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The Lucky One: Cheesy Chick Flick
We’ve all seen, at the very least, one Nicholas Sparks film which is enough to figure out the formula that has probably made him into a millionaire by now. While they’re usually super cheesy, they sweep you along in a torrent of emotion. You laugh, you cry, you swoon and you leave the cinema happy. But even with adjusted expectations, The Lucky One isn’t particularly entertaining.
The film is completely centred on the romance and so there’s absolutely nothing to distract from Zac Efron’s zombie-like state. Or from the film’s frightfully cheesy dialogue. Or from the fact that it packs a whole hoard of clichés into an hour and a half in a desperate plea to activate our tear ducts.
Efron plays Logan, a marine stationed in some Arab country (turns out to be Iraq) fighting the scary brown men. The morning after an ambush, he finds a picture of a blonde chick with the words ‘keep safe’ on the back. He carries the picture around with him everywhere, like a talisman, and lo and behold, he cheats death several times while a ton of people around him die. Traumatized, he returns to America with the aim of finding the girl in the picture and thanking her for being his guardian angel. He tracks her down, is unable to show her the picture or tell her why he’s there, takes a job near her and they soon fall in love. The blonde girl turns out to be a single mum by the name of Beth (Schilling) who has an abusive ex who keeps threatening to take their kid away from her and who doesn’t like the fact that she’s seeing Logan.
Out of the two leads, Taylor Schilling is definitely the least offensive, though Blythe Danner, as Beth’s grandmother, despite being the most watchable person on screen, was a rather head scratching piece of casting. Beth’s mother would be understandable but grandmother? Either she’s found the fountain of youth or Beth looks far older than she actually is. Schilling’s character fluctuates between brave, selfless mother and helpless female, both of which only require her to stand around looking pretty which isn’t exactly difficult for someone who looks like Katy Perry’s blonde twin. All in all, she’s pleasantly bland. Efron on the other hand looks like a buff, tanned corpse. His character is supposed to be grieving for all the friends he lost on duty but what we get from Efron is a complete lack of emotion. When he’s not showing off just how nice he is by playing with Beth’s kid, he’s standing around blank faced, looking stiff. Resembling a teenager isn’t helping his cause much either.
The lack of tension is what really does the film in though. The Notebook had a sense of urgency about it. You genuinely rooted for the couple to be together even though they weren’t necessarily pleasant characters. Part of that was Amy McAdams and Ryan Gosling’s chemistry which Efron and Schilling lack but on the other hand there was an actual obstacle keeping them apart. In The Lucky One, their troubles are more hiccups than roadblocks.
This film is really only recommended for die hard Nicholas Sparks fans or people who don’t mind staring at beautiful actors, sun drenched scenery and a gaggle of adorable dogs in lieu of a decent story. Stay away if you’re prone to incessant eye rolling.
Created and directed by award-winning animators, Helene Giraud and Thomas Szabo – and based on a popular French animated television series – Minuscule: Valley of the Lost Ants is a story of friendship and courage told entirely without words.
Set in the diminutive world of insects, the film opens with a sprawling and sun-drenched forest landscape setting, where wildlife is at peace.
After witnessing the birth of ladybug triplets, their very-first flying lesson and the ill-fated separation of the youngest offspring, the story brings its focus on an abandoned picnic, left behind by a live-action couple.
It doesn’t take long before a group of animated black ants move in, delighted to get their hands on a tin box of sugar cubes. However, before they can whizz off back to their colony with their newly-found treasure, they discover a ladybug trapped in the box.
Intrigued and fascinated by their discovery, the black ants quickly make friends with the little bug, who – as they will soon learn – is set to play an important role in their quest; their plan is intermitted by an army of evil red ants, who just like everyone else, wish to get their hands on the sugary fortune.
Unlike the more flashy and boisterous Hollywood animated, Minuscule takes a whole different approach to the matter. Simple, undemanding and dialogue-free, with no star-studded cast to fill the void, the story celebrates wildlife, relishing in the glorious beauty of Mother Nature.
Shot in 3D, the visuals are wonderful, but never overbearing. Everything from the cleverly-constructed creepy-crawlies, their boggy eyes and their indistinguishable voices, to the picturesque dense-forest scenery, makes the film a truly unique, unforgettable experience.
Playful and entertaining, Minuscule: Valley of the Lost Ants offers a terrific insight into the world of these hard-working and untiring little soldiers, who – not unlike humans – have their own barriers to cross and battles to conqueror.
Taking its cues from David Memet's provocative play, Sexual Perversity in Chicago, About Last Night is a remake of a 1986 Edward Zwick film. Being the latest romantic comedy claiming to take a deeper looks at the age-old subjects of love, sex and relationships, it holds just enough charm and humour to make it an admirable addition to cinema-cheese.
Set on the sunny-streets of L.A, the film follows two best friends; businessman Danny (Ealy) and his motor-mouth best friend, Bernie (Hart). Like many other men their age, the duo’s measure of success lays in how many women they hook up with and they naturally have no interest in looking for or finding ‘the one’.
However, things soon change for them both when Bernie meets the sexy and equally feisty, Joan (Hall), while his best-bud strikes up an immediate connection with Joan's beautiful roommate, Debbie (Bryant).
Time passes by and each couple have shared a fair amount of ups and downs in their respective relationships; Bernie and Joan's hot-headed union is on rocky grounds, while Danny and Debbie – who have moved from a one-night stand status to a full-blown live-in relationship – are questioning whether their relationship will weather the storm of uncertainty and returning exes.
The cast is well-fitted to this type of comedy and, thanks to their on-screen presence, they manage to convey their day-to-day hardships in a way the audiences can easily relate to. Vibrant and infectious, Hart – recently seen alongside Ice Cube in the buddy-cop comedy, Ride Along – puts his over-the-top energy to good use, whilst the dynamics shared with Hall is the movie's key draw. Meanwhile, Ealy's and Bryant's more sedate alliance - told through a gushy, overly-sentimental eye for romance – is satisfying as the meat of the plot, but not as exciting.
Directed by Hot Tub Machine's Steve Pink, the film’s premise is fairly familiar; boy-meets-girl, they share one night of steamy passion, fall in love, move in, before the inevitable question "am I ready for this?" reels its ugly head. However, despite its somewhat conventional and unsurprising setup, the script - written by Bachelorette's Leslye Headland – keeps things relatively light, humorous and, at times, even emotionally stirring.
About Last Night manages to put its own spin of realism and good-natured humour on the forever-entertaining, battle-of-the-sexes; forgettable yet extremely engaging, the dialogue, along with the cast's biting chemistry could easily set this as the best date-movie of the year, thus far.