There's no reason why this animated comedy adventure needed to be this pointless. Solidly entertaining movies have been made using far less as source material (see The Lego Movie). But while there are some hilarious verbal and visual gags peppered throughout this movie, it all hinges on a script that's painfully obvious and animation that simply isn't inventive enough to hold the attention without a decent story and stronger characters.
It's set in Textopolis, an app inside the smartphone of the teen Alex (Jake T. Austin). The central character is Gene (T.J. Miller), who has far too many expressions for a meh emoji. His parents (Jennifer Coolidge and Steven Wright) worry that he has some sort of defect. Threatened by the cruel senior emoji Smiler (Maya Rudolph), Gene and his pal Hi-5 (James Cordon) sneak out of the app in search of the hacker Jailbreak (Anna Faris), who can help reprogramme him if they can make it to the cloud. But Smiler sends a team of killer bots in hot pursuit.
Yes, the plot is cursory at best, and essentially exists only so the film can namecheck carefully placed apps in a series of sponsored, rather pointless extended set pieces. This leaves the movie feeling like a low-rent variation on Wreck-It Ralph, although only a few of these sequences have any visual interest. The Candy Crush world is at least a colourful alternative to the dull digital look of most of most of the movie. And the lack of imagination shows in the depiction of music streaming as a stream and a firewall as a wall of fire. There's also a strange rush to violence in almost every sequence, as the bots continually try to delete our heroes.
Continue reading: The Emoji Movie Review
We use Emojis in text messages and social media everyday, but have you ever thought about what these images get up to when you put away your iPhone? When a high school boy goes to send his crush a 'Meh' emoji, it turns into something quite different. To the disappointment of his parents, Gene has never been quite as apathetic as he's expected to be, so when he messes up his moment it causes quite the problem for everyone else. Now the boy thinks his phone is broken, and he's on the way to get it re-set. That's not looking good for the emojis who find themselves desperately trying to back-up their world in the Cloud before their whole world gets wiped out. Meanwhile, Gene is about to learn that having more than one expression may not be such a bad thing after all.
Continue: Emoji Movie Trailer
David Reichart, Todd Stanley, Steven Wright, Breck Warwick , Matt Fahey - 2015 Creative Arts Emmy Awards at Microsoft Theater- Press Room at Microsoft Theater, Emmy Awards - Los Angeles, California, United States - Saturday 12th September 2015
Like The Aristocrats' Paul Provenza, Solomita is also a comedian who figured he'd take a stab at directing a documentary, and for his topic he figured he'd pick, well, himself and his pals from Boston. According to Solomita, at the time, there was no comedy scene anywhere in the country except for L.A. and New York (pity Chicago's Second City, founded in 1959, which merits no mention here at all). But thanks to a Chinese restaurant in Boston, good old Beantown got on the map as a comedy venue, too.
Continue reading: When Stand Up Stood Out Review
Continue reading: So I Married An Axe Murderer Review
Jarmusch enlists a diverse cast of indie stars and former colleagues for this modest ensemble, but his uncharacteristically wheezy writing frequently undermines the film's wry humor. Cate Blanchett, in a dual performance, plays an arrogant version of herself as well as her skuzzy, jealous cousin, but the piece's portrait of jealousy and resentment loses steam after you become accustomed to seeing the actress talk to herself. Similarly, The White Stripes' Meg and Jack White provide a brief lesson on inventor Nikola Tesla's Tesla Coil, but save for the creepy, Mao Tse-tung-inspired portrait of Lee Marvin hanging on the wall behind them, the skit is nothing more than an overly long non sequitur. And even a brief appearance by Steve Buscemi can't rescue an insipid bit about two argumentative African-American twins talking racial politics in a Memphis diner.
Continue reading: Coffee And Cigarettes Review
Sure, the humor is moderately intelligent and the narration includes things like a mention of the chaos theory, but when it boils down to it, Babe II was just like every other sequel: an attempt to carbon copy the original. But, friends, the great copy machine known as Hollywood is broken, and has never gotten a repairman, so we are doomed to watch screwed up attempts at copying, remakes gone wrong, and things screwed up.
Continue reading: Babe: Pig In The City Review
The long-delayed sequel to the 1994 Jim Carrey hit is a terrible movie. Let's not mince words. It's an awful, unoriginal, infuriating, and endless mess. The always likeable Jamie Kennedy stars as Tom Avery, a struggling animator whose life is in flux. His wife, Tonya (Traylor Howard from TV's Monk), wants a baby badly, but the immature Tom doesn't want that responsibility. He's content to play with his precocious dog, Otis, draw on his sketch pad, and kid around with his tolerant wife.
Continue reading: Son Of The Mask Review
Not unlike his cigar-shop patter with Harvey Keitel in "Blue in the Face," the great American filmmaker Jim Jarmusch has now released a feature length collection of café-style conversation. It consists of eleven semi-fictional segments, the first three of which were released as short films in 1986, 1989 and 1993 respectively. In each, various agents of cool meet at cafes for the title beverage and its symbiotic smokes.
The participants can be as well known as Stephen Wright, Roberto Benigni, Tom Waits, Iggy Pop, Cinque and Joie Lee, Steve Buscemi, Steve Coogan, Alfred Molina, Bill Murray, the RZA and the GZA, or, like the gorgeous Renee French, they can be unknown to everyone except Jarmusch and a small cache of insiders. No less a talent than Cate Blanchett appears opposite herself, playing both a movie star and the movie star's lesser-known cousin.
Nothing much holds the eleven segments together, other than their luscious black-and-white photography -- shot by several different cinematographers over the years -- that only emphasizes the eternal coolness of smart people sitting around and talking about nothing. Certain lines of dialogue pop up more than once, and more often than not the talkers don't really connect on either a verbal or spiritual level; most of the conversations are lively disagreements. None of the world's problems gets solved.
Continue reading: Coffee & Cigarettes Review
Sharon Stone has always been an under-rated actress, but she may finally get her due with her sparkling comedic turn in the title role of "The Muse," as a literal, inspiration-spawning, divine daughter of Zeus living the good life as a hanger-on in La La Land.
With vivacious whimsy she plays her fussy, pampered, domineering demi-goddess -- the secret spring of creativity for Hollywood elite when their tapped-out talent needs divine intervention -- as a mix of Norma Desmond and the Spice Girls in both attitude and wardrobe.
Martin Scorsese comes to her for advise on a "Raging Bull" remake. So does James Cameron. "Stay away from water," she advises him. "No sequel?" he pouts.
Continue reading: The Muse Review
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