Day: April 16, 2015

By Joe Bendel. There is an old saying about no atheists in fox holes. By the same token, a herd of rampaging kaijus ought to make even the most irrational jihadist grateful to see the U.S. Marines. Sadly, that is not the case in this chaotic near future monster bash. The Middle East has become the world’s hottest infection zone, so the American military has come to fight the monsters where they are. Yet, every accidental case of collateral damage becomes grist for Islamist grievance propaganda in Tom Green’s Monsters: Dark Continent, which opens this Friday in New York.

For those keeping score at home, Dark Continent is technically a sequel to Gareth Edwards’ Monsters, but it is probably just as well if prospective viewers are not aware of its lineage, or else they might expect a significantly better film. Ten years after the events of straight Monsters, the Middle East has become the new center of battle. A group of thuggish friends from Detroit (looking even scarier than the terrorist and tentacle ridden desert) have shipped off to Sgt. Noah Frater’s unit, so he will make sure the maggots are in proper fighting condition. They are a stereotypical pack, who hardly deserve names, including the sullen orphan protagonist, his unstable protector, and the buddy whose girlfriend just had a baby. Right, odds are he won’t even make it into the second act.

Edwards’ Monster was a clever DIY calling card that led directly to his Godzilla gig. Unfortunately, even though Green retained the general creature designs, he emphasizes the worst aspects of the previous film. Where Monsters offered a lot of not so subtle immigration commentary, Dark Continent sees itself as an extended critique of American military intervention in the Mid-East. However, the message-making was hardly the reason the prior film was successful. The first time around, Edwards understood his responsibility for providing certain kaiju deliverables. In fact, aspects of the politicized near future worked in tandem with the film’s genre movie conventions. Being stuck on the monster-plagued side of an ultra-fortified border follows right in line with the basic rock-and-a-hard-place tradition.

Bizarrely, Green frequently loses sight of the titular monsters and invites the audience to openly side with the terrorist insurgency against the American military. They are just uneducated thrill seekers who shoot first and ask questions later, whereas the victimized local population understands how to live with the monsters in inter-species harmony. Of course, if any of the monsters were women, they would have to wear a burqa – and if any were homosexual, they would logically be stoned to death.

There is precious little characterization in Dark Continent, except for Frater, whom British thesp Johnny Miller plays as a bulging eyed, anti-social, PTSD head case. Happily, nobody in the film says: “it became necessary to destroy the village in order to save it,” but that probably represents a supreme act of restraint on Green’s part. Shallow as a puddle and clumsily didactic, Monster: Dark Continent is not recommended when it opens this Friday (4/17) in New York, at the Village East.

LFM GRADE: D-

Posted on April 16th, 2015 at 10:03am.

By Joe Bendel. Augie Baccus has a heck of a swing and a solid short game, but he makes Happy Gilmore look like a genius. Unfortunately, he also lacks the popular Adam Sandler character’s toughness. That will become a serious problem when he gets entangled with some dodgy professional gamblers in Terry Jastrow’s The Squeeze, which opens this Friday in select cities.

Baccus is a dirt poor but amiable young kid, going nowhere in rural Texas. However, he can shoot the lights out on a golf course. When the slicker-than-slick gambler known as Riverboat happens to hear his impossibly low scoring amateur tourney victory on the radio while passing through town, he recognizes an opportunity worth taking a detour for. With the backing of his lover-accomplice, “The Bank,” Riverboat convinces Baccus to play for him in a series of high-stakes money games, sort of like Cruise and Newman in The Color of Money, but without the grit.

Of course, Baccus’s girlfriend Natalie is against the arrangement from the start, for moral reasons as well as the waves of bad vibes cascading off Riverboat. Baccus jumps in anyway, hoping to score some money for his battered mother and his beloved little sister. Inconveniently, Natalie’s concerns are soon justified in Las Vegas, where both Riverboat and mobbed-up gambler Jimmy Diamonds put the titular squeeze on Baccus before his million dollar match with the top-ranked youth-amateur.

Tin Cup was such a great golf film because it captured the inviting feeling of a lush green course on a sunny day that is not too hot and has a pleasant breeze blowing. The Squeeze does not do that, but at least it honestly seems to enjoy the game, beyond using it as a plot device.

Reportedly, Jeremy Sumpter was cast as Baccus because of his golf skills, which makes sense, because his bland white-bread screen presence doesn’t do much to move the needle. While the film is ostensibly about Baccus (modeled on the real life Texas Phenom Keith Flatt), it is much more interested in Riverboat’s Cheshire cat grin and Natalie’s legs. As the latter, Jillian Murray (from Cabin Fever: Patient Zero) certainly looks the part and expresses Natalie’s ethical and religious reservations without sounding hopelessly moralistic, which is something.

Nevertheless, Christopher McDonald is the real show. Essentially, he revisits his Shooter McGavin persona from Happy Gilmore, but takes delight in upping the villainous ante. He is consistently fun to watch, but Michael Nouri looks kind of weird as the bleach blond Diamonds. What was that all about?

Jastrow and his wife, co-producer Anne Archer have been dubbed “Super Scientologists” in the media, but it is hard to pick up on any overt references to Overlord Xenu or “Suppressive People” in The Squeeze. Frankly, it is largely rather by-the-numbers stuff, but McDonald makes it worth watching on cable or Netflix streaming. He can slyly turn a witty line and then pull off a goofy bit of physical comedy. Honorary Oscars ought to go to character actor mainstays like him, but instead they are determined by Hollywood popularity contests. Mostly just a harmless time-kill, golf movie fans can safely wait when The Squeeze opens Friday (4/17) in Denver at the AMC Highlands Ranch and Los Angeles at the Laemmle Playhouse.

LFM GRADE: C+

Posted on April 16th, 2015 at 10:03pm.

By Joe Bendel. It is an uncertain age for guys in South Korea, typically coming after high school, but before their expected military service. It is particularly awkward for these three chums, because everything is. Somehow they will mature a little over the course of Lee Byeong-hun’s Twenty, which opens this Friday in New York.

They never had much in common beyond a general horniness, but that was enough for a fast friendship when Chi-ho, Dong-woo, and Gyeong-jae met John Hughes-style. After graduation, Chi-ho becomes a lay-about, only aspiring to seduce an older sugar-mommy. Dong-woo retakes senior year in hopes of scoring better university test scores the second time around. Although not an uncommon practice in the ROK, it is a luxury he can no longer afford when his family’s fortunes precipitously decline. A born plugger, Gyeong-jae enters university hoping it will be a stepping stone to a prestigious corporate gig.

These plans, such as they are, will be complicated by romantic entanglements. Chi-ho will taste some of his own medicine when he develops an ambiguously romantic relationship with Eun-hye, a starlet with more ambition than talent. At least it is a more reciprocal arrangement than Gyeong-jae’s torch-carrying for Jin-ju, an out-of-his-league senior in his campus investment club. Working several part-time jobs to support his family, Dong-woo is initially annoyed by the advances of Gyeong-jae’s sister So-hee, but the high school senior is persistent.

Frankly, it is all even more complicated than that, but screenwriter-director Lee rather dexterously juggles the many subplots and extensive cast of characters. He also nimbly walks a fine line, giving the lads serious enough issues so that there are real stakes involved, but never letting the film get so heavy it craters into melodramatic or after-school special terrain. Kang Hyeong-chul’s monster hit Sunny, which Lee co-wrote, is a somewhat apt comparative film in terms of tone, but he displays a much lighter touch for his directorial debut.

In contrast, the sizable ensemble is less consistent. Arguably, Kim Woo-bin shows the greatest range and charisma as the entitled Chi-ho, whereas both Lee Joon-ho and Kang Ha-neul are a bit too passive and sometimes even a little flat as Dong-woo and Gyeong-jae, respectively. Lee Yoo-bi and Jung So-min add some nice energy as little sister So-hee and Chi-ho’s neglected pseudo-girlfriend So-min, but some of the assorted love interests are cold and detached to a problematic extent. However, Oh Hyun-kyung completely subverts sentimental stereotypes and steals most of her scenes as Dong-woo’s brutally honest and direct mother.

You do not often see American studio films that so freely combine comedy and young anxiety. Again, maybe think of some of the films we assume John Hughes directed, but he really only wrote and produced, like Pretty in Pink and Some Kind of Wonderful. Twenty skews a little older and little sillier, but American teens would probably love it if they were bold enough to give it a try. It is surprisingly endearing, but not overly desperate to be loved. Recommended for fans of Korean rom-coms and coming-of-age films, Twenty opens tomorrow in New York, at the AMC Empire.

LFM GRADE: B

Posted on April 16th, 2015 at 10:02am.