Category Archives: Movie Reviews

Our reviews and thoughts on the latest releases, classics, and nostalgic favourites. Things we loved, things we hated, and worst of all, things we were ambivalent about.

The Christmas Project

Do you like A Christmas Story? Well may I present to you its bastard brother, The Christmas Project. It’s a blatant ripoff, and a very embarrassing one. Almost identical, but vastly inferior.

It’s a “period piece”, but while A Christmas Story drips with nostalgia, this is just an excuse to have mom in teased hair and blue eye shadow. Even the Christmas Story-esque narration can’t make a good case for itself.

There’s a bully. There are broken glasses. There’s a snafu with the turkey. There’s a definitive homework assignment. There are dreaded Christmas gifts from a clueless MV5BNmE1YzA4ZjEtZDYyMS00OWUzLWI2YTQtNmI0ZGVlZmUwZTQyXkEyXkFqcGdeQXVyOTk1NTk0Nw@@._V1_SY1000_CR0,0,1498,1000_AL_aunt. How this movie did not result in a plagiarism lawsuit is beyond me. But as you know, in my books, the worst offense is to bore me. And this one bored me impressively, from tail to antler (that’s a new saying I just made up, in honour of the holidays). With nothing new or original or well-said, there’s literally nowhere to direct your attention to in this film. It’s the kind of movie where, as the credits roll, you’ve unexpectedly baked a pie or given yourself a manicure. Your brain just gets so thirsty for input, anything will do. You might compulsively online shop, or you might accidentally eat the whole bag of chips. And it’s not your fault! Santa will be leaving big lumps of coal in the director’s and writer’s and producer’s (etc) stockings this year; the movie is from 2016 originally but it only offended me this year, so another round of coal is due, on my behalf (and hopefully not yours).

I’m not even sure that coal is enough. I’m sharpening up candy canes – a shiv with a minty aftertaste. And I’m crushing up glass ornaments. And I’m going to leave little Elf on the Shelfs all over their homes in random places; not the joyful elf in regular houses, but elves whose eyebrows I’ve made dark and pointy, so when the person happens upon it, perhaps in some dark, out of the way corner, they’ll be startled, and then feel judged. And those little wooden eyes will bore into their souls, causing them to question their motivations and goals with the only possible outcome to realize that they’ve lived their lives entirely wrong. Merry Christmas everyone!

Beverly Hills Christmas

Oh dear. It seems they’ve taken the title of this movie a little too seriously. Most of the characters in the film are silicone-injected, filler-enhanced, bee-stung, liposucked to hell and back. It’s so bad that it feels like a parody. It is not.

Angelina gets into a car accident, and the angel Gabriel (Dean Cain) tells her that she can’t get into heaven until she fixes something she broke.  The broken object is her daughter Ravin, a spoiled, materialistic rich kid who may be broken beyond repair. It doesn’t help that Angelina can’t be seen by her daughter, nor can she touch her. She can, however, speak to her, in the form of an inner voice, like a conscience, although that concept is rather spottily treated throughout the movie.

But wait: what is Dean Cain doing in this monstrosity? I mean, 90s television Superman is not exactly a great height from which to fall, but still. And then I knew. Compared to everyone else in the film, Dean Cain looks like an acting god. And while I’m not trying to knock the Cainer, I am definitely, most 100% assuredly knocking damn hard, walloping with all my might, thudding with Thor’s unpronounceable hammer the others in the cast. They’re not acting school rejects, they’re tremendously bad acting hall of famers.

Anyway, Angelina has until Christmas Eve to turn her bratty daughter into a decent human being. Meanwhile, Angelina’s friend and Ravin’s new mommy, Carol, has similar intentions, but thinks shipping her off to boarding school may be the best answer. But for the holidays anyway, it’s the soup kitchen for Ravin, who cannot roll her eyes and say “Ew” enough. But would you believe that a fellow soup kitchen volunteer is young, handsome, and has a congenitally bad heart? Perhaps what Ravin needs is to fall in love, and then have another person drop dead in front of her. It’s a weird turn to take.

Anyway, what can I say beyond: it’s bad. I don’t even know which is worse, the acting or the effects. Well okay, it’s definitely the acting. But truly there are no redeeming qualities to this film. It’s just puckered and pickled from one end to the other, and I know with a literal plethora of holiday films out there, you can’t do worse, and you might do better, so by no means debase yourself with this.

Angel of Christmas

Susan is writing an article about her family’s Christmas angel. Her great-grandfather carved it himself , and gave it the lavender eyes of a Broadway actress he was in love with. Her family has put it on their outdoor Christmas tree every year since, and Susan’s mother attributes magical properties to it. As the article will say, it brought her and her husband together, as well as her grandparents. Will it do the same for Susan? And can she dig up the name of the mysterious actress who stole great-grandpa’s heart?

The angel does in fact dig up two possible suitors: a straight-laced, uptight businessman, and a free-spirited artist. Who will she choose? Or will she in fact realize that neither one is all that impressive, and being single is preferable to being tethered to a boring dude, whether he’s got paint smudged on his cheek, or a coffee stain on his $100 Hugo Boss tie.

As she gets to know one of the suitors, they discover a lot of commonalities that had Sean and I wondering if they’d turn out to be kissing cousins. It started to sound like great-grandpa might have stashed a side piece in a cabin in the woods. I wouldn’t want to spoil the ending for you (as if there can be any doubt when it comes to a Hallmark movie), but yeah, there’s cheese and unlikely romance, a touch of christianity, and there’s even a cameo of my work (courtesy of snowy Ottawa stock footage).

Angel of Christmas is not a good movie or even an entertainingly bad one. It’s not entertaining at all. It’s a movie that exists and I suggest you do not watch.

Miss Me This Christmas

Regina (Erica Ash) and Franklin (Redaric Williams) were married on Christmas at the beautiful Chesteron Hotel. But that was 6 years ago. When Regina realizes she doesn’t trust Franklin, this Christmas the two are set to divorce. But they will not go gently into that silent night. Regina is whisked to a penthouse suite at the hotel by her best friend Trish (Eva Marcille) for some cheering up and drinking down but she keeps bumping into Franklin and the two are fighting an escalating war of making each other jealous.

Then Regina bumps into Ulysses (Allen Maldonado), a nerdy and somewhat eccentric millionaire who happens to live in the hotel. Things between them heat up very quickly, and when he proposes, Regina has to decide if this is just another stunt to make her ex jealous, or if she’s actually ready to move on.

Sean is at his work holiday party tonight. The roads are paved with black ice and breath comes out in clouds. I stayed home to watch Christmas movies and wrap gifts (the two go hand in hand) beneath the comfort of my faux-fur throw.

Miss Me This Christmas is nobody’s new favourite classic. The plot is predictable and clunky, the dialogue is as natural as Santa’s polyester beard. But the cast is doing its best to look good and entertain, and if you like your Christmas cheer with a side of syrupy romance, then you can do worse than this one. I have and I will again. But when you’re wrapping presents, you don’t want anything heavy while navigating your tape and scissors. I lose my scissors at least every third minute, so anything “good” would just be a hazard. Ya know? But on the off chance that you want to keep the party going (or you’ve got as many presents as I do), it has a sister movie, You Can’t Fight Christmas, part of the same cinematic universe, because apparently that’s a thing now, with holiday flicks.

A Star Is Born (1976)

John Norman Howard is 3 hours late to his own show. The 50K people spilling out of the stadium are restless, but they aren’t leaving. When he does arrive, they’re ready to forgive everything, but he’s not even sober enough to remember the words to his own songs.

Meanwhile, Esther Hoffman, an unknown songstress, is the “filling” in a trio regrettably called The Oreos, performing in a bar that serves warm beer or herbal tea. It’s not a great place, and it goes downhill when it’s terrorized by a drunken, sloppy, washed up rockstar. Intentionally or not, he’s incredibly disruptive, and Esther (Barbra Streisand) knows when a gig’s gone belly-up. Generously she leads John (Kris Kristofferson) out to safety.

MV5BMTQ5MzMyMjI0Ml5BMl5BanBnXkFtZTcwODk4NTUyNw@@._V1_SY1000_CR0,0,1544,1000_AL_This is where the numerous A Star Is Born remakes made their jump from acting to pop music. My Mom had this soundtrack on vinyl when I was a kid – she was still a kid herself when this came out. She though Kristofferson was a dish.

Anyway, though undiscovered, Esther is a pretty confident babe. It’s clearly a role written specifically for Babs, who shines her special light every moment she’s on screen, which means it’s hard to believe her as anything but The Voice. Although, to be fair, it’s even harder to believe her as a serious love interest – Streisand and Kristofferson do not have so much as a microwave lightbulb’s worth of heat between them. They often substitute cornball humour for passion, and that’s an awkward trade-off that grinds things to a halt.

Esther is mouthy; John Norman is irascible and intoxicated and is deathly afraid of buttoning his top 6 buttons. They’re not exactly a lovable pair, and god help us when the whole thing takes its time getting going. It feels like a cliche that he needs exactly her kind of saving, and yet there it is. Of course, when her star is shooting upward, he gets predictably petulant.

All this to say I’m not a big fan of the movie. I guess you’re in it for the music or you’re not in it at all. Not to worry though, if you don’t like this one, there are a half a dozen other iterations to try!

 

Somewhere

Johnny Marco (Stephen Dorff) is a Hollywood actor ensconced at the Chateau Marmont Hotel. He’s between movies so his days are filled with booze and women and fast cars and while that sounds kinda hot, it’s really a metaphor for how empty his life is, but that’s okay, because for now it’s just enough to stave off the kind of boredom that makes us turn inward and draw some uncomfortable conclusions about ourselves. So far, Johnny has remained introspection-free and what passes for happy. Good enough.

And then his 11 year old daughter shows up. Cleo (Elle Fanning) inexplicably grows fond of him, and her persistent sweetness eventually jostles him out of his ennui. To his MV5BMTkxNDAxNjY4Ml5BMl5BanBnXkFtZTcwMTQxMzQ3Mw@@._V1_surprise, alien, paternal feelings start to surface. Not only does he care for his daughter, he wants to be better for her. It’s a bit of a wake-up call. But then she goes off to summer camp and finding himself alone again, Johnny isn’t sure who he has become, or if he can sustain any of the positive changes. But we have reason to hope.

It’s a little hard to sympathize with Johnny’s privileged moping, so for me, the movie really gets juicy with Cleo’s arrival, which grounds him and helps him to redefine both happiness and success. Director Sofia Coppola tackled themes of success and isolation in other movies too, but this time she’s doing it from the male perspective, where depression looks a lot like hedonism, minus the enjoyment.

Cleo is a clever child and an interesting character. In some ways, it is she who parents and nurtures him, and we get the sense that she probably understands more about what’s gone wrong with his life than he does. But she’s still young and can’t help but look up to him, troubling as that may be. Fanning and Dorff have some pretty charming chemistry together. It’s very telling how the film only feels alive when she’s on screen with him. When she’s gone, it’s not just her father who misses her. She leaves a void.

Coppola is particularly qualified to provide this less-than-savoury look at celebrity. Johnny is working, but he’s not doing his craft, he’s doing the annoying, soul-crushing stuff like press and publicity. Anyone else might appreciate the free vacation to Italy, but for him, Venice is just another obligation. Sure this might be a bit of a retread for Coppola, but there’s a sweet melancholy to this film, at times almost hypnotic, plus her classic eye for detail and style – irresistible, really.

The Hurt Locker

Like everyone else, I watched The Hurt Locker the year it came out. It was dutiful, really. The subject matter didn’t interest me but its female direction was like a monkey with a typewriter. That sounds awful, I know, but honestly, it was a bit of a sideshow. Just 10 years ago, you rarely if ever heard about a female director, period, let alone one who was taking on a project so classically masculine. A war movie, for christsakes. But Kathryn Bigelow didn’t just ‘take it on’, she was so fucking good at it, even boys had to admit it was great. “A near perfect movie,” one had to admit. “A full tilt action picture” said another. Gosh. It was so undeniably good that the biggest consortium of white men ever, the Acamedy, could do nothing but award in 6 Oscars (of 9 nominations), including Best Picture AND Best Director for Ms. Bigelow. Fuck yeah!

But I didn’t like it.

MV5BNzkzZDFhZTUtMWQwYi00MzNhLThiODItNmRlMDhlODZjZDMzXkEyXkFqcGdeQXVyNTIzOTk5ODM@._V1_SY1000_CR0,0,674,1000_AL_Rewatching it, I get why. Jeremy Renner plays hot shit Staff Sergeant William James, a…bomb guy. Pretty sure that’s the technical term. He gets all dressed up in a quasi-astronaut outfit and defuses bombs (ideally). His unit has only about 30 days left in their Iraq rotation when he’s assigned to them (their last guy got blown up) and they immediately want to throw him right back. He rushes into combat like he’s got a death wish, and worse, he puts his fellow soldiers at risk too. Sergeant Sanborn (Anthony Mackie), his subordinate, is particularly disturbed to be working so closely with what appears to be a straight-up crazy, reckless person.

This movie is rife with unapologetic toxic masculinity, and it was fucking hard as hell for me to make it through. In the army you don’t get to choose not to follow a whackerdoodledoo into combat, but from the comfort of my bed (it’s on Netflix atm), you betcha I was yelling obscenities at my TV.

Grudgingly, I can appreciate some of the craft in this movie that I was probably willfully blind to a decade ago. Bigelow uses hand-held cameras and an incredible 100:1 shooting ratio to make this film feel real – almost like a documentary. It’s also relentless. One scene barely ends before the next bout of trouble is upon us, usually already in motion.

I like the ending, what it reveals of James’ character – namely, that he’s happiest when he’s staring a ticking bomb in the face. But that’s essentially also my problem with the film. That his disregard for his own life is going to get everyone else in his company killed along with him. That their only move toward self-preservation is to kill him. Imagine being in Baghdad and contemplating that. That his risk taking and complete indifference to the rules somehow make him this bomb cowboy action hero when in fact, in real life, it makes him a moron and a liability. Personally I rooted against this guy, this “hero” because as much as I don’t really love watching people get turned into jam, at least it would give the rest of this unit a fighting chance. War is tough enough as it is. We don’t need to “up the ante” on a bomb squad in an active war zone. That should have been enough. Crazed war junkies intent on obliterating themselves likely would have been weeded out back in basic. The Hurt Locker is just punishing, and I get that the Academy didn’t want to give Best Picture to Avatar (I haven’t seen that one at all), but, ahem, I do believe Up was also in the running that year.

 

Christmas At Pemberley Manor

Let me get this off my chest right at the top: this movie stars the same woman I accused of being inappropriate for Hallmark girl next door roles in Magical Christmas Ornaments. I still don’t like her, but they seem to have toned down her pornographic look. But aside from a brief stint on the revived 90210, her career seems to consist solely of made for TV Christmas roles, and a short called Silicone in Stereo.

Anyhoo, the leading lady’s plastic parts are the least of our worries when Hallmark is taking a stab at Jane Austen’s Pride and Prejudice. And yes, I did have to shower after writing that.

Anyway, Ms. Fun Bags plays Elizabeth Bennett, a New York event planner who has to organize a holiday event in a small town. The only suitable venue is Pemberley Manor, owned by and soon to be sold by the persnickety billionaire, William Darcy. Elizabeth employs the full force of her charms to land the manor anyhow, and though they had a rude first encounter, their work together has them falling for each other!

For my money, the guy who plays George (Cole Gleason) is MUCH hotter, so you know MV5BMTAwMDIxNzE3ODheQTJeQWpwZ15BbWU4MDU0MDI1OTYz._V1_SX1500_CR0,0,1500,999_AL_that no one at Hallmark was literate enough to get a good read on even the Cole’s notes of Pride and Prejudice. Of course, I would never want hipster George hooking up with bawdy Elizabeth, so I guess I can’t complain too heartily. Now I know that readers of Assholes Watching Movies are, on average, about a kabillion times more astute than what passes for programming executives over at Hallmark, so if you’re at all familiar with Austen’s work, then you know some serious bumps and misunderstandings are coming the way of Miss Bennett and her beau Darcy. Why, the small-town holiday festival itself is at stake!

Michael Rady (Darcy) is no slouch, but he’s acting like he’s in a much better movie. Act for the job you want? Hallmark is pretty loyal to its actors, and I guess it’s a nice steady paycheque, so who am I to judge? Oh, right, an Asshole. It’s kind of my thing. Bitch for the job you want! And not since the shoe addict’s tribute to Charles Dickens have I been so insulted. And maybe I was wrong about George vs. Darcy. They’re both very cute. And they both deserve better than a Bennett. And you know what? So do you!

Ian

A 9-word synopsis for a 9-minute film: Even in his wildest dreams, they laugh at him.

A 9-word review for the 9-minute film: Inclusivity shines brightly through innovative animation and powerful story-telling.

You can watch the short and see for yourself here.

Frightfest 2015: Halloween (1978)

Co-writers John Carpenter and Debra Hill couldn’t believe that there had never been a horror film simply titled “Halloween”. Taking advantage of everyone else’s missed opportunity, they produced a film set almost entirely on Halloween night that captures all the thrills and chills that we’ve come to expect from our favourite halloweens.

 

When he was six years old, Michael Myers stabbed his big sister to death. Dr. Sam loomis (Donald Pleasence) tried to treat him but saw nothing but limitless evil in his eyes. fifteen years later, Myers has escaped from his institution and is headed back to the quiet street where it all began.

As Laurie, Jamie Lee Curtis earned the title Scream Queen and has never really been dethroned since. Working with director John Carpenter, she strikes a delicate balance between being scared shitless and being a fighter. Myers is still scary today, sporting a mask which was in reality nothing more than a Shatner mask with white spray paint and wielding a really big knife. the concept is simple enough to be ageless.

Halloween has some good scares but there is no blood so it’s perfect for those who love a good spooky story about a serial killer on the loose but can’t stand the gore that is so typical of these kinds of movies today.