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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.
Well-deserving of all the attention it’s been getting, James Marsh’s Theory of Everything – an emotional and a rousing look inside the life of one Professor Stephen W. Hawking and his loving but, turbulent thirty-year long marriage to Jane Hawking – is nothing short of wonderful.
Sourced from Jane’s 2008 memoir, Travelling to Infinity: My Life with Stephen, the story begins in 1963, with an exceptionally charming twenty-one physicist, Stephen Hawking (Redmayne), on his way of pursuing his doctorate from the University of Cambridge.
It is there that he first meets the beautiful literature-major student, Jane Wilde (Jones); a devout Christian whose outlook on life – and science in particular – doesn’t necessarily fall in line with his more agnostic and mathematical assessments of human existence.
Just as the love between the two begins to blossom and Stephen begins preparing for his final thesis, he discovers that he is suffering from motor neuron disease; an illness that will soon begin to take away his ability to walk and talk, amongst other things. Having been given only two years to live, the young and the highly-intelligent physicist – whose thirst for knowledge and passion for life refuses to surrender – slowly begins to challenge his weaknesses. However, as he continues to grow professionally, his life at home with Jane – who is single-handedly carrying his physical limitations on her frail shoulders – begins to show signs of despair.
While this is in fact a biopic – a simple and a straightforward one at that – which celebrates the life and work of Hawking, it is also very important to note that this is not a story that goes deep into his rise to fame as the renowned physicist we know today. It’s a much smaller scale story of love and compassion and a one focuses on human endurance, courage and, most of all, hope.
The Theory of Everything is shot beautifully and a real sense of romanticism and nostalgia – driven by a sensual and a tear-jerking classical score – can be felt throughout. It’s an emotionally-rich drama that, although sometimes can feel a little too sugary, manages to stay grounded. It is, to a large degree, thanks to Redmayne’s extraordinary performance audiences will be able to appreciate what is an insightful and meaningful peak inside the private life of one of the most respected and remarkable minds living today.
There’s quirky and then there is the outright ridiculous. Unfortunately, it’s the latter that best fits Johnny Depp’s Mortdecai performance.
Based on Kyril Bonfiglioli's 1973 book anthology, Don’t Point that Finger at Me, the film follows the eccentric and the unconventional life of swindling British art dealer, Lord Charlie Mortdecai (Depp), who seems to have fallen into a financial rut. His lavish family estate – which he shares with his wife, Joanna (Paltrow) – is now in danger of being taken away from him and his long list of clients have caught onto his deceitful ways.
To make things even worse, Charlie soon finds himself at odds with Joanna, who is refusing to speak to him until he gets rid of the ridiculous handlebar moustache.
It’s not until Inspector Martland (McGregor) – Charlie’s old college roommate – shows up asking for help with a murder case that’s linked to the theft of a lost Goya painting that things begin to look up. Hoping that the finder’s fee will help him, Charlie – with the assistance of his loyal manservant, Jock Strapp (Bettany) – soon finds himself trotting around the globe looking for a painting that is not only valuable, but one that may lead them to a hidden treasure of gold.
Adapted to the screen by Eric Aronson, Mortdecai’s story is overly complex and disjointed to the point of complete and utter breakdown. The pace is relatively brisk and the gags – mainly involving Charlie’s moustache – are aplenty; however, the jokes are forced and never really hit their mark, leaving the whole development of the plot a little exhausting.
Depp – someone who has grown accustomed to odd-ball roles such as this – seems to be happy to step into the part of the eccentric British aristocrat, however, his usual charm and irresistible unconventionality seem to be a little on the off-side. Lacking originality and character, Depp is a babbling mess while Paltrow, McGregor and Bettany, were all a little lost in their respective roles.
Succumbing to a series of cheap gags and an ongoing barrage of humourless quips, Mortdecai – probably best described as Austin Powers meets James Bond – feels like a missed opportunity considering its accomplished and talented cast.