RICHARD’S “CANADA AM” REVIEWS FOR FEBRUARY 13 WITH DAN RISKIN.
Richard’s “Canada AM” reviews for “Hot Tub Time Machine 2,” “McFarland” and “The Duff.”
Watch the whole thing HERE!
Richard’s “Canada AM” reviews for “Hot Tub Time Machine 2,” “McFarland” and “The Duff.”
Watch the whole thing HERE!
The first time around “Hot Tub Time Machine” stars John Cusack, Rob Corddry, Craig Robinson and Clark Duke, grappled with the mysteries of the Red Bull-fuelled space and time continuum as they tripped back in time to the Regan years.
Since we’ve seen them last they (minus Cusack, who is replaced by Adam Scott) have exploited “their knowledge of the future for personal gain.” What they did in the past changed their futures and Nick (Robinson) is now a popular songwriter—he “wrote” “MMMBop” and “Feelin’ Like Teen Spirit”—while Lou became the “father of the internet,” and the creator of the search engine Lougle. Adam’s (Cusack) absence is explained away with a passing reference to an “experiential journey.”
They are rich beyond belief—“That hot tub really turned it all around.”—but soon discover the future isn’t exactly the way their remembered it—wrap your head around that—when Lou takes a bullet from an unknown assassin and Nick and Jacob fire up the hot tub to try and stop the shooting before it happens. They inadvertently end up in the future in a world they don’t quite understand. “Who is to say the past isn’t this present.”
“Hot Tub Time Machine 2” feels like it was written by a group of frat boys in the throws of a raging kegger at the Delta Tau Chi House after a “Bill and Ted’s Excellent Adventure” marathon. All the animal house trademarks are here—vomit gags, jokes about sex with animals, a drug trip, testicle terror and homophobic razzing. The only thing missing is Seth Rogen and boy, did he miss a bullet.
Working from a script that feels improvised, the usually funny guys Corddry, Robinson, Duke and Scott are at sea in a movie that abandons the story—the search for the shooter is side tracked for twenty or more minutes while the guys flit through time—in favour of raunchy jokes and random situations. As the cast tries in vain to find the funny you hope that the next trip in the Hot Tub Time Machine will be their last.
“Hot Tub Time Machine 2” is a waste of time—past and present.
He was called many things. The Godfather of Soul, Soul Brother No. 1, Mr. Dynamite, and The Hardest Working Man in Show Business but he preferred to be called Mr. Brown.
James Brown is probably best remembered as the hit maker behind “Get Up (I Feel Like Being a) Sex Machine” and “I Feel Good”; a larger-than-life, cape-wearing showman who made funk a household word over a career than spanned six decades.
A new film, “Get on Up,” aims to fill in the blanks, detailing Brown’s rise from poverty to the top of the R&B charts.
Chadwick Boseman, who, after earning accolades for his performance as Jackie Robinson in”42,” seems to be making a career of playing 20th century legends on screen, plays Brown from age 16 to 60.
In non-linear, cut and paste style, the film tells of an abusive South Carolina upbringing at the hands of his sharecropper father (Lennie James) and a mother (Viola Davis) who abandoned the family early on to career highlights like the incendiary T.A.M.I. Show performance where he upstaged the Rolling Stones, (whose singer Mick Jagger produced this movie). It covers his close friendship with singer-songwriter Bobby Byrd (Nelsan Ellis), a brush with death on a USO show and a young James pulling two-tone loafers off a lynched man.
“Get on Up” is the second musical biopic of the summer but the first one to vibrate with energy, spirit and soul. Where “Jersey Boys” felt staid and straightforward, “Get On Up” is as loose-limbed and funky as one of Brown’s groove-heavy singles.
Some may find the non-linear time jumping scenes that bookend the film arrhythmic, but the randomness of those sequences—it jumps, willy nilly from the 1940s to Brown’s 1970s heyday to a wild scene that lead to his 1988 arrest—breaks the standard rags-to-riches-to-arrests biopic formula. Director Tate “The Help” Taylor takes an impressionistic view of Brown’s life, integrating some magic realism and fourth wall breaking dialogue direct to camera in a bold approach to a very mainstream genre.
Stylistic flourishes aside, there are the usual biographical “one day everyone will know your name” show biz clichés, but the movie is smart enough not to rely on those elements to tell the story. Instead Tate relies on an extraordinarily charismatic performance—one guesses it’s a liberal mix of fact and fiction, life and legend—from Boseman to illuminate Brown’s angels and demons.
He’s called a musical genius more than once, and given his legacy it’s hard not to agree, but some of the more unsavory parts of Brown’s life are glossed over. The drug use and domestic abuse that checkered his life (and arrest record) are touched on but not explored with the same interest as the upward trajectory of Brown’s musical career.
Like the expert backing bands that supported Brown throughout his career, here the character is supported by very good actors. As life-long friend Bobby Byrd, Nelsan Ellis shows he has more range than simply playing Lafayette Reynolds on “True Blood” every week and Dan Aykroyd has fun with the role of Brown’s manager. It’s a shame that good performances from Craig Robinson, as sax legend Maceo Parker, and Viola Davis as Brown’s mother, are limited to extended cameos.
“Get On Up” is one big chunk of funk with a gold standard performance from Boseman and music that will make you want to… er… get on up.