Iris is enjoying her first romantic getaway with Isaac, until he tells her he’s not interested in a serious relationship.
Oh, Hi is directed by Sophie Brooks director of The Boy Downstairs (2017).
Oh, Hi is if you took Misery (1990) and Gerald’s Game (2017) then proceeded to make them into a romantic comedy, the film takes a look at modern relationships and communication as a whole especially when it comes to intentions and needs. The film does this quite well especially when it explores our own vulnerabilities, although the film does have a weaker third act. It still manages to stick the landing quite well.
The performances here are easily the film’s best part. Molly Gordon gives this often anxious and very talkative performance that is both striking and humorous at times. She’s able to easily switch in tone with the film’s atmosphere demands it and the script she’s given helps make her character as well. Logan Lerman’s charm as an actor works effectively here he is much more quiet than Gordon but still leaves an impression on the viewer. The two’s personalities clashing is what makes the film all the more interesting, there’s some touching moments between the two as well as moments of arguments all of which strangely feel grounded. That mainly comes from just how great Gordon and Lerman are as actors and how easily the two adapt to the film’s atmosphere.
The writing is solid, there’s definitely some bumps in the road during the third act where things get a little too out there for the film’s own good. With that being said the character writing is genuinely quite great, it’s clear that Sophie Brooks and Molly Gordon (who helped develop the story) have this clear as day interest in exploring these characters. Even with the side characters, while they aren’t given the depth that Iris (played by Molly Gordon) or Isaac (played by Logan Lerman) got, Geraldine Viswanathan (who plays Max) and John Reynolds (who plays Kenny) still feel involved in the story and their performances make up for it as well.
When the film leans into the absurd and ridiculousness that’s where it’s weak point is shown, it takes what was the complexities of a romantic relationship and becomes very exaggerated as well as being a bit too hard to buy. Which is a bit unfortunate because everything else that came before the third act is incredibly solid and well written character exploration.
Despite my feelings towards the third act, I still think Oh, Hi is a solid film that is an interesting watch. There was definitely room for improvement but as it stands this is a nice, easy and fun watch.
a high school science teacher who must confront a parasitic alien invasion and his personal life, which gets complicated by a new student who may be his daughter.
Ick is directed by Joseph Khan director of Torque (2004), Detention (2011) and Bodied (2017).
Ick is sort of noteworthy due to the soundtrack consisting of several pop-punk hits you probably heard in the 2000s, Yellowcard, Creed, blink-182, Paramore, The Killers and many others have at least one of their songs appear throughout the movie and I would be lying if I said I was not feeling at least bit nostalgic.
Ick is also a throwback to some of the monster/creature horror films of the 2000s such as Slither (2006), which there are points the movie does a decent job of capturing the spirit of those movies. Even if Ick is admittedly not as good as the movies were.
The performances are decent enough here, Brandon Routh plays the leading role and he actually does a solid job here. He’s able to blend in with Joseph Khan’s messy style decently well and his interactions with the rest of the cast result in a few laughs, the rest of the cast unfortunately don’t leave a mark on the viewer. So much of it is due to cliche character types and very little development all around, while yes at the end of the day Ick is a monster movie so I wasn’t expecting any grand character writing. But lazily written characters who spout just a bunch of one liners are a huge distraction that completely takes you out of the movie.
The writing is what really holds the movie back, within the first 10-15 minutes it’s very clear that “The Ick” is supposed to be a COVID-19 allegory and it’s not subtle at all. I wouldn’t say that the allegory is done poorly here as it does result in some of the movie’s few laughs. With that being said it’s not exactly breaking any new ground either, at this point we have seen the conspiracy theorists, the Alex Jones type of characters and such get the parody treatment in a lot of different media. What Ick does here isn’t any different and if you have already seen these types of jokes before then you are not going to get anything different here.
Lastly there’s the editing which is a mess and is sort of to be expected when it comes to Joseph Khan’s films. Detention (2011) had a similar style, but at the very least it did not feel like overkill and ultimately fit the atmosphere of the movie. With Ick it very much goes into the forgettable territory and much like the rest of the movie fails to leave an impression on the viewer.
Overall Ick has a really solid soundtrack, a decent performance from Brandon Routh and a few good jokes but not much else.
Small-town private investigator Honey O’Donahue probes a series of strange deaths that are tied to a mysterious church.
Honey Don’t is directed by Ethan Coen which by himself previously directed Drive-Away Dolls (2024).
Drive-Away Dolls (2024) I quite liked, it had this fun and bizarre charm to it that made it such a wild experience to watch. Plus the performances were quite great as well, so I was pretty excited for Honey Don’t and unfortunately this one misses the mark. While Honey Don’t is not a bad movie, it is a very uneven one and falls short of greatness it just does not have the same energy or excitement that Drive-Away Dolls had.
Much like with Drive-Away Dolls the performances are the best part of the film. Margaret Qualley as Honey O’Donahue is compelling, intelligent and has a lot of fun one liners that match the atmosphere. It’s clear that Qualley had a blast in this role and it shows through her performance, her interactions with the rest of the cast are hilarious at times and she’s able to capture the dramatic moments naturally. Aubrey Plaza works well with Margaret Qualley, while this might not be one of Plaza’s best performances it is one of her most fun. The sex scenes between the two have this comedic tone that works in the movie’s favor.
Chris Evans is also quite great here as well, he matches the atmosphere and gives a bizarre yet fun performance that really does seem like he was having the time of his life. He shows off his comedic range and is a much more offbeat turn from his other performances, his unhinged nature gives the viewer a few laughs and does a lot of the heavy lifting when it comes to the movie’s humor.
The writing is a mixed bag, while the humor is quite solid it’s the story and mystery itself that are the weakest parts of it. The mystery itself is more on the bland side of things and does not really offer much excitement as the rest of the movie does, it makes for a weird whiplash in tone where you have the comedy and characters being genuinely fun. But with the mystery not so much, it’s unfocused and does not ultimately build itself to be a satisfying mystery.
It is a shame because I do think when Honey Don’t leans into the B Movie and exploitation feel it works very well, not as grand as Drive-Away Dolls (2024) but still satisfying enough. But when it’s focused on the mystery elements it’s forgettable and misses the mark.
Overall Honey Don’t is not a bad movie, just a disappointing one coming off of Drive-Away Dolls. However I do think this one could be considered a guilty pleasure for some and that’s most certainly not a bad thing.
Two men who lost their respective twin brothers develop a growing friendship after meeting in a support group.
Twinless is directed by James Sweeney who previously directed Straight Up (2019).
Twinless was a huge surprise for me, all that I knew about this film is it got rave reactions at Sundance (I’m mad that I missed it there) and that Dylan O’Brien gave an incredible performance. I’m happy to say that I’m joining the choir on both of these, this is a dark comedy that hits a home run very early on and keeps going from there.
The performances all around are fantastic, the number one thing you are going to hear when someone talks about this film is Dylan O’Brien’s performance and that is completely justified. O’Brien gives not only one of the best performances of the year but the best performance of his career. How he’s able to balance the comedic moments with the dramatic ones is truly fascinating, his character Roman has this added character development that keeps him from the audience disliking him. We see him have this sense of confidence even when the words don’t really match said confidence. It’s a fantastic performance that shines the whole way through the film.
James Sweeney (who also wrote, directed and produced the film) as Dennis is also quite fantastic here as well. He perfectly captures someone who yearns for closeness without wanting to build a connection first, he wants it all there readily available to him as soon as he starts to talk with someone. Sweeney does a fantastic job of portraying this flawed character that the audience still has empathy for since it’s established early on both him and Roman lost their twins. It’s especially evident with Dennis we see the scenes of him yearning for a connection, it’s something we all want connection but that sort of thing takes time to build into something powerful. Sweeney does a fantastic job of showcasing how messy and sort of unhinged that rushing a connection can be.
The writing is incredibly well done, it flows very well and has this sort of electrifying energy to it that feels natural. There’s a lot of themes going on here some of which I already touched on, of course there’s the theme of losing your twin or someone in general. As I said before that’s established early on in the film and while it’s done pretty quickly it’s still very well done and explored. It’s what kickstarters Dennis’s whole yearning connection sort of deal, the sense of loneliness is also present which I’ve said before in some of my other reviews that has always fascinated me and that’s no exception here. The sense of loneliness comes from Dennis’s character you can tell through his actions of being desperate there’s this feel of loneliness following him and eating him up, it’s something that truly never goes away and only gets bigger as the film goes on.
Then there’s having empathy for messy and flawed characters which I’ve said James Sweeney does such a fantastic job of creating. He makes these characters feel incredibly real, he doesn’t make these characters cartoonishly unlikable or doesn’t make it feel forced. He does this in such a quiet yet strategically done manner that it ends up shocking the viewer at certain points.
Finally there’s the direction from James Sweeney which is beautifully done, he’s able to masterfully balance the dark comedy and the drama, mix all of the themes I just mentioned and create something unhinged yet beautiful in this strange sense. It helps that the directing is very exciting, Sweeney is quite clearly passionate about what he’s sharing to the viewer and that really shows as soon as the film begins.
Overall Twinless is one of the best films of the year that has excellent performances, clever writing and wonderful directing. James Sweeney is certainly a director to look out for, go see this one if you have the chance.
A young and ambitious New York City matchmaker finds herself torn between a seemingly perfect match and her imperfect ex-boyfriend
Materialists is directed by Celine Song director of Past Lives (2023).
Following up such a beautiful film such as Past Lives was always going to be a tough task, it’s the sort of mindset of that you constantly ask yourself “where do I go from here?” While Materialists is not as good as Past Lives and might not be as subtle, there is still a lot here of what worked spectacularly well in Past Lives and once again Celine Song tackles various themes in compelling ways.
The acting all around is quite fantastic, Dakota Johnson gives yet another solid performance to add to her line of work, it’s a bit of a more quiet performance for her but that’s not a bad thing at all. She works incredibly well with Pedro Pascal and Chris Evans (has very strong chemistry with the latter) and the last half of the film is where she truly stands out and gives sort of a heart breaking performance when the film goes into some brutally honest conversations about modern dating and the unpredictability of connection.
Pedro Pascal is great here but he does not get as much screen time as Johnson or Evans, admittedly his character Harry Castillo isn’t as interesting as the rest of the characters around him. But Pascal’s performance is more than enough to make up for it, this might not be one of Pascal’s all time great performances but it’s a bit different from what he usually does.
Chris Evans is the standout of the film, as soon as he enters the film he steals every single scene he’s in. There’s something about the way his character John Pitts talks that makes the dialogue flow so well, he still has that great comedic impulse in him it’s due to him that some of the humor present in the film works at all. His chemistry with Johnson is excellent and there’s some genuinely touching moments between the two. Evans does a fantastic job of matching the atmosphere Celine Song is going for, he’s able to quickly adapted to the tone shift that appears in the later half of the film quite easily and from there goes all out with his performance.
While the writing does have its hiccups at times (some of the side characters could have used more development) and there are moments that could have absolutely used a bit more of a power push. I do think what Celine Song is telling the viewer is done very well. Yes the tone shift during the later half of the film is a bit bizarre, but it works in the film’s favor. The first bit of the film is a romantic comedy and quite a great one, but then the film hits you with this brutally honest conversation about modern dating and the horrifying unpredictability of connection. Some things are too good to be true, it’s a harsh reality that modern dating can easily go from sunshine and rainbows to downright evil behavior in an instant or even on the same night.
Celine Song’s direction is honest, careful and has this quiet power hit. Whether it be casual conversations between Evans and Johnson or the later half of the film that has tons of hard hitting scenes. Song is able to bring the viewer into the film and make sure they are digesting everything that is going on, in most circumstances tone shifts like what are present in this film would not work. But Celine Song is able to make it work due to how very real this conversation is and by painting a brutally honest picture of how connection can go south.
Materialists might not be as striking as Past Lives but I think the quiet approach that Celine Song takes with this film is more than enough to justify a viewing.
During the COVID-19 pandemic, a standoff between a small-town sheriff and mayor sparks a powder keg as neighbour is pitted against neighbour in Eddington, N.M.
Eddington is directed by Ari Aster director of Hereditary (2018), Midsommar (2019) and Beau Is Afraid (2023).
When the clock reached midnight on January 1st 2020, I don’t think anyone had any sort of clue of how insane, chaotic and disastrous 2020 as a year was going to be. Ari Aster’s Eddington isn’t the first film to tackle the COVID-19 pandemic but it is the first to perhaps show how it heavily affected several people in ways that aren’t so great. The film is not talking about being trapped inside your home for a number of days, it’s talking about the people grew this main character syndrome, the conspiracy theorists, the opportunists who take advantage of well meaning activism and absolutely insane politicians.
For starters the cast is incredibly well done here, Joaquin Phoenix plays Joe Cross which is quite possibly one of his best performances. He starts as this small-town sheriff and eventually a mayoral candidate who over the course of the film becomes more and more insane as paranoia and hostility start to occur. His turn to this maniac is both disturbing as well as hilarious, he’s able to capture the film’s black comedy atmosphere that truly makes certain scenes all the more memorable. Pedro Pascal is also fantastic here, he plays the mayor Ted Garcia who puts on this smile but in reality is a few steps away from having a meltdown, his character largely tackles a lot of the fake persona that a lot of politicians put on for the public and Pascal’s acting does such a good job of capturing that. There’s one particular scene with Phoenix and Pascal that captures this as well as a turning point in the story incredibly well, the way the scene is shot, edited and the use of Katy Perry’s song Fireworks is absolutely brilliant.
Emma Stone and Austin Butler are both fantastic here as well, while they don’t get the most amount of screen time (especially Butler) they still leave a lasting impression. Butler plays this cult leader Vernon Jefferson Peak, who may come off as rational to people who think exactly like him but to others he’s insane, Emma Stone who plays Louise Cross eventually joins Vernon, Stone’s performance is a bit more quiet than a lot of the rest of the cast but it’s still just as strong and important. Lastly there’s Deirdre O’Connell who plays Dawn, Louise’s mother an insane conspiracy theorist that is very reminiscent of someone who clicks on clearly made up Facebook news articles and takes their word for it. She’s the person who would say “plandemic” at the Thanksgiving dinner you are with your family, O’Connell nails every single scene she’s in and is one of the film’s best assets. This is largely where the conspiracy theorist part of the film comes in and it’s done so perfectly and really does capture all of the insanity behind it.
The cinematography combined with the setting and the atmosphere are all spectacular. Cinematographer Darius Khondjii is incredibly well detailed and captures the insanity of this film. The film does sort of feel like you stepped into a demented Wile E. Coyote cartoon especially when the film throws its comedy into the mix. The use of Albuquerque and Truth Or Consequences New Mexico is absolutely brilliant, the film puts you in these areas where it’s a bit smaller in scale but that truly makes the last half of the film all the more terrifying. Not to mention that the locations really match the film’s many themes and are genuinely beautiful as well.
Lastly there’s the film’s writing and many different ways of tackling certain kinds of people during the pandemic. I’ve already mentioned the conspiracy theorists so I’ll skip over that and talk about the opportunists, there’s a scene that tackles the BLM protests. While there are people there that genuinely want change, you have people who are simply there to either argue, be performative or want internet fame. The film shows this incredibly well, it shows that certain people will do anything to get fame and claim to be good people yet don’t do anything beyond being performative.
This is a portion of the film that tackles this theme of nobody in this film is talking about the same thing or having the same conversation, the ability to reach other is completely meaningless because either nobody WANTS to listen or flat out does not care. The film shares this as this nightmarish world that became more noticeable when 2020 happened, it’s something that to this day is still very present. Ari Aster does such a masterful job of portraying this in such a grim yet humorous way that when you do laugh you are quickly shifted back into this “oh wait a second this is actually happening” type of feel. Something in our way of communication broke and has not recovered and quite possibly may not recover.
Eddington captures how terrible and nightmarish 2020 was as a year, it’s done in both this dreamlike and nightmarish way to the point where you feel like you are in purgatory. It’s one of the best films of the year and truly shows why Ari Aster is such a master at his craft.
Reformed criminals Mr. Wolf, Mr. Snake, Mr. Piranha, Mr. Shark and Ms. Tarantula are trying very hard to be good. However, they soon find themselves hijacked into a high-stakes heist that’s masterminded by a new team of delinquents they never saw coming — the Bad Girls.
The Bad Guys 2 is directed by Pierre Perifel director of The Bad Guys (2022).
The Bad Guys (2022) was a surprise, it ended up being one of my favorite films of 2022 a year that was a filled with lots of fantastic releases. The Bad Guys 2 follows a lot of what made the first film so great, there are times where there is a bit of familiarity. However that does not outweigh the positives this film has to offer.
The voice cast is just as good as it was from the first film, Sam Rockwell does such a fantastic job as Mr. Wolf he brings this cool style that always feels fun and this relaxing vibe as well. Some new additions like Danielle Brooks as Kitty Kat, Natasha Lyonne as Doom/Susan and Maria Bakalova are also incredibly great here. They bring these characters their own fun personalities without feeling like almost identical to the main group, in fact I would go as far as to say that The Bad Girls were effective antagonists, while yes some get more development than others I do think for a film that attempted to go with an “opposite team or person” sort of idea this is one of the times where the film nails it.
The animation is just as stunning as it was in the first film, a lot of what I said about the animation from the first film can be applied here. Right at the beginning there’s tons of attention to detail, the colors all pop out incredibly well and the energetic vibe of it all really ties this whole film into a nice little package. The animation is so well done and even expands the film’s world even further from the first film.
The writing is also quite strong here as well, the dynamic between Mr. Wolf and Diane Foxington is genuinely interesting. Their little banter and bond is genuinely heartwarming at times and makes you root for them. The film definitely has a Mission Impossible sort of vibe especially towards the end when things get incredibly chaotic (I mean that in a good way), there really isn’t anything incredible here when it comes to themes. The film is mostly focused on entertaining the viewer which is not a bad thing at all, the film knows its goal and accomplishes it within a matter of seconds.
Overall The Bad Guys 2 is a worthy sequel to a fantastic predecessor, I don’t think this one is as good as the first film simply because it does feel a bit familiar in some areas. However that does not mean this is a bad film, it’s a strong sequel that if you loved the first film you will absolutely fall in love with this one.
Stitch, an extraterrestrial entity, comes to Earth after escaping prison, where he tries to impersonate a dog. Things take a turn when a lonely Hawaiian girl, Lilo, adopts him from an animal shelter and he helps mend her broken family.
Lilo & Stitch is directed by Dean Fleischer Camp who previously directed Marcel The Shell With Shoes On (2021). The film serves as a remake to the 2002 film of the same name.
Lilo & Stitch might be the better than Snow White when it comes to Disney live action remakes that came out this year, but is that really worth celebrating? I will admit that there’s parts of Lilo & Stitch that work well enough, but much like a lot of these other live action remakes the end result is complete inferior versions of the original.
As far as the cast goes seeing Chris Sanders return as the voice for Stitch is great, he does a great job here and his connection with Maia Kealoha is easily some of the movie’s best moments. Speaking of which Maia Kealoha absolutely carries this movie, she captures the spirit of Lilo from the original and has a lot of sweet moments. You can easily tell there was so much charm that went into her performance and she was able to bring that to the viewer front and center, if it hadn’t been for Kealoha and Sanders this remake would fall flat almost immediately at the start. The rest of the cast are fine enough, Billy Magnussen as Pleakley has some good moments but that’s really about it, a lot of the other characters such as Jumba just don’t have the charm or energy of what made them so great in the original. A lot of the character writing here felt very half baked and severe lack of passion, which is incredibly unfortunate.
The writing is strange to say the least, this is an instance where the movie is at its best when it follows the original not when it brings new things into the mix. The character writing is especially noticeably dipped in quality the main offender being the choice to make Jumba a villain, it’s an out of nowhere decision that hurts the movie in the long run. Jumba being a villain takes away a lot of what made his character so great in the original, he doesn’t have that same connection with Stitch, while yes he was technically a “mad scientist” in the original but he was ultimately a goofy guy, the destruction he made was accidental because he was mostly insensitive and mean in this goofy way. Think about it this way, imagine if someone tried to make Dr. Doofenshmirtz from Phineas and Ferb into a very serious villain. That’s the equivalent of what this movie did here with Jumba. In this movie Jumba is evil for the sake of being evil, he hates everyone, takes away a lot of what made him such a great character.
As far as the ending is concerned it’s a very puzzling decision and really defeats the purpose of the original, not only that but it’s incredibly out of character for Nani. The original had this message of being Ohana which means no one gets left behind, to see a complete whiplash from this movie is bizarre to say the least.
Overall there really isn’t not much else to be said about the live action remake of Lilo & Stitch. It has its moments that capture the original decently well but then you have moments that completely miss what made the original so fun, adventurous and why people love it so much.
After learning he’s getting neutered, a dog has 24 hours to squeeze in one last balls-to-the-wall adventure with the boys.
Fixed is directed by Genndy Tartakovsky director of The Hotel Transylvania movies (2012-2022) and tons of TV work such as Dexter’s Laboratory, The Powerpuff Girls, Samurai Jack and Star Wars: Clone Wars (2003).
Much like a lot of people Tartakovsky was a part of my childhood, if you grew up with Cartoon Network there’s a huge chance that you have at least seen some of his work. His style of animation was always appealing to the eye, the characters were exciting, had some surprisingly well thought out development that audiences can appreciate. Whether it was something silly and fun like Dexter’s Laboratory or something more dark in tone like Samurai Jack Tartakovsky always had a way to tell a story through animation.
So it makes it all the more puzzling on how Fixed came to be, it’s the direct opposite of what Tartakovsky usually does. Which I do understand directors trying to go for something completely different, the idea of a Tartakovsky directed adult cartoon is not necessarily a bad one. But a lot of what made Tartakovsky such a great director and creator is just not present at all in Fixed, instead we get a movie that somehow makes Sausage Party (2016) look like a masterpiece in comparison.
I will say that the 2D animation is genuinely great, it’s a shame it’s used for a movie that essentially boils down to “haha dog balls” or “haha dick joke” but there are times where the animation is creatively used, unfortunately those moments do not go far enough. One moment you have some genuinely striking animation and the next moment you have dog balls shoved in your face. In fact that goes for more than the animation, every time the movie is trying to have a somewhat serious moment it’s always proceeded by an unfunny joke that completely deflates the feel of the scene that just occurred.
The jokes are basically dick jokes, dog balls or dogs having sex, with none of these jokes being clever at the slightest. With the exception of one genuinely decent joke that isn’t sex related, every single other joke falls flat on its face. It’s an absolute shame because there was a lot of potential here, unfortunately when you have a script that feels like it was written by edgy teenagers you can only do so much.
The voice acting is not terrible, but it’s most certainly not anything to write home about. Idris Elba, Kathryn Hahn, River Gallo and Fred Armisen are all very talented actors but the material they are given here is flat out terrible. Adam DeVine as the lead is annoying, easily one of the worst parts of the movie (and that’s saying something) and just painful to listen to. None of these characters have any meaningful development, all of it is cliche character types that you have already seen.
Overall Fixed is nothing but 85 minutes of the exact same joke over and over again, the story fails to invest the viewer and could have easily been put into a 30 minute TV episode. As annoying as Sausage Party (2016) got at the very least there was a creative angle the movie took even if it wasn’t very often. Fixed is basically the exact same thing except it’s not clever and never tries to be. Even if you are a fan of adult animation this is something I don’t recommend.
Gilmore returns to the sport of golf since his retirement after winning his first Tour Championship, to finance his daughter’s ballet classes
Happy Gilmore 2 is directed by Kyle Newacheck director of Game Over, Man! (2018) and Murder Mystery (2019). The film serves as a sequel to Happy Gilmore (1996).
Happy Gilmore 2 asks the question, what if we can throw in as many cameos as possible while also completely taking everything that made the first film so fun away? If that was the main goal here then the movie accomplishes just that, if the main goal was to be a good movie that wanted to be as memorable as the first movie well then it fails miserably.
The acting is all over the place, a surprisingly decent performance comes from Bad Bunny who between his appearances on SNL and this film has shown he might have something with comedic acting. It’s a shame that he had this script to work because the very few laughs from the movie come from him. Adam Sandler isn’t terrible here, he delivers a few jokes but he’s just really not doing anything drastically different from what he did with Happy years ago. If anything this movie really shows that Sandler has not really evolved as a comedian due. The dynamic between Sandler and his daughter is genuinely sweet, but we do not get a whole lot of that here unfortunately.
The cameos are what they are, even when she’s given 2-5 minutes of screen time Margaret Qualley ends up being one of the best parts of the movie. She’s genuinely funny and works with what she can with the script. Eminem’s cameo is also kind of fun in a “so bad it’s hilarious way” that does not come from Eminem’s performance (actually okay) it comes from the way the scene is executed and shot, it heavily reminds you of the sort bizarreness you would see in a Super Bowl Ad. There is a lot of instances in the movie like this and this is one of the few times where it works. There is a ton of other cameos that range from “why is this even here?” to speaking for themselves.
The script from Tim Herlihy and Adam Sandler attempts to throw everything at a wall to see what sticks, it’s devoid of what made the first movie so fun. Such as the humor and some genuine character moments, those are completely absent here with so little to go off of. The movie’s use of nostalgia and old clips from the previous movie while somewhat neat quickly starts to lose its uniqueness once you realize that a large majority of it is covered with this feel of wanting to also be a modern comedy that throws cameos at the wall.
The biggest issue with Happy Gilmore 2 is the movie itself feels like a giant ad that is desperately trying to sell you something, the way it’s shot with the obnoxious zoom ins, the shoddy editing that fails to give the movie any sort of personality and the visual language just not having anything to compliment on throughout the whole movie. As I mentioned before a lot of the movie is shot like a Super Bowl ad and while it may seem fitting since it is sports related, it quickly gets old and has no personality at all.
Overall Happy Gilmore 2 is a cameo fest that occasionally has some decent laughs but can’t be saved from the incredibly messy script that has no desire of capturing the feel of the first movie.
Jerome Reviews... 