T he Morning Watch is a recurring feature that highlights a handful of noteworthy videos from around the web. They could be video essays, fanmade productions, featurettes, short films, hilarious sketches, or just anything that has to do with our favorite movies and TV shows.
In this edition, a former jewel thief takes a look at heist movies like Ocean’s Eleven and The Italian Job to review them for their probability of success, craft, and execution. Plus, Adam Savage and his Tested crew takes a tour of the North Bergen High School stage production of Alien, and check out the only musical number worth watching from Disney’s weird Little Mermaid Live.
First up, Vanity Fair sat down with former jewel thief Larry Lawton and asked him to review scenes from famous heist movies like Ocean’s 11, The Italian Job, The Thomas Crown Affair, Snatch, and more. He takes a look at how probably it is the heist would work, the craft of the heist itself, and whether how its executed would really work.
Remember when North Bergen High School went viral for creating a stage adaptation of Alien with some extremely impressive homemade costumes, sets and props? Well, Adam Savage and his Tested crew went to New Jersey to take a look at the students’ hard work, not to mention some of their other cool builds of a life-size Incredible Hulk, the Iron Throne and a big Millennium Falcon model.
Finally, even though most of the production of Little Mermaid Live isn’t worth watching, you should definitely take your time to watch Queen Latifah as Ursula giving her incredible rendition of “Poor Unfortunate Souls.” If you dare, you can see some of the other live performances over on the ABC YouTube channel. Honestly, Shaggy’s version of “Under the Sea” isn’t bad either.
Billy McMillin looks at high-school football players continuing a decades-old rivalry in East L.A..
Taking an unexpected sports rivalry as an excuse to watch a handful of minority teens and coaches try to improve their lives amid anti-immigration rage, Billy McMillin's debut doc The All-Americans introduces us to two football teams in East Los Angeles whose annual showdowns draw an impressive crowd. Roosevelt and Garfield high schools have long faced off in a homecoming event known as The Classic, held almost every year for close to a century. Centering on subjects who are sympathetic but whose stories are much like others we've heard, the doc may not get as much box-office mileage out of its sports theme as it might've if presented in a more straightforward, ESPN-like way. Nevertheless, it will likely find some love in Latino communities.
After setting the scene with talk-radio clips spouting the usual anti-immigrant blather, McMillin gives a very brief history of the game that typically draws more than 20,000 avid fans, and that some in the community think about all year. In fact, we meet the teams nine months before game day — during February of the previous school year, when varsity tryouts are held.
Rather than focusing on the drama of those tryouts, McMillin gets right into introducing the characters who'll matter most in the big event: The coaches of both teams one of whom also holds down a job as a cop, their quarterbacks, and a couple of key players with lots going on off the field.
Joseph, for instance, is a sophomore who already has a daughter, and works as a baker to support her. His own mother isn't in the picture, and his father, a man with a checkered past, doesn't hesitate to admit what he wants to see when he goes to a game: He wants to see Joseph hurt people.
Mario, on the other hand, is a dedicated student and a former altar boy. Fourteen family members share three bedrooms in Mario's home some of them living in fear of immigration officials, and he intends to go to an Ivy League school to raise the family's standard of living. He's already getting letters from Harvard, Princeton and Yale. But even if he's accepted, paying for college will be daunting.
The outsider here is Stevie, a senior who's not a part of this community either racially he's black or geographically he lives in South Central. Stevie's mom didn't want him to go to school in his own neighborhood, and it seems that Garfield's coaches were happy to draw talent from other parts of the city. As opposed to Roosevelt coach Javier Cid, who makes it a point of pride that his players have all grown up together near the school. Some Garfield alums who remain invested in their team's performance resent Stevie's presence — especially those whose own sons compete for spots on the starting lineup.
Though it follows a familiar format, devoting its middle third to the games leading to Homecoming and the final act to the game itself, All-Americans doesn't really play like a sports drama; football is mostly an excuse to pay attention to these kids. But that focus is diluted by the number of people we're spending time with. If, for instance, Mario and Stevie got the lion's share of attention, we might learn enough about these likable young men to be more invested in the arc of their year.
As things stand here, we're certainly curious to see where each student winds up and, to a lesser extent, who wins the game. But we've hardly had an experience we can't get from a reasonably deep newspaper profile.
Production company: Delirio Films Distributor: Abramorama Director-Screenwriter: Billy McMillin Producers: Rafael Marmor, Christopher Leggett, Billy McMillin, Timm Oberwelland Executive producer: Becky G Director of photography: Ann Rosencrans Editors: Billy McMillin, Philip Thangsombat Composer: John Piscitello
On their first night out together after meeting on a dating site for widowed septuagenarians OK Boomer?, Roy Courtnay Ian McKellen and Betty McLeish Helen Mirren take in a screening of “Inglourious Basterds” at a London cinema. It's the summer of 2009, and neither of these characters knows what happens at the end of Quentin Tarantino's revisionist World War II extravaganza. Leaving the theater, Roy scoffs at what they've just watched: “Young people will think that's what actually happened.” Betty isn't so sure — she argues that the modern world has done more to clarify history than it has to obscure it.
More than just a crafty bit of foreshadowing the full mirth of which isn't clear until almost two hours later, this early scene appears to set up a pleasantly middle-brow thriller about our power to alter the past. If Bill Condon's “The Good Liar” never manages to follow through on that promise — despite gesturing broadly in that general direction from time to time — this old-fashioned snack of a movie is still rather satisfying in its way. Pleasant and preposterous in almost precisely equal measure, the film never offers anything less than two all-time British actors having the time of their lives, which makes it hard to get frustrated that it seldom offers anything more. As far as Condon/McKellen collaborations this is their fourth, it's manna from heaven compared to “Beauty and the Beast.”
When Roy first meets Betty over a spot of lunch, the two lonely hearts try to cut through the bullshit as fast as they can. They've only got so much time left on the clock, and so there's no use beating around the bush. Roy — a suspiciously affable old bloke who's prone to heavy breathing and warbling jowls — bemoans that online dating is “a system for matching the delusional with the hopeless.” Betty — a bottle of distant starlight who seems a mite too gullible and happy-go-lucky for a retired Oxford professor — doesn't ask which side of that coin she's meant to represent. They both admit that they lied about everything on their dating profiles, and resolve to be honest with each other. But the closer one gets, the more they lose perspective. And that cuts both ways, across delusional and hopeless alike.
It's obvious from the outset that Roy isn't the harmless fop he pretends to be. On the contrary, we learn almost immediately that he still works as a low-rent grifter who spends his free time hatching elaborate wire fraud schemes with his right-hand man “Downton Abbey” star Jim Carter and softening us up with cute slang like “tickety-boo.” And while it's hard to fathom what an aging grifter might want from a sweet lower-upper class grandma, it's clear that Roy's burgeoning companionship with Betty isn't on the up and up — even before he fakes a knee injury that leads him to move in with her.
Betty is a bit suspicious, herself. For one thing, her house feels as inert and unlived in as an Ikea showroom. For another, she tells Roy her net worth a cool €2.8 million as if she's never thought about it before. Last but not least — and even in her vulnerable state — she's just too damn smart to believe Roy when he tells her that combining their assets might reduce her financial exposure and lead to regular “windfalls” of new cash. And yet, to the horror of her peevish grandson Steven Russell Tovey, Betty falls for it head-first. They just have to kill some time while Roy moves everything into its right place. Perhaps a scenic trip to sunny Berlin will be in order? Surely there's not a twisty, Holocaust-adjacent backstory waiting in the wings of desire over there.
“The Good Liar”
Screenwriter Jeffrey Hatcher doesn't always find the most elegant way of untangling this ridiculous web of deceit, nor does he arrive at a perfect workaround for the lengthy time period covered by Nicholas Searle's novel of the same name. Whereas the book was interspersed with flashbacks to Roy's time in the war, Hatcher's script collects them into two large chunks. And while the book took a similarly piecemeal approach to Roy's criminal history, Hatcher's script folds it into a present-tense storyline that runs parallel to the rest of the action. It's amazing how many laws a 79-year-old crook can break in a single afternoon! After a shockingly violent sequence in the bowels of the London Tube, it becomes impossible to tell if Roy is an artful codger or Professor Moriarty.
Then again, that's the idea; the central question of “The Good Liar” isn't whether Roy is decent or dishonest, but rather if he's too crooked to ever go straight. And the efficient shortcuts that Hatcher takes allow McKellen to toy with our sympathies like a cat with a bird carcass. Betty might be quick to absolve Roy by saying that his secrets are “between you, God, the Devil, and the dead,” but McKellen wrings a ton of fun from that tug-of-war. Watching his cheeks swell and crumple with every heartfelt twinge and half-truth is worth the price of admission unto itself, and Condon's clean direction makes sure that we never miss a single moment of empty bluster. Tobias A. Schliessler's cinematography leads McKellen into the darkness, as the film gets seduced by shadows as it careens towards the finish the final scenes are just evocative enough to make you wish that Condon had tipped the whole thing into full-blown chiaroscuro noir.
And yet, it's Mirren who's ultimately asked to carry this movie across the finish line, and she does so with oodles of her signature elan. It's a rare actor who can split the difference between an airport thriller and a historical reckoning — who's able to conflate the silly with the serious in a way that completely erases the difference — but Mirren is more than up to the challenge. The final stretches of Condon's film are so ludicrous that you almost feel swindled for caring about the movie until that point, but Mirren grounds one plot twist after another with the gravity of her conviction and a little help from Carter Burwell's lilting, uneasy, “Mr. Holmes”-esque score. “The Good Liar” may not have much to say about redemption, entrapment, or the fibs that can hold a friendship together, but the past is only so important to a wicked little thriller that delights in the moment at hand.
Warner Bros. will release “The Good Liar” in theaters on November 15.
The Battle of Midway was the turning point for the United States Pacific campaign in World War II. Each Veteran's Day we celebrate the courage, bravery, and sacrifice of our armed forces. Roland Emmerich's adaptation of Midway is timed specifically for theatrical release this Veteran's Day weekend. The film honors the legendary warriors that fought in the pivotal engagement; but ultimately fails on several fronts. Cardboard acting, a Wikipedia-esque script, and sluggish pacing torpedo, for lack of a better word, the narrative. Blockbuster visual effects, particularly the aerial dogfights, save Midway from being a total clunker.
On December 7, 1941, the Japanese launched a surprise attack on the US Naval Base at Pearl Harbor, Hawaii. This "Day of Infamy" catapulted America into World War II. Several years earlier while assigned as an intelligence attache in Tokyo, Lieutenant Commander Edwin T. Layton Patrick Wilson was warned by Japanese Admiral Isoroku Yamamoto Etsushi Toyokawa of such a possibility. Stationed at Pearl Harbor, Layton blamed himself for not being more vociferous to his superiors. Meanwhile in Washington DC, Admiral Chester Nimitz Woody Harrelson was given command of the US Pacific Fleet. He demanded a retaliatory strike to show the Japanese our resolve.
The aircraft carrier USS Enterprise, led by Vice Admiral William "Bull" Halsey Dennis Quaid, returned to Pearl Harbor primed for vengeance. Ace fighter pilot Lieutenant Richard "Dick" Best Ed Skrein is happy his family survived, but mourns the loss of his best friend. As Layton and his intelligence group scour Japanese radio transmissions, a fearless Army pilot, Lieutenant Colonel Jimmy Doolittle Aaron Ackart, bombs Tokyo in a daring raid. Yamamoto and the Imperial Navy want a decisive end to the remaining American carriers. They are unaware that Layton has decoded their strategy. The Enterprise and the carrier USS Yorktown carry out a must win mission against a formidable and merciless enemy.
Related: Midway Trailer: Independence Day Director Takes on World War II
Midway, much like the 1976 film, shows the engagements from the American and Japanese point of view. The film rolls out like a Wikipedia history lesson with dates, times, and ships presented before the battles. This is meant to keep the audience apprised of the war's progress. It ends up becoming a crutch for poor storytelling. The segmented approach highlights the dismal dialogue and acting. The film becomes rote and less cinematic. I felt like I was watching a History channel dramatization of Midway.
Midway is an ensemble piece, but Lieutenant Dick Best is the primary character. He serves as the emotional trigger for the men lost, and an embodiment of the skill needed to persevere. I had major issues with Ed Skrein's performance. The British actor looks forced in his delivery. His New Jersey accent and vernacular is absolutely terrible. To be clear, the dialogue across the board is hammy, but veteran actors like Aaron Eckhart, Patrick Wilson, and Woody Harrelson force through. Skrein doesn't have their skill to better poorly written material. It's glaringly evident and a critical flaw in the film.
Roland Emmerich Stargate, The Day After Tomorrow knows how to stage epic action scenes. He can't direct actors worth a lick, but sure can blow stuff up beautifully. The dogfights that made Independence Day entertaining are upgraded for World War II combat. The fighter battles are impressively done. You'll experience vertigo as the planes soar, and then plummet with guns blazing. Midway works as a popcorn action flick in this regard. The fighters whizzing by with bullets and flack exploding was incredible. Highly recommended in a theater with a state of the art sound system.
Midway rouses patriotic fervor, but purely on subject matter. The characters are one dimensional in a story made for middle school students. There's little more than lip service to the soldiers wives and no mention whatsoever to people of color. Midway is in the same league as Michael Bay's Pearl Harbor. Watch Clint Eastwood's Flags of Our Fathers and Letters from Iwo Jima, or Mel Gibson's Hacksaw Ridge for better Pacific theater films. Midway is produced by Centropolis Entertainment with distribution from Lionsgate.
, , ] HomeMovie ReviewsMidway Review: Blockbuster VFX Save WWII Epic from Being a Clunker The views and opinions expressed in this article are those of the author and do not necessarily reflect the official policy or position of Movieweb.
In 2001, Michael Bay unleashed Pearl Harbor, a big, dumb, corny, effects-driven war epic about the attack on Pearl Harbor, and the battles that followed. Featuring a lifeless romantic subplot and an exhausting runtime, it’s not what anyone would consider to be a good movie. But watching Midway, the new catastrophe from disaster movie maven Roland Emmerich that covers similar material, one finds themselves pining for the nuance of Bayhem. For all his flaws, Michael Bay at least knows how to stage a scene with human characters interacting sometimes. The same can’t be said for Emmerich.
Rather than concern himself with character development and drama, Emmerich, the director of Independence Day and The Day After Tomorrow, specializes in blowing shit up, and Midway gives him the opportunity to blow lots of shit up – in a historical setting to boot. Unfortunately, Emmerich has to pad all of those explosions with human moments, which he does clumsily, stumbling from one awkward scene to the next, stranding his actors in a sea of unconvincing dialogue in the process.
The script, by Wes Tooke, is loaded with dumb speeches that are meant to seem inspiring, and clunky expository lines where characters exclaim a trait about someone they’re interacting with. “You’re the best pilot we have!” one pilot says to another. When an intelligence officer comes running into an office during the attack on Pearl Harbor, his superior takes one look at him and shouts, “There he is! The man who tried to warn us!” A character wearing sunglasses and dressed in a khaki uniform climbs out of a car with a soldier, and the soldier cries out: “Gee whiz, I’ve never met a real-life movie director before, Mr. Ford!” the soldier exclaims. Mr. Ford, as played by Geoffrey Blake, is meant to be the legendary John Ford, who filmed the Battle of Midway and turned it into the 1942 documentary The Battle of Midway. You should probably just watch that instead – it’s streaming on Netflix.
Midway wastes no time in throwing us into the action. After a brief prologue we find ourselves in the midst of the attack on Pearl Harbor, and all the carnage it brings. Hotshot Navy pilot Dick Best Ed Skrein wants immediate revenge, but his superiors refuse to let him go flying off to do whatever the heck he wants. There’s protocol, after all. The rest of Midway is devoted to the weeks and months following Pearl Harbor leading up to the Battle of Midway. Intelligence officer Edwin T. Layton Patrick Wilson figures out pretty quickly that the Japanese are already planning another attack on Midway Island, and he convinces his superior officer Admiral Chester Nimitz Woody Harrelson, wearing a wig that’s only slightly more convincing than the one he sported in Venom to plan a counter-attack. Meanwhile, Dick has to learn to be less of a daredevil and more of a leader. Oh, and Dennis Quaid is there, too. His character gets shingles at one point and has to leave the movie. Lucky him.
These non-action scenes with paper-thin characters are merely the framework Emmerich has hung his saga on, and we’re just as bored with them as he must have been. No one here behaves like a living, breathing human here. Everyone shouts their lines and attempts at humor fall completely flat. One might want to be kind to Emmerich and suggest that he’s going for some sort of ened atmosphere that pays tribute to the not-quite-realistic war epics of Hollywood’s past – the type that would have John Wayne unconvincingly storming into battle. But it’s doubtful.
Characters are introduced, rattle off some backstory about themselves, and then immediately die. We’re supposed to care about these people, I suppose. And we’re supposed to believe their deaths haunt Dick Best, so much so that he talks somberly about them to his wife, Anne Mandy Moore – one of a handful of female characters in the movie who exist merely to support their rough, tough menfolk and make them sandwiches late at night. But good luck getting worked up about anyone here. Dick Best is an absolute dud as a main character, and Skrien’s performance – which requires him to use a thick New Jersey-ish accent – is often cringeworthy.
And what about the rest of the fighting men? Will you care about the jerk pilot no one likes, played by Darren Criss? What about the mustachioed machinist Nick Jonas, who says he doesn’t worry about dying because anyone could die at any time? Or how about Lieutenant Colonel Jimmy Doolittle Aaron Eckhart, a character we’re lead to believe is “the best pilot in the whole world” because that’s how one character introduces him? You’ll be hard-pressed to have much interest in any of these folks. To Midway‘s credit, it does take time to focus on the Japanese side of the conflict as well, and Etsushi Toyokawa as Admiral Isoroku Yamamoto is the only actor who feels like a genuine person here. He belongs in a better movie.
Since Emmerich cares more about the action than the character moments, you might assume that when Midway delves into the battle sequences it comes to life. But that’s not what happens. Nothing on the screen feels real or has weight. It’s all digital clutter, full of sound and fury, signifying nothing. You’ve likely seen video game cutscenes more realistic than the cartoonish fighter planes engaging in dogfights here. When Emmerich’s Independence Day, a movie about gooey aliens blowing up the White House as Will Smith cracks jokes, is more convincing than a true story like Midway, something is very wrong.
Guess what, guys? The constant stream of George Michael music in Last Christmas isn't as annoying as one might expect. Nor is it the worst thing about it. It's actually the most charming aspect of having to sit through this whole 105 minute ordeal back in my day this would have clocked in at an easy 88 minutes. But come on. Did we really need a literal adaptation of that title song? Which is on constant repeat as if to bash us over the heads with such an obvious twist, overly gleeful to give the whole ruse away? The concept, scribbled out on a napkin, reads like a joke. But instead plays like a funeral dirge.
What the hell am I watching here?
I would've loved to watch Paul Feig and Emma Thompson who co-wrote the story idea pitch this in a meeting. Were people laughing? Crying? I'm going to guess both. But seriously. Minor spoilers right at the top. Go back and listen to Last Christmas. Yes, someone is literally going to give someone else their heart. Oh, boy.
Related: 4 Christmas Movies Are Coming Out This Week and Halloween Is Barely Over
Last Christmas is going to work on you one of two ways. You'll either guess the spoiler midway through and thank it's hokum. Or you'll be fooled by its blatant trickery, and weep thick chunks of rock salt for the last fifteen minutes. This is evidenced by the fifty-fifty reaction I experienced at my own theater.
Perhaps I'm too cynical at this stage in life? But I hardly ever guess the big twist in any given movie. So that I saw where this was going fairly early on means it's pretty sloppy with its biggest reveal. Though, there is a speech that comes on the cusp of that big third act shocker. It's supposed to be emotional and heartfelt, swung like a hammer. 'Feel your feelings, fool!' A real kick in the ribs. Sorry. All I could do is stare at that bug crawling around in Emilia Clarke's hair.
Yes, there is a goddamn bug crawling around in the girl's hair, and I can't tell if it was done on purpose, if it's a joke to distract from the big emotional punch of the dialogue, or if no one noticed this overzealous extra on the day the scene was shot.
This moment between Emilia Clarke's Kate or Katarina as everyone likes to point out is her real name and Henry Golding as bike obsessed weirdo Tom, is supposed to be upsetting. The big dramatic crescendo heading into that third act power play. Perhaps the movie's most important scene? But as I watched that bug struggle and dance to escape movie-grade hairspray, I started launching. But realized no one else in the theater was. I wasn't laughing at the dialogue.Henry Golding and Emilia Clarke sit on a bench, discussing there impossible romance. And you can see the gnat plain as goddamn day. It's akin to the fly eating scene in Raiders of the Lost Ark. Bravo. Did Paul Feig not notice it on the playback screen in video village? Did he think it was natural and of the moment so he kept it in? Is it supposed to be an Easter egg? I'm clueless.
I personally feel that this is the type of one star movie both Siskel and Ebert would have mercilessly bullied on their show. Thumbs down, for sure. But they're not around any more to pick and pull at this nonsense. Maybe Bill Maher is right, maybe someone does need to bringing Bullies back. Perhaps it would stop us from getting this kind of holiday dreck in theaters. There comes a point late in the game when Kate is trudging up some laborious hill, and I could literally hear Ebert's voice in my head, 'Dear god can someone please get this girl a new jacket and some new shoes.'
Yeah, yeah, yeah. She's broke and lives in these clothes. But come on. She's back at home with her parents, and that overbearing mom, as played by Emma Thompson, would have surely been as sick of those boots as the audience. Right? The fact that I'm looking at this girl's boots means one of two things. They are practically their own character, or they are more interesting than anything else being shown on screen.
What is this movie, anyway? Spoiler time, so turn around if you're easy to fool or unable to pick up on fat hints as to where this is all going in the end. The movie meanders along with its mouthful of inconsequential dialogue. At the 40 minute mark, you realize, someone in this story HAS to be dead. Otherwise what's the point? if none of these characters are ghosts, this has to be the worst, most pointless Christmas movie ever. For a few minute, you may wrestle with who that dead person could be. The guessing game will keep you distracting from some of the absolute banality on screen.
This is not Paul Feige's finest hour. And if you hated Ghostbusters 2016, it's best you stay home or wait for the movie's Netflix debut. The real kicker here is that the George Micheal song upon which the story is based is the biggest spoiler.
Last Christmas, boiled down to its bare essence, is a Millennial retelling of A Christmas Carol. Though told one a subverted way. Katarina is a spoiled selfish wank, our stand-in Scrooge. But the movie falls into a trap of using this unlikable cliche of Millennial life. The girl hard to root for at every turn. When her redemption arrives, it's impossible to care. It's as if a millennial themself is retelling the story with heavy emphasis on how they 'changed', a little too excited to tell you that they changed. It's all very 'me, me, me' to the point where you want to give up and throw in the towel. If you're ever on anyone's side in this movie, it's anyone else but Kate. The sister, the mom, the dad, the boss. They would all make for a better movie's central character. Kate is a side character that should get a few scenes. Comic relief at best, given her own vehicle to ride around in and crash against the curbs. Even the poor old handsome Ghost of Christmas past at the center of this tale would be a more interesting central subject to grasp onto. But he's barely around, sprinkled in for some serious life changing. All of the side characters here are more interesting than the grease spot at the center of the movie. Kate is a stubborn stain.
It's not Emilia Clarke's fault. She's charming enough for someone you never really grow to care about or like much at all. Nor am I pointing fingers at millennials. They be who they be. The problem here is, you got Feig in his Hitchcock suit and Dandy cane directing this, what should be a young man's game. There is a very heavy boomer-millennial disconnect hovering around the dome at all times, and it all reads like a heavy-handed dissertation on the worst kind of Millennial behavior. And how that behavior needs to be Scrooged out of existence with literally a man-sized heart. And it all rings very false and weird.
Last Christmas, over all, falls into the same trap as the canceled Netflix series Girlboss and this summer's horror favorite Midsommar. The central character is not likable. But not in a hate-able way. Tolerable, but like the rest of the characters in the movie, you, too, will want to get away from her as soon as possible.
You may find yourself politely nodding at her the whole time, wishing you could run for the door. Problem, you have to spend nearly every single scene with her, and that awful wild cat print jacket. Once she finds her redemption, I couldn't help but smile politely and nod, 'Ok, cool. Can I go now?'
It's my own personal belief, but if someone the same age as the main character had revised the script and directed the movie, I'm positive they could have made me give just a little bit more of a shit. Paul Feig has aged out of this material. And while half the audience might buy into its big blatant attempt at selling tissues, I'm of the other half that is springing from my seat, happy to never spend another second with Katarina. Last Christmas comes to us from Universal Studios, and though I didn't care for it much, it'll probably be a Christmas cult classic in the years to come.I bet you see it somewhere along the way.
Side note: Paul Feig re-shows almost the entire movie during the end credits with Time Bandit style credit filters. I liked this! There are a lot of overdubbed jokes, one in particular about Jason Statham, who starred in Feig's much better The Spy. These jokes are told with the character's backs to the screen or off camera altogether and the audio seems louder than anything else. Obvious ADR to add some jokes? I didn't like this.
, , ] HomeMovie ReviewsLast Christmas Review: A Millennial Christmas Carol Where the Song Is A Big Spoiler The views and opinions expressed in this article are those of the author and do not necessarily reflect the official policy or position of Movieweb.