Moonrise Kingdom (2012)

Wes Anderson films are sometimes a hard thing to judge. Sure they’re comedies, but they're often so deadpan it can be hard to tell. Is the film failing when it isn’t funny, or is it simply not trying to be funny at that moment? This approach works much better in some films than in others. This is one of those others. There are certainly moments in this quirky tale of a runaway boy scout, but they’re too few and too far between. In the meantime, we’re treated to some pleasantly bizarre camerawork, and intermittent appearances by the usual Wes-Anderson-film suspects spouting off the occasional one-liner or standing in a pleasantly preposterous setting. Generally, it works, but it’s missing something. The child-actors that make up the focus of the film are great as an ensemble but are very uneven when they’re off on their own, while the plot wanders with all the certainty of a child’s storybook. It’s served up with a wink, yet with little of the cleverness.

5 out of 10.

Fantastic Mr. Fox (2009)

Simply put, this is as appropriately named as a movie could possibly be. Films by Wes Anderson can be a hard sell to some people—his penchant for darkly deadpan delivery means that it can sometimes be too easy to take him seriously. Not so here, as the mix of whimsical stop motion, smartly written kid-friendly tale, and infectiously low-key characters create a sense of unexpected calm amidst the considerable chaos. This is not a film that goes for the big laughs and the big excitement, but rather nudges itself along with a sly wink and a charming giggle. It is at times both pedestrian and ironic, while simultaneously being impossible and straight-forward. This is a very smart film, fully capable of instilling wonder in adults and knowing smiles in children. There is not quite enough drive to push this excellent movie into classic territory, but in almost every way this is a beautiful, thoughtful, delightful ride for anyone who likes their entertainment with a touch of subtlety.

9 out of 10.

Black Dynamite (2009)

Blaxploitation has to be a tough genre to revive in these over-sensitive times. For all the cheek we get out of other exploitation genres, it's hard not to cringe at the idea of making a film that “exploits” a racial culture. But then a riotous throwback like this comes along and you remember to ask “who cares as long as it's fun?” This film is as much about culture as Airplane! is about aviation. What this winds up being is a solid ninety minutes of smartly foul, hysterically absurd humor, poking fun at all the Blaxploitation tropes, from the sassy women to the giant afros to the ever-present fight against The Man. It's all here and it's all gloriously cheesy. Nunchucks are swung, asses are kicked, and fourth walls are broken, and by the end it's all a warm glow of fantastically trashy humor.

8 out of 10.

Iron Man 2 (2010)

While the first sailed by on a whip-smart script and a stellar performance by Robert Downey Jr., part 2 swings by on upped production values and a larger focus on things that aren't the metal man himself. It's a different approach that pays off in a completely different way, but it may bug you depending on what it was about the first that you enjoyed. Like any sequel, the budget is bigger and the cast flashier. There are more things to distract from genuine character building, and in some ways it seems drunk on its own success (at least one subplot could have been cut entirely without hurting the film). But the switch-up lets there be more variety. The moments with the stars have less to say, but feel more special for their rarity. The action sequences are bigger in scope and impact, and better integrated into the story. The new characters all fit in fairly well with the old. The most damning thing to say about the film is that it only does what the first did, but bigger. Yet still, that works for what is only meant to be fun and funny. By the end, less may feel accomplished, but it's a more impressive ride regardless.

8 out of 10.

OSS 117: Cairo, Nest of Spies (2006)

Also known as OSS 117: Le Caire, nid d'espion.
Among the many things that are amusing about this film, and the character of French special agent OSS 117, is that it not only predates Get Smart, but even beat James Bond to the punch. OSS 117, French spy extraordinaire, is as obnoxious as a terrible French stereotype, and as clueless as Maxwell Smart. This isn't the kind of film that is obviously hilarious. There are few big setpiece jokes. This is mostly a constant-grin sort of affair, with our hero accidentally doing just the right thing over and over again. Meanwhile the story acquits itself well enough. There's little remarkable about the film as a whole, other than the fact that the humor translates over fairly well, but the whole thing comes together quite well. As a comedy riff on spy films, there are some good chuckles to be had here.

7 out of 10.

Burn After Reading (2008)

Seeing the CIA's braintrust crash against the jagged rocks of clueless stupidity should be more fun than this. When the wrong information falls into the hands of a a batch of barely-competent fitness instructors, there should be some play on what 'government intelligence' is, or some laughs that play up a lack of preparation, or something. This is more of a drama about things that are difficult to get invested in than it is a straight up comedy. Deadpan presentation may be the Coen Brothers' M.O. but this one takes itself too seriously to be anything more than passing funny. Then as a set of twisting traps and back-and-forth entanglement it also comes up short. It has a few moments that stand out, and at least one excellent left turn, but largely this is a bit of well presented, interesting-but-not-compelling fluff. It's inconsequential and innocuous, too serious to be silly, too silly to be serious.

5 out of 10.

O Brother, Where Art Thou? (2000)

Homer's The Odyssey, rewritten for the deep south in the 1930s, and sprinkled with bluegrass and images taken from old photographs. That about sums it up. The thing is, if you try to apply any sort of critical thought to it the whole thing collapses like a thing that falls apart. One moment you're watching some slightly madcap comedy, the next it's some dark fable, the next it's jumped inspirations entirely and is trying to ape Gulliver's Travels. It's not a mess, but if you've got more in your head than what's being fed, the bridge starts to sway a bit too strongly. So what if you step away entirely and just approach with a blank stare? Then things go down fairly smooth. The comedy bits become funny, the non-sequitors become charming, everything else just lends to the glazed-over surreality that the brothers Coen have concocted. The music remains excellent either way. So its a mixed bag. Either you'll see straight through it and wonder what the hell you're watching, or it'll wash over you leaving a pleasant (if strange) aroma.

7 out of 10.

Scott Pilgrim vs. the World (2010)

Here, I'll make this simple: did you grow up playing videogames? Then you need to see this. Look, I won't lie: headlining star Michael Cera, playing his usual awkward, irrepressibly repetitive, lovable scamp self, is overexposed to the point of being obnoxious. At this point it's a given. What I'm saying is to get over it just this once. He's not the reason to see this movie. This is one about the presentation, the story that flies by at 200kph splashing geek humor all over everything, for seeing life bars and power-ups become character beats, and for seeing the gamer audience as more than a bunch of closeted dweebs living in their parents' basements. It's for anyone who's ever chased a high score, fought a dragon, or saved a world in their spare time with their spare quarters. Is it perfect? Certainly not. Seeing Mr. Pilgrim battle Ramona's seven evil ex-boyfriends does get a little long in the tooth, as almost every fight at least starts out identically, and often even ends the same way. But it's the moments in-between the kung-fu: the sly winks to a knowing audience, the solid delivery of joke after joke after joke, and the pervasive use of the soundtrack from Zelda: A Link to the Past, that keep things levelling up. Sure, if you didn't grow up with these influences, you'll either be lost or bored or just not see what the big deal is. Yet for those of us sitting pretty in the target audience, this is finally a movie that understands.

9 out of 10 (if you played a lot of games as a kid; otherwise 7)

Kick-Ass (2010)

Start with a goofy tale about an awkward, comics-obsessed teenager deciding to run out in brightly colored tights with a mission to save the world, toss in a mob plot, and a foulmouthed father/daughter crime-fighting duo. Stick it in a blender for two hours and out comes this weirdly lovable ultra-violent mess of a movie. Almost nothing here is by the numbers—the combat is bloody, the language extra salty, and the heroes aren't really that heroic. Unlike other comic adaptations, there isn't any overarching message, or a direct source to be ripping on, this is just a straight up violent popcorn-muncher. Largely this works. The momentum and build-up are spot on, the twists mostly obvious and fun, and the drama is light and breezy with just a slight edge to keep you invested. This isn't a grand filmmaking, merely some good, dirty amusement.

8 out of 10.

The Hangover (2009)

They say “what happens in Vegas, stays in Vegas.” Sometimes it doesn't even get that far. Such is the case when four hapless guys gather to give a friend the most amazing bachelor party they'll never be able to talk about. Thing is, the next morning none of them have any idea what happened the night before and the bachelor himself is nowhere to be found. For as wild and over-the-top as the film is, really the story itself is the best thing it has going. Piecing events together bit by ludicrous bit keeps even the frequently mediocre humor from being a turnoff. As a comedy, it has a few chuckles and keeps a fairly persistent grin going, but it never seems to leap into something genuinely hilarious. The fun is instead found in seeing the utterly ridiculous situations the guys find themselves in, and learning how the writers will backpedal to explain. In an exceptionally rare turn of events, a comedy's plot successfully overshadows its humor.

7 out of 10.

Sherlock Holmes (2009)

Director Guy Ritchie may have outgrown making stylish gangster flicks, but his talent for creatively smashing his way through British culture is very much alive and intact. Taking the grandfather of all super-detectives and giving him a heaping dose of modern cynicism may not do anything for purists of character continuity, but it makes something damn entertaining regardless. That it's the professional motormouth himself, Robert Downey Jr., as the man himself just makes things all the more fun. Meanwhile Ritchie's hyper detailed editing style lends itself perfectly to such a meticulous character. Series purists will of course lament the loss of his cocaine addiction and implications of invisible friends, or that he's more of a man of action than a dour riddle-solver. But this is a film that is aiming for pure, breezy, popcorn-munching entertainment, carefree and pleasantly complicated. About the only real knock against this film are the almost universally terrible CG effects. If you can get past that little tweak, and don't mind a few character liberties, there's very little to dislike in this hyperactive reimagining.

8 out of 10.

RocknRolla (2008)

For director Guy Ritchie, returning to the genre that helped him make his mark must be a bittersweet homecoming. The over-stylish British ganster genre really hasn't existed without him, and having him back ought to be enough to recharge the batteries in a single shot. But alas, no. The inventive grittiness present in both Lock, Stock and Two Smoking Barrels, and Snatch, is gone, replaced with the relative gloss of real estate extortion gone wrong. The style of filmmaking itself is still present, thankfully, with the ever-fun smash cuts and whip pan cutaways. It's never dull to look at. Though little of that matters when the script tries and fails to be funny as often as this one does. Winding and wacky as much of the film manages to seem, a lot of it still feels like a hollow shell, or a vain attempt to reproduce something that the director has simply grown out of.

4 out of 10.

Hot Shots (1991)

A moment of silence for the good screwball comedy. There's something to be said for a good one-two punchline brought on by a throw-away non-sequitor and a terrible pun. In a lot of ways, it seems to be a lost art. While not up to the quality of the Naked Gun films, this little gem has enough great moments to cover up many of its failings. Choosing Top Gun as its inspiration, the primary problem is that the film tries to play it a bit more straight than most of its peers, making a slight attempt at giving the story an actual progression. The humor that drops in is largely incidental. Yet star Charlie Sheen, and the late Lloyd Bridges, still bring their A-game, hamming up the screen and giving clever winks to the camera. Bridges in particular is hilarious as a mumbling, senile, injury-prone navy admiral. In all, it's not the kind of film that anyone would mistake for a comedy classic, but it definitely is worth its share in fond memories.

7 out of 10.

Hot Shots: Part Deux (1993)

When it comes to sequels, the comedy that surpasses its predecessor is rare indeed. The first was far from a classic, but in making this follow-up it's clear the makers did everything in their power (and budget) to improve the formula. So here we are again, this trading in the open sea of Top Gun for Rambo: First Blood Part 2's jungle forest setting. The jokes are bigger and flashier, the writing more amusingly convoluted, and they had the great sense to throw Lloyd Bridges onscreen much more than last time. It all works, and though the ravages of time have not been kind to some of the gags and plot points, the level of outlandish creativity tossed about is simply delightful.

8 out of 10.

Big Trouble in Little China (1986)

When you get the right people in front of the right director with the right script, and then have them all pump out just the right kind of terrible, the result can be brilliant fun. This is not a good movie, but it is a damn entertaining one. The script is almost entirely made up of unceasing and pointless amounts of exposition while the acting wavers between bad and hilariously bad. And yet, it doesn't matter. John Carpenter's show about a truck driver battling an ancient Chinese sorcerer carves out a piece of work so bizarre, so knowingly off-kilter, that it all turns pleasantly surreal. Of course it doesn't hurt that the sets and effects are pretty great across the board. If you like your movies cheesy, your language salty, and your exposition extra exposition-y, there's a lot to love here.

7 out of 10.

Monty Python: Almost the Truth – The Lawyers Cut (2009)

Let's go ahead and assume you're already a fan of Python. Because if you are not, there is nothing in this documentary series that will change your mind nor, frankly, is their story remarkable enough to stand on its own. With that unpleasantness out of the way, it's probably safe to call this six-part documentary series absolutely essential for the fans. Covering everything, from each Python's early childhood, through college and meeting up, to Flying Circus, the films, Graham Chapman's death, and what they've been up to since it all came to a close, no stone is left unturned. Each sordid detail, every little anecdote, and the extremely candid nature of criticism and nostalgia that comes spilling out is utterly delightful for the devoted. Where available, it seems that almost anyone of significance in putting together and supporting the phenomenon makes an appearance. In other cases where it tries to show people who were influenced by the Pythons' work, it perhaps comes up a bit short. Despite this, for the pure breadth and scale of information provided, and for just being an excuse to geek out in remembrance for such an awesome pile of comedy, this series should not be missed.

8 out of 10.

The Brothers Bloom (2008)

Slick and suave, another group of con artists set out to swindle some loot from an unsuspecting mark. Abundant scheming and many a plot twist ensue. If you're going to try this old game on the screen again you'd better have something special up your sleeve. This film does. It has a fairy tale sensibility prevalent throughout which gives our dastardly heroes a misguided sense of whimsey, and the utterly ridiculous scenarios an unreal place to lay their foundations. The result is a madcap romp through one beautiful location after another, with a driving sense inevitability paradoxically mixed with the uncertainty of any traditional heist film. And it's all brought together with a visual sense that flows smoothly and is often quite striking. The movie may drag a bit in the second act, but on the whole it s every bit the pleasant surprise it sets out to be.

8 out of 10.

In Bruges (2008)

Straddling the line between comedy and drama is not an easy thing to do. Just ask the producers of this film, who manage to make a pretty decent drama-thriller, yet in the same turn almost entirely fail to make it funny. It certainly tries to be funny, but this tale of a pair of hitmen laying low in a quiet European hamlet after a job just doesn't have enough humor going for it. But even so, it's still a compelling film, with enough quiet turns and character moments to pull it through to the end. The assassins are both likable and interesting, if a bit off-kilter, the setting is quaint and pleasant to look at, and the script itself remains remarkably consistent. So no, it's not the black comedy it wants to be, but everything else seems to be on solid footing.

7 out of 10.

American Beauty (1999)

Sometimes it's important to be reminded that the only rules in life are the ones you choose to follow. There's a playful sense of honesty to this film that is at once off-putting and awkward, yet compelling and liberating. Seeing the main character's trip from the deepest depths of his mid-life crisis onward has a lot to say about how much we all lie at our own expense to keep others happy. Its show of suburban dystopia is stark and rigid, but doles out nuggets of fundamental truths that are tragically earnest. The broad brush it paints with does not produce a pretty picture, but asks you to laugh and become comfortable with its own type of integrity. The end results in a feeling of heartbreaking tragedy, yet perfect understanding and perfect serenity.

9 out of 10.

Fight Club (1999)

Just as ballsy and brutal more than a decade since its release, Fight Club remains every bit the resonant anthem of apathy and despondency it was years ago. Watching Edward Norton's insomniac cum ringmaster utterly decimate and remake his life is still such perfect fuel for self-analysis, and the cathartic release of bareknuckle combat comes as a punchline whose joke is often too depressing to be spoken. Few movies in the last generation have said as much to the anger and disappointment and aimlessness of the times, and fewer still dare to propose such unrelenting purpose and planning as if it were a good idea. The times may have changed, but the message and its relevance have not, and while some may find its siren song of chaos horrifying, it is nonetheless seductive. Rare is the film that is as dangerous, or as right.

10 out of 10.