With a name as goofy as this one, it’s tempting to think you have a good sense for what this movie is going for. I know I did. But then I watched the trailer for “The Greatest Beer Run Ever”. It turns out to be a far cry from what I expected. This biographical action-comedy from director and co-writer Peter Farrelly looks quite good and it sports a terrific cast that includes Zac Efron, Russell Crowe, and Bill Murray.
Based on genuinely wild and crazy real events, “Beer Run” tells the true story of John “Chickie” Donohue (Efron). In 1967, Chickie would sneak into war-torn Vietnam on a dare and began taking cans of beer to U.S. soldiers, even those on the battlefield. His idea was to let them know that there are people back home who support them. The trailer is a hearty mix of comedy, wartime action, and feel-good drama. Now hopefully the movie ends up as good as the trailer teases.
“The Greatest Beer Run Ever” hits select theaters and AppleTV+ on September 30th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.
“Sonic the Hedgehog” surprised a lot of people in 2020 in terms of both quality and box office numbers. Based on the classic SEGA video game platformer, the movie had its flaws. But overall it was a fun and often funny family feature that earned nearly $320 million. A sequel was all but guaranteed and we got it earlier this year. As of today, “Sonic the Hedgehog 2” has earned just over $400 million and now it’s available to stream on Paramount+.
Back is director Jeff Fowler along with screenwriters Pat Casey and Josh Miller (they’re joined this time by John Whittington). Also returning is Ben Schwartz voicing the blue anthropomorphic hedgehog with lightning speed, James Marsden as small-town sheriff and Sonic’s adoptive father Tom Wachowski, and Jim Carrey, reprising his role as mad scientist Dr. Robotnik. The sequel includes a few more familiar faces (and voices) and a couple of new ones as well.
Despite mostly enjoying the first film, I wasn’t in a hurry to see “Sonic 2” (as evident by this late review). Call it lukewarm expectations. But to my surprise, the sequel turned out to be an entertaining romp and better than the first film in several areas. It doesn’t quite utilize its biggest strength (Carrey) the same way its predecessor did, but it has a few cool additions that brings new energy to the series.
Image Courtesy of Paramount Pictures
The movie opens with the delightfully maniacal Dr. Robotnik marooned on The Mushroom planet (see the first movie or check out its Wiki) and plotting his revenge against Sonic. Of course first he’ll need to find a way off the world. He uses what tech he can salvage from his crashed hovercraft and the energy from one of Sonic’s quills (again, see the previous film) and sends out an intergalactic pulse. It attracts the attention of Knuckles (voiced by none other than Idris Elba), a red echidna warrior endowed with super strength. He turns out to be Robotnik‘s ticket off the planet.
Meanwhile on earth, Sonic is overanxious to put his powers to use, even not-so-secretly posing as a superhero he calls Blue Justice. But his guardian Tom pleads with him to be patient telling him that his time to be a hero will come. As it turns out Sonic doesn’t have to wait long.
While Tom and his wife Maddie (Tika Sumpter) are attending a wedding in Hawaii, Robotnik and Knuckles arrive on earth. The honor-bound Knuckles, the last of his tribe, is after a powerful relic called the Master Emerald which grants its possessor the ability to turn thought into reality (Think of it as the “Sonic” franchise’s Infinity Gauntlet). Knuckles wants to honor his extinct tribe’s role as the relic’s protectors. Of course the diabolical Robotnik has far more sinister intentions. But watching from a distance is a flying two-tailed fox appropriately named Tails (voiced by Colleen O’Shaughnessey) who has arrived on earth to warn Sonic of the looming threat.
Much like the first film, “Sonic 2” is as much a lighthearted comedy as it is a frolicsome action-adventure. It has plenty of funny bits, the best coming from Carrey who owns every goofy scene he’s in. But we also get some good laughs from Natasha Rothwell playing Maddie’s sister who hates Tom, and Lee Majdoub who plays Robotnik’s loyal servant Stone. They’re just some of the characters who fill out the story, most of whom are entertaining and fit well within the world.
Image Courtesy of Paramount Pictures
But what I like most (and what separates it from so many of today’s animated features) is that the action never reaches an assaultive fever pitch. There’s plenty of it, but Fowler doesn’t go for the sensory overload. There some really good digital effects work and the blend of live-action and animation is practically seamless. And while I won’t spoil the climactic battle, I love how it took inspiration from certain Japanese Toho films.
Speaking of inspiration, “Sonic 2” features countless other nods to movies and pop culture. “Cast Away”, the “Indiana Jones” films, “Army of Darkness”, and “Poltergeist” just to name a few. There’s even a gag referencing the Vin Diesel and Dwayne Johnson feud. Toss in some good themes of friendship, responsibility, forgiveness, and family and you have a movie that will resonate in several ways with kids and adults.
Now I don’t want to oversell it. There are some lazy gags (will we ever get away from the fart jokes?) and certain segments of the story don’t really feel necessary. And the two-hour runtime may wear some viewers out. But I can’t lie, “Sonic the Hedgehog 2” surprised me. I had fun with the characters, was impressed by the visuals, and enjoyed all the winks to other movies and genres. And perhaps most surprising – I’d be up for a third film. Just one request – more Jim Carrey please. “Sonic the Hedgehog 2” is available on VOD and is streaming on Paramount+.
How’s that for an attention-getting title? “Baby Assassins” sounds wacky, and to be honest it kinda is. But it’s the seeded eccentricities that makes this gleefully violent and proudly silly Japanese action-comedy click. Much like its title, the very premise of the film borders on absurdity. But this is a very self-aware movie and there’s never a sense it’s taking itself too seriously. In fact, there’s a lightheartedness ingrained both in the story and the storytelling that would normally clash with a tale about two deadly contract killers.
But hats off to writer and director Yugo Sakamoto who makes this teen Odd Couple genre mashup far more entertaining than it might sound. There are several pieces that factor into the film’s success: the two fabulous lead performances and their perky chemistry, the wily script, the genuinely funny laughs, and the bursts of exciting (and sometimes brutal) action. It all gels in this breezy off-beat jaunt that plays much differently than the bulk of hitman/assassin movies we get these days.
Image Courtesy of Well Go USA Entertainment
Chisato (Akari Takaishi) and Mahiro (Saori Izawa) are high-schoolers who are all prepped to graduate. They’re also employed and they happen to be really good at their “main job”. As the title gives away, the two are highly trained assassins who work for a tightly managed secret outfit ran by a mystery man named Mr. Tasaka. As part of company policy, once out of school the two are required to move in together and get part-time jobs. It’s all to provide cover for their true vocation.
And this is where the humor really kicks in. Neither Chisato or Mahiro are good at keeping jobs, and much of the fun is watching them try and fail miserably to fit into the everyday work force. It’s not for lack of effort. They are just awkwardly out of their element and easily frustrated. It leads to several fun scenes featuring botched interviews, some rather violent daydreaming on the job, and some amusing clashes with bosses.
Then there is their relationship. Your enjoyment of “Baby Assassins” may hinge on how much you like hanging out with the two lead characters considering their quirky friendship is the centerpiece of the film. A few hiccups aside, when it comes to killing, Chisato and Mahiro work together like a (fairly) well-oiled machine. But when it comes to personality, they couldn’t be more different. Chisato is the jaunty gregarious type who loves talking almost as much as her machine gun. Mahiro is detached and socially awkward; a soft-spoken sociopath who would rather mutter to herself that speak to anyone else. Polar opposites but a sparkling pair in large part thanks to the effortlessly organic chemistry between Takaishi and Izawa.
Image Courtesy of Well Go USA Entertainment
And of course there’s the action which isn’t as plentiful as you might think, but it comes in furious (and exhilarating) bursts. They’re wonderfully arranged by veteran fight choreographer Kensuke Sonomura and culminate in a rousing climax after the girls get sideways with a Yakuza boss (Yasukaze Motomiya) and his two psychotic kids (Akitani Mone and Satoshi Uekiya). While both leads are incredibly proficient in the action scenes, it’s Izawa whose stuntwoman background comes out in a jaw-dropping and brilliantly shot one-on-one fight sequence near the end.
So as you can tell, “Baby Assassins” has plenty of pieces that could easily be at odds with each other. But Sakamoto’s savvy direction and whip-smart script pulls everything together in a way that obliterated my expectations. While it may be a bit rough around the edges and its budget restraints occasionally show, the movie is still bursting with personality and energy. Those who are more action-minded may be taken back by the playful tone and casual pacing. But fear not, the final 15 minutes doles out just the kind of satisfying action-fueled payoff we’ve been anticipating.
Diane Keaton has had a wonderful 52-year career and she has shown no sign of slowing down. Granted, the movies from this current stage of her career haven’t been great. But I love that she’s still working and doing what she enjoys. And that brings us to her new film in theaters this weekend, “Mack & Rita”. I would love to talk about how the movie serves as a fresh reminder of Keaton’s terrific comedic chops. But unfortunately I can’t because “Mack & Rita” turns out to be a well-intentioned but surprisingly bland and flavorless comedy. And while it’s nice to see Keaton on screen, this won’t be listed among the movies she’ll be remembered for.
Directed by Katie Aselton and co-written by Madeline Walter and Paul Welsh, “Mack & Rita” never feels like its own thing. Instead it comes across as a collection of ideas plucked from other movies that are snapped together and given a title. There’s really nothing original about the story and there’s not a single surprise. In fact, you’ll have the entire plot mapped out within the first 15 minutes. It’s a shame because the movie sports a talented cast. But without good material, they’re left out to dry.
Image Courtesy of Gravitas Ventures
Following the lead of other ‘stuck-in-the-wrong-body’ movies like “13 Going on 30” and “Big”, this story centers on 30-year-old Mack (Elizabeth Lail), an Instagram influencer and aspiring writer. Mack was raised by her beloved grandmother who was always outgoing and very comfortable in her own wonderfully eccentric skin. Max wanted to be just like her, but as she got older she suppressed her own individuality in order to fit in. You could say it worked. She got invited to all the parties and made some popular new friends. But she did it without being true to her “inner old lady”.
Professionally, Mack feels stuck in neutral. She’s published her first novel and is excited to start writing again. But rather than helping her secure an advance for a new book, all she gets from her not-so-encouraging agent (Patti Harrison) are menial jobs taking photos at publicity events and posting them on social media. Socially, she would rather spend her time home alone with her dog, working on her book and dodging her overly chatty and clearly smitten neighbor Jack (Dustin Milligan). But even now she’s still living up to the expectations of others.
While on a bachelorette getaway in Palm Springs for her bride-to-be best friend Carla (Taylour Paige), Mack happens upon the tent of a self-proclaimed spiritual guru named Luca (Simon Rex) who specializes in past-life regression therapy. He places her in a contraption called a regression pod (which is nothing more than a glorified tanning bed) and begins their session. Once the pod sputters to a stop, Luca is gone and Mack steps out in the body of her 70-year-old self (played by Keaton). High-jinks and self-discovery ensues.
From there the story veers into more conventional territory. We get the expected shock and panic as Mack tries to grasp her wacky new circumstances. But when she begins posing as her own fictitious Aunt Rita, Mack discovers the carefree spirit her grandmother embodied. Her new zest for life takes her from hanging out with Carla’s mom (Loretta Devine) and the ladies from her women’s wine club to becoming a social media sensation known as the “Glammy Granny” (yep, you read that right).
Now before coming down too hard on “Mack & Rita”, it should be said it’s a very self-aware movie. It’s knowingly silly and unapologetically lighthearted. There’s nothing wrong with that. Also, it has a handful of good moments, particularly in the few times where it slows down and lets its characters breathe. And who can argue with its message of accepting yourself and staying true to who you are?
Image Courtesy of Gravitas Ventures
But that doesn’t make the unfunny and uninspired stuff go away. When it comes to the comedy and the storytelling, the movie is loaded with misfires. There’s the cringe-worthy slapstick, one awkwardly bad drug trip scene, and several scenarios that are too absurd to swallow. You also have a weirdly out-of-tune romantic angle with Rita and Jack. And then there’s the finish which spells out the themes in detail just in case you missed them.
Combine all of that with the already mentioned predictability and complete lack of originality, and we’re left with a movie that really does nothing for anyone involved. Especially for someone with the cinematic stature of Diane Keaton. “Mack & Rita” is out now in theaters.
I’m not sure if I’ve ever rooted for a killer more than I did in the new slasher black comedy “Bodies Bodies Bodies”. And I’ve seen all of the “Friday the 13th” movies – a franchise notorious for the generic throwaway fodder it called characters. Here it’s simply a case of being stuck for 95 minutes with really dumb people who aren’t just forgettable, they’re insufferable. I guess you could say they at least provoked a reaction. I just doubt openly wishing for their demise was the reaction the filmmakers were looking for.
But it should be said that “Bodies Bodies Bodies” is very much a satire which becomes more and more obvious as the movie progresses. It’s satirical crosshairs are firmly set on Gen Z, specifically the young, privileged, and hyper-sensitive upper-class. So in truth, with perhaps one lone exception, these characters aren’t meant to be liked. But we should be able to tolerate them which I found to be harder and harder as the story went on.
In “Bodies Bodies Bodies”, director Halina Reijn and screenwriter Sarah DeLappe have a lot of things going on. And as often happens in a movie this busy, some things work much better than others. Though it takes time to find its footing, the black comedy element works the best. You have to navigate some early unfunny patches (such as Pete Davidson aggressively doing Pete Davidson). But the satirical jabs land well, poking fun at Gen Z and all of their popular labels and phraseology. And with the exception of one second-half scene which is admittedly amusing but way overdone, the satire is very organic to the story.
Image Courtesy of A24
On the negative side, the horror/slasher angle isn’t nearly as effective. The movie borrows numerous genre tropes but doesn’t really put its own spin on any of them. There’s the getaway to a remote location (usually a cabin in the woods, here a mansion). We get a group of coked-up obnoxious young people who make great chum for whoever’s doing the killing. Of course there’s the proverbial storm that knocks out the power. And wouldn’t you know it, there’s no phone service. Unfortunately, none of those things add an ounce of terror to what’s essentially a fright-free story. The only hint of suspense is in the whodunnit element, but it’s mostly out of curiosity rather than any palpable tension.
The story is fairly basic. The first five minutes are spent trying hard to convince us that the otherwise chemistry-less Sophie (Amandla Stenberg) and Bee (Maria Bakalova) are a young couple. The pair are the last to arrive for a “hurricane party” at a big country mansion. The estate belongs to the parents of David (Davidson) who is Sophie’s best friend (another not-so-convincing match). David is there with his actress girlfriend Emma (Chase Sui Wonders). Also among the partygoers is a podcaster named Alice (Rachel Sennott) and her considerably older beau Greg (Lee Pace), and the temperamental Jordan (Myha’la Herrold).
As Sophie and and Bee arrive it’s clear there’s a little tension between friends. We learn Sophie is fresh out of rehab and her substance abuse took a toll on her relationships with the others. Bee is a shy and reserved working-class girl from Eastern Europe who is in the States to attend college. The party guests aren’t particularly thrilled with Bee being there and they aren’t too good at hiding it.
Image Courtesy of A24
The party kicks off, lots of booze is downed, lots of cocaine is snorted, yadda yadda yadda. Later the wasted seven decide to play a game called Bodies Bodies Bodies. Basically everyone draws a piece of paper and whoever draws the one marked with an ‘X’ is the killer. They then turn out all the lights and the killer must “kill” one of the other players while keeping his or her identity concealed. The “dead” player must lay still until found by the other players. After that, the survivors have to figure out who is the killer between them.
It sounds like a fun game, but not among this lot who are soon arguing and at each others throat. But when one of them ends up with their throat slashed, the fun and games end and the story takes a darker and bloodier turn. What follows is more yelling, more accusations, and of course more bodies. We get several plot contrivances, some ridiculous character choices, and more reasons not to root for any of these people.
But again, the movie is saved once the satire kicks in. There are some genuinely funny bits that got big laughs from the theater audience I was with. And it helps that lines are so cleverly incorporated and earnestly delivered. The movie also sticks its landing, delivering a hilarious and fitting conclusion. It doesn’t erase all of the blemishes that came before it. But it makes them a little easier to digest. “Bodies Bodies Bodies” is now playing in theaters.
What if I told you there was a movie that featured rapper Snoop Dogg as a mini-gun toting cowboy vampire hunter? You’d probably shake your head and call me nuts. And I can’t say I would blame you. Even typing the words seemed utterly ridiculous. Yet the visual image you probably have, as crazy as it undoubtedly is, fits so perfectly into “Day Shift”, a proudly wacky and impressively stylistic action comedy from Netflix.
“Day Shift” is the directorial debut for J.J. Hardy who’s best known for his stunt work in the “Fast and Furious” and “John Wick” franchises. He definitely brings that skill set into his direction which is highlighted by several wild and wickedly choreographed action sequences. Add in its gleefully goofy sense of humor, and you have a surprisingly fun and entertaining cocktail that Netflix felt good enough about to get behind.
The film stars Jamie Foxx who plays Bud Jablonski, a hard-working San Fernando Valley pool cleaner. But in the opening scene we learn that cleaning rich people’s pools isn’t Bud’s real occupation. It’s actually a cover for his true line of work – vampire hunting. It seems Los Angeles has quite the vampire problem and that means money for Bud. He hunts down and kills vamps, collecting their fangs and selling them to an underground pawn store owner named Troy (Peter Stormare). It’s not big bucks but it helps pay the bills.
Image Courtesy of Netflix
His family life is a little more complicated. Bud is a loving father to his 10-year-old daughter, Paige (Zion Broadnax). But he hasn’t been the most dependable which is why his ex-wife, Jocelyn (Meagan Good) is considering selling their house and moving in with her mother in Florida. Bud begs Jocelyn not to take Paige away and convinces her to give him five days to get $10,000, the cost of Paige’s braces and school tuition.
Here’s Bud’s problem – Troy isn’t paying what he once did for vampire fangs. The only way he can get the cash he needs is by selling them to the Union – a global underground network of vampire hunters. Unfortunately things have soured between him and the Union’s LA branch and he’s had his membership revoked. No membership, no sale. So he seeks the help of his old friend and beloved Union stalwart, Big John Elliott (Snoop Dog).
Now let me stop and say the absurdity of Snoop Dogg’s introduction is the moment I felt in-tune with the movie’s humor. As Bud waits outside the Union’s headquarters (secretly posing as an old dry cleaners), an extended cab 4×4 pickup rolls up. Out of it steps Big John, ‘cool man’ music playing and the camera scanning him in deliberate slo-mo. Of course what we see is Snoop Dogg, decked out in a denim shirt, rawhide vest, cowboy hat, boots, and a belt buckle as big as Texas. It’s a truly funny sight.
Image Courtesy of Netflix
With Big John‘s help, Bud is able to persuade the ill-tempered Union boss Seeger (Eric Lange in a hilariously dreadful wig) to reinstate him and put him back in the field. But Seeger is looking for a reason to give Bud the boot. So he assigns him a partner, Seth (Dave Franco) a nerdy and anxious Union accountant with no field experience whatsoever. Seth’s job is simple – tag along and secretly log all of Bud’s code violations. That’ll give Seeger the ammo he needs to send him packing.
The film’s antagonist is Audrey (Karla Souza), an area realtor with an affection for bright stylish pants suits. What people don’t know is that she’s a vampire with some pretty sinister plans for the Valley. More personally, she has a particularly nasty vendetta against Bud which sets up most of the second half conflict. It all culminates in a decent ending, but one that isn’t quite as satisfying as the journey to it.
Still, along the way “Day Shift” has some nice surprises. There are several gloriously over-the-top set pieces that will be catnip for action fans. And the movie’s brazen self-awareness allows it to have a lot of fun often at its own expense. Not all the humor lands, but there are plenty of funny moments. And there are a number of goofy twists to the traditional vampire movie lore that opens the door to all sorts of silliness (vampire sun screen, anyone?). All of those things make it easier to overlook the final act faults and keep things light and frothy, which is all you want from a movie like this. “Day Shift” premieres today (August 12th) on Netflix
Keith & the Movies 