MOVIE REVIEW: Blockers

Posted on by Jeremy Calcara.

BLOCKERS (2018)

Teen sex-comedies used to totally be my jam. When I first saw American Pie, I was brought to tears with laughter. But as I’ve gotten older and become a parent, I can’t help but spend most of my time irrationally concerned with the consequences that these teens will experience the morning after their “best night ever.” Apparently, I’m not alone as this feeling drives the plot of Kay Cannon’s Blockers.

Blockers follows Leslie Mann, John Cena and Ike Barinholtz as three estranged old friends who stumble onto their soon-to-graduate daughters’ pact to lose their virginity on prom night. It’s a fun twist on the genre that takes the focus off of the perspective of the teenagers and points it towards their parents and their mission to stop the girls before it’s too late. As you might expect, hijinks ensue.

The film is at its best when it’s following the parents. Leslie Mann is one of the most underappreciated comedic actors of her generation. She makes every movie she’s in better, and Blockers is absolutely improved by her performance and comedic timing as Lisa, a single mom worried about what her life is going to look like when her little girl leaves for college. Cena is someone I look forward to seeing in films like this. While his acting ability is limited and usually restricted to one note, I appreciate how he’s always game to play against type if the role calls for it. He plays Mitchell, a dorky dad who would be intimidating if it wasn’t for his inability to keep from crying. In my opinion, Ike Barinholtz steals almost every scene he’s in as the screw-up Hunter, who ruined his family and his relationship with his daughter several years earlier when he had an affair with the babysitter. He’s very funny and his storyline with his daughter provided the most emotional depth in the film. With the three of them together, the movie really sings. When the focus shifts to their daughters and their prom dates, it’s just mediocre to poor teen-comedy fare that bogs down the story.

It’s a pretty funny concept that’s pulled off pretty well, but like a lot of films in this vein, it runs to the well of gross-out humor a bit too often to really stand-out. It’s a shame too, because when the actors are allowed to play off of one another in their race against time, it’s quite funny. I’m not opposed to that type of humor if it’s serving the story, but that’s not what is happening here.

Despite its faults, Blockers is worth seeing simply because it’s a fun new take on a pretty tired old genre with good performances and a surprising amount of heart. But there’s no need to get out to the theater for this one, wait until you can watch it at home where the popcorn is a lot cheaper.

Rating:

Jeremy Calcara is a contributing member of the Feelin’ Film team. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Rampage

Posted on by Aaron White.

RAMPAGE (2018)

1 Hour and 47 Minutes (PG-13)

When you think of video games that would be prime material for a film adaptation, it is usually ones with strong story that come to mind. Rampage is based on no such game, but rather a series which began as a 1986 arcade game by Midway whose primary gameplay mechanic is simply giant monsters smashing buildings. To call this video game narratively sparse would be an understatement. Its world-building is simple: three humans are transformed by various means into monstrous creatures – George (an ape), Lizzie (a lizard), and Ralph (a wolf) – who must raze city after city to the ground before taking too much damage and reverting to human form. Not exactly a lot there to go on when writing a screenplay.

The story of Rampage the film expands on this sparse source material by setting up a world in which power corporation Energyne has developed a weaponized sort of DNA using a genetic editing drug called CRISPR. The film begins in space, where Energyne has its own gigantic private space station on which to conduct experiments, and the opening sequence sets the stage for what will come in more than one way. First, it’s extremely clear right away that Rampage will be a violent film. There is almost a horror-like quality throughout and though it’s full of humor, there is always a dark tone hanging overhead. The second thing this opening sequence tells us is that we can throw any expectations for realistic scenarios out the window as this is going to be a film that doesn’t take its story seriously. Much like the video game it is based on, the narrative here only exists to drive the monsters toward smashing and bashing as much and as often as possible.

The first animal to be accidentally infected by the mysterious drug from Project Rampage is George, an albino ape living in the San Diego Wildlife Preserve. George is a very smart gorilla and has a unique bond with primatologist Davis Okoye (Dwayne Johnson), who has raised him from birth and communicates with him through sign language. When George transforms into a violent genetically-edited rage beast and the government tries to step in and take control, Davis sets off to save his friend in the hopes of returning him to normal. It just so happens that Davis is ex-special forces military, of course, a convenience that certainly helps the plot along. Assisting Davis in his drive to return George to normal is Dr. Kate Caldwell (Naomie Harris), a scientist responsible for helping to create CRISPR who claims to have a cure. The two don’t only have to worry about George’s temper tantrums, though. Also in the mix is Agent Russell (Jeffrey Dean Morgan), representing the government and generally making the situation more complicated. Morgan’s portrayal of the mysterious agent is cowboy-like and quite similar to his role as Neegan in The Walking Dead. It is one of many eccentric performances in Rampage and how you respond to these caricatures will greatly inform your overall experience with the film.

The true villains (outside of the uncontrollable mutated wolf and lizard) are the Wyden siblings (Malin Ackerman and Jake Lacy) who run Energyne. Their performances are wildly over-the-top as Ackerman is chillingly cold, calculated, and intelligent while Lacy plays a buffoon scared to death of being caught and incapable of making tough decisions. Like most evil corporations in blockbuster movies, their goals seem financial in nature and they are willing to do anything to protect their assets.

When it comes to adaptation, Rampage is just about exactly what should be expected. The action is big, brutally violent, loud, frequent, and surprisingly bloody. Several callbacks to the original games exist and fans will enjoy seeing and hearing those. The story is filled with nonsensical decision-making, an absurdly inaccurate portrayal of the military, and plenty of “they shouldn’t have survived that” moments. It also has some heart, though, and viewers will be more emotionally impacted by George and Davis’ relationship than they anticipated. The key in all of this is the consistent undertone of humor throughout, because never does the film take itself too seriously. It knows exactly what kind of big-budget B-movie schlock it is and embraces it with open arms. And for those wondering, yes, there are sexual innuendo jokes because this is 2018 and Hollywood just can’t help themselves.

VERDICT

Despite it’s close to two-hour runtime, Rampage feels shorter due to a tight pacing that propels the story forward with frequent intense action. There is absolutely nothing of real depth here, but much like the video game it is based on, the fun is in watching giant monsters destroy stuff. The film is quite horrific with its violence and really pushes against that PG-13 rating, so younger children may be too terrified to enjoy it properly. Teens and adults, however, should have a LOT of fun with the mayhem these giant creatures cause, making Rampage worthy of at least one theater viewing.

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: A Quiet Place

Posted on by Aaron White.

A QUIET PLACE (2018)

1 Hour and 30 Minutes (PG-13)

A Quiet Place first came to my attention when its marketing team released one of the best teaser trailers I’ve ever seen. Edited brilliantly and with no dialogue, it created a mysterious tension that left viewers anxious to find out more. So as to not be spoiled, I immediately avoided any further promotional material, and my viewing experience was definitely the better for it.

Directed by John Krasinski (Jim Halpert of The Office fame) this horror thriller follows a family of four who must live life in silence while hiding from creatures that hunt by sound. It is based on an original story idea by childhood friends Bryan Woods and Scott Beck, and though not Krasinski’s first time in the director’s chair, it does mark the first time he’s starred in a film with (and directed) his wife, Emily Blunt. Krasinski lead the film as Lee, the family’s loving and protective patriarch.

It takes no time at all for A Quiet Place to start building its world. In an opening sequence, we meet Lee’s family as they scrounge for food, medicine, and supplies in a deserted town. It’s the kind of post-apocalyptic setting that many viewers will be familiar with having spent a majority of the last decade following survivors around in The Walking Dead or playing video games such as The Last of Us. Lee’s family seem to be on their own and have developed a unique sign language that allows them to communicate without speaking. We also see them tip-toe carefully around and it is immediately apparent just how much these people fear whatever it is that is out there causing them to live in silence. It is a fantastic beginning and one that sets the stage perfectly for the unexpected story that is about to unfold.

A Quiet Place is really three things. It is a monster movie, where an unknown species has arrived on earth, possibly via meteorite crash (but honestly it doesn’t matter how). They are blind, heavily armored, and instinctively attack any sound they hear. Lee’s family lives in isolation and must carefully manage to avoid drawing the attention of these creatures, which have slowly eradicated most life from the area. For them, whatever else may be happening in the world is of no consequence, because A Quiet Place is also a survival story. Lee, his pregnant wife Evelyn (Blunt), and their two children, Marcus (Noah Jupe) and Regan (Millicent Simmonds), have developed a system of life that keeps them safe and relatively happy, considering the circumstances. They’ve worked hard to prepare for the arrival of their newborn and Lee is beginning to teach the children some of the tasks he is responsible for. A Quiet Place is also an emotional family drama. Children growing up in an awful monster-filled world still must go through stages of maturation. Lee’s family deals with the feelings of both children, all while coping with some pretty massive grief. It is in these relationships between each of the characters that A Quiet Place becomes something great. The choice to keep this story small with a one-family cast creates more time for character development of the entire group and the incredible acting by all elevates the film significantly. This is a movie where the first line of audible dialogue doesn’t come for 40 minutes, so the heavy lifting is accomplished entirely through facial gestures and body language.

When it comes to the monsters, their design is superb. They are reminiscent of a xenomorph from Alien, and there are a couple of scenes that definitely feel like an homage to that classic. What makes them terrifying, though, is the film’s sound design. For a movie called A Quiet Place (with almost no dialogue) to succeed, sound design had to be phenomenal, and it is. Every creek of the floorboard, breathless scream, and clicking of the monster’s vocal chords can be felt. This is an intense film, and the sound design coupled with incredibly strong cinematography keeps you anxious for nearly its entire runtime. Oh, and there are jump scares, but they are fairly spread out and expertly placed. This isn’t the kind of film that relies on them to carry it. The horror comes from the emotionally draining family situations as much as it does the big scary monster.

VERDICT

What Krasinski has accomplished with A Quite Place is really something special. It’s also staggering to see Michael Bay’s name attached to this (as producer) and have it turn out this good, but here we are. The technical elements of the film are top notch and the performances are marvelous all around. There may be minor plot holes or slightly unrealistic scenarios, but this is a creature feature and none of that detracted from my viewing experience one bit. To sum it up, this is the best Cloverfield Universe film ever made and it’s not even part of that series. A Quiet Place sets a new standard for what a horror thriller can be by providing an experience unlike anything audiences have experienced in a very long time. It is emotionally draining, intelligent, and clever. All while maintaining a constant sense of dread. Krasinski has made a terrifying, must-see film for fans of this genre.

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Ready Player One

Posted on by Aaron White.

READY PLAYER ONE (2018)

GOING IN

When you’ve read a book five times, purchased copies of it to give away, and sung its praises from the rooftops for almost 7 years, there are two major feelings you get when a movie adaptation is announced. First, you get incredibly excited (especially when it’s going to be directed by Steven freaking Spielberg), and second, you get incredibly nervous. Author Ernest Cline’s involvement in writing the script offers hope that any changes will be consistent in tone with the original work, but any time a piece of art/entertainment is so close to your heart it results in a battle to keep expectations in check.

2 Hours and 20 Minutes Later.

COMING OUT
Remember back to the time you saw an epic blockbuster film for the first time. Maybe it was Star Wars. Maybe it was Jurassic Park. Maybe it was The Avengers. Whatever the film was, it left you in awe of what movies could be. It transported you to some new world that you wanted to inhabit. It was an experience unlike any you’d had. Most likely, you would have gladly sat right in that same seat and started watching it again the moment it ended.

For the generations of people who grew up as gamers, movie, music, and TV lovers, and general pop culture addicts… Ready Player One is next in line. This is that film for you.

It was probably foolish to distrust Steven Spielberg in the first place, but we all make mistakes. Instead of disappointment, he delivered something wholly unique and special. The screenplay by Zak Penn and Ernest Cline is incredible. At the risk of using hyperbole, this might be the second best adaptation of a book that I’ve ever seen, and it’s not because the story is portrayed exactly as it is on the page. In fact, it’s the opposite. The film still follows Wade Watts (Tye Sheridan)/Parzival as he searches for James Halliday’s Easter egg inside of the OASIS. Parzival’s best friend Aech (Lena Waithe) and rival/love interest Art3mis (Olivia Cooke) are also looking for the egg, and the three try desperately to stay ahead of the evil Nolan Sorrento (Ben Mendelsohn) and IOI Corporation, who wants control of the OASIS and seeks to monetize it through advertisements and subscription plans. So, the general flow of the book’s narrative remains the same, yet getting from point A to point B happens in much different ways. The brilliance of it all is that the story has been modernized. It is updated with current gen gaming and pop culture references galore, while retaining many of the 80’s story beats and nostalgia that made it so beloved in the first place. There are even references to older films such It’s A Wonderful Life and Citizen Kane. The updated way in which this script remembers classics is truly something special and it results in two different versions of the same story – which fans of all ages can now love.

Visually, Ready Player One is a staggering achievement. Transitioning from the CGI world to the one on film is nearly flawless, and the visual effects of the OASIS itself and what takes place inside of it is mind blowingly good. This is a film that truly does demand an IMAX viewing (or five). It is wonderful to look at but it is also accompanied by an incredible score from Alan Silvestri. Utilizing many classic films scores (plenty of which are his own), he creates themes that are at once both familiar and fresh. The nostalgic rush that comes from seeing a DeLorean on screen and a subtle alteration of the Back to the Future theme playing in the background creates such a feeling of joy. This experience is even better when shared with friends, who you’ll no doubt be poking constantly as you draw each other’s attention to some awesome reference made in the film.

And this communal nature of enjoying nostalgia together is also something that the script takes very seriously. In some ways, this film’s message is better than the book. Despite it taking place almost entirely in a virtual world, Ready Player One ultimately urges us to remember reality and take a break every now and again. It also puts a premium focus on teamwork, friendship, and avoiding regret.

VERDICT

Ready Player One is a special film. Spielberg and Cline have crafted a new version of a beloved story that stands on its own, and is equally (if not more) impressive than its source material. It is the kind of blockbuster that doesn’t come along very often and that fans will embrace with adoration – endlessly watching, quoting, and discussing. If you aren’t a gamer or don’t love pop culture references, then you’re not the droid this film is looking for and you should probably just move along. Otherwise, you’re in for a treat. Enjoy your visit to the OASIS. I hope to see you there.

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Pacific Rim Uprising

Posted on by Aaron White.

PACIFIC RIM UPRISING (2018)

GOING IN

Giant robots. Giant monsters. The original Pacific Rim is an amazing example of what an incredibly talented (and now Oscar-winning) director can do when he wants to make a movie about playing with childhood toys. The film is so much fun, so I’m all in for more of it. Expectations are set appropriately lower due to this not being directed by Guillermo Del Toro, nor having Idris Elba, but if it can provide half as much entertainment as the first film did then it will be a success. Again… giant robots… giant monsters. Win.

1 Hour and 51 Minutes Later.

COMING OUT

Pacific Rim Uprising wastes no time in setting its tone, opening with a serious sounding recollection of events from the first film and leading into an incredibly comedic introduction to Jake Pentecost (John Boyega). Jake is the son of Marshall Pentecost, the famous leader and hero who led the Jaeger team that closed The Breach, sealing off access to our world by the Precursors. Now that the war is over, and his father gone, Jake is having trouble finding his place, and Pacific Rim Uprising’s emotional focus is primarily on his journey to discover his identity and embrace it. It’s a soft focus, though, as Pacific Rim Uprising is largely a comedy first and action film second, with light dramatic moments sprinkled in for character development.

The story revolves around Jake meeting a young orphan named Amara Namani (Cailee Spaeny) and the two troublemakers finding themselves forced to relocate to The Shatterdome (a.k.a. Jaegar base headquarters, I think). Jake has beef with his former drift partner Nate (Scott Eastwood) to sort out, including some underlying competition for the attention of Jules (Adria Arjona), and Amara must try and integrate with a group of other cadets who see her as an outside who didn’t earn her way into their squad. Big picture wise, the Shao Corporation led by Liwen Shao (Tian Jing) is preparing to pitch a new drone system to the world. This new tech, developed in large part by Dr. Newton Geiszler (Charlie Day), will in theory provide hundreds of drone Jaegers for defense that can be operated remotely from anywhere in the world. Sounds like a good plan, right? Right. Which, of course, means things must go terribly wrong. And so they do.

The important thing to keep in mind about the plot and general comedy-driven nature of Pacific Rim Uprising is that this is 110% stylistically a live-action anime. The characters are over-the-top. Dialogue is cheesy. Acting is pronounced and silly. Reality is often thrown out the window in favor of whatever looks the coolest. Extreme close-ups of single characters talking is frequent. And the action is big, big, big. This is not a typical American action film where drama is the driver and most of the comedy is in quick quips while the action is kept center stage, and so expecting that is going to result in a major letdown. Even those who are fans of the original Pacific Rim may have to adjust to this sequel because it has much more humor and less of a “weight of the world on our shoulders” feel to it.

When it comes to action, Pacific Rim Uprising does mostly deliver what fans want. Four Jaegers with unique abilities and some surprises make for fresh action. Those wanting start-to-finish fighting do get what feels like more action than in the predecessor, and Jaeger pilots don’t hold back until the final moment to deploy their weapons this time around. Unfortunately, most all of those weapons and many of the best action shots were revealed in trailers during the film’s marketing campaign, leaving precious few “OMG WOW THAT JUST HAPPENED” reactions during the film. There is also perhaps a drop in quality of the action scenes. One character in the film suggests that “bigger is always better”, but ironically this may prove otherwise. Nothing comes close to being as powerfully emotional and stunning as the chain sword usage in Pacific Rim. In short, Pacific Rim Uprising seems to have gone with quantity over quality in the action department.

Though there is a lack of strong emotion, the film does have its moments. Jake and Nate’s relationship is a bit like Maverick and Iceman. Jake also develops a relationship with Amara throughout the film and together they provide some of the most affecting scenes. Newt and Hermann (Burn Gorman) reunite, much to the joy of many fans, and their hilariously awkward and sweet relationship offers plenty of laughs this time around, along with a few new twists. The actor’s performances are precisely what the tone and style of the film ask for. Boyega seems to be having a lot of fun playing the snappy, funny, would-be-hero and Scott Eastwood is… well, he’s Scott Eastwood, playing the same character he does in films like The Fate of the Furious and Suicide Squad. And though she isn’t featured heavily, the lovely Tian Jing is fantastic as the smart, strong Shao.

 VERDICT

Regrettably, yet not unexpectedly, Pacific Rim Uprising does not reach the mind-blowing heights of its predecessor. In cranking the anime styling up to 11, it loses the balance between epic and cartoon that makes Pacific Rim so great, and a portion of its fan-base that needs things a bit more serious will likely be less than impressed. For those who enjoy this kind of craziness, though, watching the film (especially with a crowd of like-minded fans) is an absolute blast. It may be ultimately forgettable, but its laugh-out-loud humor and robot vs. monster battles still make Pacific Rim Uprising worthy of seeing on the biggest screen possible at least once.

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Isle of Dogs

Posted on by Aaron White.

ISLE OF DOGS (2018)

GOING IN

Wes Anderson is known for his colorful, whimsical style of filmmaking, which has earned him legions of devoted fans. His films are almost always beautiful and can be seen as period pieces, since none of them have ever taken place in the present. Thus far, I’ve only found one of his films to be spectacular, and that is Fantastic Mr. Fox. I do feel that should I revisit his films, I might discover myself enjoying them more because my tastes have changed quite a bit in the past few years and I now highly value the kind of technical precision Anderson employs. What I know about Isle of Dogs: it has unique, gorgeous stop-motion animation, is set in a dystopian sci-fi future, has talking dogs, and revolves around a boy trying to find his lost pet. Consider me highly intrigued.

1 Hour and 41 Minutes Later.

COMING OUT

“Who are we? And who do we want to be?”

These questions, posed by a dog, to other dogs, are the kind of existential nuggets slid into most Anderson films. Here, there is something particularly powerful about them coming from an animated talking pet, as it really drives home the awareness these dogs exhibit throughout the film. Never does Anderson allow us to lose perspective – a dog is an animal and they act accordingly – but this additional layer of thoughtfulness gives them profound human depth, making it all the easier to emotionally resonate with how they feel. It also encourages us to ask the same of ourselves…

At its heart, Isle of Dogs in an adventure story. The film opens with historical background on the Japanese Kobayashi Dynasty (cat lovers) and tells of how dogs once were nearly wiped from the earth, overtaken by cats, but saved by a young samurai boy. Time passes and dogs become the loving pets we know of today, but then mysterious illnesses such as the Dog Flu and Snout Fever begin to appear and spread rapidly amongst the canine population in Megasaki City. Mayor Kobayashi (Kunchi Nomura) decrees that all dogs will be banished to Trash Island in an effort to supposedly keep the city healthy, but of course the feline-loving empire has other reasons as well.

The first dog to be banished is the guard dog Spots (Liev Schreiber), who was assigned to protect Mayor Kobayashi’s young nephew, Atari (Koyu Rankin). This sets in motion the primary story events, which revolve around Atari venturing to Trash Island to find his beloved dog, and instead coming across a pack led by Chief (Bryan Cranston), that also includes Rex (Edward Norton), Boss (Bill Murray), Duke (Jeff Goldblum), and King (Bob Balaban). As this adventure progresses, Atari and the pack begin to bond, and much is explored about the relationship between man and man’s best friend. Atari never speaks English (and there are no subtitles), but it’s always perfectly clear what he is trying to say. Meanwhile the dogs speak in typical Wes Anderson style, with a dry wit about them, providing most of the movie’s adorable humor. Anderson’s minimalist screenplay really allows the incredible animation and fantastic score to be equally provocative, too. Characters eyes fill with tears on multiple occasions and the sight of it alone is enough to send most viewers reaching for the Kleenex. It’s unsurprising, of course, seeing as how Anderson is known for such detailed work, but at the same time the animation is so mesmerizing that it almost becomes entrancing. There is a style and uniqueness here that not only shows great skill, but really elevates the emotion of the story.

This coming-of-age tale for both boy and dog is also chock full of subtle political and social issues. In a sense the Mayor is deporting an entire race that he seems to hate for no real reason at all, other than he prefers another one. Most of these issues are brought up by Duke in the form of him telling the gang about rumors he’s heard, so while they are effective and can get adults thinking, they’re also woven seamlessly into the narrative in a humorous way. There’s also Tracy (Greta Gerwig), a foreign exchange student who believes a major conspiracy is afoot and is determined to find the truth about Mayor Kobayashi’s actions. Her dedicated efforts may be played for laughs, but she serves as a great character example of what it’s like when someone tries to fight the establishment and challenge what they consider to be poor (or downright evil) leadership.

Isle of Dogs may look and sound like a fun adventure story for kids, but there is some death and there are more complex themes covered. The issues of identity touched on earlier, and how to handle changing responsibilities, are key parts of this story and may go over the head of younger viewers, but they likely will be so enamored with the sweetness of the relationship between the dogs and Atari that they’ll still enjoy it just fine. There are also broken family issues (sometimes between species), as is almost always the case with Wes Anderson films. So, for those who look deeper, Anderson has given plenty to chew on while watching and long afterward.

It’s also important to note the amazing score by Alexandre Desplat. Fresh off winning an Academy Award for his won in The Shape of Water, he once again proves to be a force. Anchored by a traditional Japanese drum-baseline, the music will have you tapping your fingers and whistling all the way home. When Anderson decided to set this story in Japan he smartly brought on writer Kunichi Nomura to help ensure he referenced the culture appropriately, and Desplat’s score seems to fall right in line.

VERDICT

Isle of Dogs is a richly imaginative film, highlighted by playfulness and emotional depth that anyone who owns a dog will easily connect with. It’s drenched in Anderson’s typical style, that is to say technically marvelous, and its brilliant marriage of sly humor, sincerity, and beautiful animation make this an adventure well worth embarking on. It also made this lifelong cat owner want a dog. Well played, Mr. Anderson.

Rating:

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Tomb Raider

Posted on by Aaron White.

TOMB RAIDER (2018)

GOING IN

I’ve been a gamer for my entire life. When it comes to the action/adventure genre, the Tomb Raider series has always been my favorite. Its focus on exploration and historical discoveries intermingled with myth and legend makes for fascinating stories. In 2013 the series was rebooted with modern gameplay and graphics. That game, simply titled Tomb Raider, is the pinnacle of the series for me, mixing the perfect amount of tomb raiding with an intriguing and emotional narrative. It is that very story which inspires this new film, led by Alicia Vikander, an incredible young actress who is among my favorites. I, like so many gamers, have waited and wanted for a worthy film adaptation of a game. Could this be it? My excitement, and hopes, are sky high.

1 Hour and 58 Minutes Later.

COMING OUT

“All myths have foundation in reality.” 

At its heart, the Tomb Raider video game series has always been about discovery. Sure, it’s evolved over the years to include plenty of gun-firing, arrow-flinging action, but where the series sucked players in was its climbing sequences and tomb exploration. Searching for, and finding, some rare artifact or relic never gets old, no matter how far-fetched the stories about them become. And far-fetched is where the story in the 2013 Tomb Raider game went, focusing largely on Lara fighting to stop a group of people bent on harnessing the supernatural power of the goddess Himiko. This adaptation of that game actually includes elements of its sequel, 2015’s Rise of the Tomb Raider, as well. And all of the story changes are for the better.

Tomb Raider serves as the origin story of Lara Croft (Alicia Vikander). Instead of starting off with Lara as a globe-trotting treasure hunter, Lara is presented as a young woman who has not emotionally recovered from her father’s disappearance 7 years earlier. Her unwavering hope that he is still alive eventually leads her to discovering information about where he might be, and off she goes to find him. Though the primary plot may focus on whether or not Lara can stop the goddess Himiko from being released, the film’s emotional core rests in the story of a father who left his daughter to protect her, and a daughter who will do anything to save her father. This relationship drives Lara’s actions when confronting the film’s primary villain, Mathias Vogel (Walton Goggins), a man who even himself just wants to do his job so that he can see his kids. Goggins chews up scenery as the cold-hearted Vogel and plays a great foil to Lara.

Action sequences are hit or miss in the film. At times, the CGI is noticeably wonky during the biggest moments, but in more close-up shots like Lara mowing down guards with a bow and arrow at close range, the action is an adrenaline-pumping rush fueled by Junkie XL’s frenetic score. What works in the film’s favor is how faithfully it always represents a video game perspective. Many scenes are taken straight from the source material and those who have played it will likely find great joy in reliving these. Everything about the film is consistent with it being a game adaptation. In short, the movie feels like the video game in so many way, as well it should.

The other primary area where the film really needed to deliver was in its depiction of puzzle solving/treasure hunting. There are scenes here too that are copied directly from the games the film is based on, and even when they aren’t they feel perfectly placed in the world of Tomb Raider. Lara’s eyes perk up when figuring out clues and her sense of curiosity is evident when she discovers something new for the first time. These are the qualities that make her who she becomes and what could set her off on countless new journeys in the future.

VERDICT

Tomb Raider is a fast-paced, fun, action adventure film. Its adaptation of and improvement on the excellent source material and display of many iconic game moments are a delight to see on screen, and Alicia Vikander’s performance captures the strong-willed and intelligent personality of Lara Croft perfectly. Enhanced by an emotional through-line about the love between a father and daughter, Tomb Raider rises above most of the films in this genre and proves that good video game adaptations can be made. It left this fan relieved, satisfied, and wanting more.

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Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: A Wrinkle in Time

Posted on by Aaron White.

A WRINKLE IN TIME (2018)

GOING IN

I, like so many my age, read this novel in high school English class. The details are fuzzy, and what stands out the most to me is that the story itself was fairly unmemorable (at least to my teenage self). I’ve intentionally stayed away from refreshing myself on the plot because I’d much rather let the film speak for itself and now I can go in without unrealistic expectations. Ava DuVernay looks to have constructed a visually stunning treat and that alone has me excited. A WRINKLE IN TIME also features a young, nerdy girl hero so I think seeing this with my young, nerdy daughter will be a great experience.

1 Hour and 49 Minutes Later.

COMING OUT

Prior to our screening of A WRINKLE IN TIME, we were greeted with a video message from director Ava DuVernay, in which she explained her approach to telling this timeless story. It was heartfelt and her passion was undeniable. She truly wanted to make a film that was empowering and inspirational for young teens, and in particular young girls, but hoped that by finding the child in ourselves we adults could enjoy it too. In hindsight, this message was telling, and perhaps a bit manipulative, but also important, because if there’s one thing you need to do to enjoy A WRINKLE IN TIME, it is to remember that this is a story FOR a younger audience.

In adapting Madeleine L’Engle’s classic novel (that has often been called “unfilmable”), DuVernay’s vision is clearly noticeable. With a focus on swelling of emotion and incredible visuals throughout, A WRINKLE IN TIME is consistently breath-taking. The colors and CGI transformations of The Misses are stunning to look at. Early in the film the children arrive on an unknown world after “tessering” there and this one scene perfectly captures the awesome wonder of discovery and exploration. These CGI-heavy sections are book-ended by the film’s opening and closing sections set on Earth. In those times DuVernay shows her talents in force, using close-ups and wonderfully cinematic camerawork (backed by a pretty wonderful score, by the way) to provoke an emotional response.

It helps that the acting is quite good. Lead actress Storm Reid (Meg) is adorable and conveys the uncertain, intelligent, and emotionally closed-off aspects of her character perfectly. She truly is fantastic and she carries the film just fine. Levi Miller (Calvin), who you may know from his turn as Peter in Joe Wright’s Pan, is also wonderful. Some may criticize him as providing an emotionless, stoic performance but it felt true to his character in every way. Of The Misses, Reese Witherspoon (Mrs. Whatsit) stands out the most. She does have the most speaking lines and the most screen time, but her eccentric silly personality comes through incredibly in her performance and she shines in every scene. Lastly of note is Deric McCabe (Charles Wallace), who is a star in the making. The character of Charles Wallace, Meg’s much younger adopted brother who is a genius and largely the catalyst for the entire plot, is integral and he owns every moment that includes him (up to the finale). If nothing else is, Reid and McCabe definitely establish themselves as ones to watch. This is also a very diverse cast. It features a realistically natural racial mix of characters and inter-racial relationships and never once felt forced.

But aside from enjoying the spectacle of A WRINKLE IN TIME, the story itself has many issues. For one thing, L’Engle’s Christianity was an important part of her writing, but Jennifer Lee’s adaptation definitely skews the story more into New Age philosophy than anything of the spiritual sort. It’s all about finding the power inside of yourself and being the light that fights the darkness, which is a good thing, but there is a lack of acknowledgment of any higher power. Everyone in this universe seems to be equal, if only they can tap into the right emotions and stay focused. As a fantasy film, you expect to not understand everything about the way the world works, as well. That is true here because how time “wrinkles” and allows travel across the universe is explained very vaguely. It’s confusing and the science speak feels tacked on as a plot mover rather than a fascinating concept to learn about. The film’s structure also is messy. There’s an opening with character backstory and such, then a brief journey across worlds (of which there are only two and one is entirely bland), and then a big CGI ending that makes very little sense and is reminiscent of the Guardians fighting inside of Ego the Planet in Guardians of the Galaxy: Volume 2. In that last act, major characters come and go with little explanation, and everything wraps up in a very boring way. But when your hero’s powers are simply to think positively and concentrate, it’s difficult to make that compelling in a visual way.

These faults, however, don’t make the film unwatchable. With many strong messages like, “It’s okay to fear the answers, but you can’t avoid them,” DuVernay’s film does have some inspirational moments. The relationships are strong, too, and perhaps where the film shines the most: Meg and Calvin sharing an innocent, blossoming romance, Mr. and Mrs. Murray as a couple who are loving, adoptive parents and brilliant scientists, and even Meg and Charles Wallace as brother and sister who lean on each other more than anyone else. As an adult, you must really try to recognize the view from a teenage perspective. My own daughter loved the film and was moved emotionally by it. She found it inspiring, funny, and gorgeous. Watch it through younger eyes as DuVernay suggests, and you’ll probably enjoy it much more.

VERDICT

Ava DuVernay’s A WRINKLE IN TIME is an often beautiful, but messy, love letter that inspires young minds to believe in themselves and be warriors for the light. It is a bit overly preachy in its messaging, yet it does offer up some good advice, and its focus on New Age philosophy over the more faith-based aspects of the novel may upset some viewers. Acting is strong, visuals are incredible, and with a moving score the film is emotionally evocative throughout. It’s worth seeing, but don’t expect it to leave much of a lasting impression. Watching with childlike eyes and imagination will make for a much better viewing experience, though, and is highly recommended.

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Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: 2018 Oscar-Nominated Short Films

Posted on by Aaron White.

2018 Oscar-Nominated Short Films

ANIMATED SHORT FILMS

DEAR BASKETBALL: An animated telling of Kobe Bryant’s poem ‘Dear Basketball’.

Aaron – Full disclosure: Kobe Bryant is my favorite basketball player of all-time. DEAR BASKETBALL highlights the passion that he played the game with, which is what inspired my fandom. Beautifully and uniquely animated, this brief love poem reminds me of the joy his career brought me and so many others.

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Patrick – This was the surprise favorite of the animated shorts for me. Of the five it had the most visceral reaction in that I connected with the duality of joy and sorrow that Kobe’s narration expressed. That, combined with the simplistic and beautiful sketched animation provided me with a personal connection that this love letter wanted to provide. Wonderfully made.

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GARDEN PARTY: In a deserted rich house, a couple of amphibians explore their surroundings and follow their primal instincts.

Aaron – “WOW!” “This looks like a Disney Nature documentary!” “This can’t be animation, can it!?” All actual things that came out of my mouth in the first few minutes of this short. So colorful and alive. So funny, so adorable, so… dark. Captivating from start to finish.

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Patrick – I echo the sentiment of “WOW,” but for completely different reasons. I absolutely loved the slow reveal of this environment that these creatures were occupying. Two minutes in and I thought, “Wait, did I just see? Hold on.” What starts out as a simple amphibian hangout turns into something completely unexpected, and the last 10 seconds are the perfect exclamation point.

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LOU: A Pixar short about a lost-and-found box and the unseen monster within.

Aaron – Another sweet, bright-colored short from Pixar that offers up life lessons using a setting we can all relate to (recess on the playground at school). LOU moves fast, as does its title character in remaking itself into many interesting forms. Perhaps wonderfully animated emotional shorts by Pixar are something we take for granted now because despite being great this one just didn’t wow me or scream memorable.

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Patrick – Standard fare from the company that brought you everything else wonderful and fuzzy feeling. There’s nothing wrong with this animated short, but from someone who sees this type of story more often than not, the wow factor goes down. Worthy to be nominated but the weakest of the field due to its safe play storytelling.

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NEGATIVE SPACE: Even though Sam’s father is hardly ever home because he is often away on business trips, he is able to connect with his son by teaching him how to pack a suitcase.

Aaron – Incredibly poignant story about a man remembering his father through a specific activity they shared together. Not only is this fantastic stop-motion animation work, but the adaptation of Ron Koertege’s poem packs an emotional punch, as well. The film’s final line is particularly powerful and will leave a lasting impression.

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Patrick – I love weird stuff, and when you can take something as ordinary as packing a suitcase and attaching a father/son relationship to it, that’s money in the bank for me. Thank you for being original :).

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REVOLTING RHYMES: Two half-hour animated films based on the much-loved rhymes written by Roald Dahl and illustrated by Quentin Blake.

Aaron – Too long and only decently animated, but Roald Dahl’s witty words feel right at home coming out of cartoon characters (especially the rather excellent Wolf). It’s an interesting enough story with some dry humor but forgettable in most every way and easily the weakest of the nominees.

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Patrick – The length of this film proves to be its weakest element, as my attention span was already locked into the 4-6 minute format. Still it’s entertaining and typical Roald Dahl weird. I would have liked more from the story as a narrative, and like my counterpart, I agree that the animation wasn’t tops among the other nominees.

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LIVE ACTION SHORT FILMS

DEKALB ELEMENTARY: Inspired by an actual 911 call placed during a school shooting incident in Atlanta, Georgia.

Aaron – Stunning depiction of a true story. Stripped down of any score or sound editing, the film is completely raw and allows the viewer to feel entirely present. Such a strong emotional connection is developed with its characters, which is so rare for a short film, and despite the horrific nature of the issue it deals with there is a focus on empathy and understanding of mental illness. DEKALB ELEMENTARY is a short film with no agenda and no unnecessary exploitation or exaggeration. I am wrecked, but grateful for the moment of exhalation needed to collect myself and reflect on what this must be like for the far too many people school shootings have come to affect.

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Patrick – Honest and raw are the two words that I think best describe this short. The lack of theatrics like music or sound editing make this feel like an “in the moment” experience. Everything about the situation felt unpredictable, especially the last two minutes. Incredibly powerful.

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THE ELEVEN O’CLOCK: The delusional patient of a psychiatrist believes he is actually the psychiatrist. As they each attempt to treat each other the session gets out of control.

Aaron – When your film is 13 minutes long, set in a single location, and revolves entirely around a mystery, the dialogue has to be perfect; and in THE ELEVEN O’CLOCK it is. This quick little vignette captures the attention and keeps you guessing while bringing a smile to the face from that clever writing. Even if the ending is telegraphed, discovering whether the characters themselves figure out the twist is very satisfying.

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Patrick – Oh. My. Word. One of the funniest stories I’ve seen in a while. It hearkens back to the days of the Abbot and Costello “Who’s On First?” bit. This is one of those pieces of film where the screenwriting is the star. Engaging, entertaining, and worthy to be on this short list.

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MY NEPHEW EMMETT: At 2:30AM on August 28, 1955 in the most racially divided state in the country, 64 year-old Mose Wright tries to protect his 14 year-old nephew Emmett Till from two racist killers out for blood. Based on the true story of the 1955 murder of Emmett Louis Till.

Aaron – Doing “based on a true story” well in short form is tough because there just isn’t much time to get to know characters and inevitably many details have to be left out. L. B. Williams is fantastic capturing the personal terror of violent racism in 1950’s Mississippi as Emmett’s Uncle, Mose Wright, and the film has some gorgeous cinematography despite being overly dark at times inside the house. A solid short that is yet another reminder of our country’s dark history.

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Patrick – I’m in agreement that short films are challenged with creating rounded characters in their subject matter due to time constraints, and while I had a bit of a rough start with getting into the first half of the film, the second half more than made up for it. It’s incredibly visceral in its portrayal of racial hatred and the tragic reality of where our country claims part of its history is birthed from.

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THE SILENT CHILD: The Silent Child centers around a profoundly deaf four year old girl named Libby who is born into a middle class family and lives in a world of silence until a caring social worker teaches her the gift of communication.

Aaron – How is one “profoundly” deaf? I don’t think you can be intensely deaf. You either are, or you aren’t. You can be partially deaf, sure, but not profoundly deaf. Anyway, this grammar debate was more interesting and entertaining than THE SILENT CHILD. I’m glad a little girl learned sign language, but this is not enough material even for a short story. Feels kind of like a period piece and is beautifully shot, though, which explains why the Oscars nominated it.

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Patrick – Edcuational first, entertaining second. That’s what I took away from this short. It got it’s point across but almost to a fault. I was emotionally connected to the characters and the overall story, but by the end it felt like I was watching an advertisement more than a short film. Still, it effectively put together and one that to me is memorable. Plus, British accents FTW.

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WATU WOTE: ALL OF US: For a decade Kenya has been targeted by terrorist attacks of the Al-Shabaab. An atmosphere of anxiety and mistrust between Muslims and Christians is growing. Until in December 2015, Muslim bus passengers showed that solidarity can prevail.

Aaron – A bit slow to get going, it spends too much time with the main character trying to get us connected. It’s weird to say about a short film, but I think it was a little too long. The event itself plays out in an extremely powerful scene where people of conflicting faiths choose acts of love/humanity over religion. For a student film this is incredibly well made and packs an emotional punch that lingers.

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Patrick – A great depiction of what it means to value life above beliefs. Having not heard of this incident despite my faith background, I was overwhelmingly surprised at the the beautiful depiction of what it means to look at someone beyond what they represent.

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DOCUMENTARY SHORT FILMS

EDITH + EDDIE: Edith and Eddie, ages 96 and 95, are America’s oldest interracial newlyweds. Their love story is disrupted by a family feud that threatens to tear the couple apart.

Aaron – I’ve got some pretty mixed feelings on whether or not this documentary should even exist. While it offers us a uniquely personal view into the lives of this adorable couple and the challenges they face having someone with guardianship over them, it also puts a few things on screen that I find tasteless and exploitative. This definitely got me thinking (and angry) about the way in which elderly care is at times managed in America, but it also provided a hopeful look at two people loving each other regardless of age, color, or circumstances.

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Patrick – Delightful and devastating are the words that I took away from this doc. I found myself adoring the couple and overly frustrated with the depiction of how their relationship was being managed. I’m not sure what message to take away from this was.

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HEAVEN IS A TRAFFIC JAM ON THE 405: Mindy Alper is a tortured and brilliant 56 year old artist who is represented by one of Los Angeles’ top galleries. Acute anxiety, mental disorder and devastating depression have caused her to be committed to mental institutions undergo electro shock therapy and survive a 10 year period without the ability to speak. Her hyper self awareness has allowed her to produce a lifelong body of work that expresses her emotional state with powerful psychological precision. Through interviews, reenactments, the building of an eight and a half foot papier-mache’ bust of her beloved psychiatrist, and examining drawings made from the time she was a child, we learn how she has emerged from darkness and isolation to a life that includes love, trust and support.

Aaron – Moving and heartfelt story about the effects of mental illness and the struggle many face in overcoming not only illness itself but the social stigma that accompanies it. Alper’s creative output is incredible and her art provides a deeply personal look into her psyche, telling the story of how she has come to beat the illnesses that once defined her.

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Patrick – Pills. Abuse. I just want to hug Mindy and tell her how much she is loved. I guess this doc did it’s job in making me feel something because my heart broke for her and her circumstances. It hurts knowing all that she has to do to manage being “normal” and why that is the way it is. It’s a tragic story, and one that reminds me more of how much people matter. And her artistry: incredible.

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HEROIN(E): Three women fight to break the cycle one life at a time.

Aaron – “Getting high on heroine is like what it would be for you to kiss Jesus. That’s how powerful heroine is.” Set in Huntington, West Virginia, the city with the most opioid overdoses and deaths in the country, this documentary follows a fire chief, a judge and a street missionary as they battle the epidemic in different ways. These three women show heroism in a way not often considered, but that is truly life-changing (and saving) for many of the people they touch. The clever title and poster of this film are also the best of this group.

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Patrick – I can’t claim to know anything about what drug abuse can do to a person, and I don’t say that with pride. Life can be incredibly brutal, and when something is available as a coping mechanism, it has the power to transform someone into the worst version of themselves. Seeing these three women, in their own unique ways, look at this problem as an opportunity to move people closer to hope is inspiring and necessary.

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KNIFE SKILLS: What does it take to build a world-class French restaurant? What if the staff is almost entirely men and women just out of prison? What if most have never cooked or served before, and have barely two months to learn their trade? We follow the hectic launch of Edwin’s restaurant in Cleveland. In this improbable setting, with its mouth-watering dishes and its arcane French vocabulary, we discover the challenges of men and women finding their way after their release. We come to know three trainees intimately, as well as the restaurant’s founder, who is himself haunted by his time in jail. These men and women all have something to prove, and all struggle to launch new lives, an endeavor as pressured and perilous as the ambitious restaurant launch of which they are a part.

Aaron – I am a sucker for redemption stories, especially when they are true.  Brandon Chrostowski’s dedication to providing formerly incarcerated individuals an opportunity to restore purpose in their lives through employing them at a fine dining restaurant is inspiring. This is raw, real life. Some succeed, others fail. But the program itself is thriving and going strong, offering not just a marketable skill but hope to those often forgotten and written off by society.

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Patrick – “In every ounce of everybody there’s a little bit of hope, a little bit of belief, and if you can feed that, anything is possible.” This doc was already going to win me over by default seeing as how it centers around cooking. But add the layer of redemption for released convicts, a chance to reset and do something new. That’s inspirational, and needed at a time like this.

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TRAFFIC STOP: Traffic Stop is an HBO Documentary Film currently airing on HBO NOW, HBO GO and HBO On Demand that tells the story of Breaion King, a 26-year-old African-American school teacher from Austin, Texas, who was stopped for a routine traffic violation that escalated into a dramatic arrest. Caught on police dashcams, King was pulled from her car by the arresting officer, repeatedly thrown to the ground and handcuffed. En route to jail in a squad car, she engaged in a revealing conversation with her escorting officer about race and law enforcement in America. The documentary juxtaposes dashcam footage with scenes from King’s everyday life, offering a fuller portrait of the woman caught up in this unsettling encounter.

Aaron – What sticks out here the most is actually Breaion’s refusal to submit to authority or take any responsibility for her actions. Was the force used on her excessive? Possibly. Since she fights and screams and will not comply it becomes difficult to tell. I don’t doubt that racist behavior happens in the police force, but this was not compelling evidence of it. This felt like a very manipulative documentary that spends only a portion of its 30 minutes showing actual events and the rest trying to make us empathize with Breaion outside of her actions during the arrest.

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Patrick – It’s difficult to watch the events take place because a lot is happening on both sides, and there is truth in bits and pieces. The message is true, that there is an unfairness and slant towards abuse against people of color. But I also get that this event says more about the abuse of one officer equally as much as it does about it’s bigger message. Documentaries, despite what I would like to believe, have a bias to them. Truth is embedded, but it needs to be discerned beyond a half hour story.

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Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

 

 

 

Patrick “Patch” Hicks is an Arkansas-based film critic and co-creator/co-host of the Feelin’ Film Podcast. When he’s not podcasting, he’s working on various design projects as a freelance multimedia designer and is also dabbling in the art of writing and directing. You can find him floating around the web on Twitter, Facebook, and his home on the web, ThisIsPatch.com.

MOVIE REVIEW: Game Night

Posted on by Jeremy Calcara.

GAME NIGHT (2018)

Game Night

I don’t know about you, but I don’t think that I was ever adequately prepared to be a grown up. And at the risk of sounding like a whiner, I’ll just come out and say it, adulting is hard. And when 5 days of work, children’s activities and other responsibilities get followed up by a Saturday full of work around the house, there’s really only one thing that can get me to put my pants back on after my Sunday afternoon nap. That thing is game night. Who doesn’t love game night? Whether it’s a group of old friends from college getting together to play Pitch and swap stories deep into the night, a cup of coffee and a game of Ticket to Ride or driving 90 miles an hour headed straight for downtown to beat a friend to the next clue in a scavenger hunt that would consume my every waking thought for weeks, I love to hear those five little words, “Game night at our place.” Game night is one of life’s little pleasures. It’s like a 2-4 hour oasis where you get to forget about what’s going on in your world and try to beat your friends into submission.

John Francis Daley and Jonathan Goldstein’s film Game Night, in theaters this weekend, shows its audience a game night that is quite different than any you have likely experienced. Largely about an evening gone awry, the film is two hours of unbridled, crazy fun that left me feeling like I do during an actual game night. All of the ingredients are there: the super competitive couple that always wins (Jason Bateman and Rachel McAdams), the couple being a little too open and honest about a marital spat (Lamorne Harris and Kylie Bunbury), the idiot who is terrible at games but a lot of fun to have around (Billy Magnusson), the guy who is only invited because he heard about game night from someone else (Jesse Plemmons), the moments of tension broken up by intense laughter and the three bags of Tostito’s Scoops.

The plot is fairly straight forward. Max and Annie (Bateman and McAdams) are the weekly hosts of game night. But Max’s spotlight stealing older brother Brooks (Kyle Chandler) comes to town and promises to up the ante on game night at his place. Within an hour, he says, someone will be kidnapped. The team that finds that person first wins. The winner gets his cherry red Corvette Stingray. This is serious. When the kidnappers show up and take Brooks in a manner that’s a little too convincing, our three couples have to figure out what is real and at is just part of the game.

To say more would be a disservice to the film. It’s a movie that starts fast and keeps moving at a break-neck pace for its entire runtime. The twists and turns and special appearances along the way are surprising and fun. Daley and Goldstein, who also wrote the script, seem to revel in creating a narrative that defies audience (and the film’s characters’) expectations at every turn. At one point, about halfway through, when it seemed that the movie was turning more into an action thriller than a comedy, the film instead steers right into the absurdity in its premise and delivers another load of belly laughs.

The cast is obviously having a great time. Jason Bateman plays Jason Bateman. I’m not saying that to complain. I love every minute of it. He has great chemistry with Rachel McAdams, who has great timing and delivery in the rare straight comedic role. Kyle Chandler is another guy who you don’t get to see be funny very often. He doesn’t get a lot of time in this one, but he takes advantage of every scene he gets. He’s good enough in his comic situations that you almost forget that he possesses that Coach Taylor paternal charm when he turns it on during the more sentimental moments of the film. The comic MVP of the film is Billy Magnusson. On the surface, his character is that of the stereotypical idiot friend (think of him as a blonde Joey from Friends) but man, does he sell the hell out of it. Jesse Plemmons is freaking creepy as the next door neighbor policeman who hasn’t gotten invited to game night since his wife left him, who was the person in the couple that people liked.

Game Night is not a perfect film by any means. I’m sure if you spent some time trying to figure out exactly how everything works out the way it did, you could probably make your head hurt. So don’t do that. It’s already been a stressful week. You need a break. Put some pants on, even if it’s just your sweats, and go have a couple of hours of fun. It’s Game Night.

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Jeremy Calcara is a contributing member of the Feelin’ Film team. In addition watching as many movies as he can and writing reviews for Feelin’ Film, Jeremy consumes an unhealthy amount of television and writes about it weekly in his Feelin’ TV column.   Follow him on Facebook and Twitter  to be notified when new content is posted.