Showing posts with label Kate Hudson. Show all posts
Showing posts with label Kate Hudson. Show all posts

Saturday, 23 May 2026

Movie Review: About Adam (2000)


Genre: Romantic Comedy  
Director: Gerard Stembridge  
Starring: Stuart Townsend, Kate Hudson, Frances O'Connor  
Running Time: 105 minutes  

Synopsis: In Dublin, waitress and part-time singer Lucy (Kate Hudson) finally stumbles upon a seemingly perfect boyfriend in Adam (Stuart Townsend). Lucy is close to her two sisters, the bookish Laura (Frances O'Connor) and the married Alice (Charlotte Bradley), and brother David, who has a girlfriend Karen. Lucy and Adam seem to be edging towards a marriage proposal, but unknown to Lucy, Adam is also busy fulfilling the romantic needs of her other family members.

What Works Well: This Irish-based rom-com dares to challenge the genre's fundamental formula. Adam is more of a naughty cupid catalyst than a standard lover, and his self-assigned duty is to nudge multiple unsuspecting romantic partners towards better outcomes. Director Gerard Stembridge feints a traditional structure for the first act, before confidently navigating a sharp left turn to reveal what else Adam has been up to during his flirtation with Lucy. The sheer scope of manipulative ambitions deserves applause.

What Does Not Work As Well: It's all too easy for Adam to seduce every member of Lucy's orbit, his button-pushing expertise and ability to juggle multiple hidden commitments eroding any sense of reality. Perhaps out of necessity, Adam remains an undefined presence available as a fill-in-the-blank fantasy to break out of emotional ruts.

Key Quote:
Adam: I like to give people what they want, if I can. Whatever makes them happy it's a very easy thing for me to do.



All Ace Black Movie Blog reviews are here.

Saturday, 21 February 2026

Movie Review: Shell (2024)


Genre: Horror  
Director: Max Minghella  
Starring: Elisabeth Moss, Kate Hudson  
Running Time: 101 minutes  

Synopsis: In the near future, Samantha (Elisabeth Moss) is a frumpy 40-something actress, single and finding roles increasingly hard to come by. She is encouraged to undergo skin rejuvenation treatment at Shell, a company founded by Zoe Shannon (Kate Hudson) and using leading edge anti-aging technology. Samantha's skin psoriasis clears up, her career receives a boost, she finds a boyfriend, and becomes good friends with Zoe. But then Chloe (Kaia Gerber), another Shell client, mysteriously disappears, and Samantha starts experiencing disturbing side effects. 

What Works Well: Elisabeth Moss and Kate Hudson have fun in their roles, fueled by a buzzy current of mean humour (watch out for those self-driving taxis) and satire. The commentary on society's eternal body image obsession is familiar but on-target and delivered with conviction. Director Max Minghella keeps the pacing brisk with efficient character and setting introductions, saluting B-movie conventions. 

What Does Not Work As Well: The plot abruptly transitions from suspense and body horror to crazed monster-on-the-loose, shortchanging both sub-genres. Some key plot points, including Zoe cozying up to Samantha, the detectives poking around Chloe's disappearance, and the monster's storage and release timing details, serve the script rather than any logic.

Key Quote:
Samantha (line reading at an audition, but also describing herself): I wanted to be noticed...just have another person look at me and think I was funny...or pretty. I guess I just wanted you to look at me and see someone else.



All Ace Black Movie Blog reviews are here.

Saturday, 22 June 2024

Movie Review: Fool's Gold (2008)


Genre: Action Adventure Comedy  
Director: Andy Tennant  
Starring: Matthew McConaughey, Kate Hudson, Donald Sutherland, Kevin Hart  
Running Time: 113 minutes  

Synopsis: Off the Florida coast, treasure hunter Finn (Matthew McConaughey) is searching for the legendary Queen's Dowry, an immense Spanish treasure lost in a 1715 storm. After finding an important clue, Finn is betrayed by his benefactor Bigg Bunny (Kevin Hart). Meanwhile, Finn's fed-up wife Tess (Kate Hudson) finalizes their divorce, although they still have feelings for each other. In a final attempt to find the treasure, Finn convinces Tess' employer and wealthy businessman Nigel Honeycutt (Donald Sutherland) to fund the search.

What Works Well: This is a brains-off adventure, leaning into cartoonish characterizations, out-of-nowhere and over-the-top plot developments, ho-hum action set-pieces, and star charisma. Glistening settings, attractive skin-baring stars, and just-in-time heroics provide the necessary distractions on the way to all the obvious conclusions. The investment in the story of the treasure's origins is appreciated, although showing rather than telling would have been an enhancement.

What Does Not Work As Well: The plot strictly adheres to well-worn paths and embraces every superficial cliche. Finn as the lovable and passionate rogue who is always half a step away from disaster is an overly-familiar central character, and director/co-writer Andy Tennant is determined to bring stupidity to the fore: Honeycutt's daughter Gemma (Alexis Dziena) is specifically brought on board to compete with Bigg Bunny's henchmen for the biggest dummy prize.

Conclusion: Stays afloat, but barely.



All Ace Black Movie Blog reviews are here.

Saturday, 7 January 2023

Movie Review: Glass Onion: A Knives Out Mystery (2022)


Genre: Comic Murder Mystery
Director: Rian Johnson
Starring: Daniel Craig, Edward Norton, Janelle Monáe, Kate Hudson, Kathryn Hahn, Dave Bautista
Running Time: 139 minutes

Synopsis: During the Covid pandemic, billionaire business tycoon Miles Bron (Edward Norton) invites a group of rich friends to his lavish island resort. The invitees include a fashion mogul (Kate Hudson), a video game streamer (Dave Bautista), the governor of Connecticut (Kathryn Hahn), Miles' chief scientist (Leslie Odom Jr.), and Miles' ex-business partner Andi (Janelle Monáe). Detective Benoit Blanc (Daniel Craig) joins the party, although no one knows how he was invited. Everyone has something to hide, the intended harmless whodunnit game is quickly derailed, and Blanc has to sort through what is really going on.

What Works Well: This first sequel aims for broader laughs, plus a glitzy and vivid lifestyle-of-the-rich-and-famous aesthetic. Director and writer Rian Johnson aces the opening hour of character introductions and context setting, with the cast members letting loose and enjoying themselves. Miles' glass-dominated resort is a Bondian wonder, and within it the back-stabbing greed and corruption revelations score direct hits on the dilapidating foundations of modern celebrity, business, and political culture.

What Does Not Work As Well: The mystery, murder, and crime solving elements are clumsy and toothless, with flashbacks and shifting perspectives cluttering the flow. Two murders compete for attention with a mediocre sub-plot about a new energy source, while Blanc's deductions are ultimately shoved to the side in favor of a fire-and-destruction climax. The running time is needlessly too long.

Conclusion: The island offers fun in the sun, but the frolicing is unwieldy.



All Ace Black Movie Blog reviews are here.

Sunday, 10 January 2021

Movie Review: Marshall (2017)

A biographical courtroom drama, Marshall recounts a milestone court case in the career of the first Black judge to serve on the United State Supreme Court.

In the early 1940s, the fledgling National Association for the Advancement of Coloured People (NAACP) is struggling to justify itself and attract donors. Brash lawyer Thurgood Marshall (Chadwick Boseman) is assigned by the NAACP to defend Joseph Spell (Sterling K. Brown) a Black chauffeur accused of raping and attempting to kill society lady Eleanor Strubing (Kate Hudson) in Bridgeport, Connecticut.

Spell vehemently professes his innocence, and Marshall teams up with local insurance lawyer Sam Friedman (Josh Gad) to mount a defence. The ambitious Lorin Willis (Dan Stevens) prosecutes, and Judge Foster (James Cromwell) presides, allowing the out-of-state Marshall to be present in the courtroom but not to speak. Marshall has to coach Friedman every step of the way, while raising the profile of the case and uncovering the web of lies surrounding the rape allegations.

Although Marshall is a predominantly familiar courtroom fight for justice carrying echoes of a real-life To Kill A Mockingbird, director Reginald Hudlin infuses the drama with enough quality and pointed conflict to overcome the predictable elements. With several underlined moments of dialogue but otherwise minimal aggrandizing, the film flourishes by defining the personality of a pioneering giant in the history of the United States civil rights movement.

Hudlin remains focused on one man's fate to achieve the broader historical impact. The script by Michael and Jacob Koskoff creates a worthwhile mystery where the truth is elusive on all fronts, and where Joseph Spell is only receiving a court date instead of a lynching because the rape allegations against him are in Connecticut and not the deep south. But the relatively liberal good folks of Bridgeport still harbour deep-seated prejudices, and in a she-said, he-said case with a respectable white woman as purported victim, Spell is always on the back foot. Marshall is thrust into the multiple roles of investigator, psychologist and coach to navigate a tortured path towards the facts.

But this is also a perfect showcase for an NAACP seeking to halt years of impulsive mistreatment of Black defendants. Spell's predicament resonates as a grander call for colourblind investigations of the truth, the case a microcosm of both the failings and potential of the justice system. Marshall critically recognizes the value of national publicity and notoriety in ultimately creating new baseline realities for Black defendants.

The film's visual beauty matches the sharp intellectual contest. With brown, black and grey colours dominating and the rise of fascism in Europe a looming backdrop, Newton Thomas Sigel's cinematography eloquently recreates 1940s society and aesthetics.

Chadwick Boseman provides Marshall with an impish charm and confident swagger. His performance enlivens the drama, but also cries out for more background exposition on the events and upbringing that shaped the man. Josh Gad ably rides the most complex arc, from Friedman's initial reluctance to get involved all the way to embracing a new career calling. Sitting at the top of the courtroom, James Cromwell is a domineering presence as a judge of his times but glimpsing the future, while Kate Hudson gets a rare opportunity to shine in a meaningful if small role.

Forceful and dashing, Marshall nudges legal history towards enlightenment.



All Ace Black Movie Blog reviews are here.

Wednesday, 4 March 2020

Movie Review: You, Me and Dupree (2006)


A comedy about love, friendship and finding a purpose in life, You, Me and Dupree carries enough laughs and originality to overcome the more mundane moments.

After an idyllic wedding in Hawaii, Molly and Carl (Kate Hudson and Matt Dillon) start their married life together, with Carl employed at the large housing development corporation of Molly's tycoon father Bob Thompson (Michael Douglas). Their lives are quickly disrupted when Carl invites Dupree (Owen Wilson), his friend from high school, to crash on their couch.

Dupree is kind and free-spirited, but his life has still not amounted to much. His sloppy presence creates tension between Molly and Carl, made worse by Bob giving Carl an unexpected promotion but also pressuring him into working long hours. Bob also makes it clear he believes Carl unworthy of marrying Molly and extending his legacy. With the marriage already in trouble, Dupree has to decide how he fits in.

Randy Dupree is a gentle soul, a loyal friend, a poet, aspiring cyclist, and a good cook. He is also hopeless at holding a job or finding any direction to steer his life, and an absolute expert at clogging up the toilet plumbing. Owen Wilson co-produced the film and gives life to an oddball combination of best friend and major irritant, and Dupree is the soul of the movie.

The first half is all about Dupree as a disruptor, but the second part veers towards left field as the guest cleans up and forms a bond of friendship with the emotionally abandoned Molly. The warped relationship triangle extends the film's reach, without ever threatening to break into stellar territory.

Michael LeSieur wrote the script, and with no more than about half the jokes finding a target, You, Me and Dupree bounces along a meandering path looking for detours to provide an edge. While imposing on Molly and Carl's hospitality, Dupree minimizes his job-seeking efforts and instead makes friends with the neighbourhood kids. Meanwhile Carl's stress level at work is cranked to eleven, Michael Douglas giving plenty of venom to too few ideas all related to demeaning his new son-in-law.

Brothers and co-directors Anthony and Joe Russo are perfunctory, generally standing back and allowing the stars to wrangle the material into the usual conflicts about trust, overcoming adversity and rising to the moment. Kate Hudson and Matt Dillon hold the middle ground and provide a platform for Dupree to perform his erratic orbit, themes of blooming late and discovering a calling emerging as warm-enough payoffs.

Seth Rogen appears in a small role as Neil, one of Carl's friends, socially suffocating in his own marriage. In an example of the film's underhanded slyness, Neil's wife and Dupree's crush are influential but never seen.

In You, Me and Dupree three's a crowd, but also reasonably good company.






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Saturday, 25 January 2020

Movie Review: Nine (2009)


A musical drama, Nine explores middle age creative block in a story about a film director and the women in his life.

Rome, 1965. Famed Italian director Guido Contini (Daniel Day-Lewis) is supposed to start shooting his next movie, but has no script and no ideas. Haunted by the failure of his two most recent films, he escapes to an Anzio hotel to try and find inspiration. He lies to his wife Luisa (Marion Cotillard) and is joined by his mistress Carla (Penélope Cruz). Costume designer Liliane (Judi Dench) tries to help, while Guido has visions of his mother (Sophia Loren) and memories of his childhood, when he was entranced by prostitute Saraghina (Fergie).

After reporter Stephanie (Kate Hudson) tries to seduce Guido, the last opportunity for a creative boost may be his regular leading lady Claudia Jenssen (Nicole Kidman). But with Luisa's patience with her philandering husband finally running out, salvaging Guido's latest project will prove difficult.

An adaptation of the play by Arthur Kopit which in turn was inspired by Fellini's (1963), Nine enjoys a stellar cast but is hampered by uninspired music and a consistently dour tone. The songs by Maury Yeston feature lyrics where clunky competes with obvious, and while Rob Marshall directs with panache, the script co-written by Michael Tolkin and Anthony Minghella gives him limited material to work with.

The film is entirely bogged down by Guido's doldrums and never generates narrative momentum. The tone is set early, the film structured as one-woman-at-a-time singing about her influence over the deeply flawed and egotistical director. Mistress, wife, confidant, mother, prostitute-from-childhood, muse: nothing helps him gain traction on his latest project, but he never misses an opportunity to light another cigarette.

The cast members bring a mix of interesting accents to the singing, for example Day-Lewis singing in an Italian clip, raising curious questions as to why anyone would sing in a language other than their mother tongue when entirely alone.

But despite several structural weaknesses, Nine benefits from a sparkling cast in good form. Guido is probably one of Day-Lewis' easier characters to embody, but he brings his reliable depth and dedication to the role. The many women rotating in his orbit are brought to life by energetic performances from Penélope Cruz, Marion Cotillard, Nicole Kidman, and Judi Dench, although none of them receive substantial screen time.

In an awkward role obviously bolted on to the movie adaptation, Kate Hudson appears unsure what her character is supposed to be doing, but delivers Cinema Italiano with plenty of verve. The better musical numbers also include Cruz's seductive A Call From The Vatican and Cotillard's angry Take It All.

Nine carries a haughty self-rating, but is more of a middling effort.






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Sunday, 10 September 2017

Movie Review: Rock The Kasbah (2015)


A muddled drama comedy, Rock The Kasbah cannot decide what it is and defaults to a series of abandoned plot fragments.

Los Angeles-based washed-up talent producer Richie Lanz (Bill Murray) claims to have discovered Madonna, among many other wild tales. Now he is reduced to living in motel room, his only client the willing but hapless singer Ronnie (Zooey Deschanel), who also doubles as his assistant and suffers from unmanageable stagefright. Desperate and cashless Richie accepts an offer to take Ronnie on tour to war-torn Afghanistan, where the military money is flowing and US troops crave any entertainment.

Once there, Richie and Ronnie are immediately exposed to the horrors of war. He tangles with military contractor Bombay Brian (Bruce Willis), rogue gun runners and local tribesmen, and creates a business alliance with American prostitute Merci (Kate Hudson). Richie then stumbles on the magical voice of local woman Salima (Leem Lubany) and immediately recognizes a star-in-waiting, but Afghanistan's culture may not be ready for a female entertainer.

Directed by Barry Levinson and written by Mitch Glazer, Rock The Kasbah is loosely inspired by the true story of Setara Hussainzada, who appeared on Afghan Star, a local version of American Idol. The problem is that Salima is a non-entity in the film, appearing late and then barely featuring as a character other than as the stereotypical subjugated woman in a male-dominated culture.

On the way to Salima's story Rock The Kasbah ambles along rather aimlessly, pinballing from Richie's career decline, to Ronnie's never-gonna-make-it stage antics, to encounters with fast and loose gun runners, then the mandatory working girl Merci padding her retirement account by servicing the troops, and plenty of predictable interactions with tribesmen in the desert. None of these sub-plots go anywhere, and when Salima finally enters the story, her narrative is just as tired, predictable and unsatisfying.

There is an unseemly level of throw-everything-at-the-screen desperation to the script, peaking with Richie landing in the middle of an inter-tribal coup with a bewilderingly botched climax. Stymied in his search for any cohesion, Levinson rushes the ending and leaves all the threads loose, the film packing up and leaving all the characters wondering where to go next.

Bill Murray delivers his now overly familiar older-man-out-of-place schtick, enough to rustle up some laughs and hold the center of the movie together but here buffeted by an overabundance of cultural clichés. Rock The Kasbah rolls downhill on a wayward path to insignificance.






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Saturday, 29 October 2016

Movie Review: Deepwater Horizon (2016)


A disaster film based on real events, Deepwater Horizon is the story of the workers on board the vessel involved in one of the world's worst environmental disasters. The film tries to create characters worth caring about, but instead surrenders to excellent pyrotechnics.

It's 2010, and electronics technician Mike Williams (Mark Wahlberg) leaves his wife Felicia (Kate Hudson) at home for another 21 day stint on board the Deepwater Horizon oil rig about 40 miles off the Louisiana coast. Deepwater Horizon is owned and operated by Transocean, and contracted to global energy giant BP. Also on the vessel is crusty rig manager "Mr. Jimmy" Harrell (Kurt Russell), Andrea Fleytas (Gina Rodriguez), a member of the bridge navigation crew, and a clutch of BP executives including Donald Vidrine (John Malkovich).

Williams and Mr. Jimmy know that the vessel is underfunded, with many basic systems inoperable, including phone lines and some computers. The crew is under pressure from BP to accelerate their schedule, and shortcuts are taken despite worrisome pressure test results. A blowout followed by multiple mammoth explosions cripple the vessel and set it on fire, causing multiple fatalities and injuries, and forcing the survivors to try and abandon ship to save their lives.

The Deepwater Horizon explosion resulted in an estimated 4.9 million barrels of oil spilling into the Gulf of Mexico over 87 days, one of the world's all-time worst environmental disasters. But this film's intention is to remember the men victimized by the explosion and fire, and to pay tribute to the eleven workers (about 10 percent of the workforce) who lost their lives in the horror.

The first half of Deepwater Horizon sets the context, and the trouble with the film is apparent early on. Director Peter Berg has the opportunity to humanize the men (and with one exception, they are men) who will face disaster, but he comes up empty. Williams and Mr. Jimmy are sketched in as principled heroes-in-waiting, otherwise the first 60 minutes are a blur of gruff men and impressive equipment going about their work, and little that matters is revealed about any of them. Just before everything blows up the BP executives as exemplified by Vidrine are installed as the perfunctory cartoon villains of the piece, and then the special effects folks take over.

The second half is all jerky camera work, jarringly loud explosions, impressive fires and stroboscopic lights. There are acts of heroism amidst the chaotic horror, but the superb recreation of a floating hell casts a shadow on everything else. The special effects team does a masterful job of avoiding the cheesiness of CGI, and Deepwater Horizon does look and sound superb. But as a drama about people, it fundamentally lacks substance.

Wahlberg and Russell dutiful fulfill their roles as the men who connected the dots leading to tragedy, and then responded as best as they could to save lives. Malkovich makes for an effective corporate scoundrel. Kate Hudson is reasonably refreshing in a role away from awful romantic comedies. But the film ultimately sinks under the weight of good intentions consumed by raging fires.






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Friday, 19 June 2015

Movie Review: Bride Wars (2009)


A brain dead comedy about best friends who become worst enemies and competing brides-to-be, Bride Wars is a monumental embarrassment.

In New York City, Liv (Kate Hudson) and Emma (Anne Hathaway) have been friends since childhood. As young girls they witnessed the perfect June wedding at the Plaza Hotel, and so they grew up with the common dream of getting married at the Plaza in June. Now Liv is a high-powered, highly-paid lawyer, and Emma is a humble school teacher, but despite their personality differences they remain best friends.

Their boyfriends propose around the same time, but a mix-up at the office of wedding planner Marion St. Claire (Candice Bergen) means that both their weddings are booked at the same day on the same hour. Liv and Emma both refuse to give up the date and then turn against each other, working hard to sabotage the competing wedding as their big day approaches.

The kind of film that gives chick flicks a really bad name, Bride Wars is a miserable excuse for entertainment. Directed by Gary Winick, this is an unfunny, unintelligent film, catering to women's most base instincts. From the fantasy dream of the perfect wedding to the cattiness of destroying a life-long friendship over trivialities, Bride Wars offers nothing but a bad, witless exercise in vacuous, self-obsessed behaviour.

And very little of it is funny. There is maybe one laugh in the still too long 89 minutes of running time, as the film quickly disintegrates into two women one-upping each other with stupid pranks. Liv sabotages Emma's pre-wedding sun-tan skin tone into traffic-cone orange. Emma sabotages Liv's pre-wedding hair colour into a blonde-and-blue disaster. Emma gate-crashes Liv's bacherolette party. Liv spreads a rumour that Emma is pregnant. Winick delivers all the antics with the subtlety of a rusted mechanical bull.

The extent of character development stops at the icy Liv learning to be more vulnerable and the meek Emma learning to be more assertive. Anne Hathaway deals with the thin material as best as she can, and often she single-handedly tries to pull the film out of the gutter, to no avail. Kate Hudson's level of comfort is unfortunately much more aligned with the mindless fare on offer. Candice Bergen not only suffers the indignity of having to appear in the film, but offers up useless narration just to make matters worse. The men who stand around and do next to nothing as the brides wage war include Chris Pratt, Bryan Greenberg and Steve Howey.

Crude and dull, Bride Wars is a lot of noise on an unnecessary front.






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Sunday, 28 December 2014

Movie Review: Almost Famous (2000)


A sweet coming of age story set in the world of 1970s rock music, Almost Famous is an engaging dramedy inspired by the true life adventures of writer and director Cameron Crowe.

It's 1973 in San Diego, and 15 year old William Miller (Patrick Fugit) is an aspiring music writer, despite the protestations of his mother Elaine (Frances McDormand), who wants him to become a lawyer. Inspired by a meeting with the dean of rock critics Lester Bangs (Philip Seymour Hoffman), William tries to sneak backstage at a Black Sabbath show, but instead connects with the opening band Stillwater, a middling rock outfit on the cusp of either stardom or obscurity.

The band's guitarist Russell Hammond (Billy Crudup) sees something that he likes in William, especially once William stumbles his way into a free-lance assignment to write for the influential Rolling Stone magazine. Stillwater have their groupies, including the wispy Penny Lane (Kate Hudson), who regularly sleeps with Russell, although the guitarist has a wife stashed in New York. William anyway develops a serious crush Penny, and they both end up on Stillwater's bus as the band tours across the United States in search of their moment in the spotlight. With William growing up quickly surrounded by sex, drugs and rock 'n' roll, he struggles to focus on writing as the band starts to tear itself apart and Penny falls hard for Russell.

Crowe himself wrote for Rolling Stone, and toured with bands including The Allman Brothers, Led Zeppelin, Eagles, and Lynyrd Skynyrd. He created the fictional Stillwater as a prototypical 1970s rock band, and amalgamated his tour experiences into the adventures of young William Miller. Almost Famous has the unmistakable feel of a heartfelt trip to the nostalgia of youth, a young man discovering the world and himself while enjoying a real live soundtrack.

The film draws its energy from a diverse group of believable characters surrounding William. Starting at home with his mother (frazzled as she loses control of her children) and his I've-had-enough sister (Zooey Deschanel) and extending all the way to the groupies, band manager and the Rolling Stone editors, Almost Famous feeds off the dynamics of suburban normalcy colliding with the parallel universe of the rock stardom industry. For the first two thirds Crowe keeps the drama on an even keel, the film unfolding gradually as a slice of life. The final third introduces a heart-stopping near-catastrophe for the band followed by an overdose, as the dramatic quotient spikes up. Both incidents are fully believable, but they also detract from the more impressive gentle focus on relationships.

Russell Hammond is the heart of the film, the guitarist at the centre of his band, bonding with William as an older brother and leading Penny to a potential broken heart. Billy Crudup provides Russell with a world weariness stemming from an appreciation that while the lifestyle is great, time is running out, Stillwater is still a second-rate band, and maybe the dream won't come true. Penny Lane remains one of Kate Hudson's best roles, as the young actress finds both confidence and fragility within Penny, a young woman who thinks she has all the answers but finds herself irresistibly drawn to an unavailable man. Less interesting is Patrick Fugit as William, as Almost Famous is a film where the main character is more of an observer than an instigator. Fugit is unfortunately stuck with a goofy smile and floppy hair for too many scenes.

With a soundtrack of music both from the era and inspired by it, including songs written for the film by Peter Frampton, Almost Famous captures the spirit of an era, where rock came out to play and to a young man coming of age, everything in love and life seemed possible.






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Saturday, 30 August 2014

Movie Review: How To Lose A Guy In 10 Days (2003)


An insipid romantic comedy, How To Lose A Guy In 10 Days overplays its thin premise and outstays its welcome, wasting the talent of all involved.

Andie Anderson (Kate Hudson) is a "how to" writer at Composure magazine, a women's monthly filled with the typical airheaded articles about relationships, sex and fashion. Andie has aspirations to write more meaningful material, but is prevented from doing so by her editor Lana (Bebe Neuwirth). Andie's next assignment is to write about all the irritating relationship mistakes that women commit to drive men away. At a bar she randomly chooses hunky advertising executive Benjamin Barry (Matthew McConaughey) as her victim. Andie's plan is first to seduce Ben then aggravate him with clinginess to ensure that he breaks up with her within 10 days, thus providing her with the material for her piece.

Unknown to Andie, Ben has his own bet going with his boss and work colleagues. He wants to prove that he can get any woman to fall in love with him within 10 days, thus earning him the right to be the representative for a lucrative diamond jewelry account. And so when Andie starts to unleash her plan of trampling all over Ben's world with the most annoying behaviour possible, he proves remarkably resilient, since his objective is to still have her as a lover at the end of 10 days, no matter the cost.

Five different writers had a hand in the script of How To Lose A Guy In 10 Days, and the strain of pulling together a coherent movie is painfully evident. The story is both convoluted and inane, even for the rom-com genre, and once the respective motives are established within the first 20 minutes, director Donald Petrie somehow manages to stretch out proceedings to an agonizing 116 minutes.

And most of the running time consists of Andie trying to make Ben's life as miserable as possible, from asking him to fetch her drinks during the last crucial seconds of a basketball playoff game to dragging him to a Celine Dion concert and a chick flick marathon. When all these obnoxious behaviours fail, she graduates to redecorating his immaculate bachelor's pad with cutesy stuffed animals, crashing his poker night with the guys, and unleashing a puppy to piss all over his home and office.

It's a concentration of abominable behaviour that would never ring true and is meant to be really funny, but in Petrie's hands whatever humour was possible is replaced by flat delivery and a prevailing mood of exaggerated nastiness. Of course the film eventually veers to the well-trodden path of true love emerging from the ashes, but Andie's cruelty and Ben's connivance make that outcome more ludicrous than usual when it finally arrives.

Kate Hudson and Matthew McConaughey don't even try to convince, and play their roles with a combination of distorted disinterest and tacky typecasting. In her few scenes Bebe Neuwirth provides a dose of irreverent aloofness, but the rest of the supporting cast is weak and consists of more television-level talent in the form of Kathryn Hahn, Annie Parisse and Robert Klein.

How To Lose A Guy In 10 Days is a tiresome exercise in vexatious behaviour, with a stale exterior and a hollow core.






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Wednesday, 30 July 2014

Movie Review: The Killer Inside Me (2010)


A disturbing journey into the mind of an abject sociopath, The Killer Inside Me features jolts of cruel violence, but suffers from bland narration and shallow characters.

It's 1952 in a small rural town in Texas. Deputy Sheriff Lou Ford (Casey Affleck) appears to be a normal and dependable part of the town's fabric. When Sheriff Bob Maples (Tom Bower) assigns Lou to drive prostitute Joyce Lakeland (Jessica Alba) out of town, Lou instead beats her up, which she enjoys. They commence an intense physical relationship, despite Lou being involved with long-time girlfriend Amy (Kate Hudson).

Lou is actually a cold blooded psychotic killer, and he blames the rich Conway family for the long-ago murder of his adopted brother. When Lou learns that Elmer Conway (Jay R. Ferguson) is one of Joyce's regular customers, he plans a revenge plot to inflict pain on Elmer and agony on his father Chester (Ned Beatty), the town's construction magnate. Lou's revenge involves brutal murders arranged to incriminate others followed by pathological lying, prompting an investigation by County District Attorney Howard Hendricks (Simon Baker). Lou may need to kill again to cover his tracks and stay ahead of the law.

Directed by Michael Winterbottom as an adaptation of the 1952 Jim Thompson book, The Killer Inside Me is not for the squeamish. The film includes two shocking scenes of barbarous violence, as Lou unleashes his inner demon in a fury of killer blows. The victims are pummeled into grotesque disfigurement, and Winterbottom allows his cameras to linger, prolonging the scenes to emphasize Lou’s soulless brutality and the pathetic helplessness of his victims.

Lou is responsible for many deaths, but the two victims of his most shocking acts are both women. This elevates the visual horror, and is partially explained by the root causes of Lou’s derangement as the film reveals fragments of childhood that helped to twist his brain into a malfunctioning mess.

But the film falters when it attempts to provide substantive depth. Outside of Lou’s actions, the narrative, context and characterizations are distinctly lacking. Winterbottom regularly fails to properly introduce or develop essential people and plot elements, resulting in a detached and blurry experience. Elmer’s relationship with Joyce; Lou’s suddenly urgent need to impart revenge on the Conways; the barely explained appearance of District Attorney Hendricks; and the even more puzzling late arrival of lawyer Billy Boy Walker (possibly a figment of Lou’s imagination) are all barely sketched in. And the morsels from Lou’s childhood are too abstract to be helpful.

And finally, Lou’s narration, delivered by Affleck in a high pitched, nasally mumbled monotone, may be appropriate for the sound inside a killer’s head, but is fingernails-on-chalkboard aggravating as a film experience.

The performances are no more than average, Affleck unable to do much with a character who has no human feelings, while the other actors struggle with roles defined through the truncated thoughts of a madman. Winterbottom does manage to create a sun-drenched laid-back smoke-filled small-town 1950s ambiance, the kind of place where nothing exciting ever happens until a prostitute sets up shop, a psychopath goes to work and the bodies start piling up.






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Tuesday, 17 May 2011

Movie Review: Something Borrowed (2011)


An attempt at a romantic comedy in which all the characters are unlikable and imitative, Something Borrowed may as well be referring to the whole premise: construct a film by borrowing all the elements from other, better efforts. The movie is populated by the types of people who never seem to need to work for a living. They just party, drink, argue, drink some more, and bed-hop. The characters are only defined by their relationships, and these are certainly not pretty.

Maybe because of all that drinking there is no shortage of stupefyingly poor judgement as a game of bed carousel unfolds and a love triangle morphs first into a square and then a pentagon. The screenplay by Jennifer Snyder Urman is utterly lacking in wit or charm, leaving the characters just struggling against their own obnoxiousness, but thankfully at least they all deserve each other. Director Luke Greenfield, who has the more tolerable The Girl Next Door (2004) to his name, directs Something Borrowed in what appears to be a comatose state. Not even the generally reliable New York scenery is able to save the film from consummate boredom.

Something Borrowed is worse than many made-for-TV movies, and while Kate Hudson's career appears to have dead-ended, it would be tragic if Ginnifer Goodwin's potential is wasted on more brain dead tripe like this.

Rachel (Goodwin) is the cute brunette lawyer, best friends since childhood with the blond and wild Darcy (Hudson). Anything Darcy wants, Darcy gets, usually with Rachel's help, and this includes Dex (Colin Egglesfield, a creepy hybrid of a young Tom Cruise and a young Rob Lowe). Dex and Rachel were friends in law school, but when Darcy made her move on Dex, Rachel easily yielded. Now Darcy and Dex are getting married, but Dex and Rachel are rediscovering their feelings for each other.

Will Rachel risk her friendship for the sake of her love? Will Dex call off the wedding that he now realizes is a big mistake? Will anyone care?

Actually, Ethan (John Krasinki) seems to care: he is good friends with both Rachel and Darcy, and he would like Rachel to stand up for herself, but maybe that's because Ethan has a crush on Rachel. But Dex's friend Marcus (Steve Howey) only cares about being the most selfish version of himself that he can be, to satisfy his juvenile lust for women. Rachel betrays her friendship, Darcy betrays Dex, Dex betrays Darcy, Rachel breaks Ethan's heart, and Marcus gets himself a baby. By that point the best thing that can happen is for the end credits to roll to halt the agony and mercy-kill this miserable attempt at creating entertainment.






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