The Grudge and all the images you see in this review are owned by Sony Pictures Releasing
Directed by Nicolas Pesce
In the great debate that I ASSUME exists, I was always more of a The Ring guy than a Grudge fellow; mostly because I’ve actually SEEN the Ring movies (at least the Western ones) and haven’t seen any of the Grudge movies (not even the Western ones). Things might change however as The Ring had its chance to reassert its relevance, but instead completely missed the mark with the awful Rings, and if nothing else this one looks to be trying to build a stronger and more intense atmosphere than the cheap cash in nature of Sadako’s most recent Western adventure. Is this the movie that will finally get those of us to jump on the Grudge train, or is this the perfect illustration of why we never bothered with it in the first place? Let’s find out!!
Detective Muldoon (Andrea Riseborough) has just arrived in town and is still reeling from the death of her husband, but is managing to eek out a somewhat stable life with her son Burk (John J Hansen) with her new job at the local police station. Her partner Detective Goodman (Demián Bichir) has some clear baggage from something that Muldoon hasn’t sussed out yet, but when a body shows up with an address to the nearby spooky house, it’s time for her to uncover whatever secrets are being hidden from her. It turns out that the first owners of the House, The Landers (Tara Westwood, David Lawrence, and Zoe Fish), were all murdered by the wife. The realtors who were trying to sell the house for them (John Cho and Betty Gilpin) ALSO wound up dead under similarly grim circumstances. There were other occupants who arrived after them, you can probably guess how they ended up, and now Muldoon is sniffing around the place which will no doubt attract the attention of whatever ghost, curse, or GRUDGE as it were, that is affecting the people who get near this place. Will Muldoon not only uncover the secret of all these mysterious deaths but also stop the bloodshed once and for all? What is the entity that is behind all of this, and what is after aside from endless slaughter and mayhem? Is it just me or did they seriously oversell John Cho’s presence in the trailers? I’m getting flashbacks to that Godzilla movie that had Bryan Cranston in it for like twenty minutes!
Stuber and all the images you see in this review are owned by 20th Century Fox
Directed by Michael Dowse
I don’t know about you, but if there’s ONE thing I’ve always wanted to see in a movie, its endless product placement for a company trying to corner the market on an industry through sheer financial force of will! Then again, I probably shouldn’t be sitting TOO pretty on my high horse considering I still review Disney films despite their vicious takeover of 20th Century Fox (coincidentally the studio who made this film), so I guess I’ll just have to judge this movie on its own merits instead of how blatantly EVIL it’s marketing is. Anyway! Does this Buddy Comedy manage to be the best of both their lead actors’ filmographies, or are you much better off watching Hotel Artemis and The Big Sick instead? Let’s find out!!
Stu (Kumail Nanjiani) is your average millennial stuck trying to make it in the gig economy and failing to earn the affections of his BFF (Betty Gilpin) who he’s been secretly in love with but decided to invest in her startup company instead of just telling her he likes her. We’ve all been there, am I right!? Well investing in other people’s ideas isn’t cheap, so along with his day job at a sporting goods store he drives with Uber (DOWNLOAD NOW FOR YOUR MOBILE DEVICES!!) and does his very best to be as accommodating as possible. This is 2019 though, and apparently being a massive jerk is in vogue now so despite his best efforts he’s barely hanging onto his current user score which is dangerously close to getting him kicked off the service entirely. Enough about that guy though! This is a movie with a famous wrestler, so let’s talk about that famous wrestler! Vic (Dave Bautista) is a cop who is obsessed with finding this drug trafficker named Oka Teijo (Iko Uwais) who he nearly caught a while back but managed to escape and also killed his partner in the process. After six months though, there hasn’t been a break in the case and so he takes a bit of time off to try and reconnect with his daughter (Natalie Morales ) and finally get that laser eye surgery he’s been meaning to get. He’s at home and waiting for his vision to return as well as running out the clock until the start of his daughter’s art show when he gets a call from one of his informants telling him that Teijo is gonna be at this big drug deal later tonight at some undisclosed location in town. Seeing his chance but not seeing much else, Vic is determined to take Teijo down once and for all… but he needs a ride. I THINK YOU SEE WHERE THIS IS GOING!! Can Stu provide wonderful ride sharing service to the antsy and determined Vic and maintain his unobtrusive existence with a slightly higher star rating? Can Vic solve this case without his vision, and can he convince Stu to help him beyond his duty of just getting him from one place to another? Seriously, does this dude not have even ONE cop friend or a super tough bro he could have called instead!?
“I tried to get someone else to pick me up, but he was too busy.” “Oh really?” “AND HIS NAME IS JOHN CENA!!” “I don’t need your life story, pal.”
Isn’t it Romantic and all the images you see in this review are owned by Warner Bros. Pictures
Directed by Todd Strauss-Schulson
This review is going up PRETTY darn late considering it’s been out for over three weeks now, but I have a VERY good reason for taking my time with it! Okay, maybe not a GOOD reason, but the truth is that I got a serious case of writers block thinking about this movie. Yeah, the mid-February release is the one that locked up my brain for a lot longer than I’d care to admit. How could that be!? In the year that already brought us Glass and Serenity, THIS is the one I had trouble wrapping my head around!? Could it be that this is a multi-layered and nuanced examination of relationships and the media surrounding them, or is it just kind of… meh, but in ways that aren’t particularly interesting to write about? Let’s find out!!
Natalie (Rebel Wilson) is a young woman struggling to make it in the big city and has abandoned love to focus on her career which isn’t going to great either because she’s a smart and overly competent woman who isn’t taken seriously at the workplace. Her best friend Josh (Adam DeVine) has a crush on her, her girlfriend Whitney (Betty Gilpin) is a bit quirky but always encouraging, and the new hotshot with a million dollar smile Blake (Liam Hemsowrth) is ignoring her ideas to his own detriment because she has some brilliant plans for his next project. Sounds a bit clichéd if you ask me, even the part about Natalie being cynical about love and calling out other Romantic Comedies for being unrealistic, but after suffering a concussion in a WACKY mugging scene, she wakes up and finds herself in a ROMANTIC COMEDYTM where everyone is a model, the colors are boosted up to eleven, and people will break out into song occasionally. Natalie may be fully aware that she’s stuck in a Meg Ryan movie by way of Baz Luhrmann, but the question is how the heck does she get out of here? Is this Back to the Future rules where she has to recreate the incident that got her there, or is this Groundhog Day rules where she has to fulfil some sort of destiny before she’s allowed to leave? Well she’s gonna have to try both at least, and when the first one doesn’t work out she starts to pursue the hunk-tastic Blake because of course that’s who she’ll end up with in these kind of stories and starts going to the motions as best as she can; which includes living in her overpriced apartment, starring in makeover montages, and even having an offensive gay best friend stereotype named Donny (Brandon Scott Jones) who lives next door and always pops up whenever he’s needed! Can Natalie survive this nightmare of high fashion, shallow problems, and unrealistic romance long enough to get back to her normal life of muted colors and an unfulfilling work environment? Will Blake be the key to her escape, or is there something ELSE she should be looking for instead? Doesn’t this feel a bit like a chicken and egg situation where figuring out if the cliché is more clichéd than the critique on the cliché?
“I REJECT YOUR REALITY AND SUBSTITUTE IT WITH MY OWN!!”