Posts by Jeremy Butler

“Since the beginning of time, since the first little girl ever existed, there have been dolls. But the dolls were always and forever baby dolls, until ...” 

Let me preface this by saying that I am in no way the target audience for this film. That said, this film is in no way for the target audience that you may imagine it is for. Initially, I suspected the film was intended for the age bracket that actually plays with Barbies. However, after watching, I’d have to argue that the themes of the film are geared more towards the young adult / early adulthood crowd. Bearing all that in mind, it should go without saying that Barbie was a film that I endured rather than enjoyed until one key moment which I will describe later. To my mind the film was an amalgamation of films that came before it. And while I appreciate the film’s diversity in encompassing a wide range of actors to represent variations of the Barbie and Ken characters, at times it felt as though the film’s agenda was literally punching me in the face.

“Then we have something in common. You aren’t going to heaven because you aren’t a good person, and I’m not going because I’m not a person.”

So, this film focuses on a interesting viewpoint: what if Skynet weren’t the bad guys? In this Gareth Edwards directed film, John David Washington plays a hardened ex-soldier, grieving the disappearance of his wife, who is recruited to hunt down and assassinate the Creator, an elusive architect responsible for creation of advanced artificial intelligence that humanity has been at war with since a nuclear attack years earlier. Sound familiar? As previously mentioned, while one can draw parallels between the early events of this film and the future that Sarah Connor tried to prevent for her son, in that story, artificial intelligence becoming sentient was the cause; in The Creator, AI appears to be on the losing side of the battle with humanity. Score one for humanity. As a result, they only have one refuge: Asia, or to be more precise, New Asia.

How does a Hallmark resolve a fallout with the actress who is the star of their most popular movie mystery series? Reboot the series the character’s early years and cast a younger actress, it would seem. Candace Cameron Bure’s departure from Hallmark and partnership with its competitor Great American Family was quite the shakeup for the network, and it seems that it was merely the beginning for an even bigger shakeup, as Hallmark witnessed a mass exodus of their talent pool and the cancellation of some of its popular mystery movie series. However, as the name of this would suggest, the network clearly suggests that they are ready for something new. The issue with that is that this reboot in my opinion I highly doubt is going to help them achieve that goal. I’ll give them points for wanting to break new ground. However, I question if rebooting the series is truly breaking new ground or praying that lightning strikes twice. Love her or hate her, the Candace Cameron Bure-led series was without a doubt the network’s biggest moneymaker, so I can understand the desire to keep a good thing going. That being said, I have doubts about Skylar Samuels filling those enormous shoes.

“You might have saved my life, but you ruined my career, buddy.”

If I’m being honest, it was really difficult not to view this as a parody of buddy cops movies. I know that wasn’t its intention, but if I could make a recommendation; rebranding it as such would bolster its credibility. Between the helicopter vs. airplane shootout, and the dogged, always-get-your-man main character sitting in his empty apartment eating raw steak, I’m not sure how I was supposed to take this film seriously as a buddy-cop film. That said, the film is not without its charms or entertaining moments. I’d even be willing to go as far as to suggest that it worthy of whatever cult status that it has managed to achieve. It may have even became a blueprint for future buddy cop films, or at least a rough outline for them, had it not for another, more popular and realistic buddy cop film that also came out that year. Robert Carradine’s Nick Barzack may have been unpredictable, but Mel Gibson’s Martin Riggs was crazy! Carradine never stood a chance.

"If we're going to do this, there's a lot I'm going to have to explain to you."

Been waiting on this one for some time, ever since we were introduced to the character in the Justice League movie and it was announced that the film would cover the Flashpoint Paradox storyline, which is one of my favorite comic storylines. My enthusiasm was tempered a bit with the film being delayed and the actor’s subsequent troubles (for the purposes of staying on the topic at hand, that will be my only mention of that situation). However, it is finally here, and after viewing it I can say that it was well done and well received. It is also a bit bittersweet, as it signifies the conclusion of the DCEU as we know it.

Here is an interesting tidbit of information I uncovered while researching this film. When the film was initially released it was criticized for the lack of accomplished celebrities in its cast. This carries some serious irony given that the film features the likes of Willem Dafoe, William Petersen, John Pankow, Jane Leeves, and John Turturro, all of whom have gone on to become accomplished actors in their own right. All it took was time. Despite not being considered well known at the time, this was still a movie with great portrayals and snappy quips that made me laugh. In fact, the only thing to rival its story is the real-world implications it had afterwards, which we will get into in a bit. Petersen leads the film as Richard Chance, a Secret Service agent with a reputation for reckless, impulsive behavior, and, unbeknownst to his superiors in the Service, also corrupt. Petersen has his sights set on Dafoe’s Eric "Rick" Masters, a ruthless and skilled counterfeiter in Los Angeles.

Safe-cracker John "Duke" Anderson finds himself a relic of different time as he unwittingly enters a world of pervasive surveillance (cameras, bugs, and tracking devices) and attempts his latest caper. Based on the book of the same name, Sean Connery plays Anderson, a recently released convict who is no sooner out of prison than he is already planning his next job: burgling an upper-class apartment building in Manhattan in a single sweep. Now, I am a sucker for a heist movie. Give Ocean’s, give me Inside Man, give me Heat. Catch me in the right mood and I’ll even take Now You See Me or The Italian Job. Bearing that in mind, this film held some intrigue for me, as it featured a character using old-school methods in what was starting to become a digital age. I was curious to see if his old-school methods could overcome the technological advances. However, I will say that in order to be capable of beating the surveillance, you first need to know about it. Fun fact: The Anderson Tapes was the first major motion picture for Christopher Walken, as well as the last on-screen film appearance by Margaret Hamilton.

“Most ghost stories have some basis in truth.”

Essentially an amalgamation of tropes from previous beloved horror films. Like if you took those films and put them into a blender. There are elements of Candyman; I don’t just mean because of Tony Todd’s involvement. Additionally, there were elements of Halloween, with an uncompromising killer wielding a shovel. Points for weapon originality. Of all the weapons that my mind could have conceived, a shovel wouldn’t have been at the top of my list. However, all things considered, it proved to be effective weapon. The film gets off to a bad start as it essentially drops us in the middle of situation with no understanding of what has supposedly occurred. Makes it quite difficult to become invested when things start off so disjointed. The Devilreaux is presented as a modern day boogeyman (another element of the film). However, prior to the mention of his name, we have no frame of reference of who or what he is. I suspect the goal was to build intrigue, but given that the killer strikes within the opening scenes, it would have been nice to have some context to the character.

Well, I’d say this film was right in Gerald Butler’s wheelhouse. Teaming with Ric Roman Waugh for the third time of his career (it’s worth noting that two additional partners are already planned in the form of sequels for both the Has Fallen franchise and Greenland 2), Butler plays a undercover CIA agent who finds himself on the run and hunted. With only one ally, he has a little more than a day to traverse dangerous terrain while trying to stay one step ahead of those who hunt him. So while the concept of this film is not really original, the film does make up for the lack of originality by providing a adrenaline-filled experience with a healthy does of suspense. Joining Butler are Vikings’ Travis Fimmel and Navid Negahban, both of whom provide excellent backup to Butler.

“Never accept death when suffering is owed.”

So I think it safe to say that when it comes to the Fast and Furious franchise, it is no longer about cars or street racing any more. In the beginning it felt like we were getting a window into a secret underground world that spanned multiple continents. However, I would say that is no longer the case. Dom and his family have gone legit. Not only have they gone legit, but they now unofficially work for the government in some capacity. No, it is no longer about the cars and street racing any more. In fact, I would go as far as to say that we aren’t tuning in to see them use their skills on the behalf of the government, either. There is one thing that keeps us coming back for more. We want to see what over-the-top, outrageous, death-defying, impossible stuff they are going to do next.