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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.
Epic, colossal and mind-boggling wouldn’t even begin to describe Christopher Nolan’s latest outer-space escapade, Interstellar; a gripping sci-fi adventure that holds the power to stir, dazzle and astound the minds of many who will venture out to see this larger-than-life cosmic sonata unfold on the big screen.
Set in the not-so-distant future, Interstellar focuses on a place in time which finds Earth pillaged by an environmental disease known as the Blight; an unforgiving disorder which has caused a major decrease in the humanity’s food supply as well as the abandonment of technology and discovery, for the sake of basic survival needs.
In the midst of it all is a former NASA test pilot, Cooper (McConaughey); a widowed father of two who has been forced to give up his days of flying and is now busy trying to make peace with his life as a corn farmer, whilst also tending to the needs of his teenage son, Tom (Chalamet), and his ten-year old daughter, Murph (Foy). After coming across a peculiar displacement of gravity in Murph’s bedroom, Cooper soon ends up at the doorstep of the NASA secret compound headquarters where he is introduced to a secret outer-space mission, led by Professor Brand (Caine) and his scientist-astronaut daughter, Amelia (Hathaway).
The assignment requires Cooper to travel through a newly-discovered wormhole - located near Saturn – and locate a habitable planet for the human race to inhabit. Intrigued, but equally devastated at the prospect of leaving his loved ones behind, Cooper soon sets out on the uncertain mission that will lead him to discover something so much more than he – and everyone else on his team– initially bargained for.
Written and directed by Nolan himself, Interstellar is definitely unlike anything you’ve seen before and most certainly his most ambitious films to date. Thought-provoking is a rather loosely used terms when it comes to Hollywood, but not in the case of Interstellar, thanks the intricacy and complexity of the ideas and scientific ideology presented in the storyline. Lending extensive focus on the laws of gravity and time relativity, the story might leave you a little boggled but equally impressed, regardless.
Visually speaking, Interstellar is truly something to behold; the decision to shoot much of the movie with IMAX 70 mm film photography has really given a whole other meaning to the heavily-exposed presence of CGI, which strangely, gives the entire outer-space a relatively believable and authentic feel.
Continuing to ride on a wave of success, the Oscar-winning McConaughey once again proves just how much of a versatile and talented actor he really is. Staying relatively grounded and composed throughout the minutes – which just so happen to account to a total of 169 – McConaughey led the way confidently, though the rest of cast don’t resonate all that well.
Nolan has cited sci-fi epics such as Metropolis, 2001: A Space Odyssey and Blade Runner as influences and the British director more than hits his lofty ambitions; Interstellar is a big movie with a big message and even if you don’t really fully grasp its ideas, it will leave you in awe.
Given the reasonable star-power behind it, much was expected of The Angriest Man in Brooklyn – loosely adapted from a relatively unknown film titled, The 92 Minutes of Mr. Baum.
Directed by Phil Alden Robinson – see Sum of All Fears – and written by Daniel Taplitz, the film is centred on Henry Altmann (Williams); a crabby family man and a real-estate broker who’s prone to raging outbursts which sadly, have resulted in estranged relationships with his wife, Bette (Leo) and son, Tommy (Linklater).
After a series of medical tests and examinations, Henry soon meets Dr. Sharon Gill (Kunis); a seemingly worn-out doctor who informs him that he has suffered an aneurism. She adds fire to the fuel by telling her unstable patient that he only has ninety-two minutes to live.
Henry rushes out of the hospital and quickly hits the road of redemption. In an attempt to mend broken relationships with Bette, his son, Tommy, and brother, Aaron (Dinklage), Henry needs to hurry before it is too late.
Undecided on what it wants to say, The Angriest Man in Brooklyn is probably one of the most bewildering and cringe-inducing films of the year. Lost and with little structure behind its premise, the film – just like its main character – spirals out of control pretty quickly and one too many ideas, stories and subplots are thrown into the mix, without ever giving it enough room or time to explore them.
Nonetheless, watching Williams in action is always interesting, no matter how crazy and the late Oscar-winner is once again given free reign and even though, he does go a little overboard with the theatrics at times.
Draining, lazy and painfully sloppy, The Angriest Man in Brooklyn is likely to throw viewers into fits of rage, too. An understandable reaction to sitting through eighty-three minutes of nonsensical and unfunny blabber.