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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.
Riddled with a long line of groundless and senseless ideas, As Above So Below – the latest entry to the exhausting found-footage horror sub-genre – is heavy on the mood, but short on everything else.
Centred on the myths behind the Catacombs of Paris, As Above So Below follows enthusiastic archaeology professor, Scarlett Marlowe (Weeks), who is desperately trying to get her hands on a magical rock, capable of turning metal into gold, called the Philosopher’s Stone.
Starting off in Iran, Scarlett soon finds herself on the streets of Paris, convinced that the stone – which she’s trying to retrieve in order to honour her late father’s wish – lies hidden somewhere in the Catacombs under Paris. Eager to begin her mission, Scarlett soon reaches out to old flame, George (Feldman), for help as well as documentarian, Benji (Hodge), and a random Parisian explorer, Papillion (Civil), who offers assistance with navigation.
Going into the Catacombs, the team soon begins its search for a long hidden passage that is supposed to lead them to the mythical stone. However, as they start going deeper underground, strange events begin to take place and if they are ever to reach their destination, the team will need to battle the darkness around them that seems to thicken with every step they take.
No matter how sound your idea may look on paper, the key is execution. In the case of this latest found-footage debacle, it is unfortunately, very poor indeed. The power of the mood, although relatively strong and effective, is weakened by the film’s crammed premise which sees plenty of random ideas thrown around without any explanation or point.
Luckily, the cast manages to weather the faults and offer a few relatively convincing performances. Weeks, as a woman who will stop at nothing until she gets what she wants, is persuasive; Mad Men’s Feldman keeps things relatively grounded, and Civil – a somewhat unknown French actor – offers just enough energy to keep things interesting.
However, it’s the writing that is at fault here. Chilling, but not enough to make your blood run cold, As Above So Below is terribly confusing, contrived and awfully claustrophobic and if it wasn’t for its somewhat underwhelming – and seemingly abrupt – finale, things might have turned out differently for this part Tomb Raider part Blair Witch bag of fables and scares.
Careless and seemingly unable to find its own footing, the lack of heart and originality found in the latest reimagining of the ‘80s comic-book and film series franchise is disappointing and while there are moments of praise to consider, its shortcomings are a little difficult to disregard.
The streets of New York are terrorised by an underground criminal organization called the Foot Clan, commanded by an ominous figure known as Shredder (Masamune). At the heart of it all is the ambitious TV reporter, April O’Neil (Fox), who – despite the continuing objections from her clearly-besotted cameraman, Vernon (Arnett) – is looking to break out of reporting irrelevant news pieces and move on to much bigger stories.
Her timing, as it happens, couldn’t be better when, while out investigating a lead one night at the docks April witnesses members of the Foot Clan in a hard-hitting confrontation with a group of shadowy ninja-like figures. Determined to reveal the identities of these so-called vigilantes, April soon finds herself face-to-face with the talking and walking six-foot masked turtles, otherwise known as Leonardo (Ploszek), Raphael (Ritchson), Donatello (Howard) and Michelangelo (Fisher).
Raised in the City’s sewers by their rat-master, Splinter (Shalhoub), the four turtles have been training for years to stand up to Shredder and they are soon given that chance when they learn of the plans of a poisonous gas being released over the city.
There seems to be a lot of uncertainty and ambiguity in Jonathan Liebesman’s approach to the subject at hand and the challenge of reviving a thirty-year-old iconic franchise proves to be a rather tricky task for the Wrath of the Titans director. Written by an army of writers and produced by Michael Bay, Teenage Mutant Ninja Turtles suffers from an sloppy script , awkward pacing and, despite efforts give the very concept a little more depth the end-result feels shallow and undercooked.
Luckily, the action and the visual effects are pretty refined and while the surprisingly potent violence can be a little bit too much to bear, you can tell that a lot of time and effort went into the digital creation of the mutants themselves and the world around them.
Regrettably, the performances are just as unmemorable as the story itself; this applies to Fox most, who seems to be stuck with the same staggered expression the whole way through. The motion-capture translates quite satisfyingly, though the menacing presence of Shredder and the righteous aura of Splinter is never fully realised.
The film as a whole is polished but is short on subtlety and complexity, never finding the charm and nostalgia that initially triggered so much interest in the project.