SYNOPSIS: “Heads of State” is a Prime Video action-comedy featuring Idris Elba as Sam Clarke, a former commando-turned UK Prime Minister, and John Cena as Will Derringer, a former action star, now President of the United States, who is as loose as Clarke is uptight. “He still hasn’t figured out the difference between a press conference and a press junket,” says Clarke. When an international conspiracy threatens world peace, they can save the world, but only if they can put aside their differences. “The universe keeps telling me I look cool with a gun in my hand,” says Derringer.
CAST: Idris Elba, John Cena, Priyanka Chopra Jonas, Jack Quaid, Carla Gugino, Paddy Considine, Stephen Root, Sarah Niles, Richard Coyle, Clare Foster, Katrina Durden, Aleksandr Kuznetsov. Directed by Ilya Naishuller.
REVIEW: If the title “Heads of State” sounds like a throwback title from the 1990s it’s because the film is a return to the action comedies of the Clinton years. It’s a crowd-pleasing mix of likeable leads, ridiculous action and humor that echoes movies like “True Lies” or “Rush Hour,” films that got the balance of laughs and action just right.
The “embarrassing popcorn president” named William Matthew Derringer—“Your initials are WMD?” Clark asks incredulously—and the pragmatic prime minister are the engine that keeps “Heads of State” on track. A stacked supporting cast, including Priyanka Chopra Jonas, Jack Quaid, Carla Gugino, Paddy Considine and Stephen Root, fill out the film’s edges, but it is Elba and Cena who hold its center, nicely playing off their opposite personalities.
Reteamed from “The Suicide Squad,” where they shared action-comedy moments as Bloodsport and Peacemaker, they are chalk and cheese with the chops to hold the film’s disparate tone together.
For the most part “Heads of State” avoids any heavy moralizing and sticks to its frenetic but lighthearted vibe. Sure, there is a disbanding NATO subplot, some America First banter and it doesn’t take much imagination to figure out who screenwriters Josh Appelbaum, André Nemec and Harrison Query are referring to when they have a character say, “The people elect a dopey actor as leader of the free world, of course their country can’t survive,” but “Head of State” isn’t about political discourse. It’s about chemistry and bombastic action, tinged with a hint of nostalgia for the buddy movies of the past.
“Ricky Stanicky,” a new feel-good comedy from director Peter Farrelly, starring Zac Efron, Andrew Santino, John Cena and Jermaine Fowler, and now streaming on Amazon Prime, is light on laughs but heavy on heart.
Ever since they were kids, best friends Dean, JT, and Wes (Efron, Santino and Fowler) have used a fictional friend named Ricky Stanicky as a fall guy for their hijinks. Even though he doesn’t exist, he’s been their alibi forever. They’ve used him as an excuse to go on guy’s weekends to Atlantic City, or catch a concert, and then blame him for anything that went wrong. “The best friend we never had,” says Dean.
But when Dean ups the ante and announces to his wife that Ricky has cancer, and the guys need to see him, Wes thinks they may have taken the ruse a bit too far.
“Why does it have to be cancer?” he asks. “You want everyone to get worried?”
“Yeah,” Dean says. “And that’s going to take us right into the World Series.”
When the boys split town, Dean’s wife (Lex Scott Davis) tries to track them down, only to discover there is no record of a Ricky Stanicky at any hospital anywhere.
Caught in their lifelong lie, they panic.
“If the truth does come out,” says JT, “my marriage is over.”
The plan to hire an actor to play Ricky leads them to Rock hard Rod (Cena), an X-rated rock and roll impersonator, who immediately ingratiates himself with their significant others and their boss Summerhayes (William H. Macy).
“Ricky Stanicky” has the earmarks of a Farrelly film; the outrageous premise, the jokes that come very close to the line and broad comedic performances (ie: John Cena dressed like “Baby One More Time” era Britney Spears). But underneath the silly stuff is an almost touching story about a man who finds a new way to get through life.
“My job sucked,” Ricky/Rod says. “I had no friends. But now I have all those things.”
It’s the same kind of subterfuge the Farrellys played with “There’s Something About Mary,” a gross-out comedy about finding true love. “Ricky Stanicky” doesn’t have the hard laughs of that film, but, in Cena, it does have a star who is able to effectively mix-and-match the silly with the saccharine. That combo is the key to the modest success of “Ricky Stanicky.”
It’s a shame Cena isn’t given a more convincing framework to play inside. The premise has lots of potential, but Farrelly and his laundry list of writers (five listed in the credits including Farrelly) emphasize the Hallmark aspects of the story over the humorous ones.
There’s something about “Ricky Stanicky.” There’s a good cast, bolstered by Cena’s charm, and the occasional deep laugh but the mix of humour and heart never quite finds the right balance.
English director Matthew Vaughn is best known for making high concept, high octane action movies like “Kick-Ass” and the “Kingsman” series. His new PG-13 rated spy spoof, “Argylle,” now playing in theatres, features his trademarked busy, stylistic action but feels like a toned-down—i.e. less violent, and less provocative—version of his previous work.
The chaotic story begins with Bryce Dallas Howard as bestselling but reclusive author Elly Conway. Her life is as sedate as the spy novels she writes are exciting. By day, she sends her main character, globe-trotting super-spy Argylle (Henry Cavill) and sidekicks Wyatt (John Cena) and Kiera (Ariana DeBose), off on adventures to do battle with femme fatale LaGrange (Dua Lipa) in hopes of taking down a global spy syndicate called the Directorate. After work, she spends quiet time at home with a “hot date,” her beloved cat Alfie (best spy movie cat since Blofeld’s Solomon) by her side.
That quiet life is upended when she meets a real-deal Argylle type, Aidan (Sam Rockwell), an actual spy sent to keep her safe.
“What you write in your new book actually happened,” he says, “and you kicked a hornet’s nest you didn’t even know existed.”
Turns out there is a real Agent Argylle, some very bad people who are after her and Ritter (Bryan Cranston), an unhinged spy master who thinks her books are too close to reality for comfort.
Drawn into real-world espionage, she, Aiden and the cat are thrust into a world wilder, and certainly more dangerous, than anything in any of her books.
“If you want your life back,” says Aidan, “I can give it to you. I’m the good guy here.”
A mix-and-match of “Mission Impossible,” the James Bond franchise and buddy comedies, “Argylle” is a jumbled, confusing bit of semi-fun. Cartoonish and convoluted, the movie is stuffed with over-the-top spy action, a stacked a-listy cast and a wise-cracking, scene-stealing performance from Rockwell, but never quite comes together. Loose ends strangle the story’s forward motion, Vaughn occasionally falls into the movie’s deep plot holes, and there are so many twists, not even Chubby Checker could keep up.
It isn’t until the films last half hour, of an over-long 139-minute running time, that Vaughn stages two eye-popping action sequences. A “deadly” dance number and an untraditional figure skating routine are fun, and have the kind of over-the-top energy you expect from Vaughn. Both sequences entertain the eye, but also highlight what the rest of the movie so desperately lacks.
Rockwell’s live-wire performance provides most of the film’s laughs, but they are few and far between. As for the rest of the cast, most are underused. And you have to wonder why some of them—including Samuel L. Jackson and Richard E. Grant—even bothered to show up.
“Argylle” is errs on the side of PG-13. It is an outrageous, twisty-turny idea trapped in a movie that is afraid to really cut loose.
In “Freelance,” a new action comedy now playing in theatres, John Cena plays a man fighting back against a life of quiet desperation, a feeling audiences will be familiar with by the time the end credits roll.
Cena is Mason Pettits, a do gooder trying to find his place in the world. After few miserable years of practicing law left him wanting more—”I thought it would make me feel normal,” he says, “but it made me hate myself.”—he joins the Special Forces. Fulfilled, he says the job allows him to find a much-needed purpose to his life.
That is, until a mission to assassinate dictator Juan Arturo Venegas (Juan Pablo Raba) goes south. Wounded and disillusioned, he leaves behind the life of adventure, and settles down, returning to law and marriage and a safe suburban life.
Bored and unhappy, he accepts a job from Sebastian (Christian Slater), a former Special Forces colleague now running Contractual Defense Industries, a one stop shop-and-shoot mercenary business. “We sell security,” he says.
The job is sounds simple but there is a catch. He will accompany journalist Claire Wellington (Alison Brie) to South America and keep her safe as she interviews Juan Arturo Venegas, the very dictator at the heart of the mission that ended Pettits’s Special Forces career.
“Freelance” is the kind of movie that once gathered dust in direct-to-DVD bins at Blockbuster.
Not even the considerable charm of the leads, Cena and Brie, can overcome the generic action, the weird shifts in tone from bloody gun battles to light comedy, a forgettable villain (played by the usually reliable Marton Csokas) and a goofy dictator who, on one hand speaks about the exploitation of poor countries by corrupt international corporations, while on the other delivering silly lines like, “I believe when one encounters danger, one must sing to it.”
With very few exceptions, “Freelance” feels very been-there-done-that, as if director Pierre Morel tried to pay tribute to the direct-to-DVD genre, but forgot to bring the fun.
When I first heard there was a new “Teenage Mutant Ninja Turtles” movie in the pipeline, I wondered, “Why?” From their beginnings as a superhero parody comic by Kevin Eastman and Peter Laird to becoming a surprise cultural phenomenon, the anthropomorphic turtle brothers have been rebooted as a television show, toys and a bunch of movies.
The difference this time around is that “Teenage Mutant Ninja Turtles: Mutant Mayhem,” a new animated adventure now playing in theatres, captures the irreverent, rambunctious spirit of the comics that inspired it, without losing any of the heart that made turtle brothers— Leonardo, Michelangelo, Donatello and Raphael—so beloved in the first place.
An origin story, the new movie is a coming of age for the resourceful Donatello (Micah Abbey), the charming Michelangelo (Shamon Brown Jr), the reliable Leonardo (Nicolas Cantu) and the brave Raphael (Brady Noon). Raised by a mutant rat named Splinter (Jackie Chan) in the sewers of New York, under the orders of their overprotective, adoptive father, they only visit the human world to gather supplies. Splinter does not trust humans, and fears for his son’s safety if they are exposed to the human world.
But the turtles are restless. They long to be accepted, to go to high school, to do the things they see human teenagers do on television and in movies. “If we weren’t monsters, shunned by society, what would we do?”
On one of their clandestine visits to the city, they meet April O’Neil (Ayo Edebiri), an aspiring journalist who wants to tell their story. “This is insane,” she says. “Turtles. Mutant. Karate. Teens. I want to know everything about you.”
Meanwhile, New York City is being terrorized by Superfly (Ice Cube), a mutant housefly with a plan to kill and capture all humans and turn all animals on Earth into mutants. “Humans will be executed, enslaved, turned into food. Could be pets,” he says. “Any crazy thing you can think of, pitch it.”
Teaming with April, the turtles plan to take on Superfly and become heroes. “We take out Superfly and then everyone will think we’re cool,” says Donatello. “They’ll accept us!”
“Teenage Mutant Ninja Turtles: Mutant Mayhem” has a loads of scrappy heroes-in-half-shell spirit. The gorgeous rough ‘n tumble animation is computer generated, but feels organic, like a mix of the hand-drawn aesthetic of Ed “Big Daddy” Roth and Gerald Scarfe. It’s vibrant, exciting and will give your eyes a workout.
The story isn’t quite as exciting. It won’t take you anywhere really new, superhero movie wise, but it does update the TMNT lore. The use of actual teenagers to voice the four turtle brothers brings youthful energy that also adds some oomph and even poignancy to their coming-of-age/outsiders storyline.
The real stars of the show are Edebiri, Chan and Ice Cube. No longer just a supporting character, Edebiri gives April three-dimensions, with foibles–sometimes her nerves get the best of her—and objectives that help guide the story. Chan is very funny, but also humanizes the rat with his overly protective fatherly concerns. Ice Cube brings a considerable amount of swagger to the megalomaniac Superfly, spitting out his lines with humor and some cartoony menace.
Seven feature films in “Teenage Mutant Ninja Turtles: Mutant Mayhem” does something kind of remarkable. It takes a decades-old franchise and makes it feels contemporary with humor and heart while still providing a nostalgic blast for long-time fans.
Everything about “Fast X,” the latest entry in the “Fast and Furious” franchise, is big. Really big.
The a-lister cast list is a laundry list, including returning stars Vin Diesel, Michelle Rodriguez, Tyrese Gibson and Charlize Theron along with the addition of Marvel superheroes Jason Momoa and Brie Larson. The villain is faster and more furious than ever before and the action can only be described as bigly. There’s even a surprise cameo from one of the world’s biggest movie stars.
But is bigger always better?
A jumble of the usual mix of family, friends, fast cars and flashbacks, “Fast X” begins with relative calm in the world of former criminal and professional street racer Dominic Toretto (Diesel). The patriarch of the “F&F” gang, he has left the fast life behind, and retired with wife Letty (Michelle Rodriguez), and his son Brian. “We used to live our lives a quarter mile at a time,” he says. “But things change.”
Not so fast, there Dom.
Dom’s past comes back to haunt him in the form of flamboyant villain Dante Reyes (Jason Momoa), the sadistic, revenge fueled son of drug lord Hernan Reyes. “I’m Dante,” he says by way of introduction. “Enchanté.”
Way back in “Fast Five” Dom and Co. were responsible for the loss of the Reyes family fortune. “The great Dominic Toretto,” Dante snarls. “If you never would’ve gotten behind that wheel, I’d never be the man I am today. And now, I’m the man who’s going to break your family, piece by piece.”
Cue the set-up to the second part of the franchise’s three-part finale. It is, as they say on the movie poster, just the beginning of the end.
In the “Fast & Furious” world the word “ludicrous” is not just the name of prominent cast member Chris ‘Ludacris’ Bridges, it’s also the name of the game. Since the franchise’s humble 2001 debut, the movies have grown bigger and sillier with each entry. “If it can violate the laws of God and gravity,” says Agent Aimes (Alan Ritchson) in “FX,” “they do it twice.”
The latest one redefines ridiculousness.
The out-of-control car stunts that crowd the screen have no touchstone in reality, other than the cars have four wheels and drive along streets when they aren’t bursting into flames or flying through the air. It’s as if the wild car chases were dreamed up by fourteen-year-olds playing with their Hot Wheels sets as images of canon cars danced in their heads. Anything goes, and no idea is too big or too ludicrous.
When the tires aren’t squealing, Dom is whinging on about the importance of family with a straight face and a serious tone that makes Leslie Nielsen’s “Naked Gun” deadpan look positively flamboyant. Only Momoa seems to understand how colossally silly the whole thing is, and has fun pulling faces, doing a Grand Jeté or two and peacocking around as he rolls a neutron bomb through the streets of Rome. It’s a ludicrous performance in a completely ludicrous movie and it fits.
The bombastic “Fast X” is overstuffed with characters—it seems like every actor in Hollywood has a cameo—plot and, if this is possible, it is overstuffed with excess. The very definition of “go big or go home,” it is for “F&F” fans who have been along for the ride for more than two decades everyone else may want to take a detour.
“Vacation Friends,” a new rude and raunchy comedy now streaming in Disney+, is a riff on the old saying, ‘Whatever happens in Vegas stays in Vegas.” But instead of Vegas, the setting is Mexico, and instead of leaving bad behavior behind, Marcus (Lil Rel Howery) and Nancy (Anna Maria Horsford) would like to leave their new “friends” Ron (John Cena) and Kyla (Meredith Hagner) behind.
Strait-laced construction boss Marcus wants to surprise his girlfriend Nancy with a marriage proposal at a fancy Mexican resort. To set the scene he books a beautiful hotel room, iced champagne and rose pedals strewn around the bedroom. Unfortunately, the big surprise is something he didn’t plan, a flood. The jacuzzi upstairs in the Presidential Suite overflowed, turning Marcus and Nancy’s dream vacation room into a soggy wasteland.
With no other rooms available, the pair accept an offer to bunk with perfect strangers Ron and Kyla, the party animals in the Presidential Suite. The two couples are polar opposites. Marcus and Nancy are kinda conservative vs. the thrill-seeking Ron and Nancy who rim their Margueritas with cocaine. They are thrown together by circumstance but a few gallons of tequila later they’re all “vacation friends,” and the Mexican adventure culminates with a wild, blackout night.
“You guys are in our lives now,” Ron says as they part ways at the airport. “Nothing can change that. I’ll remember this week forever.”
Marcus and Nancy, however, aren’t feeling the bond. “They we’re kind of fun on vacation,” Marcus says, “But not in the real world.”
The real world includes the high-end wedding Marcus and Nancy are throwing with the financial aid of Nancy’s tightly-wound parents. Ron and Kyla aren’t on the guest list… but that doesn’t stop them from bringing their own brand of chaos to Marcus and Nancy’s big day.
“Vacation Friends” is a sweet-natured film about friendship but is far racier than the usual Disney+ fare. Drugs and drinking are the bedrock of the Ron and Kyla’s vacation lifestyle so this one isn’t for the kids, even if it’s on Mickey’s channel.
Adults, though, should get a mild kick out of the odd couple buddy comedy. Howery and Horsford are the movie’s bedrock, Cena and Hagner, the wild cards. Together, the ensemble play-off one another, creating fun, situational comedy that takes advantage of Cena’s manchild persona and Howery’s tightly wound Marcus. Hagner draws some of the biggest laughs with Kyla’s disregard for the niceties of polite society.
“Vacation Friends” is lightweight but sweet and should provide a much-needed getaway from real life.
I make the perfect cocktail to enjoy while watching Harley Quinn, Bloodsport and Peacemaker rampage through “The Suicide Squad.” Have a drink and a think about the movie with me!
The difference between the 2017 “Suicide Squad” film starring Will Smith and this weekend’s sequel, “The Suicide Squad,” goes far beyond adding the definite article to the title. I accused the first film of “trying to echo the very movies it should be an antidote to.” You know, the self-important, self-absorbed superhero blockbusters that forgot to unpack the fun along with the story. “The Suicide Squad,” now playing in theatres, has some social commentary but it doesn’t forget the fun. Or the violence, daddy issues or anthropomorphic weasel.
There’s a lot happening in “The Suicide Squad.”
At the beginning of the non-stop 132-minute rollercoaster ride, cold-blooded government official Amanda Waller (Viola Davis) offers a selection of the world’s worst criminals a deal. the Join Task Force X, a.k.a. the Suicide Squad, work for her and, and in exchange she’ll reduce their sentences at the notorious Belle Reve prison. Stray outside the job, however, and a chip inserted at the base of their skull will be detonated, ending the mission forever.
Signing on for the mission to invade the (fictional) South American republic of Corto Maltese and steal and destroy a piece of alien technology from evil scientist The Thinker (Peter Capaldi), are a motley crew of supervillains.
There’s assassin Bloodsport (Idris Elba), patriotic vigilante Peacemaker (John Cena) who will kill anything or anyone in the name of peace, the neurotic “experiment gone wrong” Polka-Dot Man (David Dastmalchian), the dumb-as-a-stump fish-human hybrid Prince Nanaue (Sylvester Stallone), the rodent loving thief Ratcatcher 2 (Daniela Melchior), the unhinged Captain Boomerang (Jai Courtney), crazed criminal and former psychiatrist Harley Quinn (Margot Robbie) and field leader Rick Flag (Joel Kinnaman).
Add to that TDK (Nathan Fillion), Weasel (Sean Gunn), Blackguard (Pete Davidson), Javelin (Flula Borg), Mongal (Mayling Ng) and Savant (Michael Rooker), and you have a dysfunctional “Brady Bunch” charged with saving the world, if a giant, telepathic alien starfish doesn’t get them first.
“The Suicide Squad” has many of the same features as a Marvel movie. The world is at stake, there’s an alien lifeform causing trouble, there’s villains and a team of outsiders with special skills who fight back. They may look the same on paper, and share blockbuster budgets, but DCEU’s “The Suicide Squad” is seedier; a sister from a different mister.
The kills are squishier and bloodier than anything seen in “The Avengers.” The sense of humour is more juvenile than “Thor: Ragnarok” and you’re not likely to find a cute rat with a backpack in “Black Widow.”
James Gunn has not forgotten his schlocky Troma Films roots. His resume includes a screenwriting credit for “Tromeo and Juliet,” and “The Suicide Squad” pays homage to “The Toxic Avenger.” That sensibility helps define the new Squad movie’s most memorable bits but Gunn also tempers the gross stuff with a certain kind of sweetness and some not-so-subtle social commentary.
When the characters aren’t in motion, kicking, shooting, punching, gouging or stabbing, they often engage in character work, explaining how and why life pushed them toward joining this unorthodox team. The stories are dysfunctional—being trapped in a box with live, hungry rats is the stuff of nightmares—but they create a bond between the Squad that is unexpected in a movie that, in the beginning anyway, values brutality more than empathy.
Built into the story of an invasion of another country are questions of US foreign policy and military integrity. Casting the likable John Cena as Peacemaker, a “hero” willing to do anything to protect his perceived ideology, is subversively brilliant. When one Squad member snarls, “Peacemaker… what a joke,” the line drips with meaning.
But don’t get the idea that “The Suicide Squad” has fallen prey to the foibles of the self-serious 2017 version. Gunn brings enough fun and absurd action to make the sonic overload of the second kick at the can equal parts silly and serious.
SYNOPSIS: “Heads of State” is a Prime Video action-comedy featuring Idris Elba as Sam Clarke, a former commando-turned UK Prime Minister, and John Cena as Will Derringer, a former action star, now President of the United States, who is as loose as Clarke is uptight. “He still hasn’t figured out the difference between a press conference and a press junket,” says Clarke. When an international conspiracy threatens world peace, they can save the world, but only if they can put aside their differences. “The universe keeps telling me I look cool with a gun in my hand,” says Derringer.
