Tag Archives: Popcorn Flicks

Sunday Review: Scream 4

Editor’s Note:  Hey, guess what?  There are spoilers in this!  It is all Susan’s fault.  But if you don’t wanna know who the killer is, turn back now!

Geoff:
So, we’re now to the fourth of the Scream films, if you can believe it. Sidney Prescott (Neve Campbell), Gale Weathers (Courtney Cox), and Deputy (now Sheriff) Dewey (David Arquette) are all still alive and well and once again being haunted by a new round of dual killers dressed as the now-iconic Ghostface. The entire franchise of fourth-wall-breaking (and perhaps fifth and sixth walls … I wish I had more time to think about this and put it together in my head) films had gotten steadily more conventional and hammy and less clever in the first through third movies, and while this one has some pretty enjoyable moments, I feel like it was pulled from the oven before it was completely cooked. (But that might be because I’m asking too much of the film.)

In this one, Sidney returns to Woodsboro on the tenth anniversary of the original murders she survived to promote her new book about being a survivor (again and again). Unfortunately, someone decides yet once more to start picking off teens, this time concentrating on Sidney’s younger cousin (Emma Roberts) and her cohort while Sidney, Gale, and Dewey attempt to keep as many people alive as possible and solve the whodunit.

I’ve always enjoyed Wes Craven horror films more than others because they’re at least about thrills and hiding and running and jumps rather than straightforward gross-out gore, and the guy’s done this so long that he knows how to move a camera during a chase scene and how to block a shot to induce jumps and etc. If you’ve seen the first three movies, though, you might find yourself yearning for a set-piece as good as the original’s final house-party scene or the sequel’s silent, incredibly tense attack-and-chase scene in a college sound studio. They’re just so skillfully done, and in this film there are some jumps, but the chases and tension are brief, fleeting. There’s rarely even a moment that you think whoever’s in the crosshairs in a given scene might have even a chance of making it out alive.

Still, there are some fun, clever jokes, both at the beginning and the end, and it was interesting to watch the incredibly self-conscious series try to think about the horror film landscape of today as compared to a decade ago. I just wish it had gone further with it, played with it a little bit more, I guess, both in the execution of its scenes and the discourse it was trying to have with itself.

Susan:
Well, Geoff, you can blame this on either my terrible taste in movies or the fact that I haven’t seen the first three Scream films, but I really, really liked this thing.

I especially liked that even when I thought I knew what was going on, the movie’s insistence on laying out all the rules for me and then breaking some of them but following some of them kept me overthinking it and underthinking it at the same time!  Maybe that happens in all of them?  But luckily, I had a mother who discouraged our watching of scary things, which means this reboot feels fresh to me.  It made me want to go back and watch the first three, and I can’t remember ever having a desire to watch them before.  GOOD WORK, HOLLYWOOD.

Also David Arquette and Courtney Cox are back together!!!  And Neve Campbell is there!!  And people are using land lines!!  I mean, HEY THE 90s REMEMBER THEM??  Watching this movie was like putting on a flannel shirt and a pair of Doc Marten boots and a baby-doll tee and being impressed by Yahoo! Mail.  You get to jump at the scary things and squirm in your seat because of anticipation and tension, instead of gross-out discomfort.  You say it felt unbaked to you, but I thought it was near perfect.  Simple, easy, predictable enough, and fun.

Also:  LADY VILLAN!!  Right??  I mean, did that happen in one of the earlier ones too?  Because that was a pretty bomb-ass twist, I thought.  I never, ever suspected her.  In fact, except for the dude with the camera, the two killers would have been my last picks.  And that’s the fun, right?  It’s supposed to be the people you least suspect, but not the people you’re aware that you least suspect, but just the people that you legitimately don’t suspect.  UGH SO COOL.

I dunno, Geoff, I think sometimes it’s hard to review horror flicks with you because I’m just so late getting to the genre and I still think all the things about them are super neat, whereas you are a jaded old man.  But whatever, I think this flick’s totally good enough.

The novice/pro divide deepens after the cut…

Tuesday Review: Transformers: Revenge of the Fallen

Geoff:
Transformers: Revenge of the Fallen starts about two years after the original film, the Autobots now secretly helping the U.S. government to eradicate the world of Decepticon bots.  At the same time, Sam (Shia LeBeouf) is going off to college in New England and leaving behind his girlfriend Makaela (Megan Fox) to look ridiculously out of place in a mechanic’s shop.  They’re having a little trouble saying “I love you” to each other, which provides fodder for a lot of annoying scenes later in the movie.  Before Sam leaves home, though, he glances at a shard from the Allspark (that box they blew up in the first film) that got left in his shirt, and it fills his head with a bunch of knowledge vital to the survival of the Decepticons, who have been plotting the past two years to unleash a giant weapon hidden inside one of the Giza pyramids, a weapon powerful enough to destroy our sun and provide the Decepticons with lots of much needed energy.  Numerous battles between the Autobots and the Decepticons take place, and many of them are very cool and well shot, but the last scene takes for absolute fucking ever to finish, and there are so many gaping plot holes and moments of blatant racism that you’re mostly in disbelief by the time that final battle actually rolls around.  To name a few of the major holes:

Sam and his team wake up an old robot in the National Air and Space Museum, and then the robot and Sam step outside the building to find themselves in … some airplane graveyard surrounded by mountains?  Huh?  How did they get there?  They were just in Washington, D.C.!  It’s never explained.  Also, Sam finds out during his second encounter with an extremely forward and attractive college freshman that she is in fact (shocker!) an evil robot, this after Sam’s car, Bumblebee, sprayed her with fluid the first time they were together and she ended up leaving in an angry huff.  But, wait … so then if she was a robot the whole time, then why didn’t she just suck the knowledge out of his brain the first time they were together, whether she was covered in fluid or not?

I haven’t even gotten to the racism yet, which mostly manifests itself in the form of twin, gold-teeth-endowed Autobots who can’t read and have “black” accents. (Editor’s Note: Embrace the Mediocre realizes that this description of the bots is also kind of offensive but seriously there is no good way to describe how they talk because OMG Michael Bay is a total racist or something.)  Every time they were on the screen, I was almost awed by the size of Michael Bay’s balls and/or presumption.  This was written by the same guys who did Star Trek!  How did this happen?

Susan!  I am really tired of not liking movies we see, and maybe the problem is me.  When I left the theater with my friend, Andrew, we were both surprised to find everyone around us talking about how awesome the film was.  I wish I could say I felt the same.  I really wanted to have fun with this one, but I think Michael Bay got in the way.

Susan:
Geoff, let me tell you.  I thought this movie was kind of AWESOME.

Yes, it was racist.  Really, offensively, oh-my-god-did-they-seriously-just-make-the-blackface-robots-illiterate racist.  Not to mention the fact that his Latino roommate is a money grubbing, good-for-nothing coward.

It was also sexist.  Megan Fox, after seeing my boyfriend (that’s not a typo) Shia almost get killed by robots says, “I love you. I NEED you. Please come back to me,” or some such drivel.  I dunno, for me personally, when my boyfriend who won’t say he loves me drags me into battle with space robots for a second time, I think I might end it.  Especially if I was as hot as Megan Fox.  You can do better, sweetie.  You don’t need him.  He is totally messing up your game by giving you shards of space debris and what not.  I would talk here about the other women in the film but there really…weren’t any.  Except the evil whore and Shia’s harpy mother.  So moving on.

BUT I can’t help but like the sort of old school epic-ness of the thing.  This movie didn’t have nearly as much of that sort of pride-swelling, Optimus Prime-talk stuff as the first one did.  You know, the kind of stuff that makes you feel like you are 8 years old and sort of might support the war in Iraq?  (Except then you leave the theater and you realize that the war in Iraq is not being fought by space robots.)  Regardless, the AWESOME factor in this thing was pretty high.  What can I say?  I’m a sucker for lens flare and slow motion robot fights.  Jar Jar Binks-bots aside.

The amicable disagreement continues after the cut…

Tuesday Review: 17 Again

Susan:17-again-poster-upcoming-movies-4200905-509-755
OMG, you guys, I am like totalz in love with this movie!!  Text text cute boys camera phone Myspace!!

A shockingly charming Zac Efron stars as the 17-year-old version of Matthew Perry, a former high school athletic star doomed/blessed to repeat his senior year of high school after meeting a Clarence-the-Angel-type bearded janitor in front of the Hayden High trophy case.  Perry/Efron’s character had given up his chance at a college scholarship during his first stint in high school because he found out ON THE NIGHT OF THE BIG GAME (DUN DUN DUN) that his girlfriend (the future Leslie Mann) was pregnant.  He decides to marry her instead of going to college, because apparently those are the kinds of choices white, well-to-do kids in Southern California have to make.  Flash forward twenty years, and Matthew Perry is resentful of a wife and family who have ruined his life and turned him into a pathetic, overweight, pasty nothing who can’t even get the promotion he so rightly deserves at the pharmaceutical company where he has slaved for the past sixteen years.  Enter the aforementioned janitor, bridge on rainy night (as the director channels Capra), giant sucking abyss, and voila!  1980s classic Big in reverse.  You know how the rest of it goes:  What should I do with this gift?  I know, help my family!  Help help help, life life life, climatic moment of emotional revelation, hard choice, happy ending.  So, so predictable and yet so, so delicious.

I don’t know about you, Geoff, but I laughed out loud and almost cried at this thing.  Zac Efron really surprised me, even though he still definitely has some Disney to get out of his system before he starts doing real movies.  I was worried during that opening dance number (no, I am not kidding — he dances WITH THE CHEERLEADERS to “Bust a Move” in 1989 because that’s normal for the star basketball player), but he pulled it out (no pun intended).  Maybe not every line, but enough of them to win my heart.

Geoff:
Let me say, first off, that I did not have a problem with Zac Efron (though I still contend he looks funny).  I was laughing too, particularly with the line “Bedazzeled with RHINESTONES.”  Efron’s performance is, overall, effective, well-timed, amusing, etc.

The problem for me is in the jokes that were missed, and the fact that I laughed unintentionally about as much as I laughed intentionally.  The dancing at the beginning you’ve already mentioned, but when the whole scenario with the big final game happens a second time at the end? The fact that nobody, including the old coach seems aware of how eerily familiar the entire scenario is as it comes around the second time?  Unintentionally hilarious.  The fact that Efron/Perry’s wife doesn’t seem to catch on or find it overly strange that one of her son’s friends is spending more time at her house with her?  Chuckleworthy. That whole thing of the wife/mother telling Efron (who’s supposed to be someone she hardly knows, mind you) about the date she’s going on and deciding suddenly to show him how to dance????  What?????  Ridiculous.

I like comedies, and I like ridiculous situations, but when those ridiculous situations can’t even be arrived at organically, then it has me laughing for the wrong reasons.

As far as missed situations go: Efron’s two heartfelt speeches, the first in front of a classroom about holding his newborn baby, the second in divorce court about loving his wife?  UGH.  Get that maudlin shit out of my face.  If you want to mix your comedy with sincerity, you’ve gotta do better than that. I guess I just wanted a little more three-dimensionality from the characters. Michelle Trachtenberg’s rebellious teen is written so thinly I’m not even sure I would need more than the fingers on my own two hands to count all of her lines.

These things, for me, kept a sometimes-funny movie from being a really good comedy.

The argument continues after the cut…