13 June 2021 – Looking back at Tropic Thunder, Dodgeball and Zoolander

There’s a lot of conversations about how comedy has changed . Lots of talk about how cancel culture and political correctness make making comedy impossible. Todd Phillips spoke about it when he was making “Joker”. Graham Linehan has talked about it recently about “Father Ted” having some episodes labelled with racism warnings by Channel 4. Times change and trends in humour change. These people like to talk about how they couldn’t make various things now and maybe they’re right, but if they want to be involved in comedy they need to keep up with the times. And maybe they shouldn’t be trying to make the same kind of comedy twenty years later.

I think we’ve all accepted that lots of films from before 2000 are politically incorrect but they can have a place in culture when we accept that these things aren’t ok. It’s the same caveat that we apply to classic literature like “The Adventures of Tom Sawyer”. For films made since the millennium, it’s a little trickier, because lots of the makers of these films are still around making films and it’s difficult for some people to admit they did problematic shit and made money off the back of it. At the same time, when we revaluate these films, it’s worth considering that some of them have aged terribly and just aren’t funny anymore, irrespective of being un-PC.

This week I watched some of the comedies that I really enjoyed in my teenage years based around the “Frat Pack” of Ben Stiller, Owen Wilson, Will Ferrell, etc. I watched some of my favourites to see if they actually stand the test of time and to see how politically incorrect they were. This will probably be a topic I’ll return to and I’ll try and put together a graphic of good/bad, funny/lame as time goes on. I’m going to discuss them in the order I’ve watched them recently.

Tropic Thunder (2008)

“Tropic Thunder” is towards the end of the period where I felt like the Ben Stiller was funny. He was making sequels to “Meet The Parents” that nobody asked for. “Tropic Thunder” is one of the main films that people say couldn’t be made anymore and maybe they’re right. It has blackface and extensive use of the R-word. The blackface is at the expense of actors rather than at the expense of black people so there’s an argument for its inclusion, but I understand that it’s offensive so I feel that people have a right to avoid it based on that. Amazon Prime had a censor label to say that the film contains blackface when I watched it which I think is appropriate. The whole Simple Jack bit has continued aging badly and I don’t think it works.

Overall, a lot of “Tropic Thunder” is still funny. Tom Cruise and Matthew McConaughey are good. There were plenty of laughs and they’re mostly at the expense of actors which is always a decent move. Jack Black’s character’s fake trailer before the film was one of my favourite parts. It advertises a film were Jack Black’s character plays all characters and the whole film is based around farting. It’s such a gross idea for a film that would seem unbelievable if we hadn’t all seen Eddie Murphy make those kinds of films for years.

Is it still funny? Mostly very funny, but occasionally not

Could they make it today? They probably could try but I don’t think anyone would try to make it as it was. I don’t think the problematic parts would get the same laughs that they did.

Dodgeball (2004)

“Dodgeball” was always one of my favourites but it hasn’t aged particularly well. Vince Vaughn is pretty lame and I felt like Ben Stiller carried the film for lots of it. It’s making fun of super gyms and that whole superficial culture but it still makes jokes at the expense of a teenage girl with hairy arms among others. It’s not necessarily politically incorrect so much as just unpleasant.

Ben Stiller as White Goodman is a masterpiece. The clothes and hair are top notch. The scene where he’s stuffing pizza down his trousers is magical. I also love Jason Bateman as the co-commentator Pepper Brooks. The wrench throwing and traffic dodging is still funny. Overall though the story is kinda weak and it doesn’t live up to the memories.

Is it still funny? In parts hilarious, in others, unpleasant

Could they make it today? I don’t think it would work today. The story isn’t good enough and Vince Vaughn isn’t a good enough lead. I don’t think the issue is political incorrectness, more using people as the butt of jokes in a mean way.

Zoolander (2001)

I was a little surprised, but “Zoolander” actually stands up the best of the three films I watched this week. In terms of political correctness, it’s not the worst. I’m not sure about the conversation about bulimia, that wasn’t great. In terms of comedy, it’s still very funny. There are a lot of great scenes – the gasoline fight, Ben Stiller’s Derek Zoolander returning to his roots in the mine and Will Ferrell as Mugatu is a work of art. I love when Jerry Stiller is in Ben Stiller movies and he’s great in this as Maury Ballstein. The cameos are fantastic. Some are very obvious like David Bowie and Billy Zane, but my favourite is Justin Theroux as the evil DJ.

Is it still funny? Yes. Absolutely.

Could they make it today? Yes and that’s part of the problem. They tried to make it again and it’s meant to be terrible. I haven’t watched the sequel because I don’t want to be sad.

13 June 2021 – Looking back at Tropic Thunder, Dodgeball and Zoolander

07 June 2021 – Total Recall (1990) and Total Recall (2012)

This week I watched Total Recall (2012) and Total Recall (1990). I had spotted the newer one on Netflix and it was stuck in my head for a few days so I gave it a go. It’s not good. Afterwards, I had to go back and rewatch the original to see what had made them think it was a good idea. I can definitely see the appeal of the old one but they didn’t seem to capture any of that in the remake.

Total Recall (1990) is mad goofy. Arnold Schwarzenegger is a maniac and a terrible actor. His screams in this film are a work of art. That’s kinda the charm of the film though. It’s fun, it doesn’t take itself too seriously and it’s got a hectic energy. I think everybody in it is good at what they’re doing. Arnie has some top notch nonsense one liners. Michael Ironside is great as Richter. I saw Arnie talking about how good Sharon Stone was and I think she does a solid job of facilitating Arnie as a phenomenon. Also, I liked the world creation on Mars. The planet is cartoonish. There always seems to be drilling machinery appearing out of nowhere. The mutants remind me of the sewer people in Futurama.

Arguably the highlight of the original film.

I’m not sure how a person could have watched the first version and then wanted to make the 2012 remake. The whole thing is confused. The Wikipedia entry for the film makes the production look like a mess. Apparently, Jessica Biel told people it wasn’t a remake of the film but an adaptation of the short story by Philip K. Dick that Total Recall (1990) was based on. That doesn’t really make sense though because her character doesn’t exist in the short story. I’m also not that sure why they would keep the name Total Recall if it’s not supposed to be a remake.

The fun goofiness is gone. It’s all very serious. Colin Farrell is phoning it in. His accent’s all over the place. He seems to have moved away from doing this type of thing. He doesn’t seem to want to be a leading man in big blockbusters. He seems like a likeable guy but he has a lot of shitty films under his belt. Jessica Biel is pretty forgettable. Pretty much the only person who comes out of this looking ok is John Cho as the Rekall rep. The dialogue is pretty weak and clunky. For a film that’s supposed to be all action, it’s pretty boring. I started to fall asleep so I had to watch it over 2 nights. In his review of the remake for Time, Richard Corliss wrote about the idea of subtraction. It only varies from the original by taking away from it. The charm is gone, the fun is gone, Mars is gone, the mad drilling is gone. The only addition is a stupid tunnel through the centre of the earth.

I feel like remaking a film should be an ambitious undertaking. You should be looking at an existing film and hoping to improve, modernise or translate it in a new time or setting. The minimum requirement needs to be to be at least as good a film as the original, because you’ve already lost any hint of originality. Total Recall (1990) was silly and entertaining. Total Recall (2012) seemed to have no ambition to do anything interesting and, ultimately, it’s zero craic.

07 June 2021 – Total Recall (1990) and Total Recall (2012)

23 May 2021 – This Is England

This week, the YouTube algorithm decided I was going to be obsessed with “This Is England” for a few days. I watched the film years ago and remembered it as being very good but I had never watched the TV series that followed. YouTube recommended the “Shaun meets the Skinheads” clip. It’s a great clip, a great introduction to the characters and a really good example of the dialogue and chemistry of the film. It’s been a long time since I’ve properly binged anything but that clip kicked off an urgent viewing of the film and series and a lot of shitty promo interviews.

I really like the whole series. The characters are great and the stories work really well. I love the exploration of subcultures and the creation of worlds in stories in general and “This Is England” is a really immersive series for that. The cast are very solid and the acting is very natural. I think that’s something that’s missing from most film or TV with very young casts. The improvisation element to the acting obviously helps with that but that’s a bit ask of young actors so it’s a real testament to all the performances. That ties the actors to the characters very closely and I wonder if that is part of why so many of the cast have had low key careers outside of the show despite their obvious talent. I would hope that it’s by choice and that young actors don’t want to stay in acting when they grow up, but I can see how they could become typecast since there are so many iconic roles in the series.

“This Is England”(2007)

I think the film is great because it sells you these characters. As I said above, I had seen the film but not the TV series that followed, but I was sold on the characters based on the film, I would have watched anything they did next. The characters are so natural and real. The atmosphere is is quite light to begin with. The scenarios are childhood scenarios. The group of skinheads are actually quite sensitive. Then when Stephen Graham appears as Combo, there’s a real tonal shift. Things get very tense and a little scary. Suddenly, Thomas Turgoose’s Shaun is a mini grown man. More than that, he’s a tiny evil racist. There’s brain washing and angry men dealing with their emotions terribly, on an individual and national political level. The soundtrack is also solid, I have a lot of time for those Toots and Maytals hits.

“This Is England ’86” (2010)

My hopes for the TV show were very low. As the writer and director of the series, Shane Meadows, has said, the bar was pretty low at this time for movie from film to television. And there were some big changes to the show. The focus shifts from Shaun to the wider cast a bit more. It follows Woody, played by Joe Gilgun, and Lol, played by Vicky McClure, more closely. It deals with that phase where those two in particular are supposed to be growing up. There’s much goofier moments. Meggy and Banjo, who were Combo’s henchmen, seem to become a comic relief duo. Meggy’s heart attack is played for laughs and a distraction from other growing issues. There’s also much grimmer moments. The tension isn’t as scary, it’s more a sense of dread as things fall apart. There are two very disturbing scenes however towards the end which are very tough to watch and link back to the gruesome pinnacle of the film.

“This is England ’88” (2011)

This season is super fucking grim. There’s something about basing it around Christmas that multiplies the bleakness. It’s a very honest season. Everyone is heartbroken to some degree. It’s tough going because they’re all characters that I had come to love. There’s lots of exploration of the break up of romantic relationships in art, but the break up of friendship is always one that gets me.

“This is England ’90” (2015)

’90 is a great season as someone who enjoys the subcultures. Gadget, played by Andrew Ellis, has always been the best cultural indicator character and I really appreciated his Madchester look. The extremes of the show get more polarized. The goofiness of Flip and Higgy is cranked up and the the bleakness of Combo’s return is incredibly tough going.

There’s been talk of another series and lots of talk about it being finished and it’s a dangerous thing. The series has been fantastic and it’s been amazing to follow characters as they grow, but there’s a real balancing act in giving an audience what they want and the the integrity of it all. It can’t and shouldn’t go on forever and there’s a lot of merit in ending on a high.

23 May 2021 – This Is England

16 May 2021 – The Italian Job and the other Italian Job

The original idea with these weekend blog posts was that they were supposed to be longer pieces of writing but they weren’t fully intended to be film based every time. What has developed in my mind is this idea that the Sunday posts are based on film projects. The problem there is that the size of projects can take up a huge amount of time. The Marvel films took me weeks to watch and that’s not sustainable every week. The Guy Ritchie films were a good sized project in terms of the amount of prep I can put in and the amount of content I can put together about each film. So my approach now is that I have a number of large scale projects ongoing at the same time and in the meantime I’m also looking for smaller projects that seem interesting to me.

During the week, I watched “The Italian Job”(2003). It was not very good. It was bad to the point where I started to wonder why it was made. By the time it was over, I had made up my mind that good actors sometimes get roped into making bad remakes/sequels/reworks of old films because of nostalgia for the original. That made sense to me. “The Italian Job”(2003) made no sense to me. It’s not a real remake. It’s not a sequel. It’s just a heist film about stealing gold in Mini Coopers. There are some of the same names. At one point they even reference the original. It’s just a conceptual nightmare. The execution isn’t even that bad. If the film had a different name it would be acceptably forgettable. It probably wouldn’t have got the budget though. To be fair the action scenes and the car chase looked pretty decent so fair play to them for that.

The cast is peak 2003. Mark Wahlberg is a lame leading man. He pushed the plot forward but he’s just lame. I don’t fully understand the idea of romance between his character and Charlize Theron. Her father was like a father to him so that seems fairly suspect. If Seth Green’s character were around today he would be MeToo’d. Ed Norton is a pantomime villain and has criminal facial hair. He was the real mystery to me. I didn’t get why he was there and the only rational reason I could think of was that maybe he liked the original.

I really liked the original when I was a little kid and so I decided to rewatch it to see if that was enough to justify the 2003 effort. It’s probably not. “The Italian Job”(1969) is a very strange film. Very British. Very shouty. Very problematic. It hasn’t aged particularly well. The worst thing about the new version is that it makes the driving in the old one look very shitty. The car chase is pedestrian and slow and at times very pointless. Lots of the iconic scenes, like the Minis driving on to the roof of the stadium for example, are completely pointless in terms of the chase. It’s fun and cartoonish though. It makes sense that that appealed to me as a child. Any violence happens off screen. At one point, the silhouette of Michael Caine’s character gets beaten up behind smoked glass. Someone dies in a car crash in a tunnel in the dark.

It has aged terribly though and not in ways I thought about as an eight year old. Benny Hill’s appearance as a computers expert who doesn’t seem to be the full deck and has a compulsion to sexually harass larger women, is an absolute nightmare. The most unpleasant thing in the film is Michael Caine’s Charlie Croker’s threat to the mafia if he was killed. You can see it in this clip. The whole film is so pro Britain in general, that the threat of driving Italian immigrants in Britain into the sea and making them suffer made me very uneasy.

So I watched both and, to be totally honest, I could probably do with having watched neither of them. The motivation behind remaking films is an interesting idea and it makes sense to compare new and old versions. Both versions of “The Italian Job” are pretty trash. Having watched the original, I wasn’t any wiser on why Ed Norton would attach himself to the new film. It didn’t justify any real feeling of nostalgia. Then, as I sat down to write this, I did a bit of reading and it all makes sense. Ed Norton was forced to make the film due to a multi picture contract with Paramount. He didn’t want to be in the film and refused to promote it. I feel at ease in the world once more, safe in the knowledge that money is the real motivator.

16 May 2021 – The Italian Job and the other Italian Job

09 May 2021 – Sexy Beast

This is a kind of an after thought to last week’s post about Guy Ritchie’s English gangster films. After having all the conversations that motivated that post and writing that post and then all the conversations I had from that post, I decided I had to watch “Sexy Beast”. I had never seen it before, but I’d heard about it. I knew that Ben Kingsley was in it and he played an unpleasant character. That was the sum total of my knowledge.

Before watching it, it’s a film that makes sense to be made in a post Guy Ritchie world. It was made after “Lock, Stock…” and around the same time as “Snatch”. It’s directed by Jonathan Glazer, a music video and advertisement director with considerably better credits than Ritchie in those fields, including the incredible video for “Virtual Insanity” by Jamirioquai as well as others by Blur and Radiohead and ads for a host of major global brands. It seems like an obvious choice for a film trying to replicate the success that Guy Ritchie was having. It shares a number of traits with the Guy Ritchie films. It’s a British gangster story. It’s visually slick. The soundtrack features some well known tunes, including one of my least favourite songs of all time, “Peaches” by The Stranglers. And there are some massive characters, something I’ll return to in a moment.

It changes things up in terms of setting and the structure of the story. There’s less of the messing around of a Guy Ritchie caper and obviously it’s mostly based in Spain which leads to a different visual experience. I think tonally it’s different too. In the Guy Ritchie films, everything is supposed to be cool whereas “Sexy Beast” is often a little grotesque. There’s more nuance to the context. Where Guy Ritchie would pause a film and have a voice over explain why a character is scary, “Sexy Beast” builds anticipation for the appearance of Ben Kingsley so the viewer knows he’s bad news. The behaviour of the characters changes. They’re worried. We’re grown ups, we get what’s going on.

And Ben Kingsley’s Don Logan is terrible news for Gal and the crew living in Spain. He’s incredible. In the Wikipedia article for the film, he’s described as “the feared sociopath Don Logan” and that’s putting it lightly. He’s a wonderful creation and one of the most unhinged characters I’ve seen in a while. He has three scenes that each are worth watching the film for alone. There’s his shaving scene, the scene where Gal says he might have come to Spain for more than one reason and his incident in the airport. I’ve included the clips, but if you haven’t seen the film I would suggest you don’t watch them like that. Go and watch the film and see those scenes in the their natural habitat.

The strength of Ben Kingsley shows up the rest of the film to a certain extent. The scenes he’s not in pale in comparison to the scenes he’s in. The tension during his visit to Spain is sky high and once that comes to an end, so to speak, the film peters out a bit despite the fact that the storyline should hold that tension.

“Sexy Beast” didn’t have the commercial success of a Guy Ritchie piece but I think it has a lot more street cred. There are some gimmicky visual moments of cameras following people but it’s not as indulgent. There are some twists and turns and little things that reappear later but it’s not as goofy. More than anything else it was a vehicle for Ben Kingsley to be an absolute wizard and that’s definitely worth watching.

09 May 2021 – Sexy Beast

03 May 2021 – Guy Ritchie’s English Gangster Films

When I think about what a Guy Ritchie film is, there are “real” Guy Ritchie films and then some other random things that he makes. I think the “real” Guy Ritchie films are Lock, Stock and Two Smoking Barrels, Snatch, RocknRolla and the Gentlemen. There’s a possible case for including Revolver, but I would consider that an outlier. His other films seem like films for other people like studios or to impress Madonna. The “real” Guy Ritchie films share a bunch of themes and characteristics and, if I was Guy Ritchie, these are the films I would want to be known for. I’ve watched the four of them in the last while so I’ve done some thinking about them.

They’re all English gangster films. They’re all capers. They’re all based on big set pieces with twists and bluffs and double bluffs. There are big soundtracks. They’re generally a bit of a boys club. They’re generally visually a bit edgy. And they’re big on men’s fashion.

Lock, Stock and Two Smoking Barrels, 1998 – The original

Lock, Stock and Two Smoking Barrels was Guy Ritchie’s first film and you can see all the things that went on to be Guy Ritchie staples. The cuts are nice. The characters all get intros and have nicknames. There are three women in the entire film and they don’t get anymore than a line or two of dialogue. There’s capers and set pieces. It’s good fun but low budget.

Snatch, 2000 – The best one

Snatch is the most Guy Ritchie film of all Guy Ritchie films. It looks slick. There are lots of characters with lots of storylines all crossing over and linking up. The fashion is dialled up. There’s nice coats and tweed. 2000 was a big time for British culture in terms of fashion, film and music and Snatch is a snapshot of that.

It’s the best Guy Ritchie film. It sticks to its guns. It does all the daft characters and twists and it works out as a solid film.

RocknRolla, 2008 – The step too far…

RocknRolla came after Swept Away and Revolver and it seemed like Guy Ritchie leaned a little too far back into what had worked for him before. It goes too laddish and also tries to be too poetic at the same time. The end result is fun but not as good a film as the earlier versions. Gerard Butler just isn’t Jason Statham. Ultimately, it feels like a third time trying something without doing anything new or particularly interesting.

The Gentlemen, 2019 – The version made for Americans

The Gentlemen is a perfectly fine film but it feels like an American rework of a Guy Ritchie film. It’s fun and it’s slick but it lacks the charm of the earlier efforts. It’s carried by Colin Farrell and Hugh Grant. The fashion feels like a caricature of the earlier films.

Side notes:

Revolver, 2005 – The fever dream

Revolver could be argued to fit into the above list but I feel like it’s something different. It’s crime and there’s twists but it gets lost in philosophy and ends up just not being a great film. It doesn’t have the same feel as the others. It feels hazy, less slick and seems to be based in some generic American urban setting.

Layer Cake, 2004 – The non-Guy-Ritchie Guy Ritchie film

It would be a neat conclusion if the best Guy Ritchie film was actually Layer Cake, since it feels like a Guy Ritchie film but has nothing to do with him really. It’s directed by Matthew Vaughn, who produced Lock, Stock and Two Smoking Barrels and Snatch and based on the book, Layer Cake, by J.J. Connolly.

The truth is it’s good but not as good as Snatch. It’s good fun, but less of a caper, less visually interesting. Daniel Craig is a better lead and it’s incredible to rewatch it and see how much of an advertisement it was for the role as Bond.

In conclusion…

At this point, Guy Ritchie probably has more misses than hits, but it is a credit to him to have such a distinct and recognisable style. Some of what he did might be considered out dated now but I think that’s because so much of it has been absorbed into mainstream film.

03 May 2021 – Guy Ritchie’s English Gangster Films

25 April 2021 – Love and Monsters, Greta, Palm Springs and Promising Young Woman

The format for these weekend film posts feel like the need a bit of work so I’m going to try some things out over the next while. I watched a couple of things this week so I did a bit of a round up. In the order I watched them…

Love and Monsters (2020)

Enjoyable but forgettable. It stars Dylan O’Brien, who I know from the Maze Runner films and quite like. It’s been long enough since the height of YA apocalypse stuff for this to feel fun and it has a nice dog in it.

Greta (2018)

This film was ruined on me before I watched it because I didn’t really want to see it in the first place. It turned out to be better than I’d expected. It’s unsettling and fairly creepy. I went on my phone for parts of it but sometimes that’s the type of film you need.

Palm Springs (2020)

Probably my favourite thing I watched this week. That’s very subjective, not necessarily the best, but it is the film I enjoyed the most. It’s a classic Groundhog Day, reliving the day story line, but it’s great fun. Andy Samberg is a very likeable dude. I don’t remember seeing Cristin Milioti before but she has great chemistry with Samberg. It’s funny and silly but it’s also sweet. The time loops set up some good gags, there’s some great dancing and some good testing of the limits of the loop. Definitely worth a watch.

Promising Young Woman (2020)

Promising Young Woman is an odd one. It’s an intensely unpleasant story but a very likeable film. There are a couple of serious messages to the film about “nice guys”, attitudes to sexual assault and cancel culture but the tone of film is generally light and quite funny. Carey Mulligan is superb. Bo Burnham is surprisingly good. The casting in general is very well done. I don’t want to ruin anything so I won’t go on, but there is a lot to discuss after watching it.

25 April 2021 – Love and Monsters, Greta, Palm Springs and Promising Young Woman

18 April 2021 – I Care a Lot

Sometimes I have trouble watching things when I can’t figure out who the hero is meant to be. I Care a Lot was a real case of this. Having watched it and thought about it, it’s probably a bit more like a nature documentary. There are predators and prey. Sometimes predators prey on other predators and it gets ugly, but we probably don’t need to root for anyone in that conflict.

Rosamund Pike is very good. She has a very intense haircut and she plays a good bastard. She acts as a legal guardian for older people and runs a racket exploiting the laws around that. She is made to look slick and ruthless and I felt like we were supposed to be impressed, but her business is super unpleasant. Early on in the film we see her in court, where the son of one of her guardians is petitioning for visitation. We feel sorry for this man’s situation but then when his petition is denied, he gets very nasty and misogynistic. It’s all very grim. And that’s the tone for the film, people are bad to people and those people are bad back.

The film is a wild ride. The tone is a bit all over the place. Things just get mad goofy from about half way through the film. Then the ending feels like a double cop out. However, there is a great performance from Rosamund Pike and Chris Messina as the Mafia lawyer is a brilliant character. Ultimately that’s enough to make I Care a Lot worth watching.

18 April 2021 – I Care a Lot

11 April 2021 – Saving Private Ryan

Saving Private Ryan is a good film. I had never seen it before and I kinda felt like people who say that it’s their favourite film were dull. It felt like a plain, safe choice. In fairness, it is very good.

The opening scene is the bit that everyone talks about. It is brutal and a little upsetting when you think about the fact that it’s based on what actually happened. I think it was what I’d expected. It has been hyped up and I think I was prepared for it. What is impressive is there are probably at least three other equally powerful scenes. I would say the scene with the sniper in the tower when they meet the French family, the aftermath of charging the machine gun at the radar tower and the hand to hand/ knife fight towards the end are way up there in terms of well written and constructed scenes.

It’s a very solid film all the way through. The current day elements could have been edited out and it probably would have improved the film, and conceptually, I feel like films about war are always gross. I had a read online about the film and people talk about the portrayal of WWII as the “good war”. Watching these things, it’s hard not to think about them as propaganda films. The idea of dying for your country in a post-9/11 world seems strange when we’ve seen so clearly how wars are fought for businesses rather than any noble causes.

11 April 2021 – Saving Private Ryan

04 April 2021 – Ava

Ava is not a good film. Jessica Chastain doesn’t deserve this. Colin Farrell doesn’t deserve this. John Malkovich doesn’t deserve this. I didn’t deserve it, but it was less than two hours long and we started looking for a film too late so our options were limited.

I feel like this film might have been made entirely based on contractual obligations. The original director, Matt Newton, has a bunch of charges for violence against women and that blew up and made things awkward for Jessica Chastain.

The film is a standard concept, executed with the minimum effort. Some dialogue is very chunky and some fight scenes are very obviously choreographed. It feels like everyone just wanted to get this wrapped up and go home.

04 April 2021 – Ava