It makes sense for David Wain to direct a biopic about Doug Kenney. The absurdist director of Wet Hot American Summer, Role Models, and Wanderlust works with a special brand of off-beat comedy as Kenney’s National Lampoon brainchild did. Even though the biopic genre is new ground for Wain, A Futile and Stupid Gesture is still a comedy cut from familiar cloth.
2017 was a strong year for horror and fantasy, but it was still a year that offered plenty of problematic films. Read what most of the critics at Wylie Writes considered the stinkers of 2017, and don’t forget to click highlighted titles for reviews.
The Open House is like the inside of a balloon before you blow it up with helium.
Fans of Nacho Libre may be the ones enjoying The Polka King more than other Netflix viewers. After all, it’s a crooked “Robin Hood” story starring Jack Black as an eccentric entertainer. The Polka King, however, is a biopic.
Suicide Squad director David Ayer reunites with Will Smith to bring at-home audiences Bright, a Netflix Original action movie that blends “cop drama” and “buddy comedy” but exists in a fantasy amongst the mystical company of fairies and orcs.
By: Trevor Chartrand Showcasing the contrast between two farming families in Mississippi, Mudbound examines the overbearing racist climate of the southern states in the 1940s. Based on a novel of the same name and directed/co-written by Dee Rees, the film takes place both during and after the Second World War. When a white family takes ownership of a Mississippi farm, they find themselves living in the fields among the black farmhands who will work for them….
Our Souls at Night is what I would call an “easy recommendation”. It has a satisfying modesty that makes the viewer feel nice. It’s also a safe suggestion for fellow movie goers within the same social circles. However, it isn’t a “necessary recommendation” because that would require the film to carry more weight than expected while also pleasing the audience.
I would be perfectly fine if the rest of Adam Scott’s acting career were gigs in horror comedies. With Krampus and now Netflix’s Little Evil, the actor has a special comedic expertise with applying Straight Man schtick when facing fantastical odds, and countering by meeting the film’s expectations in the final stages of the ridiculous plot.
Death Note is a good movie, but it would’ve made a great miniseries. Netflix’s fast-track adaptation of Tsugumi Ôba’s popular manga series is light on characterization, with a troublesome lack of introduction by screenwriters Jeremy Slater (The Lazarus Effect), Charley Parlapanides and Vlas Parlapanides (the Parlapanides’ wrote Immortals).
There’s not much that You Get Me actually “gets” other than a few unintentional, campy laughs.