The Heat: a talented but unlikable by-the-book FBI agent is paired with an unorthodox-but-gets-results detective. It’s one film where FBI could mean ‘Female Body Inspector’ like those awesome t-shirts you see guys wearing on holiday (aside: they’re not awesome). Bullock is clearly going through an “I work hard on this body, so will show it off as much as possible” phase… no complaints over here. Joke-wise, it’s got a few good laughs, but unlike Bridesmaids original script the funnies here are much lazier; with Boston stereotypes, racism, vulgarity, and albinos doing all the work. The elongated drunken montage / gratuitous dance scene underlines that this is definitely more humor than humour. At two hours the film outstays its welcome a little; every scene (and joke) feels stretched out to the max, and it feels like there was a lot of ad-libbing that nobody was allowed to cut out. Other than the central pairing being two wimin’, there’s not much here that we haven’t all seen before. The Heat started off quite strongly, but soon went down the well-worn ‘mismatched buddy cop’ path: but you expected something different – or better – given the caliber involved.
Spotlight: a special investigative unit of The Boston Globe investigate a potential child sex abuse scandal within the catholic church. Obviously, this is a fantastic ensemble cast; as you’d expect, everyone puts in a top shift and is rewarded with their moment. Granted the subject matter is tough to handle, but the movie plays it far too safe for me, with very little in the way of dramatic moments – it’s basically a couple of damp revelatory moments where one priest becomes thirteen, then more, then more, and Ruffalo’s rant was the single outstanding dramatic moment. Despite the journalists having an ‘enemy’ or ‘target’ there’s no real counterbalance or push back from the church – just one scene with the cardinal. The direction doesn’t help much either – felling so flat and removed from the story that it may as well have been marketed as a made-for-TV documentary. More than anything, it feels like a film that’s really personal to Boston and Bostonians; it’s set in Boston around their seemingly overbearing institutions which – as an outsider – maybe that’s the knockout punch that missed me. The profile and performances of such fine actors is really the only selling point for Spotlight, which is a disappointingly low-profile and unimaginative telling of a shocking and evil crime.
Note: for this film to have so many Oscar nods feels bizarre. Sometimes you see the list and can understand why films are on it… but not Spotlight. Nu-huh. Nope. Nein.
- Best picture? ROFL – it’s barely a “movie”.
- Best Supporting Actress? ROFL – McAdams is good, but gets almost no screentime.
- Best Supporting Actor? Fair do’s, Ruffalo is the best thing in this.
- Best Director? ROFL – More like BLANDEST Director
- Best Editing? ROFL – it’s basic.
I’m with Mark on this one – ROFLO!!!
Ted: a young boy who wished that his teddy bear could come to life and be his best friend gets just that, but 25 years later their friendship is tested by a smelly girl! With Wahlberg, McFarlane and Kunis as the leads you know that this one should be funny, and it is. They’re also aided by some ace casting of the smaller roles; Giovanni Ribisi, Joel McHale, Ryan Reynolds, Sam Jones etc. The film’s pretty much gag-o-rama, with the funniest ones being the ‘shouldn’t be laughing’ moments – the Airplane / Saturday Night Fever homage to a spoof was brilliantly used too. The downside is that the direction is fairly plain, and story is weak, and although it’s funny, it’s not end-to-end-side-splittingly-good. The bottom line is that as a (live action) extension of family guy – cast, voices, music – the Ted does alright, but as a ‘film’, it doesn’t quite cut the mustard. It’s definitely funny, but most of it is forgettable.