SYNOPSIS: In “The Pickup,” a new action comedy now streaming on Prime Video, Eddie Murphy and Pete Davidson play odd couple armored truck drivers drawn into a scheme by cunning thief Zoe (Keke Palmer). “You two are going to help me steal 60 million dollars from the casino,” she says.
CAST: Eddie Murphy, Keke Palmer, Pete Davidson, Eva Longoria, Ismael Cruz Cordova, Jack Kesy, Andrew Dice Clay, Marshawn Lynch. Directed by Tim Story.
REVIEW: Given the talent involved, the most surprising thing about “The Pickup” is how excruciatingly unsurprising it is. Not even its three, very appealing above-the-title stars can rescue this 1980s inspired tepid action comedy.
To be precise, it’s more action than comedy, although there is a golden “Neutron Bomb” needle drop.
Murphy, who can usually wring laughs out of even the most banal of material (I’m looking at you “Candy Cane Lane”) but here it’s as if he’s sleepwalking. He’s playing the older, seasoned armored truck driver to Davidson’s inexperienced wildcard—Murphy’s Russell has twenty-five years on the job whereas Davidson’s Travis only took a fifteen-hour on-line course—but while Murphy’s serious, deadpan delivery supplies the odd laugh, his usual charm is hidden under a bushel.
Davidson riffs on his public persona. Vulnerable but scrappy, he plays Travis as an underdog whose reach exceeds his grasp. He’s a gullible dreamer, a screw-up, and (conveniently) a math whiz who can do complex equations in his head. Davidson’s awkward charm goes a long way, but the character is more goofy than funny.
Palmer fares better, creating a baddie you actually root for.
By the time the end credits roll, “The Pickup” reveals itself to be less than the sum of its parts. All three leads are charismatic, and promise fireworks, but deliver a dud.
“A Star is Born” was originally filmed in 1937 and subsequently remade three times, most famously (until now) as a rock musical starring Barbra Streisand and Kris Kristofferson in 1976. Bradley Cooper directs and stars in the latest version, one that hits all the right notes.
Cooper plays Jackson Maine, a rock star with magnetism to spare but carrying around a guitar case overflowing with personal problems. Drug addicted and alcoholic, he’s a troubled guy who falls for Ally (Lady Gaga) after seeing her perform a tour de force version of “La Vie En Rose“ in a bar. It’s love at first sight. He’s attracted to her talent and charisma; she is wary but interested. Soon they become involved, personally and professionally. As their romance blossoms her star rises meteorically as his fades slowly into the sunset.
It’s a familiar story given oxygen by rock solid direction, music with lyrics that forwards the story and two very good, authentic performances.
Cooper, all easy charm and weathered smile, digs deep to play a good man undone by his addictions but Lady Gaga equals him. Gaga sheds the theatricality of her pop persona, creating a soulful character that mixes vulnerability and combative independence. Stripped down, she is rawer than we’ve seen her before in a performance that feels authentic and not a musician playing a musician. It helps that she and Cooper have chemistry to spare—from their mentor and student relationship to their romance—but make no mistake this is a performance that stands alone.
In addition to the romance and music “A Star is Born” has something to say about art. In a time when the arts are under siege by government cuts and pre-packaged pop culture the film emphatically reminds us, both in practice and in its themes, that artists are here to actually say something. Everything else is just product. “Music is essentially twelve notes between any octave; twelve notes and the octave repeats. It’s the same story told over and over. All any artist can offer the world is how they see those twelve notes.”
“A Star is Born” could have been product, a glitzy film with a heartthrob and a pop star in the leads but instead resonates with real feelings and heartfelt emotion.
For eight years on television Adrian Grenier, Kevin Dillon, Kevin Connolly, Jerry Ferrara and Jeremy Piven provided a glamourized behind-the-scenes look at how Hollywood works.
In a scene at the end of the new “Entourage” film someone has the idea of turning the exploits of actor Vincent Chase, his best friend and manager Eric Murphy, half brother Johnny Drama and pal Turtle into a movie. “Sounds more like a TV show,” cracks Ari, the hotshot agent who made Vincent a superstar.
You know what? He’s right. It worked better as a TV show than it does as a movie.
The movie picks up just after the TV show ended. Chase (Grenier) is newly divorced and looking for a new film project. His former agent Ari (Piven) is now a studio head and has the perfect project for him, an updated version of the “Jekyll and Hyde” story. There’s a twist though. Chase has developed the Hollywood disease known as “Directoromyelitis Syndrome.” He’ll only agree to star in the film if he can also direct. A deal is struck, but when Chase lets the budget get away from him Ari must try and wrangle $15 million more from the film’s conservative Texan finaciers, billionaire Larsen McCredle (Billy Bob Thornton) and his son Travis (Haley Joel Osment). If they can’t get the money to finish the film it could be the end of the line for Vinnie, Ari and the guys.
“Entourage” the movie feels like binge watching three or four episodes of the television show. No attempt has been made to make the movie more cinematic than the show or to deepen the characters or situations. Chase is still the carefree superstar who thinks he can start all over again by moving back to his old neighbourhood in Queens if everything goes sour. Turtle remains a romantic wannabe while Johnny Drama is wracked by insecurity and E quietly tries to keep everything from spinning out of control.
If the name “Arrested Development” hadn’t already been taken by another show it would have been the perfect title for this bunch, who are more interested in meeting women and when they’re not meeting women, then talking about women than they are in behaving like actual living, breathing people. Perhaps their insipid behaviour is a comment on the vapid Hollywood lifestyle or maybe it is just vapid. I think suggesting a movie that uses a line like, “when one vagina closes, another one opens,” of any grand, high-minded purpose is overstating things by a mile.
All the glitz and glam in the world—the movie is a tribute to lifestyle porn—can cover the emptiness of the story, and even filling up screen time with an extensive array of cameos—everyone from Kelsey Grammer and Pharrell Williams to Liam Neeson and Andrew Dice Clay pop up for one line gags—does little more than turn the film into a celebrity “Where’s Waldo” exercise.
There is a sense of familiarity that comes along with watching the “Entourage” movie, like seeing old friends you haven’t hung out with for a while, but you can’t help but think that the film-within-the-film is more interesting than the movie you’re actually watching.
