGI.  No effort is really made to take anyone by surprise.  Bloodshot goes through the paces and hits all of the expected notes but it’s never really lively enough to be engaging on anything more than a “Hey, did you just see Vin Diesel kill that guy!?” sort of way.  Bloodshot is a film that’s just there.  Occasionally, it’s entertaining but ultimately, it’s rather forgettable.

Lifetime Film Review: The Secret Life of a Celebrity Surrogate (dir by Mark Gantt)


So, put yourself in this situation.

You’re an aspiring writer, which is a really nice way of saying that you don’t have much money.  Because you haven’t paid your rent in four months, you’ve just gotten kicked out of your apartment.  As bad as that is, you can take some comfort from the fact that your incredibly hot boyfriend owns a really nice and really big apartment and he probably won’t have any issue with letting you live there.  I mean, he’s always eager for you to sleep over so why not just move in?  So, you head over to his place to give him the news and….

….some blonde that you’ve never seen before opens the door and asks you who you are!

Okay, now you’re in trouble.  Not only do you not have an apartment but you also don’t have a boyfriend.  You have no money and you have no family to fall back on.  While many writers wrote some of their best work while living in boxcars and drifting across the country, you’re not sure that’s what you want to do with the next few years of your life.  So, you get on social media and you let the world know that you need a job.  ANY JOB!

That’s what happens to Olivia (Carrie Wampler), the character at the center of The Secret Life of a Celebrity Surrogate.  It all happens during the first 10 minutes or so of this movie and it does make Olivia into an instantly likable character.  There’s no way that you can’t sympathize with her because everything that could go wrong in her life has gone wrong in just the course of a few hours.  When Olivia is contacted by Cassidy (Jordyn Aurora Aquino) and told that there is a job opportunity for her but that it requires Olivia to be discreet, you can’t blame Olivia for jumping at the opportunity.  What else is Olivia going to do?  Starve?

It turns out that Cassidy works for Ava (Brianne Davis) and Hayden (Carl Beukes) von Richter, a celebrity couple who, after Ava’s last few films flopped at the box office, are now mostly famous for being famous.  Ava and Hayden hire Olivia to act as a surrogate to carry their child.  Olivia will get $150,000 once the baby is born and she’ll get to stay at Ava and Hayden’s fabulous mansion.  The main conditions seem reasonable: Olivia will have to be discreet and she’ll also have to stay healthy and be regularly checked out by Ava’s army of doctors.  Olivia agrees.

And, at first, everything seems okay.  Ava and Hayden are charming, even if Ava is a bit high-strung and Hayden often seems like he’s lost in thought.  Olivia bonds with Cassidy and chef Peter (Kenneth Miller).  Ava can be demanding but that makes sense and …. wait, a minute, did Ava just do cocaine in a public restaurant?   And what exactly is Hayden doing with that hypodermic needle?

Needless to say, Ava and Hayden are not as perfect as they initially seem and Olivia soon starts to have doubts about whether or not they should even be parents.  Hayden, especially, seems to get creepier (and more and more gropey) with each passing day.  Soon, that fabulous mansion starts to feel like a prison and Olivia comes to realize that her employers are even more dangerous than she originally suspected….

The Secret Life of a Celebrity Surrogate is a film that’s very much of the moment.  We live in a society that is obsessed with celebrities, even faded ones like Ava and Hayden.  We also live in a world where ordinary people — like Olivia — can actually connect with celebrities via social media.  At the same time, though people may not always be quick to admit it, we all secretly suspect that most celebrities are actually crazy and probably have a dungeon underneath their mansion.  Even our favorites are often suspected of harboring dark secrets, as seen by the eagerness of the twitter mob to cancel their former heroes.  As such, we can all relate to Olivia’s willingness to be a part of Ava and Hayden’s seemingly glamorous life while, at the time, Ava and Hayden’s “quirks” serve to confirm what we’ve always suspected about what goes on behind closed doors in Beverly Hills and on Park Avenue.

The Secret Life of a Celebrity Surrogate strikes a good balance between thriller and satire.  It embraces the melodrama while also retaining enough self-awarness to be fun.  Brianne Davis and Carl Beukes are both entertainingly sleazy as the celebrity couple from Hell while Carrie Wampler is sympathetic and likable in the role of Olivia.  This is an entertaining Lifetime movie that will be enjoyed by anyone who has ever looked at a celebrity tweet and thought to themselves, “What a weirdo.”

4 Shots From 4 Films: Special Bill Murray Edition


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

Today, we wish a happy 70th birthday to everyone’s favorite actor, Bill Murray!

That means, of course, that it’s time for….

4 Shots From 4 Films

Ghostbusters (1984, dir by Ivan Reitman)

Rushmore (1998, dir by Wes Anderson)

Lost In Translation (2003, dir by Sofia Coppola)

The Dead Don’t Die (2019, dir by Jim Jarmusch)

Here Are The Emmy Winners!


I skipped watching the Emmys this year because …. well, do I need a reason?  When it comes to award shows, my heart has always belonged to the Oscars.  The Emmys have never done much for me.

That said, I do want to say Congrats! to all the winners.  Bad Education won and I am excited about that, though it still bugs me that if only the film had been purchased by Netflix rather than HBO, it would be Oscar eligible as opposed to having to settle for an Emmy.  I’m also happy to see that Zendaya won for Euphoria and …. well, to be honest, there’s not a single winner that I really disagree with.  I don’t watch Succession but I know a lot of people love it.  Schitt’s Creek doesn’t do much for me but it’s nice that Pop! got some recognition.

I mean, at this point, I’m just happy that the Emmys — which were done with an audience and featured all of the winners accepting either from their home or a hotel room — were even held.  If they can do the Emmy, there’s no reason why they can’t do the Oscars, right?

Here are the winners!

Winners

Outstanding Drama Series

Better Call Saul
The Crown
The Handmaid’s Tale
Killing Eve
The Mandalorian
Ozark
Stranger Things
Succession — winner

Outstanding Supporting Actress in a Drama Series

Helena Bonham Carter, The Crown
Laura Dern, Big Little Lies
Julia Garner, Ozark — winner
Thandie Newton, Westworld
Fiona Shaw, Killing Eve
Sarah Snook, Succession
Meryl Streep, Big Little Lies
Samira Wiley, The Handmaid’s Tale

Outstanding Supporting Actor in a Drama Series

Nicholas Braun, Succession
Billy Crudup, The Morning Show — winner
Kieran Culkin, Succession
Mark Duplass, The Morning Show
Giancarlo Esposito, Better Call Saul
Matthew Macfadyen, Succession
Bradley Whitford, The Handmaid’s Tale
Jeffrey Wright, Westworld

Outstanding Directing for a Drama Series

Andrij Parekh, Succession — winner

Outstanding Writing for a Drama Series

Jesse Armstrong, Succession — winner

Outstanding Lead Actress in a Drama Series

Jennifer Aniston, The Morning Show
Olivia Colman, The Crown
Jodie Comer, Killing Eve
Laura Linney, Ozark
Sandra Oh, Killing Eve
Zendaya, Euphoria — winner

Outstanding Lead Actor in a Drama Series

Jason Bateman, Ozark
Sterling K. Brown, This Is Us
Steve Carell, The Morning Show
Brian Cox, Succession
Billy Porter, Pose
Jeremy Strong, Succession — winner

Outstanding Competition Program

The Masked Singer
Nailed It!
RuPaul’s Drag Race — winner
Top Chef
The Voice

Outstanding Limited Series

Little Fires Everywhere
Mrs. America
Unbelievable
Unorthodox
Watchmen — winner

Outstanding Film — Bad Education (winner!)

Outstanding Supporting Actress in a Limited Series or Movie

Uzo Aduba, Mrs. America — winner
Toni Collette, Unbelievable
Margo Martindale, Mrs. America
Jean Smart, Watchmen
Holland Taylor, Hollywood
Tracey Ullman, Mrs. America

Outstanding Supporting Actor in a Limited Series or Movie

Yahya Abdul-Mateen II, Watchmen — winner
Jovan Adepo, Watchmen
Tituss Burgess, Unbreakable Kimmy Schmidt: Kimmy vs. The Reverend
Louis Gossett Jr., Watchmen
Dylan McDermott, Hollywood
Jim Parsons, Hollywood

Outstanding Directing for a Limited Series or Movie

Maria Schrader, Unorthodox — winner

Outstanding Writing for a Limited Series or Movie

Damon Lindelof, Cord Jefferson, Watchmen — winner

Outstanding Lead Actor in a Limited Series or Movie

Jeremy Irons, Watchmen
Hugh Jackman, Bad Education
Paul Mescal, Normal People
Jeremy Pope, Hollywood
Mark Ruffalo, I Know This Much Is True — winner

Outstanding Lead Actress in a Limited Series or Movie

Cate Blanchett, Mrs. America
Shira Haas, Unorthodox
Regina King, Watchmen — winner
Octavia Spencer, Self Made
Kerry Washington, Little Fires Everywhere

Outstanding Variety Talk Series

The Daily Show with Trevor Noah
Full Frontal with Samantha Bee
Jimmy Kimmel Live
Last Week Tonight with John Oliver — winner
The Late Show with Stephen Colbert

Outstanding Comedy Series

Curb Your Enthusiasm
Dead to Me
The Good Place
Insecure
The Kominsky Method
The Marvelous Mrs. Maisel
Schitt’s Creek — winner
What We Do In the Shadows

Outstanding Supporting Actress in a Comedy Series

Alex Borstein, The Marvelous Mrs. Maisel
D’Arcy Carden, The Good Place
Betty Gilpin, GLOW
Marin Hinkle, The Marvelous Mrs. Maisel
Kate McKinnon, Saturday Night Live
Annie Murphy, Schitt’s Creek — winner
Yvonne Orji, Insecure
Cecily Strong, Saturday Night Live

Outstanding Supporting Actor in a Comedy Series

Mahershala Ali, Ramy
Alan Arkin, The Kominsky Method
Andre Braugher, Brooklyn Nine-Nine
Sterling K. Brown, The Marvelous Mrs. Maisel
William Jackson Harper, The Good Place
Daniel Levy, Schitt’s Creek — winner
Tony Shalhoub, The Marvelous Mrs. Maisel
Kenan Thompson, Saturday Night Live

Outstanding Directing for a Comedy Series

Daniel Levy and Andrew Cividino, Schitt’s Creek — winner

Outstanding Writing for a Comedy Series

Daniel Levy, Schitt’s Creek — winner

Outstanding Lead Actor in a Comedy Series

Anthony Anderson, Black-ish
Don Cheadle, Black Monday
Ted Danson, The Good Place
Michael Douglas, The Kominsky Method
Eugene Levy, Schitt’s Creek — winner
Ramy Youssef, Ramy

Outstanding Lead Actress in a Comedy Series

Christina Applegate, Dead to Me
Rachel Brosnahan, The Marvelous Mrs. Maisel
Linda Cardellini, Dead to Me
Catherine O’Hara, Schitt’s Creek — winner
Issa Rae, Insecure
Tracee Ellis Ross, Black-ish

4 Shots From 4 Films: Special Guy Hamilton Edition


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

98 years ago today, the British director Guy Hamilton was born.  Though Hamilton rarely seems to get as much credit as Terence Young, he was one of the most important of the early James Bond directors.  With Goldfinger, he set the template the many subsequent Bond films would follow: an over-the-top villain, nonstop action, and one liners.  (“No, Mr. Bond, I expect you to die.”  Not to mention, “I must be dreaming.”)  Hamilton went on to direct Sean Connery’s final Bond outing and he also directed the first two films to star Roger Moore as 007, all three of which are rather underrated in my opinion.  Guy Hamilton’s Bond films reminded us that James Bond’s cinematic adventures work best when they’re fun to watch, which is something that I think the modern Bond films would be well-served to consider.

In honor of Guy Hamilton’s contributions to my favorite film franchise, here are….

4 Shots From 4 Films

Goldfinger (1964, dir by Guy Hamilton)

Diamonds are Forever (1971, dir by Guy Hamilton)

Live and Let Die (1973, dir by Guy Hamilton)

The Man With The Golden Gun (1974, dir by Guy Hamilton)

Here’s The Trailer For Love And Monsters!


It’s a monster apocalypse and only Dylan O’Brien can save us!

Listen, I don’t know if the film’s going to be any good or not but we should all be happy that Dylan O’Brien is still with us.  After he was seriously injured during the filming of the the last Maze Runner film, a lot of people thought that he might never return to films.

As for this film, Michael Rooker’s in it and that’s often a good sign.  It looks like it might be fun.  We’ll find out for sure on October 16th!

Here’s The Trailer For The Trial Of The Chicago 7!


The Trial of Chicago 7 has been on the Oscar radars of several observers ever since this year began.  Not only does it have a big-name cast but some feel that, in telling the story of the trial of a group of protesters, the film is well-positioned to take advantage of the current political zeitgeist.

Or something like that.  To be honest, I just like using the word “zeitgeist.”

To be absolutely honest, the fact that Aaron Sorkin is involved in this just makes me cringe.  This is exactly the type of project that will probably bring out his worst instincts as both a writer and a director.  Will the film feature any prominent female characters and, if so, how much time will be devoted to them being put in their place by the witty men of Sorkin Land?  I guess we’ll have to watch to find out.

Anyway, here’s the trailer.  The film will be coming out on Netflix sometimes this year.

4 Shots From 4 Films: Special Jean Renoir Edition


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

126 years ago today, the great French film director Jean Renoir was born in Paris!  The son of Pierre-Auguste Renoir, Jean would go on to become just as revolutionary a force in the world of cinema as his father was in the world of painting.  Today, in honor of the birth and legacy of Jean Renoir, here are….

4 Shots From 4 Films

The Rules of the Game (1939, dir by Jean Renoir)

Swamp Water (1941, dir by Jean Renoir)

The Southerner (1945, dir by Jean Renoir)

The River (1951, dir by Jean Renoir)