Tag: Daniela Melchior

Balls Up (2026) | REVIEW

Mark Wahlberg and Paul Walter Hauser in BALLS UP — PHOTO: Amazon MGM Studios (Still image from trailers).

Directed by Peter Farrelly (Ricky Stanicky) — Screenplay by Rhett Reese and Paul Wernick.

Peter Farrelly’s Balls Up follows product inventor Elijah DeBell (played by Paul Walter Hauser) and salesman Brad Lewison (played by Mark Wahlberg) as the mismatched duo travel to Brazil to pitch their newly developed condom, which is a condom that goes over the testicles. They, and their company, are hopeful that the condom can become ‘the official condom of the World Cup’ that the country is hosting. Even though they initially impress the representatives they meet, an incident at a party leads to them losing the deal that they were working towards. Instead, Elijah and Brad find themselves at the World Cup final, drunk and frustrated over the fact that another lesser company got the role that they had worked hard for. Feeling taunted by the World Cup mascot, Elijah and Brad run onto the pitch in the final moments of the game and are to blame for Brazil ultimately losing the match. Now, they’re stuck in Brazil, where they have become public enemies, and they have to navigate dangerous situations if they are to survive.

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Road House (2024) | REVIEW

(L-R) Jake Gyllenhaal and Conor McGregor in ROAD HOUSE (2024) — PHOTO: Amazon MGM Studios / Prime Video (Still image from the trailer).

Directed by Doug Liman (Chaos Walking) — Screenplay by Anthony Bagarozzi and Charles Mondry.

Whether its fans liked it or not, for more than ten years, there had been talk of an attempt to remake the Rowdy Herrington 1989 action cult classic Road House starring Patrick Swayze. Now in 2024, it is finally here, as it has been remade for modern audiences by The Bourne Identity and Edge of Tomorrow director Doug Liman, whose remake stars Jake Gyllenhaal in the role popularized by Patrick Swayze’s iconic performance — Dalton. Like in the 1989 film, Dalton is hired to be the bouncer at a bar early on in Liman’s film, but there have been significant changes, including the fact that now Dalton has a background in UFC fighting. He doesn’t have the steely focus as a professional bouncer either. Rather we first meet him as he gets ready to scam fighters in an underground circuit. In these opening scenes, Dalton is suicidal and only narrowly survives a suicide attempt early in the film. When he finally gets to the bar that he is supposed to be the bouncer at — a sunny, tropical Florida-set bar called ‘The Road House’ — it doesn’t take long for him to get involved in a fight to get a motorcycle gang off the premises. Soon, a local crime boss (played by Billy Magnussen) tasks the psychotic enforcer Knox (played by Conor McGregor) with taking out Dalton for good.

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Fast X (2023) | REVIEW

Jason Momoa in Louis Leterrier’s FAST X — PHOTO: Universal Pictures.

Directed by Louis Leterrier — Screenplay by Dan Mazeau and Justin Lin — Story by Dan Mazeau, Justin Lin, and Zach Dean.

Louis Leterrier’s Fast X follows Dominic Toretto (played by Vin Diesel) and his team — which consists of family, friends, and former villains (all of whom Dom considers to be ‘family,’ of course) — as they are put in danger when an unknown crazy enemy from their past named Dante Reyes (played by Jason Momoa) seeks vengeance.

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REVIEW: The Suicide Squad (2021)

David Dastmalchian, John Cena, Idris Elba, and Daniela Mechior in THE SUICIDE SQUAD — Photo: Jessica Miglio / Warner Bros.

Directed by James Gunn (Guardians of the Galaxy) — Screenplay by James Gunn.

Over the years, I have certainly not tried to hide the fact that I think 2016’s Suicide Squad, which was directed by David Ayer (though he has repeatedly made it clear that the film was essentially taken away from him as a result of studio interference), is, to put it mildly, one of my least favorite films ever made in the superhero genre. That 2016 film certainly reeked of studio interference, it was an almost incoherent mess, it was needlessly grimy and at times quite ugly, it used a decent soundtrack as a crutch and in a way that became incredibly tiring, all the while failing to get you to care about the characters or the relationships they were building. There were some decent things about it, but, on the whole, it felt like someone had tried to turn Ayer’s vision into a shameless imitation of James Gunn’s Guardians of the Galaxy, and that just didn’t work for the film that Ayer had envisioned.

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