Blah! The summer heat is getting to Cory and Tristan, and they think it’s high time for a summer vacation…perhaps to Hong Kong?
Follow our intrepid critics as they brave the wilds of sequel animation in Hotel Transylvania 3: Summer Vacation and the dull effects of yet another brainless Dwayne Johnson action fest with Skyscraper.
Cory takes us back to the early Robert Redford years with a double feature: Barefoot in the Park (romantic comedy with Jane Fonda) and Butch Cassidy and the Sundance Kid (classic western with Paul Newman).
Tristan wiles away his hours with two recent flicks: Guillermo del Toro’s Gothic horror Crimson Peak and a lost biopic of Harry Houdini starring Guy Pearce and Catherine Zeta-Jones: Death Defying Acts.
All this, some Emmy discussion and some fanboying over the early ’90s Tommy Lee Jones filmography, if you listen below:
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Tristan’s birthday film this year is Marvel’s latest blockbuster: Ant-Man and the Wasp. It’s a direct sequel to 2015’s Paul Rudd introduction to the MCU, and focuses on the gang from that film (including Michael Douglas and Evangeline Lilly) hoping to rescue the missing Janet Van Dyne (Michelle Pfeiffer) from the Quantum Realm.
He and Cory review that film, and how well it fits in with the overall timeline, before delving into other new projects, such as Taylor Sheridan’s Paramount Network show Yellowstone, starring Kevin Costner as a grumpy ranch owner.
Cory enlightens us as to what truly went wrong with John Travolta’s Gotti and the half-baked and misleading sequel Escape Plan 2, which doesn’t quite star Sylvester Stallone or Dave Bautista.
We take a trip down memory lane with board game comedy Clue and Walter Hill’s The Driver, following up with an Independence Day double feature MASH and Patton.
Listen in as we discuss all this, and what it truly means to be a film critic these days. Don’t worry, we don’t get too philosophical, but remember to consider what we say and comment responsibly.
Thanks for listening in!
After the last few weekends of expectedly huge blockbusters, the cinemas took a rest considering they might be overdoing it a bit. In Solo’s stead, a trio of minor films released this weekend, and Cory managed to see the most intriguing: Upgrade, by Leigh Wannell and starring Logan Marshall-Green (Spider-Man: Homecoming).
Tristan found recent indie The Vanishing of Sidney Hall on Amazon Prime, while Cory saw early March release Gringo as the pair caught up on winter releases.
There’s not too much to this week’s edition of the Interjections podcast, just three simple film reviews. So sit back, put your headphones on and take a listen in:
As always, remember to comment responsibly.
Hey guys, what happened to summer? It sure feels like it, but where are the blockbusters? Are we really just fine with Avengers dominating the box office and letting the likes of Anna Faris attempt to usurp the behemoth?
Cory and Tristan are here in what turned out to be one of the weakest weeks of 2018, with two of the most frustratingly banal films to pop up in the past month: the Overboard remake swapping Goldie Hawn for Eugenio Derbez and Kurt Russell for Anna Faris; and Infinity Baby, an exercise in patience featuring Kieran Culkin and Nick Offerman.
Luckily, the pair also discusses the surprisingly well-received reboot of the Karate Kid franchise, YouTube Red’s Cobra Kai. Listen in below to here reviews of those three and a recap of the pilot season slaughter that happened this week ahead of upfronts:
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Roseanne Barr’s sitcom was always about the blue-collar, working-class woes of the Rust Belt. With the announcement of another revamp, fans of the original series were apprehensive especially after Season 8-9 were such a grandiose failure of esoteric anticlimaxes. Happily though, Season 10 is a riotously funny success that sheds the bitter aftertaste of the Connor’s serendipitous lottery win and Dan’s heart attack.
At the center of this premiere episode is the debate between Roseanne and Jackie (Laurie Metcalf) over the presidential election. Many of the jabs are politically pungent (when the family is about to “say grace” before dinner, Roseanne asks Jackie if she would like to take a knee) and from Roseanne’s bumpkin perspective, her support of Trump is aligned with her character since his rhetoric was about job stimuli.
After the initial inside-joke about Dan (John Goodman) being deceased and Goodman visibly scrolling the cue cards, the show kneads out the hiatus pangs for a smoother reintroduction to Roseanne’s rogues gallery. Sara Gilbert and Lecy Goranson effortlessly reprise the arsenic-and-nectar interplay between the dueling sisters. Ex-military DJ (Michael Fishman) is given short shrift but then again, he was always a minor character within the nuclear family.
Sarah Chalke as the surrogate benefactor to Becky is a shrewd way of a breaking-the-fourth-wall clashing between two eras on the show. Several of the punchlines elicit chortles including a droll exchange between Darlene’s effeminate son and Dan (“I like your nail polish.” “That’s not nail polish, son. That’s dry-wall.”).
The show hasn’t lost the zeitgeist pulse of the fly-over Red State mentality(Dan is apoplectic over Becky’s decision for her uterus to be the host of another woman’s child). They might be slower on the progression scale , but the Connors are an all-inclusive, amenable family regardless.
Rating: 3.75 out of 5
Wandering aimlessly into an amateur acting course was the self-referential setup for Shane Black’s brilliant neo-noir Kiss Kiss, Bang Bang. A hitman/gangster exorcising their crime-ridden ennui with therapy or another incongrous outlet was the setup for Analyze This, The Sopranos, Panic and several other properties from the early 2000’s. By my count, Barry is already a decade too late for its concept.
It’s always a premature slog when the main character is already despondent from the first frame which is the case for Barry, the vanity project/brainchild of Bill Hader. Barry is a moping killjoy immediately and the jokes are a resounding thud of poker-faced dialogue about how to execute a cuckolding target (one suggestion is a stabbing castration).
The sparkplug for the premiere episode is vulgarizing the normally wholesome Happy Days megastar Henry Winkler. When he berates a female thespian on-stage with a vicious tirade to motivate her, he must be channeling David Mamet. Hader’s tentative stagefright is heart-palpitating but unlike Crashing which derived much inspiration from the other stand-up comic shows, the show doesn’t transcend the material with any fresh observations.
I’d rather the show recalibrated and focused on Stephen Root’s liaison handler. He materializes wherever insomniac Barry is and despite his chipper kinship with Barry and encouraging musings about his “purpose” in life, he brandishes an element of combustible spontaneity. It’s tenable that he could metamorphose from Barry’s accomplice to his mortal nemesis if Barry botches any more contracts.
Rating: 2 out of 5
Cory and Tristan were firing on all cylinders this week – they saw the biggest new release: John Krasinski’s post-apocalyptic thriller A Quiet Place. Cory also took in perhaps the biggest comedy release of the year with the surprising Blockers.
They each saw a handful of older films, including Stephen King’s Misery, Famke Janssen’s 2008 VOD introduction 100 Feet, Eddie Murphy sequel Beverly Hills Cop 2, the original Clash of the Titans, Gene Hackman/Al Pacino drama Scarecrow, astronaut conspiracy thriller Capricorn One, ’90s romance remake Sabrina, Taiwanese existential drama Rebels of the Neon God and last year’s Will Ferrell/Amy Poehler casino comedy The House. Tristan also saw this week’s newest television show, The Last O.G. It stars Tracy Morgan, fresh from his brief hospital visit.
Take in all of this and more below, and remember to comment responsibly!
Also: don’t forget to turn your headphones up for the beginning…