Tag Archives: Jeremy Renner

Tag

Tag is a movie about grown men playing tag. They’ve played every month of May for the past 30 years, since they were kids. They’re crazy competitive about it, and it rankles that Jerry (Jeremy Renner) is the only one who’s never EVER been tagged. Not once. In 30 years. But this May Jerry’s getting married, and that seems to the rest of the gang (Ed Helms, Jake Johnson, Hannibal Buress, Jon Hamm) like the perfect opportunity to finally make him IT.

This movie is based on a true story, which sounds absurd except I knew a couple of brothers who did something similar – they played a game they dubbed Touch You Last (you can probably extrapolate what it involves) throughout their adulthood. In MV5BMjNjYzVkNmMtY2VhNC00ZDg2LTlkNmItMzYzOTI4NzIwYTQ5XkEyXkFqcGdeQXVyNjMxMjkwMDg@._V1_SY1000_CR0,0,1333,1000_AL_the movie, the guys find it a good excuse to get together and stay close well past the time that most friendships fall to the way side. Wives and girlfriends (Rashida Jones, Leslie Bibb, Isla Fisher) are not allowed to play because they made the rules when they were 9 (no girls allowed) but over the years the game has been mythic and this year a reporter from The Wall Street Journal is following them around so the stakes are extra extra high and nothing, believe me NOTHING, is sacred.

The film is a mashup between comedy (hit or miss) and absurd and insane stunts that no grown, sane man should attempt in the name of a game of tag, or ever, unless a bear is chasing you AND you owe that bear money AND that bear has ties to organized crime AND your hair is on fire.

The script isn’t overly strong but there’s a lot of funny people in this (I might give the win to Hannibal Buress, who delivers a straight-faced one-liner like nobody’s business) so it does have its moments. It’s just not in danger for being mistaken for a classic, or, you know, an actual good movie. Which is not to say it’s bad. It’s just pretty content to be a medium-funny diversion which you may or may not wait to see as a rental rather than in theatres, where you damn well better make me laugh out loud.

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Wind River

Cory is a seasoned tracker with the Fish and Wildlife service in Wind River Reservation. He hunts predators. But when he comes across the frozen body of a young woman in the snow, he gets conscripted by FBI agent Jane to help in her investigation. The cause of death hasn’t officially been listed as a homicide, but no one runs 6 miles barefoot into Wyoming’s snowy, sub-zero mountains unless she’s being chased by something REAL bad. Jane (Elizabeth Olsen) is suspicious, and Cory (Jeremy Renner) has some unresolved grief, so the two team up to uncover some very unsavoury things going on in this small community.

Avengers: Infinity War opens in theatres in just a couple of weeks. No, I haven’t randomly started writing a second review. It’s just that Sean and I have been cramming for the upcoming film by watching the Avengers back catalogue which means we’ve seen a lot of Olsen (known in the MCU as the Scarlet Witch) and Renner (Hawkeye) team up inside-movie-wind-river-renner-2-3-2cc2cc20-bc30-440c-88f6-1f5fdf320875an awful lot lately. Now here they are shivering the frigid scrub of one of the largest but least populated states in the country. Wind River Rez is served by a minuscule tribal police force – there are more Avengers than cops in Wind River. Well, that’s not saying as much as it used to, the Avengers continue to recruit to the point that they don’t all fit on the same poster anymore. But the Wind River cops you can count on one hand.

Anyway, Elizabeth Olsen has worn the wrong colour jacket in this one, so without her super powers, Jane’s restricted to good old fashioned detecting, and without much backup. Good thing Cory has no badge and no scruples – his methods are brutal, maybe, but the nature of the crimes here are so heinous they never seem out of bounds.

Writer-director Taylor Sheridan astonishes once again. His style, in many ways, is commendably economical. Every word and shot that makes it to the final cut is necessary but it never feels sparse. It just effectively delivers on the thrill inherent in the premise. The chill is bone-deep, it’s emotional, it’s felt not just seen. Sheridan wants you to experience both the snow and the silence the area is known for. Navigated by Renner’s casual competence, you’ll want to stick to this protagonist for shelter and protection. But there’s a psychological depth here so significant you’ll need snowshoes just to survive.

Yes, this is bleak stuff, but it’s also reality for the Indian tribes who live on and around Wind River. Every day, Indigenous women and girls go missing or are murdered and our law does very little about it. Sheridan paints a careful portrait of the power plays at work, and if bearing witness is the least we can do, then watch.

The Town

Ben Affleck branded Charlestown the “bank robbery capital” of America in his movie about the neighbourhood, The Town. Neither cops nor statistics actually bear that statement out, but he certainly painted a picture of a rough neighbourhood where its inhabitants (“townies”) scowl at outsiders and steal everything that’s not nailed down. Sean and I have been to Boston a few times so I can’t quite recall which time we ventured out to “the town” for some dinner but I do recall deliberating whether we should. Sure the internet was calling this Moroccan restaurant one of Boston’s best, but did we feel safe?

hero_EB20100915REVIEWS100919991ARClearly things have changed since Ben Affleck last spent the night in Charlestown. When we visited, it was gentrified as hell, Beamers parked up and down the street. It’s also been a while since we last watched the film, so without the benefit of bellydancers or couscous, we gave it a re-watch.

Ben Affleck came on board as director only after someone else bowed out. His original cut of the movie was 4 hours long, and if you’re interested, it’s available to watch on the Blu-Ray. The studio convinced him to cut it down to 2 hours, 8 minutes for our sake, still a lengthy movie, but one that just flies by. Affleck’s character assembles a team of ruffians who brazenly rob banks and armoured trucks. He’s wanting to get out of this life, but neither his friends nor his enemies are willing to let him go. So that’s a complication. Another little wrinkle: the woman he’s currently in a relationship with is a former hostage of his, only she doesn’t know it. So that’s awkward.

You can tell Affleck is an actor-director; the action scenes are electric but the editing slows way down during character-driven scenes. He lingers over them. And he knows a great performance when he sees one. In The Town, the scene stealer was Jeremy Renner, who Casey Affleck recommended when Ben couldn’t get Mark Walhberg. Affleck has since said that Renner’s performance was so strong that he could literally save a scene by cutting to Renner looking down at a napkin.

Anyway, whether or not The Town is an accurate portrayal of the people and criminals who live there, it’s an excellent film, slick and well-paced, and it definitely benefits from great on-location shooting. The Boston on screen no longer exists, if it ever did, but it’s a great cinematic accomplishment for a hometown boy.

The House

I’m feeling uninspired. I’m not sure I can identify the exact problem with this movie. It has a talented cast and a promising premise – and truth be told, it did make me laugh, sporadically. But its squandering of potential deflated my enjoyment of the film.

Will Ferrell and Amy Poehler play parents who love their kid to death and are deeply embarrassed that they can’t afford to send her to her dream college when a town scholarship falls through. Instead of coming clean they decide to open an underground casino with their shadiest friend, who has just been left by his wife in large part due to his gambling addiction.

TELEMMGLPICT000133626218-large_trans_NvBQzQNjv4BqrpfQw2hJyG_yckwxPAr0ggGNY_A2dHyghdflyNWj5P8When The House has the strongest pulse, it’s cutting close to satire: the tragic middle class, the American dream, the panic of empty nesters. But unfortunately it relies too heavily on its stars to do “bits” rather than writing actual characters who could stand up on their own. I don’t know who Ferrell and Poehler were supposed to be as people, and it’s possible they didn’t know either. They just pop up, unformed, clown around, and never even stumble into an arc.

The comedy pinballs from farce to the strangely violent; yes, it’s uneven, but it’s also way darker than it needs to be. It’s trying to be wild and crazy, and adding Jason Mantzoukas to the mix is definitely the right choice as he electrifies every scene he’s in. But it’s not enough. The movie falls flat every time they step away from him, the Ferrell and Poehler characters seeming lost and sending out mixed signals. They seem content within their little bubble, then they rail against, then they profit from it. They pay for their mistakes by taking from their friends and neighbours. It feels unseemly, and it’s hard to root for them. Hectic editing tries to cover for plotting that’s just plain absurd. And the writing’s just lazy. I wasn’t even allowed to turn in a first draft of a seventh grade composition, yet this whole $40M budget movie got made based on a rough draft. A very rough draft.

It feels like we’re overdue for a genuinely laugh-out-loud comedy, but this isn’t it. It cracked me up in a few places, but never without letting me see how hard the actors were working to land the sub-par material. It’s a meh of a movie and easily forgotten.

TIFF: Arrival

Arrival is exactly the kind of sci-fi film I’ve been waiting for all my life.

There are no guns, no star wars, no green men, no space cowboys, no mutually-assured destruction. The aliens touch down, and we’re not sure what their intentions are. Do we fire lasers at them? No. We study them. We gather together top academics, and we attempt to learn, peacefully (with the army on speed dial, just in case).

Amy Adams plays Dr. Louise Banks. Of all the people on Earth talking to arrival-movie-1-600x399aliens, she’s the one who listens well enough to actually crack the code. And it’s a hell of a code, unlike anything our puny human brains can really comprehend. This deep gulf of understanding makes plenty of people nervous – people with their fingers hovering over big red buttons. Annihilation-type buttons. Dr. Banks puts her own life at risk to keep things from escalating to an out-and-out global (universal? galaxal?) war.

Amy Adams is as good at playing Dr. Banks as Dr. Banks is at solving language problems. Both are beautiful to watch. Director Denis Villeneuve worked doggedly to make sure all the science is sound, but it’s also almost magical. It makes me want to call it the movie Interstellar aspired to be: rooted in science, hinging on human connection.

Arrival is the most intimate of sci-fi films, the aliens (if that’s what they are) almost incidental to humanity’s expanding comprehension of time and memory. It’s like poetry. And it doesn’t hurt one bit that visually, it’s slick as hell. Bradford Young’s cinematography is nearly stark, but it is absolutely arrival2arresting. It works in synchronicity with a hauntingly beautiful score by Jóhann Jóhannsson. Twinned together they remind you that though the plot feels startlingly realistic for a sci-fi film, there’s something otherworldly at play. Young’s work is atmospheric, Jóhannsson’s is pulsating.

It’s refreshing to have an alien encounter that relies on communication rather than violence, and to have a woman stepping in as Hero(ine) feels only natural. In fact, the only part of the movie that didn’t gel for me is a 2-minute montage that serves to pilot the plot further ahead and is narrated by Ian (Jeremy Renner). The rest of the story is told completely through the eyes of Louise, so to have her voice suspended during these few scenes is jarring and emotionally blunting.

Adams, though, is faultless; she turns out a character that is mature and complex, and I won’t be one bit surprised to see her name alongside Natalie Portman’s, and likely Emma Stone’s, come Oscar time.

Captain America: Civil War

captain-america-civil-war-teamSpider-Man. Ant-Man. Falcon. Black Panther. These are the top four characters, in order, in Captain America: Civil War. You might think it’s a bad sign that neither Captain America nor Iron Man is on that list, but you’d be wrong!  Although you would be right in thinking I wish this had been a Spider-Man movie with a Captain America/Iron Man cameo, rather than the other way around.

The downside to all of this is we’ve seen it all before. Not only in the sense that it’s roughly the six hundredth comic book movie that came out this year, but also because DC’s eulogy to the millions of fictional civilians killed every year by superheroes came out just six weeks ago.

One big difference between the two movies: Marvel’s is far better. Though like Batman v. Superman, Civil War is too long.  With that said, I’m willing to forgive Marvel since that extra run time was used to shoehorn in Spider-Man. Who, as mentioned at the start, was AWESOME.

Another big difference: Marvel’s movie is way funnier. Civil War would have won by default anyway since there were no laughs at all in BvS, but Civil War is legitimately funny in between the dead family member melodrama.

But as with BvS, don’t expect anything new, don’t expect a good villain, and don’t expect the story to make any goddamned sense. Really, the only differences between the two movies are that (a) we’re glad to see/meet Marvel’s supporting heroes while DC’s just felt like filler; and (b) most of Marvel’s heroes are eager to make us laugh even while fighting, which is a welcome change from DC’s rainy night fights between surly mumbling demigods. Spider-Man is the perfect example of Marvel’s success in both categories, and that’s enough to make this movie worth watching.

Mostly, that’s because Spidey is the best superhero ever and I’m pumped he’s back in the MCU, where he belongs. Though I am suffering from chronic end-credit-scene-fatigue, as a Spider-Man fan I’m glad I stuck around ’til the very end. Hint, hint.

Captain America: Civil War gets a score of eight webslinging vigilantes out of ten.

Against the Crowd

bannerfans_16176859Wendell at Dell On Movies has proposed this inspired idea for a blogathon: Against the Crowd. Basically, you name one movie that you love even though everyone else hates it, and one movie that everyone loves but you actually hate. I’m already licking my lips in anticipation! Thanks, Wendell, for letting us play!

 

Sean’s picks:

46a639ecd69330827bc6a3212bab82a0One I love that everyone else hates: Night at the Roxbury (11% on Rotten Tomatoes’ Tomatometer) – Honestly, if you hate this movie, I don’t want to know you. It’s wonderful. It’s so funny and kind of sweet and somehow all came together out of a one-note SNL skit. It’s pure genius, like seriously, the wedding scene is the best possible way to break up your brother’s wedding to Molly Shannon. And casting Richard Greico as himself, and then having him give life advice to Dan Hedaya? Simply amazing.

 

 

One I hate that everyone else loves: Life of Pi (87% on the Tomatometer) – After reading the life-of-pi-01-1920x1080book, the movie was such a let-down, and somehow it still got a best picture nod? You know, I’m not much of a reader but this book is one for the ages and the movie simply does not do it justice, and butchers the end reveal which absolutely defines the book and makes you want to immediately read it again.

 

Jay’s picks:

One I love that everyone else hates: Mixed Nuts (7% on the Tomatometer) – This movie is not well-known, so let me paint you a picture: a small group of counsellors are running a crisis line on Christmas Eve while facing down joblessness (hello, funding cuts!), clients with no boundaries (but a transgendered Liev Schrieber does a mean tango), and of course, loads of their own personal shit. The counsellors include Steve Martin, Rita Wilson, and the esteemed Madeline Kahn. So when a certain counsellor (namely, myself) goes to work at her own crisis line on Christmas Eve, the blow is made that much softer by watching this movie that makes me feel just a little less alone, and a little more merry. The jokes are as cornball as they come, but once a year I want to see Adam Sandler play his ukulele, Jon Stewart get road rage on rollerblades, Garry Shandling dress as a Christmas tree, Anthony LaPaglia get high on tranquilizers meant for dogs. Is that so weird?

One I hate that everyone else loves: Can I possibly pick just one? Sean suggested “any thing comic book” which is almost but not quite true (maybe more “anything super hero” but even that’s not fair, because a couple have transcended the genre but otherwise, yes, I’m tired, and they’re clichéd and over-reliant on CGI), and then “anything franchise” which again is almost but not quite true – and I don’t think it’s fair for me to pick Lord of the Rings or Star Wars Or Hunger Games because the truth is, I haven’t seen them. I just hate them on principle. So I’m left with two movies that will assuredly get me into hot water: The Hurt Locker (98% on the Tomatometer), and 12 Years A Slave (96%). I hate them both for basically the same reason: while I wouldn’t say either is bad, I’d say both are derivative and listless. I’ve seen better, more memorable movies in both their respective genres. However, I suspect these particular movies garnered their excessive attention from the Academy for reasons other than strictly merit. And that’s really frustrating. I saw The Hurt Locker almost immediately upon release and was like: “meh.” I don’t like Jeremy Renner. I’m pretty sure this movie was supposed to be suspenseful but when you spend the whole time thinking, “God, why won’t he just die already”, it sort of cooks the goose. And I know it’s a proud American tradition to demonize one’s enemies, but the situation in Iraq was so much more complex than this movie knows how to give it credit for. It has no point of view. Yes, dismantling a bomb is a gruelling job. But where are these bombs coming from? Who is making them – and why? This movie wants to be important but congratulates itself for being “apolitical” when political context is exactly what’s needed. 12 Years A Slave I watched before the Oscars of course, but late enough after its release that I’d heard all the hype and went in believing it. There is one scene, one particular scene, where he is left hanging from a tree, with his toes just barely brushing the ground, left there for hours, constantly on the verge of death, and worse still (for me, the viewer anyway), all the other slaves witnessing this scene yet completely helpless to do anything about it – fuck. That scene went on WAY too long, which was exactly the right amount of way too long because it makes us the right amount of crazy uncomfortable. That scene was the only redeeming moment in the whole 12 years. The rest was torture porn, every bit as exploitative of Django Unchained was accused of being, only without Tarantino’s style. Chiwetel Ejiofor is sublime, communicating so much with his eyes – but he has to. The script sure isn’t giving him much more than the same trite lines that have already been recited. In fact, it almost feels like this movie belongs to the villains – Fassbender has the juiciest bits, that’s for sure. McQueen is intent on making us flinch, making this film feel like a slavery-themed edition of the Saw series. The Academy awarded what should have been a movie of hard truths, but in reality it was just hard to watch. (Dear white people: hating this movie doesn’t make you racist!) The gruesome images served to shock people into forgetting there was no emotional complexity here. And even if there was, it would come to a screeching halt with the Brad Pitt stunt-casting. How is it even possible to over-dramatize a movie about slavery? McQueen finds a way. I’ve read Solomon Northrup’s 12 Years a Slave and you know what? The material deserved a better treatment.

What about your picks? Half as juicy as mine?

p.s. Matt – you’re it!