Trolls
SimilarAbout a Boy (2002), Aladdin (1992), Batman Forever (1995), Batman Returns (1992), Billy Elliot (2000), Bugsy Malone (1976), Chicago (2002), Dances with Wolves (1990), Dirty Dancing (1987), Dr. No (1962), Enchanted (2007), Fantasia (1940), Forrest Gump (1994), Four Weddings and a Funeral (1994), From Russia with Love (1963), Harry Potter and the Philosopher's Stone (2001), Harry Potter and the Prisoner of Azkaban (2004), Ice Age (2002), Italian for Beginners (2000), La Vie en Rose (2007), Madagascar: Escape 2 Africa (2008), Mary Poppins (1964), Momo (1986), Mortal Kombat: Annihilation (1997), Moulin Rouge! (2001), Muriel's Wedding (1994), My Own Private Idaho (1991), On Her Majesty's Secret Service (1969), Princess Mononoke (1997), Ronia the Robber's Daughter (1984), Shall We Dance? (2004), Shrek (2001), Shrek 2 (2004), Shrek the Third (2007), Sleepless in Seattle (1993), Snow White and the Seven Dwarfs (1937), Star Trek III: The Search for Spock (1984), Stranger Than Paradise (1984), The Avengers (1998), The Big Blue (1988), The Butcher Boy (1998), The Man with the Golden Gun (1974), The Spy Who Loved Me (1977), The Terminal (2004), Wallace & Gromit: The Curse of the Were-Rabbit (2005), Willy Wonka & the Chocolate Factory (1971), You Only Live Twice (1967),
Studio20th Century Fox,
The Trolls movies continue to indulge in their best and worst impulses in a third installment.
The poster for this past summer's R-rated comedy No Hard Feelings had a reasonably clever tagline to explain the strained dynamic between the film's two leads. Against an image of Jennifer Lawrence squeezing Andrew Barth Feldman's cheeks, a single word is placed on top of each person's face: "Pretty" and "Awkward." Nothing revolutionary in design, but it gets the job done. Best of all, that tagline also makes for an apt descriptor for Trolls Band Together.
The third entry in the Trolls trilogy (based on the popular 80s dolls), Trolls Band Together does indeed live up to the phrase “Pretty. Awkward.” The animators at DreamWorks keep coming up with gorgeous-looking environments for the titular critters to inhabit that look like they emerged from the wreckage of a craft store explosion. Unfortunately, the writing remains as stilted as ever. Continue Reading →
Hustle
SimilarAnnie Hall (1977), The Big Blue (1988),
Watch afterDoctor Strange in the Multiverse of Madness (2022),
Adam Sandler doesn’t need to earn any good karma. With a comedy career spanning 25 years and a dramatic career consisting of two decades worth, though more sparingly, of working with auteur filmmakers, the Sandman has been given the green light around Hollywood. And more importantly, he’s been given a blank(ish) check by Netflix, the service most associated with streaming despite its recent struggles. Continue Reading →
Home Team
SimilarAnnie Hall (1977), JFK (1991), The Big Blue (1988),
The 2012 Bountygate scandal pushed New Orleans Saints coach Sean Payton toward his son, as he spent the season he was suspended from the NFL on the sidelines of a sixth-grade football team. Briefly: “Bountygate” sprung out of a system that Payton, his assistant Head Coach, the Saints’ former defensive coordinator, and the team’s General Manager put into practice that paid players bonuses for injuring key members of opposing teams on the field. Unfortunately, this is the true story at the heart of Home Team, a trite Kevin James vehicle depicting the public suspension of Payton just two years after the Saints victory at Super Bowl XLIV. This isn’t a rise and fall story. It’s a continuous landslide, 95 minutes that reaffirm Payton as an unsupportive father, a way-too-intense football coach, and an all-around negative person to be around. Continue Reading →
Bruised
SimilarAnnie Hall (1977), Blood and Chocolate (2007),
Boys Don't Cry (1999) Lost in Translation (2003), The Big Blue (1988),
The best sports movies uplift and invigorate. They often take their formulaic structures to greater heights than what seems achievable. They transcend the films that they’re modeled after, pushing forward different definitions of winners and losers. The classics, Rocky, Hoosiers, A League of Their Own, offer the catharsis that sports can bring; they unite an audience in rapturous applause, even if the underdog doesn’t win the title fight. Unfortunately, Halle Berry’s directorial debut, Bruised, neither elevates nor shifts this formula, resigned to a middling existence likely to get lost among the endless titles shuffling through Netflix. Continue Reading →