We’re The Millers isn’t good or funny, two things I imagine it set out to be. There are a few moments, but they’re barely worth mentioning and very far between (and predominantly involve Jennifer Aniston in her underwear, which I think we’re beyond in terms of using as the main marketing device for a movie… or not).
You don’t want it to be, but it is; Cuban Fury is painfully average. There are things about it that do uplift you as a viewer: any scene with Olivia Colman; Chris O’Dowd’s creep incarnate; it being impossible to dislike Nick Frost and the line, “Salsa. Why’d it have to be Salsa.” Thankfully, this is just enough to get you to the end without losing total faith in the integrity of British comedy films.
There is a quaintness to The Grand Seduction, but not much more. Its characters don’t really develop and their actions seem unrelated to a larger scheme, which makes things more inconsequential than they should be. The other issue is that it’s not very funny. There are some decent quippy exchanges, but nothing that really lasts in the memory.
I’ve made things seem much worse than they are I feel, arguably this is an injustice. That said, while this flick has charm, you won’t ever seek it out for a second viewing; it doesn’t say or do anything to you as a viewer, so why would you?
Anchorman 2: The Legend Continues, or doesn’t. It’s just not that funny. It’s too preoccupied with trying to repeat it’s success and therefore everything has that sensation of having been overthought, and subsequently, diminished.
Wes doesn’t seem to miss a beat and The Grand Budapest Hotel is no different. His vision is never not fully realised, which I’ve said before, but it’s worth mentioning, because it’s a rare gift for a director. His casting of Fiennes is inspired, the comic timing he brings to the central character of M. Gustave is perfect.
Against it, this film does miss the endearing charm that exists in most of his other work. It is due to the characters, they’re not lovable in the usual Wes way. They’re flawed and interesting and easy to sympathise with, but they all get (just about) what they deserve for their ultimately selfish endeavours.
There is nothing right about Pawn Shop Chronicles. It’s an unoriginal mess. Even the outtakes are terrible. Be aware it also goes by the title Hustlers.
There is unfortunately no getting around the fact that A Fantastic Fear Of Everything, which sounds good on paper, is terrible. Pegg does his best in the lead role to land this crashing plane of a film gently, but unfortunately he’s the only survivor.
It was directed and written by Crispian Mills of Kula Shaker fame. I’m saying nothing.
The plot of Adventureland is very similar to The Way Way Back, which is a great movie. This unfortunately puts this flick about Jesse Eisenberg’s James Brennan working at an amusement park immediately at a handicap. And that’s before you consider the confusing mix of teen gross out comedy and musing on compensatory unhealthy sexual relations covering deeper problems of the self, see Kristen Stewart’s character.
To go back to my first point, watch The Way Way Back instead.
Youth In Revolt is a cut above your average coming-of-age comedies. This is mostly due to Michael Cera’s performance as both Nick Twisp and his french rebel alter-ego Francois.
Aside from this there isn’t too much else going on, but that doesn’t matter in the grand scheme things, there is enough. It lacks the cliches of its genre which is refreshing and there a few scenes that hint at a clear effort to be different from the crowd, which is alway commendable.