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21 Jump Street: Ridiculously Fun & Hilarious Action Comedy
A purely emotional review of this film would consist of a lot of uppercase letters, a bunch of acronyms, hell yeahs, plenty of celebratory swear words and a positive slew of exclamation marks. However, we do have to be a bit more articulate than that, so here goes.
While 21 Jump Street may not be the ’best film ever’, it’s definitely the most fun we’ve had in the cinema this year – by a long shot. Jonah Hill and Channing Tatum play Schmidt and Jenko; a quintessential high school nerd and dumb jock, respectively. The duo manages to get over their mutual high school hatred of each other and bond in the Police Academy where they soon become partners and best friends. Due to their youthful appearances and highly immature ways, they’re stationed as undercover policemen in a high school where a new drug is going round; one that’s already resulted in the death of a student. Their assignment is to infiltrate the dealers and find the supplier before the drug spreads to any of the other schools. On their first day undercover though, they find that high school has completely changed. Nerds are now in, dumb jocks are out and the partners find themselves navigating through completely different high school experiences than their first time around.
What makes this film so much fun to watch is that Hill and Tatum are plainly having a ton of fun onscreen. The story is basically about two dorks who, despite their training in the Police Academy, still harbour a fantasy that being a policeman involves a ton of car chases, explosions and gunfights. They’re fundamentally immature and seem to think Die Hard is an accurate portrayal of an officer’s day to day life, but their attitude is infectious and watching the film is a rather exhilarating experience. The duo play off of each other perfectly; their comedic timing is impeccable and their relationship is so cute that at times, it’s touching. The film also has a solid supporting cast with Dave Franco as an eco-friendly drug dealer, Ice Cube as a pissed-off commanding officer, and a surprise cameo that is just too awesome to spoil!
The film isn’t just a comedy though, it has some pretty sweet action sequences as well. We get car chases, explosions, fist fights and shoot-outs galore. And despite the amount of action in the film, it’s doesn’t feel superfluous in anyway; it really manages to balance the fast pace action and humour – bringing out characters that you really end up caring for and sympathising with.
In conclusion, just go see it. It’s a ton of fun and it’s worth both your time and your money.
Written and directed by Gattaca’s Andrew Niccol, Good Kill arrived in Cairo cinemas with generally favourable reviews and the distinction of having competed for the Golden Lion at the 2014 Venice Film Festival. However, despite a strong performance by lead man, Ethan Hawke, and the film questioning the necessity of war, the film loses its way after raising some thought-provoking points.
The story is centred on former Air Force pilot, Tom Egan (Hawke), who now operates as a drone pilot, comfortably flying in and out of enemy territories from the safety of a Las Vegas control centre. Working under the command of the officer-in-charge, Jack (Greenwood), Tom is considered as one of the best in the business, although his six tours in Iraq have left him itching to be out on the battlefield.
Hitting targets – and occasionally a few innocent civilians – has become a part of his daily routine and his ambiguous mental state is often carried into his private life and marriage to wife Molly (Jones), as he becomes more and more distant. It’s only when Tom and co are forced to cooperate and take orders from the CIA that the hushed man begins to questions the the dubious missions he’s been asked to carry out.
Good Kill starts off relatively strong and the setup to the dispassionate and the merciless world of drone warfare – where targets are killed off with a flick of a joystick – is executed remarkably well. Infusing plenty of technological detail, the film’s premise offers an interesting, if not necessarily fresh, outlook on the concept of the ‘war-on-terror’ and for the fans of the genre, there is definitely enough here to pass the time.
However, the film quickly loses its way and, after the initial engagement, things simply trail off, and the film doesn’t deliver the strong climax it promises. This is of course not the first time that Niccol puts the spotlight on modern warfare – see Lord of War. The difference here, however, is that the director fails to maintain the same level of interest in his characters.
And it’s a shame, because Hawke is able to pull a quietly impressive performance of a troubled soldier of war, but it’s his life at home and his connection – or lack thereof – with the terribly wasted January Jones – as well as his fellow pilots – that throws the movie and everything it tries to achieve, down the drain, turning Good Kill into an occasionally fascinating, occasionally tiresome watch.
Arriving fourteen years after the last Jurassic Park entry, the fourth film in the twenty-two-year old franchise is finally here with Trevorrow’s Jurassic World; a thrilling, but flawed, addition to the series that never really recapture the magic of the original, but still manages to excite and serve as a fitting summer blockbuster.
Picking up twenty-two years after the events of Jurassic Park, the story is centred in and around the dinosaur amusement park on Isla Nublar, belonging to billionaire Simon Masrani (Khan), who has taken the idea from the late John Hammond and turned it into a multi-million dollar reality. Responsible for managing the park’s security is rigid operation manager, Claire (Howard), while her impressively knowledgeable colleague – and love interest - Owen (Pratt) is in charge of training the park’s dinosaurs.
As one might expect when playing god, things quickly go wrong when the genetically engineered Indominus Rex – the park’s latest attraction – escapes from its enclosure leaving Simon and his team of soldiers – led by Vic (D’Onofrio) – to fight of the giant monster.
Having spent over a decade in development limbo, there’s a certain amount of satisfaction to be found in the realisation of what, at times, like a pipedream for diehard fans. Though reception has been mixed, Jurassic World proves to be a thrillingly visualised world. The park and all of its bells and whistles – including a petting zoo and a triceratops ride – are designed with careful detailing and the film succeeds in communicating a sense of awe and wonder.
However, in the harsh light of day, the film just doesn’t have the same impact, when considering the fact that the plot isn’t all that fresh – in fact, the skeleton of the story is the same – scientists play god, things go wrong, step forward hero. Granted, the dinosaurs being substantially larger and smarter adds a grandeur to proceedings, their human counterparts aren’t so lucky.
Performances by both Pratt – channelling his inner Indiana Jones – and Howard are solid, however, most of the characters aren’t explored or fleshed out enough to make you care about the outcome, leaving the mass destruction the hub of enjoyment – and it’s simply not enough.
Considered by some quarters to be Spielberg’s biggest contribution to Hollywood, Jurassic Park has a timeless quality about it; a quality that stacks the odds against a successful sequel even more so. This is a top popcorn movie, so to speak, but just lacks the sheer magnitude in ingenuity of the original. But then again, it has broken several box office records.