The Unofficial Ongoing Current Movies in Theaters thread

[dookeyXXX]

^ I liked it, was waiting on your review to comment. Good thoughts. Add to your RIYL list: The Fight Club.

Funny you should mention FC. Peter Travers from RS went on about how he felt TAOSD was a weaker version of FC.
FWIW, FC didn't even pop into my head while watching this film. When I read Travers' review I honestly felt he was reaching with that comparison. The tone of each film is vastly different, imho.

[Meadow Skipper]

Funny you should mention FC. Peter Travers from RS went on about how he felt TAOSD was a weaker version of FC.
FWIW, FC didn't even pop into my head while watching this film. When I read Travers' review I honestly felt he was reaching with that comparison. The tone of each film is vastly different, imho.

I haven’t read that review, my take was based on the swaggering, kind of campy machismo and secretive nature. I’m not sure I’d compare the two, I just was reminded of the FC while watching it.

[dookeyXXX]

I can a see the comparison with the "Night Class" element, but there was no chaos movement and the tone was a bit nastier than FC.
FWIW, I was not taken by the RS review; dude spent way too much time revealing the plot. I have when critics tell you the whole movie in their review. It's just as bad as a trailer that gives everything away.

I try my best to avoid trailers (except when I go to the Cineplex) and I don't read reviews until after I've written down my thoughts on a film.

[Meadow Skipper]

I’ll skip PT’s review then. I hardly ever read RS anymore anyway.

[dookeyXXX]

I’ll skip PT’s review then. I hardly ever read RS anymore anyway.

I hardly ever (as in mostly never) read RS. Really haven't since the '80s.
I was actually Googling "dark comedies like The Art of Self Defense" and PT's review came up in the Top 5 search results. I read the review thinking he might refer to some interesting dark comedies, but alas all he did was compare it to Fight Club, which never entered my mind whilst watching the film.

Honestly, the two films that immediately jumped to my mind while watching TAOSD were A Clockwork Orange and The Karate Kid.



And then The Lobster and After Hours.

FWIW, writer/director Riley Steams' debut feature, FAULTS, is currently streaming on Amazon Prime. The trailer looks wicked.

[4matic]

Just for the better sound and 4K

[Jacques Strap]

SPIDER-MAN: FAR FROM HOME

I largely agree with you. I went into this movie with more trepidation than excitement, but came out thinking its the best Spidey movie I've ever seen (I wasn't blown away by Spider-Verse); narrowly edging out Rami's Spider-Man 2 (still a great movie, just too Rami-y for it to escape it's director's influence and become more than Rami's take on Spider-Man, just like Burton's Batmans are too Burton-y to be more than Burton's take on Batman).

Honestly, my only real problems with the movie are some of what you've already mentioned. I personally don't like it when the stakes for Spidey are Fantastic Four- or Avengers-level high.

Also, it really bothered me that most of the supporting characters (except for Peter, Aunt May, Fury, and MJ... at least when she wasn't doing her 90's GenX teenager affect) behaved like they were in a comedy movie rather than an action movie. I don't mind (and actually really like) humor in my action movies (see: The Marvel Formula), but when the characters become caricatures, that's when it starts to bug me.

And this is a complaint I have with the series as a whole, but I really hate that MJ is named MJ, Ned Leeds is named Ned Leeds, Liz Allen is named Liz Allen, and Flash Thompson is named Flash Thompson. The characters in the movie have been changed utterly from their comic counterparts to the point of being unrecognizable. And let me assure you, I don't mind the racial differences at all, and I don't mind the characters in the movies, I just wish they had given them names that didn't have roots in the comics. It either feels like ham-fisted fan service or grotesquely overt "LOOK HOW MUCH WE CARE ABOUT MARGINALIZED MINORITIES, WE CHANGED THE RACES OF BELOVED RECURRING CHARACTERS!!". Either way, the movie characters are so completely divorced from the comics versions that it just comes off as insincere and clumsy. Just change the names and introduce them as new characters and I would've been much more impressed.

But the acting from Peter and MJ was surprisingly great. The story really felt like a Spider-Man story (albeit, an overly-epic one). And how about that "Threat or Menace?" post-credits scene?! I think I yelled "FUCK YES!!".

[dookeyXXX]

FAST & FURIOUS PRESENTS: HOBBS & SHAW
4/5
Holy Shit!
Hobbs & Shaw is gloriously ridiculous and incredibly stupid. And when I say “stupid”, I mean “stupid fresh”.
First up, be sure to leave your Suspension of Disbelief Barometer with the coat check girl in the lobby. Then you can just sit back and soak up the insanity.
While not quite at the level of XxX: The Return of Xander Cage (H&S doesn’t have Donnie Yen), this film is still teeming with so much over-the-top badassness that it’s inescapably enjoyable.
A large part and parcel of the joy of this film resides in the acting and chemistry of the four leads--Dwayne Johnson, Jason Statham, Vanessa Kirby, and Idris Elba. Each of them seems to be having a blast and while they appear to be taking the material somewhat seriously, there’s also a bit of a gleam in their eyes as if to say “yeah, we know this shit is ridiculous, but it’s still cool.” In short, they know that the entire production is a giant, multi-million dollar piss take on the action genre, but they are wholeheartedly invested. And since they are obviously with the program, you, the viewer get easily swept up on the madness. Plus, The Rock is charismatic as fuck. So is Statham. Kirby is easy on the eyes. And Elba, well, he’s Black Superman. Helen Mirren is wonderful in her brief moments on screen, too, for those looking for thespian royalty co-signers.
While the fight scenes are bone crunching and the stunts are filled with serious WTF?!?! moments, it doesn’t hurt any that the dialogue is snappy and there’s enough dick and fart jokes bandied about to keep even Jay & Silent Bob enthralled. Additionally, the “sly” meta-moments--nods to The Italian Job, The Life Aquatic, Die Hard, and others--are actually funny and don’t fall flat or feel forced.
If there are any faults the standouts come in the form of a couple of high profile cameos. The first is annoying, mostly because the actor in question, imho, has played himself out on social media and become a caricature of himself. The other main cameo, while it feels like a blatant plug for an upcoming blockbuster starring Johnson and the actor in question (cough, Jumanji, cough), I have to admit that I laughed for much of it. Sadly, it ended up being a bit drawn out and ultimately lost its charm. Honestly, cameos from either Kurt Russell, Michelle Rodriguez, Vin Diesel or Ludacris would have been way cooler. Heck, I woulda lost my shit if Lucas Black had shown up. Now that would have been mega meta.
After all is said and done, this is a quintessential summer popcorn movie. It’s like an ‘80s James Bond flick on meth. And Thank God that there’s no giant explosion filled alien invasions.
Oh yeah, stay in your seats after the last frame you wankers: there’s 3 post-credit scenes.

RIYL
XxX: The Return of Xander Cage; Kingsman; Fast & Furious 6; Furious 7; The Fate of the Furious

[dookeyXXX]

SCARY STORIES TO TELL IN THE DARK
2/5
I recently read that producer Guillermo del Toro did not wish to make a “standard” anthology film. He stated that a traditional anthology horror film is only as good as the weakest story. So, instead he decided to write a wraparound story linking all the other stories together. Somebody should have told him that an “unorthodox” anthology is only as good as the weak wraparound story holding it together. The wraparound here, involving a cringingly cliched vengeful spirit, seems to have been created purely as a plot device to perpetuate sequels in the theaters or an ongoing series on streaming services should this film perform well at the Box Office.
On he bright side, the film is teeming with that vintage Spielberg/Amblin Entertainment mid-’80s vibe (think ET, Goonies, Gremlins), but with a slightly darker patina. It also seems to be trying to capitalize on the whole Stranger Things bandwagon.
Apart from the dark ambiance, there are few scares and some interesting creature design. However, there are quite a few editing gaffs that make several scenes feel out of timeline and the ending of the film not only feels rushed, but is quietly confusing. As for the intelligence and ingenuity of the main characters? Given their precocious nature it’s seriously lacking. Honestly, once the kids figured out what was happening with the book of scary stories, they should have been quicker on the uptake to end the madness (“The Toe” story has a HUGE plot gap and an idiot protagonist, not to mention his helpless/clueless friends).
There are also quite a few really bad special effect moments, particularly the speedy bugs that crawl all over a scarecrow’s face in the first segment. I am sure that somebody thought lots of CG created roly-polies running up and down a scarecrow’s face was scary, but they were misguided.
The film is something of a letdown considering the creative team involved. Overall this is pretty tame horror fare, especially given the Guillermo del Toro stamp of approval. If you are an older horror connoisseur, then this endeavor will be rather boring, but I imagine if you are a tween in Junior High, then this might very well be your jam.

[dookeyXXX]

READY OR NOT
2/5
The inherent problem with Ready Or Not is that the geniuses in marketing at Fox Searchlight decided to include all the funny, shocking, and exciting moments of the film in the trailer. As if that weren’t enough, somebody else decided that it would be equally prudent to reveal the entire plot of the movie in the trailers, too. So, be warned that should you decide to venture to the cineplex to see this little horror-thriller-comedy and if you happened to have seen any of the trailers over the past few months, then there will be absolutely zero moments of hilarity, shock, or excitment in store for you. Additionally, the screenwriters felt it necessary to keep things utterly predictable. For example, the character searching for redemption finds it; the “innocent” character ends up being evil; the surprise ending isn’t. The cast is solid, for what it’s worth, and seems to be having a good time with the lackluster material. Samara Weaving (she, the niece of The Matrix's “Mr. Smith”) is fastly becoming this generation’s bona fide genre queen, having starred in the delectable The Babysitter (on NF) and the lackluster Mayhem prior to giving a go at being the blood-spattered bride in this eventual dud. Her charisma and spunk is really the only thing keeping this venture afloat. On the subject of acting, I have to say that I found I rather liked Adam Brody in the picture (even though his character archetype was completely cliche) and hope that he finds himself in bigger and better fare. Other than Weaving and Brody, the real star of the film is the opulent mansion in which our story takes place (I Googled it and apparently it’s widely used in film, television, and the like). Ultimately, this film should have gone straight to Red Box or a streaming site like Netflix and not the theaters (whereas The Babysitter should have gotten a theatrical release, imho).

[dookeyXXX]

MONOS
3.5/5
Straddling the line between visual tone poem and quasi-non narrative storytelling, this Spanish language film revels in vivid, semi-hallucinatory imagery and a plot saturated in abstruse elements, all of it taking place in an unnamed South American country. Drawing heavily from Golding’s Lord of the Flies, but also tossing in guerrilla ambiguity and what can only be described as “jungle noir”, it unravels as a languid commentary on lost innocence, corrosion of conformity, and the primal human nature surrounding survival of the individual. The strength of the film lies in slow building dread, a feeling that something catastrophic is just waiting to happen in the next frame. The downfall of the film, however, is that nothing really does. But damn if it all doesn’t look like an idyllically off-kilter travelogue as rendered in lush green hues, teeming with fog, mud, and rain forest audio ephemera. Speaking of sounds, the score is a bristling and immersive offering that paints much of the imagery with fairy tale-styled ambiance, but also slips in nuances of nightmarish menace. The ending of the film leaves many questions unanswered as well as requiring the audience to fill in any lingering blanks on their own. On the one hand it feels unfinished, on the other it creates a ripe atmosphere for post-viewing discussion.

RIYL
Apocalypse Now (specifically the third act); The Thin Red Line (and pretty much any other Terrence Malick film); The Mission; Apocalypto; Quest For Fire

[dookeyXXX]

THE PEANUT BUTTER FALCON
3.5/5

Heart-warming.
Sweet.
Feel good.
I’ve never been a fan of these descriptions when applied to cinema, literature, or art. But, dammit anyway, they are kind of applicable in regards to this little film.
A figurative twist on the Huck Finn/Tom Sawyer mythos (they even name-check the book early on), TPBF is an “exotic” American road trip-cum-quest-cum buddy movie. I say “exotic” since the North Carolina coastal locale is completely foreign to this California native.
Fueled by some beguilingly charismatic acting from Shia LaBouef, Dakota Johnson, and newcomer Zack Gottsagen, the film has a decidedly laid-back demeanor; it just kind of ambles along with a mellow, down home sensibility.
Teeming with After School Special-styled tropes ranging from the loner with a dark past to the wide-eyed social worker and populated with some generic background characters (for example, the villains--John Hawke and Yelawolf(!)--are pretty one-dimensional, yet they serve their purpose well), the film really succeeds due to the wonderful chemistry between the three leads. I’ve always enjoyed Beef Boy’s thespian escapades from Holes on through mediocre action fare like Transformers, Eagle Eye, and Disturbia. Here, he excels as the rambling, emotionally scarred Tyler. The Falcon, his ownself, is wonderfully spot on with comedic timing and an overall sense of naturalism. And the fruit of Don Johnson’s loins continues to showcase a wonderful depth and chameleonic virtuousness when it comes to the roles she takes. It’s mesmerizing every time one of these three graces the screen. There’s a few great cameos, as well. Hardcore wrestling fans will whoop and holler when Mankind and Jake the Snake flick into frame. And Thomas Haden Church should be deemed a national treasure.
If there is one downfall to the film it’s the all too feel-good ending. It looks like there was originally a bittersweet ending that I’m guessing might have tested poorly in trial screenings and as a result the filmmakers decided to tack on a happier ending, one which really doesn’t work with the way the rest of the climactic scenes have been edited; the final minutes just feel clunky.
Lame ending aside, the bulk of the journey is a hoot. I laughed. I cried. I felt a connection to the characters. So much so that I found myself longing for my younger days and the missed opportunities of open road adventures on the fringes of America.

RIYL:
Rain Man; Fandango; Stand By Me; Yesterday

[Meadow Skipper]

^Unfortunately, whenever I see the title of that movie I think of ‘mud falcon.’ Google it for the climbing reference if you don’t know.

[plugboots]

My wife loved that movie, me: not so much. I kind of hated the Shiela La Boof character.

[PNWbrit]

No mention of Ad Astra yet?

Pretty damn good I thought.

Brad Pitt must be up for the Oscar for most acting in a leading role.

[dookeyXXX]

^Unfortunately, whenever I see the title of that movie I think of ‘mud falcon.’ Google it for the climbing reference if you don’t know.

While not a climber, I easily surmised what a "mud falcon" was.

My wife loved that movie, me: not so much. I kind of hated the Shiela La Boof character.

I rather enjoyed his character. Reminded me a bit of M. McConaughy in Mud. But to each their own.

No mention of Ad Astra yet?

Pretty damn good I thought.

Brad Pitt must be up for the Oscar for most acting in a leading role.

Ad Astra is definitely on the "To See Soon" list. I have been playing catch up, plus there are quite a few smaller/indie/foreign films and limited engagement screenings on my radar:
First Love
Tigers Are Not Afraid
Honey Boy
JoJo Rabbit
Jay & Silent Bob Reboot
Alien 40th Anniversary
And of course Joker

[Meadow Skipper]

I saw Ad Astra. Liked it - 3.5-4 out of 5. Good story line, with a little Gravity, a little The Martian, even a little 2001 mixed in. Great cinematography, and strong work by Pitt.

[PNWbrit]

I saw Ad Astra. Liked it - 3.5-4 out of 5. Good story line, with a little Gravity, a little The Martian, even a little 2001 mixed in. Great cinematography, and strong work by Pitt.

And lots of Apocalypse now.

[Meadow Skipper]

And lots of Apocalypse now.

Right! I was posting in a hurry and forgot to include that one, but definitely.

[PNWbrit]

Right! I was posting in a hurry and forgot to include that one, but definitely.

I also thought that it had some Outland to it.



(Just worked out that when he made that movie Connery (who seemed old) was 4 years younger than Pitt is now.)

[Tye 1on]

There's a little film festival in Jackson each fall that i've never attended, this year I'm going to try and get over for the following:

The Biggest Little Farm
Brittany Runs A Marathon (maybe)
Honeyland
Tel Aviv On Fire
Echo In The Canyon
Maiden
Indian Horse
Linda Ronstadt (maybe)
Wild Rose

Pretty stoked, I'm not a big film guy, but they just retrofitted with electric recliners, and it's a great time of year to chill with an edible and some popcorn...

[dookeyXXX]

There's a little film festival in Jackson each fall that i've never attended, this year I'm going to try and get over for the following:

The Biggest Little Farm
Brittany Runs A Marathon (maybe)
Honeyland
Tel Aviv On Fire
Echo In The Canyon
Maiden
Indian Horse
Linda Ronstadt (maybe)
Wild Rose

Pretty stoked, I'm not a big film guy, but they just retrofitted with electric recliners, and it's a great time of year to chill with an edible and some popcorn...

Nice!

My 80+ y/o 'rents really dug both Maiden and Biggest Little Farm...

[Tye 1on]

Nice!

My 80+ y/o 'rents really dug both Maiden and Biggest Little Farm...

Nice! Ya, they are both way high on my list. Honeyland and Wild Rose are next. I'll try to do some mini-reviews but I don't know shit about movies, it will just be impressions...

[dookeyXXX]

No mention of Ad Astra yet?

Pretty damn good I thought.

Brad Pitt must be up for the Oscar for most acting in a leading role.

I saw Ad Astra. Liked it - 3.5-4 out of 5. Good story line, with a little Gravity, a little The Martian, even a little 2001 mixed in. Great cinematography, and strong work by Pitt.

And lots of Apocalypse now.

I also thought that it had some Outland to it.



(Just worked out that when he made that movie Connery (who seemed old) was 4 years younger than Pitt is now.)

Damn, now you guys have set the bar high for Ad Astra!
I mean you have likened it to some classics. The only film y'all name-dropped that I wasn't a huge fan of was Gravity.

I keep waffling on seeing Ad Astra mostly because I have not really been all that impressed with the director's previous films. And this is kind of silly, but it being released so close to Once Upon A Time In Hollywood, I fear I'm going to keep thinking of Cliff Booth every time Pitt is onscreen!

[dookeyXXX]

DOLEMITE IS MY NAME - in theaters until Oct. 25, then streaming on NF

All kinds of clichéd remarks come to mind when thinking about this movie. “Eddie Murphy was born to play this role.” Sure. “Don’t call it a comeback”. Perhaps (but it kind of is). “The best Eddie Murphy movie in years.” Totally true. The list goes on. Yet all you really need to know is that Murphy and ensemble are on point, delivering a well-paced, wonderfully acted, and incredibly funny film about Blaxploitation legend/superstar/cult figure Rudy Ray Moore aka Dolemite.
I am a little bit ashamed to admit that I have as of yet never watched a Dolemite movie. I own a re-issued soundtrack album compiling the music from his films and I think I might have one of his comedy albums floating around in my vinyl vault, but I have never seen one of the man’s films. I primarily know about him via rap music and hip-hop culture, and have seen clips over the years, but that’s the extent of my RRM/Dolemite knowledge. So I have no idea how truthful this dramedy is and how much is just made up. But regardless of that, one thing is for certain: this film is damn entertaining.
At the heart of the film is a pretty standard rags-to-riches story about a man one could say is lacking in talent, but not lacking in heart and sheer tenacity. A man who rises from the sidelines of low-rent comedy clubs to the headlining act of those very same clubs. A man who would, like Melvin Van Peebles and Tom McLaughlin before him, help change the face of independent filmmaking in America.
What isn’t standard is the acting from all involved. While Murphy is center stage, he has surrounded himself with a top-notch group of supporting players. Craig Robinson not only displays deft comedic dryness, but also a slick and funky musical side. Wesley Snipes is downright glorious with a subdued over-the-top performance. And Da’vine Joy Randolph is simply sublime. The cast is rounded out by some solid smaller performances from Snoop Dogg, Mike Epps, and Keegan-Michael Key.
If you grew up during the Golden Age of rap music (the early ‘80s-to-the-mid-‘90s) or are merely interested in the often crass, but no less inventive streetwise and bred oral histories that helped begit one of America’s premier(and truly original) musical artforms, then you owe it to yourself to check out this film. Even if you have no idea about signifying or The Dozens and hate rap, you should still check this film out, if only for the mesmerizing performances of Mr. Murphy and company. Oh, and the killer ‘70s funk and soul drenched soundtrack.

Rating: 3.5/5
RIYL: Black Dynamite; Eddie Murphy: Raw; the novels of Iceberg Slim; the music of Ice-T; the music of Too $hort