The following is a review of Klovn: The Final — Directed by Mikkel Nørgaard.
The Final is the third and supposedly final film entry in the wildly popular Danish comedy series known as Klovn (which means clown), a Danish comedy franchise inspired by Curb Your Enthusiasm starring two of Denmark’s most popular comedians, Casper Christensen and Frank Hvam, playing fictionalized versions of themselves. Casper Christensen, who recently appeared in Chris Addison’s Rebel Wilson and Anne Hathaway-led comedy The Hustle, could be called Denmark’s Jerry Seinfeld, but his character on the show is very different. The Casper character is a womanizing sexual addict, who constantly gets his best friend Frank into trouble. Frank Hvam’s character is the ‘Larry David’ of Klovn. The Frank-character makes many embarrassing blunders, and his partnership with Casper Christensen always gets him into trouble with his wife and their friends. Continue reading “REVIEW: Klovn: The Final (2020)”→
The following is a review of Parasite (‘기생충‘) — Directed by Bong Joon-ho.
Bong Joon-ho’s Parasite is a South Korean drama about the class system. The film follows a very poor South Korean family who lives in an abandoned basement. The Kim-family spend their days searching for free WiFi, and they make a living folding pizza boxes. The parents — Ki-Taek (played by Song Kang-ho) and Chung-sook (played by Chang Hyae-jin) — hope that their children — Ki-woo (played by Choi Woo-shik) and Ki-jeong (played by Park So-dam) — can climb the social ladder and make a life for themselves that is prosperous. Ki-woo plans to go to college and make something of himself. However, as their father, Ki-Taek, later warns, plans are unreliable. Continue reading “REVIEW: Parasite (2019)”→
The following is a review of Zombieland: Double Tap — Directed by Ruben Fleischer.
Belated comedy sequels scare me. They certainly don’t scare me as much as the flesh-eating living dead can, but whenever I hear about a sequel to a comedy that came out a decade ago, or longer, I get a chill down my spine. I watch these trailers with a concerned look on my face, and I’m always ready to cover my forehead with my palm if the trailer frustrates me. 2014’s Dumb and Dumber To was a terribly disappointing belated sequel to Peter Farrelly’s 1994 comedy classic, and Ben Stiller’s 2016 sequel to Zoolander might be one of the worst comedy sequels that I’ve ever seen. So when I pressed play on the first trailer for Zombieland: Double Tap, which has been released ten years after the original comedy hit came out, I was more worried than I was excited. To tell you the truth, I absolutely hated that trailer, which is exactly why I was so pleasantly surprised to see that Zombieland: Double Tap is one of the rare belated comedy sequels that actually works. Continue reading “REVIEW: Zombieland: Double Tap (2019)”→
The following is a review of Dolemite Is My Name — Directed by Craig Brewer.
In 2006, Eddie Murphy, one of the greatest American comedians of all-time, was about to have his big moment in the spotlight as an actor. His performance in Dreamgirls given him industry recognition and critical praise. He had now finally won a Golden Globe and, realistically, he had set his sights on the golden statuette handed out by the Academy of Motion Picture Arts and Sciences. Eventually, though he was nominated, he lost the award to Alan Arkin. Back then, it was speculated that his appearance and performance in the critically panned Norbit was to blame for him having missed out on his Oscar. It’s ironic, really, that perhaps comedy had cost Eddie Murphy the most coveted award in cinema. With that having been said, comedy can take him back to Academy Awards. Because Dolemite Is My Name is a hoot and Eddie Murphy genuinely gives an awards-worthy performance in it. Continue reading “REVIEW: Dolemite Is My Name (2019)”→
The following is a review of Yesterday — Directed by Danny Boyle.
What would you do if you woke up one day and found yourself in a world where no one knew of The Beatles? Just picture it. This world wouldn’t think of John, Paul, Ringo, and George when they thought of Abbey Road. People wouldn’t know the words to “Eleanor Rigby,” “Yesterday,” or “Back in the U.S.S.R.,” and you would be the only one in the world who could be the vessel and voice of their genius. Would you tell the world of their music, or would you make a career off of their work? In Danny Boyle’s Yesterday, the failing musician Jack Malik (played by Himesh Patel) finds himself in that situation after he is involved in, and knocked out by, a car crash during a worldwide power outage. Malik eventually decides to take credit for the song-writing to advance his career, but, in doing so, he soon realizes that he’s letting go of the person that means the most to him. Continue reading “REVIEW: Yesterday (2019)”→
The following is a review Murder Mystery — Directed by Kyle Newacheck.
I go back and forth when it comes to Adam Sandler. I love plenty of the audience-favorite comedian’s films. I think Sandler is gifted with tremendous dramatic talent, which he showcased with his performances in Paul Thomas Anderson’s Punch-Drunk Love and Noah Baumbach’s The Meyerowitz Stories. He is still a very funny stand-up comedian if his excellent Netflix special Adam Sandler: 100% Fresh is anything to go by. But, more often than not, Sandler is known for his comedies. More often than not, Sandler is known for his not-so-fresh, critically panned comedies. Sandler and Netflix have made about a handful of Happy Madison-comedies together, and, thankfully, though Murder Mystery isn’t exactly a home-run, it is far superior to the godawful, snoozefest that last year’s The Week Of, arguably the worst film of 2018, was. Continue reading “REVIEW: Murder Mystery (2019)”→
The following is a review of Booksmart — Directed by Olivia Wilde.
Before I saw Booksmart, it had been impossible for me to avoid the online bombardment of incessant comparisons between Booksmart and Superbad. The comparison made sense, even when I hadn’t seen the film. This is a coming-of-age film about two best friends who want to have a good time before they leave for college. Also, one of the two leads in Booksmart is Superbad-star Jonah Hill’s sibling Beanie Feldstein. Having now seen Olivia Wilde’s directorial feature debut, I have to admit that it would be wrong to say that it isn’t very similar to Superbad. Thankfully, though, I grew up with Superbad. I love Superbad. So it pleases me to say that any comparison to Superbad is by no means meant to be anything other than a compliment of the highest order. Booksmart is a modern, sweet, and gender-swapped, next-generation version of Superbad and I loved every minute of it. Continue reading “REVIEW: Booksmart (2019)”→