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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.
The follow up to Carlos Saldanha’s vibrant animated feature, Rio – a film that grossed over half a billion dollars at the box office - finds the Brazilian-born filmmaker returning to the pulsating streets of Rio Di Janeiro, before setting off into the wilderness of the Amazon.
Picking up some time after the end of the first film, Rio 2 finds the Blue Macaws, Blu (voiced by Eisenberg) and Jewel (Hathaway), happily married and living a carefree life while raising their three hatchlings, Carla (Crow), Bia (Stenberg) and Tiago (Gagnon), at the Blue Bird Sanctuary.
However, their children’s overly-domesticated habits begin to worry Jewel, who is fearful that her children are slowly losing touch with nature and what it means to be a bird. So, when she hears that there may be a flock of Blue Macaws living in the Amazon rainforest, the family decides to fly across for a vacation and a bit of an investigation.
Once there, not only does the family discover that there is more of their kind in the world, but that the flock is led by none other than Jewel’s long-lost father, Eduardo (Garcia). Jewel soon finds herself toying with the prospect of moving her family there for good, while Blu – who now must prove himself to Jewel’s apathetic and unconvinced father – isn’t too sure whether he’s ready to give up his life in Rio. Meanwhile, Blu’s lifelong nemesis, Nigel the Cockatoo (Clement), who is no longer able to fly, follows the family to the rainforest in search of revenge.
Eisenberg and Hathaway return to reprise their roles as the lovable Blu and Jewel and, although their shared chemistry can still be felt throughout, it seems that their second outing is not as charming as their first. Clement is hilarious as the grouchy Nigel, while all of the supporting characters, excluding Chenoweth’s hysterical performance as Gabi – a poisonous frog hopelessly in love with Nigel – aren’t given much of the spotlight, apart from indulging in a few impromptu sing-offs, including yet another cringe worthy rendition of Gloria Gaynor’s I Will Survive.
Just like the original, Rio 2 dazzles with its vibrant and bubbly tone; the opening scenes of the New Year’s Eve celebration on the bustling streets of Rio Di Janeiro are breathtaking and Saldanha, succeeds in adapting the alluring and captivating magic of Brazil.
The story, unfortunately, is not as engaging the second time around and Saldanha seems to have sent the story on a downward spiral the minute he decided to step out of Rio and move his flock of birds into the back woods of the Amazon rainforest.
There are still plenty of thrills and spills, but had it not been for the infectious Brazilian music and a handful of interesting characters, this would have been a complete washout.
Proving just how difficult it is to draw a storyline from the virtual world of video-gaming, Scott Waugh’s Need for Speed marks the very first big-screen adaptation of one of the most cherished car-racing games
Set in the small town of Mount Kisco, New York, Need for Speed follows Tobey Marshall (Paul); a skilled mechanic and famed street racer who’s been struggling to keep his late father’s auto shop open for business. When he’s not elbow-deep in grease alongside his friends and fellow mechanics, Tobey likes to keep his adrenaline pumping by participating in illegal car racing.
Soon, Tobey’s financial problems are seemingly solved after receiving a visit from long-time opponent and professional racer, Dino Brewster (Cooper), who offers him a chance of a lifetime through rebuilding a modified Ford GT500, from which he will receive a percentage of the lofty sale price.
However, after finishing the task at hand, Dino challenges Tobey to an off-the-cuff race, landing Tobey with an unjustified two year prison sentence. When he’s finally released, he sets out a plan of revenge on Dino, by entering himself into one of the deadliest street races known around.
Over the years, videogame adaptations have bred mixed results; from Nintendo’s disastrous 1993 film, Super Mario Bros, to the slightly more interesting Mortal Kombat film series.
Unfortunately, Need for Speed is all just too bland; slightly too long, the thinly-drawn storyline is both stiff and dour, serving to take away from the impressive stunts – all of which are live-action, with no CGI used.
Fresh off the set of super-popular TV series, Breaking Bad, Paul proves to be a strong lead, but unable to rise above the poorly material. The same goes for Cooper, who valiantly embodies the word villain while Keaton, who makes a brief appearance as Monarch – the main race organiser – is a little to melodramatic for the film’s tone.
Need for Speed takes itself a little too seriously and ultimately overstays its welcome. Unlike the popular Fast & Furious franchise, this is a film that does little to help you suspend your disbelief, because quite frankly, it’s quite dull. The only potential saviour for audiences looking for an adrenaline-amped ride is the sexy range of supercars.