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Welcome to Silver Screen Central, the news and entertainment blog of Silver Screen Videos. We hope you enjoy the blog and participate by adding your comments and by sharing and recommending this site. We’ll be adding new articles all the time, so check back with us frequently.

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Eric Roberts: The Best Connected Man in Hollywood


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Eric Roberts

The Best Connected Man in Hollywood

Christopher Lee

R.I.P., Christopher Lee

When the marvelous character actor Christopher Lee died last year, I thought that he had appeared in films with more different actors than anyone else alive at that time. But, as I started researching this article, I discovered to my surprise, that, while Lee was indeed a prolific actor throughout his long career, the title of “Best Connected Man in Hollywood” belongs instead to someone I never would have guessed: Eric Roberts.

My source for this astounding discovery, and, indeed, for all the statistics and figures in this article, is the Oracle of Bacon, a website dedicated to the career and connections of Kevin Bacon, who has achieved Internet and drinking game immortality as the subject of a game dedicated to seeing how closely related he is to anyone else who has ever appeared in a film. The Oracle assigns a “Bacon number” to an actor based on how many links it takes to get from that actor to Bacon. Thus, anyone, who has ever appeared in a movie with Kevin Bacon, say Tom Hanks in Apollo 13has a Bacon number of 1 (Bacon has a Bacon number of zero with himself).

Kevin Bacon

You’d smile too if they named an oracle after you

Neither Christopher Lee nor Eric Roberts have ever appeared with Kevin Bacon in a movie. However, Lee appeared with Brad Dourif in The Return of the King, who in turn appeared with Bacon in Murder in the FirstThus, Lee has a Bacon number of two. Eric Roberts also has a Bacon number of two. He appeared with Mickey Rourke in A Hitman in Londonwho also appeared with Bacon in DinerBy the way, Eric Roberts has a Lee number of two (and vice versa); he appeared in King of the Gypsies with Patti LuPone, who appeared in 1941 with Lee.

To determine the best connected actor of all time, the Oracle of Bacon calculates the “connectedness” number of every actor to every other actor in the Internet Movie Data Base and determines the average. On this basis, Bacon is no piker; at the last compilation on the Oracle of Bacon, he ranked #411 (out of over three million actors in the database). His average Bacon number is currently 3.017, meaning that it takes an average of just over three links to connect Bacon to any other actor in movie history. Similarly, Christopher Lee currently has an average Lee number of 2.920, ranking him around #30 on the list. Neither of them, however, compare with Roberts, whose average Roberts number is 2.831. And for those who think I’m being sexist in referring to the best connected man in Hollywood, connectedness is a man’s game. The best connected woman is Sally Kirkland at #47.

How did Eric Roberts become the best connected actor of all time? He has certainly made his share of quality movies, including the aforementioned King of the Gypsies, The Pope of Greenwich Village, Star 80, and The Dark Knight. He even got an Oscar nomination for Runaway Train. But those movies didn’t land Roberts at the top of the list. By contrast, Roberts’ sister Julia, whose resume considerably outshines Eric’s, is only #167.

Skin Traffik

The movie formerly known as A Hitman in London

It’s not the movies you’ve heard about that got Eric Roberts to the top of the list; it’s the literally hundreds that you’ve never heard of. I noted earlier that Roberts appeared in A Hitman in London with Mickey Rourke. If that film doesn’t ring a bell, it’s probably not because you’re more familiar with it under the name of its video release, Skin TraffikInstead, you are probably one of the millions of moviegoers worldwide who missed Hitman when it supposedly played in Los Angeles in October, 2015 (two years after filming was completed). I say supposedly because there’s no record of any box office receipts for this movie on Box Office Mojo among the 129 movies that actually earned money at the box office that week.

 While Hitman made nary a ripple at the box office, it, and dozens of similar films like it, have had the effect of casting Eric Roberts alongside many, many other actors over the years and, thereby, reducing his average Roberts number considerably. In addition to Mickey Rourke, Roberts’ Hitman co-stars include Daryl Hannah, Jeff Fahey, and Michael Madsen (who happens to have the second best Oracle of Bacon number), all actors who, like Roberts, are more than willing to lend their names and faces (for a couple of scenes) to essentially direct-to-video projects such as Hitman. As The Film Reel, one of the handful of sites that reviewed the video release, said: “It really does feel like a cast of characters jammed into an action film for the sole purpose of selling copies of the DVD by their names alone… [A]nybody you may recognize is only there to convince you to open your wallet.” 

Christopher Lee fans should not despair, however. It’s still possible that he actually is the best connected actor of all time. The Oracle of Bacon bases its calculations on the IMDB database, which, in turn, relies on the information supplied by others, including studios and fans. Nowadays, even direct-to-video shlock like Hitman has a fairly comprehensive cast listing on IMDB (91 actors in total, including probably every extra who picked up a check). Of course, Lee also made his share of B-movies in the 1950’s and 60’s, but records from those days, especially for films that have never appeared on video, are often quite spotty. So, there’s a good chance that a number of Lee’s connections are now gone with the wind.

So, what does the future hold for Eric Roberts? Well, quite frankly, the future looks pretty good as far as his chances of maintaining his title. The IMDB lists 68 films in which Roberts appears that are either announced or in various stages of production. A few of these will probably never see the light of day in any form, but don’t be surprised to see the likes of Fatties: Take Down the House, Taco Shop, Santa’s Boot Camp, or Sorority Slaughterhouse on Netflix or Amazon Prime in the months to come. Do be surprised, however, to see them in any actual movie theater. 

Photo credits: Eric Roberts – Eric Roberts”  by Eva Rinaldi  / Flickr / CC BY-SA 2.0;  Christopher Lee – “Christopher Lee – Berlinale – 2014”  by Avda-Foto  / Flickr / CC BY-SA 2.0Kevin Bacon – “Kevin Bacon” by Gage Skidmore  / Flickr / CC BY-SA 2.0

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Central Intelligence: Mini-review


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Kevin Hart

Kevin Hart gets a chance to play the straight man in Central Intelligence

B-Kevin Hart became a superstar by running his motormouth non-stop and flustering and frustrating co-stars from Ice Cube to Will Ferrell. Now, the shoe is on the other foot. In Central Intelligencea relatively restrained Hart finds himself along for a wild ride with Dwayne Johnson, an actor who proves even more adept than Hart at stealing scenes. Surprisingly, Hart adapts just as easily to the straight man role here.

In Central Intelligence, Hart plays Calvin Joyner, the former high school Mr. Everything who’s now stuck in a humdrum existence as an accountant. Johnson, on the other hand, is the high school fat kid who was picked on by everyone except Joyner and has spent the 20 years since then working out and bulking up to become, well, The Rock (except he’s called Bob Stone here). Stone’s a government agent who is on the run from his boss (Amy Ryan), who thinks he’s a traitor, and he needs Calvin’s help to clear his name.

As in so many other buddy action movies, Central Intelligence features a needlessly convoluted plot that’s primarily an excuse to run its heroes through one lame action scene after another. Johnson occasionally gets to flex his muscles, while Hart ducks and cringes a lot, but there isn’t a single memorable moment in the various chases and shootouts that are rather routinely staged by director Rawson Marshall Thurber. What is memorable about Central Intelligence is the easygoing chemistry between the stars. Despite his musculature, Johnson plays Stone like a puppy dog eager to please, who’s fulfilling a boyhood dream of hanging out with his old idol. Hart, though, is far more serious and low-key than usual, so his occasional fits and tantrums are unusually effective. The movie also has a number of good sight gags, based on the enormous disparity in the two actors’ sizes, and two surprise unbilled cameos by perfectly cast stars also work well. The only real central intelligence that went into the making of this movie was the casting of the two leads, but, fortunately, that’s enough to keep this amiably lightweight film going .     

In this scene, Dwayne Johnson wants to know whether Kevin Hart is in or out. Our full review of Central Intelligence will be posted on Silver Screen Cinema as soon as it is available.

 

Photo credit: “Kevin Hart_5927”  by Western CT St. U Peggy Stewart  / Flickr / CC BY-ND 2.0

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Finding Dory: Mini-review


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Ellen DeGeneres

Ellen DeGeneres on dry land

BNow that Disney’s Pixar studio has accumulated a fairly substantial list of title properties, they are increasingly doing what every other Hollywood studio has done in recent years, namely, recycling those properties for a new target audience. The latest example is Finding Dorythe sequel to the 2003 animated Oscar winner Finding Nemo While Dory isn’t up to Nemo‘s standards, it still has its charms, thanks primarily to a delightful performance by Ellen DeGeneres, who provides the title character’s voice.

As in the earlier film, Dory and her friend Marlin (Albert Brooks) set off on a lengthy quest, this time in search of Dory’s parents, who she vaguely remembers lived near the Marine Life Institute, a facility in California devoted to the rescue and release of all forms of aquatic life, Dory is somewhat handicapped in this quest, since she suffers from short-term memory loss, an affliction that was used primarily as a source of humor in Nemo but is a far more important plot point here. Dory winds up in the Institute, where she befriends an octopus named Hank (Ed O’Neill) who agrees to help her find her parents somewhere among the exhibits. In the meantime, Marlon and son Nemo (Hayden Rolence) try to get inside the Institute to find Dory.

Kids will love the dazzling animated creatures in Finding Dory, as well as the slapstick action sequences, including a finale involving Hank driving a van (yes, you heard that right). Adults may find the juvenile action a bit tiresome, and there’s less humor directed towards them than in earlier Pixar films. Still, Finding Dory has its emotional moments, in large part due to DeGeneres, who goes from perky to touchingly wistful or downright scared in a moment. The movie also packs an emotional punch in flashback scenes involving Dory’s parents (Diane Keaton and Eugene Levy) patiently teaching their child (Sloane Murray) survival skills and reassuring her of her worth despite her handicap. Indeed, as the film demonstrates, several of the characters in Finding Dory have various handicaps they overcome. Hank has only seven tentacles; Destiny (Kaitlin Olson), a friendly nurse shark Dory met in childhood, is extremely nearsighted, and Bailey (Ty Burrell), a Beluga whale, has lost his echolocation abilities. The messaging in Finding Dory is only slightly preachy, and the emotional bond between parents and child are genuine and will move audience members of all ages. Finding Dory is definitely a film worth finding.  

In this scene, Albert Brooks tries to talk Ellen DeGeneres out of searching for her long-lost family. Our full review of Finding Dory will be posted on Silver Screen Cinema as soon as it is available.

 

Photo credit: “137091_9969”  by Disney – ABC Television Group  / Flickr / CC BY-ND 2.0

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The Conjuring 2: Mini-review


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Patrick Wilson

A present day Patrick Wilson

C+Intrepid ghostbusters Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga) return in director James Wan‘s The Conjuring 2, but unlike their first onscreen appearance in the 2013 original, the Warrens run up against one ghost they simply can’t bust. I’m not talking about any of the spirits and demons in the movie; instead, I’m referring to the real life incident that inspired Conjuring 2 and whose presence needlessly weighs the film down.  

The movie is based on the so-called Enfield Poltergeist, a spirit that supposedly haunted a house in a London suburb in the late 1970’s. In Conjuring 2, 11-year-old Janet Hodgson (Madison Wolfe) is possessed by what appears to be the spirit of the elderly man who previously owned the house. The local church asks the Warrens to investigate, and they eventually determine that an extremely powerful demon that had appeared previously in Lorraine’s visions has now taken up residence in the home.

Director Wan is one of the most skilled of the new generation of horror directors and brings his talents to bear here. Instead of jump scares, he relies on slowly building tension, with the audience anticipating bad things or glimpsing them in the background before the characters become aware of them. The Conjuring 2 also benefits from a terrific cast, including Wilson and Farmiga, who are quite folksy and have good chemistry with each other. The Hodgson family is depicted at some length as well and become real characters instead of mere hapless victims, with Frances O’Connor quite effective as the increasingly harried single mother who faces economic and emotional as well as paranormal problems. Finally, the Warrens receive help from rival investigators Franka Potente and Simon McBurney as, respectively, skeptic and true believer. Their rival viewpoints are a useful narrative device to help explain some of the events in the movie. Still, Conjuring 2 has one major weakness; Wan made the film with Lorraine Warren’s assistance and wound up accepting the Warrens’ version of events, even though they have essentially been debunked. As a result, the movie runs nearly a half hour too long and includes a series of manifestations and bizarre occurrences that individually are creepy but eventually grow repetitive. The Conjuring 2 becomes a clear example of the principle that less is more. Still, more of Conjuring 2 is better than lots of lesser horror films out there.    

In this scene, a possessed Madison Wolfe talks on camera. Our full review of The Conjuring 2 will be posted on Silver Screen Cinema as soon as it is available.

 

Photo credit: “Neil_Grabowsky-Converstion_Patrick_Wilson-TTL_8729”  by Neil Grabowsky / Montclair Film Festival  / Flickr / CC BY 2.0

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Now You See Me 2: Mini-review


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Jesse Eisenberg

No magic here; that’s really Jesse Eisenberg

B-Movie scripts are often like magic tricks; many of them work best when the audience doesn’t look at them too closely but instead simply goes along for the ride. A prime example is the sequel Now You See Me 2, a mix of stage illusion, con artistry, and caper film that’s even less substantial and more preposterous than its predecessor.

Now You See Me 2 takes place one year after the first film ended. The magicians known as the Four Horsemen (Jesse Eisenberg, Woody Harrelson, Dave Franco, and Lizzy Caplan replacing the original’s Isla Fisher) along with their leader, seemingly befuddled cop Dylan Rhodes (Mark Ruffalo), are forced by whiz kid tycoon Walter Mabry (Daniel Radcliffe) to steal a computer card that would allow him access to the personal data of nearly anyone. The Horsemen steal the card and then stage an elaborate magic show all over London on New Year’s Eve to try to outwit both Mabry and the authorities.

Movies like Now You See Me 2 rely on two levels of trickery. The characters are trying to deceive each other while, at the same time, the filmmakers are trying to fool the audience. But, unlike David Mamet films, which hold up well on repeat viewing because he so carefully constructs each scene and line of dialogue, Now You See Me 2 is all flash, with director Jon Chu (best known for break dancing movies) using dizzying edits and a lightning pace to disguise both routine stunt work and ridiculous plot twists. Fortunately, he has a cast, including old pros Michael Caine and Morgan Freeman, that can handle this type of nonsense in their sleep and make it sound convincing. The movie works best when it takes the camera alongside the Horseman as they work, showing how they how pull off their heists as the actual events unfold, using rapid fire identity changes and sleight of hand. When Chu and screenwriter Ed Solomon try to explain the film’s bigger effects after the fact, they aren’t nearly as successful. Further, those who aren’t familiar with the original movie will have a tough time getting up to speed with the characters, a major drawback in a film with such a lightning pace. Now You See Me 2 is like a good night club magician; he can’t quite pull off the same big illusions that Penn and Teller can, but he’ll still keep you reasonably entertained for a couple of hours. 

In this scene, Mark Ruffalo uses some trickery to evade Daniel Radcliffe’s thugs. Our full review of Now You See Me 2 will be posted on Silver Screen Cinema as soon as it is available.

 

Photo credit: “_MG_7112.jpg”  by Tabercil  / Flickr / CC BY-SA 2.0

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The Meddler: Mini-review


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Susan Sarandon

Most people would find Susan Sarandon a welcome meddler

BIt’s hard to believe, but Susan Sarandon hasn’t had a really good film role since she won her Oscar nearly two decades ago, perhaps hitting rock bottom as Melissa McCarthy‘s boozy grandmother in the forgettable TammyFortunately, Sarandon finally has a role worthy of her talent, as she takes what could have been an Estelle Getty stereotype and turns it into one of the best performances of the year in The Meddler

Sarandon plays Marnie Minervini, a recently widowed woman whose husband left her well off financially but with a big void emotionally. She moves out to Los Angeles to be closer to her daughter Lori (Rose Byrne), but her constant butting into Lori’s life cause enormous friction between the two women. Rebuffed by her daughter, Marnie turns her attention to others, including an Apple store clerk (Jerrod Carmichael) looking to further his education and a lesbian acquaintance (Cecily Strong) of Lori’s who wants a dream wedding. Marnie also meets Zipper (J.K. Simmons), an easy-going ex-cop who might be the new man in her life. 

Based on the movie’s trailer, I expected The Meddler to be somewhat standard sitcom fare, with the top-billed Sarandon reduced to a recurring yenta punchline. But this is actually Marnie’s movie, with Lori disappearing for nearly an hour when she goes on assignment to New York. Moreover, despite its comic moments, it’s a movie about a woman coping with loss. Fortunately, and perhaps a bit too conveniently, the people Marnie lavishes her money and attention on are genuinely decent and appreciative, filling a void that her own daughter can’t for most of the film. Writer/director Lorene Scafaria based the film on her relationship with her own mother, which helps explain Marnie’s character depth. The Meddler is weakest when it goes for obvious laughs, but as Marnie gradually rediscovers her own life by helping others, the film shows surprising depth. Sarandon is excellent here, making a potentially highly annoying character quite relatable, and she and Simmons (channeling his inner Sam Elliott) have great chemistry. Surprisingly, the only character who never really works is Scafaria’s own alter ego, Lori; the film works best when she is absent. Many movies are nothing like their trailers; The Meddler is the rare film that’s a distinct, and welcome, improvement on the trailer. 

In this scene, J.K. Simmons tells Susan Sarandon more about himself. Our full review of The Meddler will be posted on Silver Screen Cinema as soon as it is available.

 

Photo credit: “Susan Sarandon”  (cropped) by Sidewalks Entertainment  / Flickr / CC BY-ND 2.0

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Alice Through the Looking Glass: Mini-review


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Johnny Depp

Johnny Depp on this side of the Looking Glass

D+When the Disney brass needed someone to replace Tim Burton as the director of Alice Through the Looking Glass, the sequel to their 2010 hit, Alice in Wonderlandthey probably thought they made a safe choice in James Bobin, director of The MuppetsUnfortunately, they didn’t go far enough. They should have made Muppets Through the Looking Glass instead.

In Alice Through the Looking Glass, a now-adult Alice (Mia Wasikowska) returns to Wonderland by going through a mirror. There, the White Queen (Anne Hathaway) tells her that the Mad Hatter (Johnny Depp) is in poor health, and that the only way to save him is to get an object called the Chronosphere from Time (Sacha Baron Cohen) and use it to travel into the past and rescue the Hatter’s family.

If Time and the Chronosphere seem more at home in the work of H.G. Wells rather than Lewis Carroll, there’s a reason. The plot of Looking Glass bears little resemblance to any of Carroll’s books, although other familiar characters like the Red Queen (Helena Bonham Carter), the Cheshire Cat (voiced by Stephen Fry), and the White Rabbit (Michael Sheen) also appear. Instead, screenwriter Linda Woolverton throws in a bizarre time-travel storyline and a real world subplot involving Alice facing the loss of her family business. While either of these might have made an interesting story, combining them with 3D digital slapstick characters results in a confusing mess. DIrector Bobin and Woolverton seem unable to make up their minds whether the movie is a race-against-the-clock adventure or a silly comedy, and, as a result, Looking Glass really isn’t either. This indecision is most evident in the character of Time, who is alternately portrayed as a Borat-like buffoon, a straight villain, and a pathetic victim. Other characters fare little better. As a supposedly plucky heroine, Mia Wasikowska is reduced to playing straight woman to her overacting co-stars in too many scenes. Helena Bonham Carter has fun once again in her role, but Johnny Depp’s overacting wears thin very quickly here. Alice Through the Looking Glass is only a pale reflection of Carroll’s source material and Tim Burton’s far more striking original film.   

In this scene, Johnny Depp and friends crack jokes at Sacha Baron Cohen’s expense. Our full review of Alice Through the Looking Glass will be posted on Silver Screen Cinema as soon as it is available.

 

Photo credit: “Johnny Depp” by Vanessa Lua  / Flickr / CC BY-SA 2.0

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X-Men: Apocalypse: Mini-review


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Michael Fassbender

Michael Fassbender shows off his magnetic personality in X-Men: Apocalypse

CJust as moviegoers remember The Big Chill today for its outstanding ensemble cast of stars in the making, thirty years from now, film buffs may marvel at how the producers assembled an amazing cast of up-and-comers in X-Men: ApocalypseThat ensemble cast, which is largely squandered, is likely to be the only thing for which anyone will ever remember this latest bloated Marvel superhero epic.

X-Men: Apocalypse is set in 1983, when En Sabah Nur (Oscar Isaac), an ancient Egyptian mutant who has been entombed for several thousand years gets free. He decides that the current world must be destroyed and replaced by a better version under his rule and recruits several other mutants to assist him, including Eric Lehnsherr, aka Magneto (Michael Fassbender). Lehnsherr’s longtime friend, Professor Charles Xavier (James McAvoy) realizes the danger and brings some of the younger mutants he had been training to Egypt in an effort to stop Nur.

The third time is definitely not the charm for X-Men: Apocalypse, which represents both the third X-Men film set in this general time period with this set of actors and the third large-scale superhero battle royal to hit theaters in the last two months. As a result, Apocalypse feels like an overblown rehash of other, better films. Nur is yet another villain bent on destroying the world, but without either the diabolical charm James Spader displayed as Voltron or the overpowering sense of menace generated by other mega-villains. The movie has almost 20 major characters vying for screen time, and, for those viewers who aren’t already very knowledgeable about the X-Men, the backstories seem rushed and confusing. That’s sad, because the cast includes some highly talented young stars, including Jennifer Lawrence, Sophie Turner, Evan Peters, Nicholas Hoult, Tye Sheridan, and Kodi Smit-McPhee, most of whom do little more than put their powers briefly on display. The best subplot involves Magneto, who again endures personal tragedy that makes him a prime target for Nur’s entreaties. The chemistry between Fassbender and McAvoy, like the similar relationship between Ian McKellen and Patrick Stewart in the earlier X-Men films, is this movie’s greatest strength. X-Men: Apocalypse has plenty of action and superhero clashes, most of them well staged, but it’s clear that this version of the series is now racing on creative fumes. The filmmakers need to come up with some fresh ideas very quickly, or the next X-Men film may well be the Apocalypse for the franchise.

In this scene, Tye Sheridan discovers the extent of his powers. Our full review of X-Men: Apocalypse will be posted on Silver Screen Cinema as soon as it is available.

 

Photo credit: “Michael Fassbender” by Gordon Correll  / Flickr / CC BY-SA 2.0

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Neighbors 2: Sorority Rising: Mini-review


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Seth Rogen

Seth Rogen acts astonished that Neighbors 2 was ever made

C-Over the years, Neil Simon‘s classic comedy The Odd Couple has been staged with black leads, female leads, Latino leads, and virtually every other recognizable type of lead pair this side of R2D2 and C3PO. Through all those permutations, one thing doesn’t change, the jokes. The same holds true for Neighbors 2: Sorority Rising, the sequel to the surprise 2014 success, NeighborsDespite populating the house next to Seth Rogen and Rose Byrne with sorority girls rather than frat boys, the jokes are the same, only nowhere near as funny the second time around.

Rogen and Byrne reprise their roles from the original as Mac and Kelly Radner, as does Zac Efron as former frat king Teddy Sanders. The Radners want to sell their home and move into the suburbs, but they run into a problem when a new sorority rents the house next door and starts throwing parties that are just as wild as the frat boys held. The Radners now fear that the couple who bought their home may back out due to the disruptive neighbors, and they team up with Teddy to get rid of the sorority house.

Director Nicholas Stoller and a team of five writers, including Stoller and Seth Rogen, pay lip service to the notion of social relevance in Neighbors 2 by giving the sorority girls, led by upstart Shelby (Chloë Grace Moretz), some feminist justification. The girls are upset about archaic rules that prohibit sororities from hosting their own parties. But once they make their point, they girls wind up throwing the same type of wild drunken parties their male counterparts did in the first Neighbors film, which leads to the exact same type of jokes. Some of these are funny (the Radners’ baby finding various adult novelty devices); many are not (using tampons instead of water balloons). And, as often happens in Rogen films, we get many, many pot jokes and the sight of Rogen (and the considerably more buff Efron) taking off their shirts. Neighbors 2 has about as much plot and as many funny, albeit considerably more vulgar, moments as you would find in a typical 30-minute sitcom episode. The problem is that the movie lasts three times as long. These neighbors have definitely worn out their welcome. 

In this scene, Zac Efron plans a distraction so Seth Rogen can steal some pot. Our full review of Neighbors 2: Sorority Rising will be posted on Silver Screen Cinema as soon as it is available.

 

Photo credit: “IMG_12903.jpg” by Tabercil  / Flickr / CC BY-SA 2.0

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The Nice Guys: Mini-review


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Russell Crowe

Russell Crowe looking rather nice here

BShane Black may not have invented the cop buddy movie, but he got his career off to a bang by writing perhaps the best of all time, Lethal WeaponSince then, he’s cranked out one variation after another on the same theme. His latest, The Nice Guys, which he also directs, takes him all the way back to the 1970’s, and it’s a groovy trip, thanks to stars Russell Crowe and Ryan Gosling.

Jackson Healy (Crowe) and Holland March (Gosling) aren’t  cops or buddies at the start of The Nice Guys. March is a bumbling alcoholic PI, and Healy beats up people for a living, including March, whose arm he breaks when they first meet. But they team up in what begins as a missing person case involving the daughter (Margaret Qualley) of a United States attorney (Kim Basinger) investigating the auto industry and turns into a search for a missing porn tape that leads to a lot of dead bodies along the way.

The plot of The Nice Guys is ridiculously convoluted, but it’s really secondary to the laughs and great chemistry between the stars. Crowe and Gosling play off each other perfectly as, respectively, Brawn and Brainless. They also get a lot of help from the third member of their team, young Angourie Rice, playing March’s 13-year-old daughter Holly, who is wise well beyond her years. The actress more than holds her own against two seasoned vets. Thanks to some terrific production design and over-the-top costuming, Black is also able to perfectly capture both the glitter and the seamy underside of Los Angeles of the era, giving the movie an entertaining neo-noir vibe. Shane Black isn’t as strong a director as he is a writer, so The Nice Guys rambles in places, and the direction of the action scenes is sometimes unfocused. Still, it’s good to see Black back in his comfort zone after a superhero detour in Iron Man 3In terms of entertaining action films, these nice guys definitely don’t finish last.
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The Angry Birds Movie: Mini-review


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Jason Sudeikis

Jason Sudeikis has gotten over his anger issues here

C+Considering that the “storyline” of the Angry Birds video game consists solely of using a slingshot to launch birds with the sole purpose of knocking down structures containing giggling pigs, it’s amazing that the writers of The Angry Birds Movie were able to create 90 minutes of often funny material from what started as a cellphone app. What’s more amazing though is that they failed to take full advantage of the game’s most obvious potential laugh hook, the word “angry” in the title.

Most of the birds in Angry Birds are peaceful friendly types, with the notable exception of the perpetually perturbed and generally avoided Red (voiced by Jason Sudeikis). However, Red is the only bird to see that the newly arrived Leonard (Bill Hader), a seemingly friendly pig, is up to no good. When Leonard and his minions steal all the eggs from Bird Island, Red and his two companions, Chuck (Josh Gad) and Bomb (Danny McBride) mount a rescue mission that involves, you guessed it, using a slingshot to launch themselves at the pigs’ castle.

The first half of Angry Birds has enough puns and in-jokes about birds and pigs to keep adults reasonably well entertained (“something about those pigs isn’t kosher”). Plus, the animation is terrific, with the evocative facial expressions of Red and friends adding to the fun. However, the second half of Angry Birds is pretty much non-stop slapstick, like watching a recording of the video game itself, that goes on far too long for adults to enjoy. And while Bill Hader and Peter Dinklage (as Mighty Eagle, the mythic savior who turns out to be not-so-mighty) add to the amusement, top billed Sudeikis is more problematic. He’s a fairly laid back actor to begin with, and his Red rarely explodes into Ralph Kramden-style rages. Instead, he’s at worst moderately perturbed and wryly cynical, as at the end of the scene shown below. Frankly, a good tantrum or two is exactly what The Angry Birds Movie needed, and, probably, what the audience expected. Instead, the movie is like the game itself, mildly amusing while it lasts but leaving the audience wondering if they couldn’t have found something better to do with their time. 
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Money Monster: Mini-review


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George Clooney

If Money Monster flops, George Clooney could still find work on TV

B-Director Jodie Foster and the team of screenwriters who created Money Monster apparently couldn’t decide whether they wanted the movie to be a cautionary tale about the evils of Wall Street or a claustrophobic hostage thriller. As a result, they try to do both, but don’t quite succeed at either.

Money Monster largely takes place on the set of a cable news finance show hosted by Lee Gates (George Clooney), a suaver version of Jim Cramer. A distraught young man, Kyle Budwell (Jack O’Connell), who lost his life savings investing in a company Gates recommended, threatens to blow up the studio if he doesn’t get some answers about what went wrong. As police quickly surround the studio, the show’s director, Patty Fenn (Julia Roberts), tries to keep things calm inside.

Viewed simply as a thriller, Money Monster holds up well for most of its running time. The isolated studio setting and flawed and confused hostage taker are reminiscent of Dog Day Afternoonwhile Clooney is well cast as a self-centered celebrity “financial expert” who is largely an empty suit. The movie takes place in near real time, and director Foster builds tension skillfully, cutting between shots of police snipers crawling into position within the studio and scenes showing an ever more upset Budwell brandishing a detonator with a dead man’s switch. Where Money Monster goes wrong is in its effort to create a convenient corporate villain, the CEO (Dominic West) of a company whose stock tanked overnight after $800 million in assets disappeared due to a “computer glitch.” As the clip below illustrates, that’s too preposterous a whopper to expect even the most gullible investor, let alone the SEC, to swallow. To make matters worse, Foster completely dissipates the mounting tension and jettisons the studio setting in the last half hour of Money Monster by having Budwell walk Gates several blocks through crowded New York City streets for a meeting with the duplicitous CEO. Money Monster is simply the wrong vehicle for taking a serious look at the shortcomings of Wall Street and big business. Instead, it’s a slickly produced, ticking-time-bomb thriller with a gifted cast and director. As long as Money Monster sticks to those strengths, it’s a winning pick.  
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