The Culture Cast with Zack and Nick

Digesting the lowest rung of pop culture so you don't have to!

New Feature!: 20 Years Later

In 20 Years Later, I will take a look at the cultural impact films have had in the two decades since their theatrical releases. I invite Nick to join in on the fun as well! Our first film covered in this new feature is Dumb and Dumber, the influential 1994 mega-hit that featured Jim Carrey and Jeff Daniels and was directed by the Farrelly brothers, who would go on to make several other films of varying quality over the next two decades. Their latest film, Dumb and Dumber To, just happens to be a sequel to their most popular (arguably) film, and I have absolutely zero intention of seeing it in theaters because it looks horrible. But first, the original must be discussed.

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In December of 1994, Jim Carrey scored his third big hit of the year with Dumb and Dumber, a comedy by the Farrelly brothers that met with mixed critical reception but enormous box office success and popular acclaim, grossing almost 250 million dollars worldwide against a budget of only 17 million (seven of which went to Carrey’s salary, amazingly). I, and every kid I knew, fell in love with the film, and Jim Carrey became everyone’s favorite comedic actor and a physical comedy tour-de-force in the process. The film would go on to become tremendously influential, immensely quotable, and a cable TV staple. It would also spawned a short-lived cartoon series, a prequel film no one asked for (made by a completely different creative crew), and a recently released sequel, which just happened to coincide with career low-points for everyone involved except co-star Jeff Daniels.

But would Dumb and Dumber as a film hold up to scrutiny after two decades and hundreds and hundreds of comedy films in its wake? That’s the question that needs exploring. Let’s take a look first at what holds up in the film before the bad stuff.

So, What Holds Up?:

The performances definitely hold up – Jim Carrey and Jeff Daniels are still great as Lloyd and Harry. The two give amazing physical performances and are both genuinely hilarious in their roles. There’s a reason why the two actors became so closely associated with this movie. Co-star Lauren Holly is also cute as all get out, though her role is much smaller than I remember it being from when I was a kid. It’s hard to believe that she didn’t go on to bigger and better things. I would have loved to see her in more high profile roles.

The physical comedy also holds up. It’s pretty obvious that the Farrelly brothers have an affinity for the Three Stooges, as Harry and Lloyd are clearly modeled after Stooge-like characters and updated for the 90s. I’m not a fan of particularly mean-spirited comedy, and Dumb and Dumber ventures off into that territory at points, but it doesn’t cross over into being unfunny. Many of the gags are still hilarious, and some of the more subtle looks characters give each other went completely unnoticed by me until this critical viewing. Jim Carrey can make a hell of a goofy face as well.

And What Doesn’t Hold Up?:

The fashion, the music, the directorial style – it’s all so very 1990s. In many ways the Farrellys never completely moved on from this style either. All of their subsequently released movies, including Kingpin, There’s Something About Mary, and Me, Myself, and Irene look almost exactly the same and follow the same format essentially. Two of those three movies even have a road trip element to them. It’s like they found something comfortable and stuck with it for most of their careers. Dumb and Dumber isn’t directed in any way that makes it stand out from the crowd whatsoever. Even Carrey’s other two 1994 megahits, Ace Ventura and especially The Mask, have directorial flourishes that make them stand out in some way.

I realize it’s really unfair to fault a film for its time period, but early 90s fashion is about as bad as it gets. At one point Jeff Daniels dons a hot pink ski suit and it looks absolutely horrid. Additionally, none of the villains are particularly noteworthy or worth remembering. The female villain, J.P. Shay (played by actress Karen Duffy), disappears halfway through the film and doesn’t factor into the plot after that. Lead villain Andre, played with a layer of sliminess by actor Charles Rocket, isn’t developed enough by the script to be particularly menacing or threatening.

So, What’s the Assessment?:

Dumb and Dumber isn’t as funny as I remember in some places, but it’s also extremely funny in other places I had forgotten about in the years since I last watched it. It’s easy to see why it’s considered a comedy classic, even if it veers into territory I don’t always find particularly funny. Jim Carrey and Jeff Daniels are great in it and the script is surprisingly focused – the film doesn’t lag in any one particular area. The Farrelly brothers’ directing style never progressed beyond the 90s and the film certainly shows its age in that respect, but I still find Dumb and Dumber to be a funny movie regardless (in much the way I still like films like Sixteen Candles). Just because it’s a time capsule doesn’t make it bad. It has it faults, but it’s still pretty damn funny.

-Z-

Nick saw “The Book of Life”

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I saw the recently released The Book of Life last night. As far as animated family features go, it was alright. I realize that sounds like I am damning it with faint praise, but there wasn’t anything really wrong about the movie nor was there anything remarkable about either. It just sort of exists and is somewhat forgettable.

Well…that’s not entirely fair. The production values in this film are incredibly strong. It is probably one of the most vivid and stylish CGI animated features out there. The movie had some unique designs for its main characters insomuch that they are all, essentially, wooden dolls (and, before you ask, it makes sense why they look like wooden dolls). Additionally, the film is very colorful which helps highlight the mood and atmosphere of the central holiday it is portraying, namely the Mexican Day of the Dead.

Speaking of which, I was happy to see a mainstream film dive into the mythology of another culture. I am not Mexican, so I obviously do not know how well or not the film portrays the cultural folklore, but talking anecdotally to others, The Book of Life really captures it perfectly. I was happy to hear that. Unfortunately, I wonder if that sort of doomed this movie a bit at the box office. It is the sad truth that sometimes those culturally specific films just don’t translate into big box office numbers.

But even if The Book of Life did set the box office ablaze, beyond the animation, there really isn’t much there. The story is incredibly ho-hum with somewhat one-dimensional characters. I don’t mind that so much, but the films pulls on clichés that a hundred other family movies have done time and again including: women are independent; being a fighter isn’t everything; animal killing is bad; and father is angry son won’t follow in footsteps among others. Unlike The Judge, the cliché story elements do serve a purpose in the overall movie, but nothing interesting is really done with them to make it seem at least a little fresh.

The Book of Life is a bit more kid-friendly than other animated films. However, there visuals and brisk storytelling will likely still keep parents engaged. I wouldn’t race to see this film. I’m sure it will look gorgeous on Blu-Ray. But unless you have a culture connection to the film, you’ll probably watch it once and you’ll be good.

~N

The Gorehound Gets Excited for Godzilla

Coming off a complete binge of horror movies during the month-long celebration of everything ghoulish and ghastly, the film freak we love who fantasizes over gore returns with an exquisite creature feature (that surprisingly brought tears to his eyes), the 2014 release of Godzilla.

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November 1st, brought the opportunity to see some flicks that got put on hold due to, primarily, Elvira’s presentation of many Full Moon Features on Hulu, but also for some classics like Hellraiser and Nightmare on Elm Street. There were also some Gorehound favorites like Killjoy and Cemetary Man. First on the list of non-horror movies that got put on hold was X-Men: Days of Future Past. The Gorehound had been following this movie since it was announced years before and pre-determined this to be the best movie of year. This should have been be the capstone of the X-Men stable but alas, it failed in the eyes of the G-hound. This entry was just another Professor X/Magneto/Wolverine story. Such a shame… but fear not, for we have something mighty to save the day…

There wasn’t a whole lot about this movie which could have told us of what a spectacular production this would turn out to be. The bulk of the crew, Brian Cranston, Aaron Taylor-Johnson, and Elizabeth Olsen, have never failed us but don’t necessarily hold remarkable or cult status like Goldblum or Kurt Russell (of whom would obviously  success). Cranston drops out pretty quickly but that allows the story to keep a very fast pace. There aren’t drawn out scenes like in X-Men (McAvoy never stopped talking!), and the lengthier scenes capture the emotion and hold onto it with the strongest grip.

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Godzilla is a beast that takes over the screen like no other. Rivaling the Tyrannosaic presence of Jurassic Park, this giant lizard provokes fear, but also hope. The world depends on this monster for salvation. Our actions do nothing to hinder or help this beast. It is the balance for which both species depends on life. The disruption of radiation balance hinders Godzilla’s life, and certainly hinders ours. The story finds no reason to make blatant the directors vision of reason. Let the audience figure this out, ie., don’t spell it out. It assumes that the audience understands the emotion, and catapults the story forward to the point of beauty. There is no reason to have two monsters fighting for power, but when you incorporate survival and evolution, then the story is brought to a new level.

Aaron Ttaylor-Johnson and Elizabeth Olsen reuniting after a long day.

Aaron Taylor-Johnson and Elizabeth Olsen reuniting after a long day.

There is nothing hokey about this. The camera angles, which slowly expose the magnitude of Godzilla, are perfectly in tune with the story. Godzilla is a beautiful creature that resembles beauty and enormity. The logic of story plays well, though not perfect. That isn’t a fault because no movie is perfect (with the exception of Blade Runner) especially when you’re dealing with a giant lizard fighting a giant mating cockroaches. Eventually, it is no longer two creatures fighting, but two ideologies fighting.

This movie stands next to Jurassic Park, Avatar, and Independence Day. We can’t call it an instant classic because this reviewer likes to keep the contradictions to a minimum. The director, Gareth Edwards, skims over the idea that it is a all about the monster in the stereotypical sense of havoc and destruction, but immediately moves the story forward with the beautiful story of balance, while maintaining a focus on the strong bond of family and humanity. 5/5

‘Dracula’s Daughter’ – A Forgotten Classic

I absolutely love the classic Universal Monster movies specifically those from the 1930s and ‘40s.  Beyond just the pop-culture aspect of it, I just love the atmosphere and creative early filmmaking techniques.  You just don’t get movies like these anymore.  Of course, everyone knows Frankenstein (and its sequels), The Wolf Man, and Dracula, but I think my favorite of the bunch is a largely forgotten film, 1936’s Dracula’s Daughter.

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Picking up from the Bela Lugosi original, Countess Marya Zaleska (Gloria Holden), the titular daughter, steals Dracula’s body and burns it.  Her theory is that now that Dracula is dead, she will be released from her own vampire curse.  Of course that doesn’t quiet happen, so she enlists the aid of a psychiatrist, Dr. Garth (Otto Kruger), to help cure her (of course, Garth doesn’t know about the vampirism).

This film just blew me away the first time I saw it in 2009.  Beyond taking a completely different narrative route than the 1931 original (how easy would it have been to retrace the same steps), but the themes it deals with (inadvertently or not) are completely a head of its time.

For starters, you have this whole idea that vampirism is nothing more than a mental affliction that can be cured with therapy.  It is this unique blend of science and folklore that I’ve never really seen done before or since.  Part of the reason I was taken with this has to do with the fact that I was in the midst of my graduate studies in counseling at the time.  I was pretty much eating, drinking, and sleeping counseling theories and practices at the time.  The film is pretty much on spot with Garth’s practices – which is interesting given how many movies/TV shows fail miserably with how counseling works.

But, beyond that, Dracula’s Daughter has a lot more going on.  Zaleska is so desperate to rid herself of her vampirism (in spite of her darkly humorous sidekick Sandor), but keeps coming up short.  Her cravings need attention and when she is let loose on London, a whole other can of worms opens up.

While she goes after pretty much anyone, the film pays closer attention to her seduction and subsequent attacks on women.  One particular scene has Zaleska encountering a young woman and convincing her to undress to pose as a model for a painting.  This, of course, leads to an attack, but I think the implication the film begins to make here is clear.

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Dracula’s Daughter can be seen as an allegory for lesbianism.  Maybe that wasn’t the exact focus, but the implications cannot be ignored.  This, then brings the entire film into a whole new light, particularly with her desire to “cure” her of her condition (much like therapists tried to do with homosexuality decades ago).

Zaleska eventually gives up fighting it and fully embraces her vampire destiny (and is eventually killed).  Granted, probably not the best way to end a possible homosexual allegory.  However, the fact that all of this was even put in a film from the 1930s makes Dracula’s Daughter incredibly progressive.  You didn’t get black and white mainstream films dealing with this kind of subject manner.

This is really the reason why I love Dracula’s Daughter so much.  It really is unlike anything else that came out from around that time.  Unfortunately, you can’t get the film individually, and it can only be obtained through Dracula collections (sometimes is shows up on Svengoolie).  But if you have the chance this Halloween weekend, I would highly recommend Dracula’s Daughter for monster viewing.

Happy Halloween!

‘Gone Girl’ is Pretty Amazing

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Gone Girl is acclaimed director David Fincher’s (The Social Network) latest film, and it is an incredibly gripping and intense mystery/thriller.  The funny thing about this movie is that the internet, in a shocking move, has been pretty restrained when it comes to spoiling this movie.  There are several twists and turns (some incredibly shocking), but there seems to be a collective move to keep things quiet as to not ruin the surprise for audiences.  Not sure why Gone Girl was honored with that, but in an effort to follow suit, I will keep this review fairly spoiler free by discussing the movie from only things that can be picked up from the trailers.

In Gone Girl, Ben Affleck plays Nick Dunne, a husband whose wife (Rosamund Pike) mysteriously disappears.  The following investigation uncovers several clues that lead viewers to believe Nick is responsible.  However, not all is as it seems which leads movie goers to determine the truth between the different narratives that are presented.

I love a good mystery and Gone Girl provides that in spades.  The mystery comes short of perfect as some of it really doesn’t quite work (especially in the third act), but here is where Fincher really succeeds as a director.  Everything that is going on is so engaging that, as a viewer, I never really questioned anything that was happening on screen.  After I left the theater, I started to notice some of the holes, but if you can’t notice them while you are watching the film, that’s the work of an artist.

While the mystery is great, the thing that I really, really loved about the movie was how it completely skewers main stream media on how they can sensationalize a tragedy to the point where an entire nation can completely side with or be against an individual with half-truths and implications.  Granted, this sort of storytelling has been used in the past, but Fincher doesn’t hit you over the head with it by keeping it subtle and in the background, but enough to where you would likely hate every news personality in the movie.

There is a lot more I would like to go into with Gone Girl such as its themes concerning gender, societal privilege, and the problems that stem from both, but I would have to veer into spoiler territory to do so.  Since I rather not do that, I’ll just conclude that Gone Girl is an incredibly well-made film that keeps you engaged.  It is a solid thriller (with a darkly humorous third act) which I highly recommend.  Avoid spoilers and go in blank.  You’ll thank me for that.

~N

I saw John Wick

I guess it was only a matter of time before Keanu Reeves got his own Taken clone – not that I mind that whatsoever. In fact, John Wick out-Takens Taken in many ways, and itss hard-R rating allows it to be even more violent and over-the-top in its action sequences. Directed by David Leitch (a stuntman who cut his teeth on action movies and previously worked with Reeves on The Matrix trilogy) and partner Chad Stahelski and released by who else but Lionsgate/Summit, John Wick is an extremely stylish revenge/thriller/action film that is surprisingly good and a great return-to-form for star Keanu Reeves.

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Keanu Reeves stars as John Wick, a retired mafia hitman known among the criminal underground as “The Boogeyman” for his fierce killing skills and cold, calculating nature. When Wick’s wife dies suddenly of a terminal illness, Wick spends his days in mourning, driving his cherished ’69 Mustang and eventually finding some semblance of peace after bonding with a beagle puppy named Daisy. Wick’s newfound peace doesn’t last long, however, when the son of a Russian mobster injures Wick, kills his dog, and steals his car. Now he’s back in the game and out for revenge.

There’s quite a bit of world building in John Wick that often makes it seem as if the film was adapted from a book or graphic novel series. In addition to hitman Wick, there’s a whole bevy of cool characters that seem to have fallen out of a comic book. Alfie Allen (Game of Thrones) plays the sniveling Russian spoiled son of Michael Nyqvist’s Russian mobster. Willem Dafoe plays a rival hitman/friend to Wick. The Wire’s Clark Peters is another hitman and friend of Wick. Dean Winters, Lance Reddick (who appeared on Oz which starred Dean Winters), John Leguizamo, Adrianne Palicki, Bridget Moynahan and the always excellent Ian McShane round out the surprisingly deep cast.

Though John Wick is a simple revenge film, it is loaded with well-directed action set pieces and great stunts. The film doesn’t rely heavily on CGI, opting instead for practical effects whenever it can. The hand-to-hand combat is surprisingly visceral and thrilling, and reminiscent of the kung fu fun from The Matrix crossed with the stylish Shanghai sequences of Skyfall. The film doesn’t contain any of the annoying jump-cuts popular among 00s action films either. The fact that it is coherently shot and staged is a big compliment considering I imagine it had about a quarter of the budget of a big summer tentpole picture.

The film does take a bit of time to get going, but that gives us a chance to understand the inner workings of Wick himself, and though Reeves has always been a limited performer, he is great in roles like this. The film’s action set pieces are coherently framed and shot, but the story itself drags a bit in places. I love the idea of the assassin’s code the film brings up, and this idea is something that can readily be explored in sequels, but it unfortunately doesn’t amount to much in this film. I can easily look past that, however, as John Wick’s ambition plenty outweighs its failings. It is a stylish and slick action film with a ton of great characters, competent direction, visceral violence, and a solid Reeves performance. Wick is a total winner.

-Z-

Speed Reading! – The Flash #35

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“Out of Time”

In the latest edition of The Flash, the much-more intense, blue-costumed Future Flash catches up to the present day to fix the Speed Force.  His plan?  Kill his younger self, of course!  The issue focuses on the battle between our hero and his corrupt future self with another speedster stepping in to help save the day.  Or does he?

It is a fairly simple issue which sort of rehashes what has been going on with the Future Flash for the past few months.  Normally, that could be an irritating thing to hear what is going on again and again, but in this case, it sort of works considering that what is happening with the Speed Force and the Future Flash’s motivations has been incredibly muddled.  Maybe that was by design, but I know that I was growing frustrated with the lengthiness of it.

The Future Flash abducts his present-day version and takes him to where the Speed Force ruptured.  Apparently, the death of the present-day Flash combined will release enough energy to fix tear.  Or something.  It is one of those things in comics that you just have to go with.

I have to give credit to writers Robert Venditti and Van Jensen in directly connecting this Speed Force tear to the events during Manapul and Buccellato’s run (specifically when Dr. Elias’s monorail crashed).  It feels like a natural continuation instead of something that just happened.  In the past, I have noticed when a new creative team comes on to a comic, they will junk everything the previous team did to establish their own stamp.  Here, it feels like a continuing story, and I really like that they did that.

Before Future Flash can kill Barry (why he doesn’t sacrifice himself is never explained – arrogance on his part, perhaps?), Future Wally appears and battles Future Flash.  They duke it out, but in an ironic move, Future Flash accidently kills Future Wally (who was shielding Barry).  Wally takes Barry’s energy, dies, and heals the wound in a big explosion.  This leaves Wally dead, Barry stuck in the past, and Future Flash still standing.

Sort of a rushed ending and, again, I wish Future Wally would be sticking around.  Not only is he a lot of fun to read, but artist Brett Booth killed it with Wally’s costume.  I really like that silver and red motif.  Hopefully, that design will make some sort of return down the line.

Overall, not bad.  It was the likely conclusion and it delivered on its promise of a showdown.  I do wish there was a bit more substance to the issue.  Again, it was another boss fight.  There was more at play this time around than in issue 34, but I just feel like I want a bit more out of it.  That said, I am looking forward to the Future Flash in the present day.  Will he try to completely take over Barry’s life (even though he is 20 years older)?  I guess we’ll find out next month.

Next: The Flash – - All-New, All-Murderous!

Kick-Ass 3 – Unsuspectingly Deep?

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The Kick-Ass franchise and I go back a ways.  I first became aware of it in 2009 when I met author Mark Millar at a Wizard World comic convention.  He was peddling his book in addition to the movie adaptation then in production.  I was in awe of the little I learned, so I eagerly awaited for the collected edition of Kick-Ass to come out.  I loved it then, and it still holds up now.

Then Kick-Ass 2 was released in 2012 and it was an incredible let down.  I liked the general idea of it, but the execution was way too over-the-top and violence too extreme to be legitimately entertaining.  In a surprising move, the movie version pretty much fixed everything that was wrong with the comic and is actually a better product in my mind.

Finally, in 2013, Hit-Girl, an interquel, came out and regained what was so good about Kick-Ass in the first place.  For me, it redeemed the series.  As such, I was pumped and ready for this final chapter in which Millar promised some definite conclusions.

And that’s what happens.  Mostly.  Kick-Ass 3 picks up some time after the second installment.  Dave is out of high school and, despite his best efforts, is beginning to question his role as a superhero.  Mindy is locked-up in prison and sort of screwing with the minds of the guards and psychologists there.  Meanwhile, the final Genovese mob boss brother comes to New York to re-establish his family’s control over the criminal enterprises Dave and Mindy disrupted over the past three series.

There is a lot of good here and a lot of middling efforts as well.  Kick-Ass 2 is definitely better than its predecessor, but it falls short of the original series.  I think one of the problems is that the first half of the book is boring.  Nothing really happens.  You get some interesting character work (which I’ll discuss below), but there is a real lack of momentum.  Things just sort of happen with little impact, and characters (like Red Mist) pop up briefly before disappearing for issues on end.

I have no problems with a slow burn, but it really felt like Millar was spinning his wheels for a good while.  About midway through, the plot really starts to kick in, but during the second half of the book, things just speed along at an almost too brisk of a pace.

What also didn’t work for me is that Mindy/Hit-Girl was just too much to handle.  I know that I need to take her character with some suspension of disbelief, but what she is capable of doing throughout the story is completely illogical and eye-rollingly stupid.  The book just tried too hard to make her look cool when it didn’t need to.

But, as I hinted at earlier, what really works in Kick-Ass 3 is Dave’s character arc.  He’s older now and is at that stage in his life where he wants more out of life and isn’t sure the superhero thing is really it.  He begins to seriously see someone and begins to get something that resembles a normal lifestyle.  And he likes it.  There is a maturity at play that really, really works well.

As I was reading, I couldn’t help but wonder if Millar was trying to make some sort of statement with what Dave is going through as if Dave’s journey was a loose allegory for the comic book reader.  As a kid you like comic books for the goofy stories and fun pictures.  As one gets older, they get really into it and reach intense fanboy levels (as seen on any internet message boards on any given day).  But then, as you enter your twenties and you develop new interests and new perspectives on things, you sort of leave comics behind, or at least your intense love for them greatly diminishes.

And this is what really stood out for me with Kick-Ass 3.  I really could relate to this as I went through a similar thing in my younger days (though, I don’t think I was ever a fanboy – but that’s not up for me to determine).  I still like comics, of course.  But at the end of the day, who cares?

If this is what Millar was saying, then I really need to give him credit as it is a completely bold thing to run with in the sense that the most vocal of today’s comic readers are people who are older and should be beyond an intense irrational love for comics.

If that is really the legacy behind the Kick-Ass series, then it really paints everything in a different light.  And I love that idea.  I really, really do.  It makes it feel so much more personal with a deeper meaning.  Kick-Ass 3 ends the series with a, far-from perfect, but satisfying conclusion.

~N

I saw ‘The Judge’ (probably the only one who did so)

The Judge, starring Robert Downey, Jr and Robert Duvall, is a completely forgettable film in an otherwise impressive filmography of its two main stars. I caught this film last week when a local cinema had its Five-Dollar Night. The girlfriend was interested in it when we both caught a trailer for it the week prior on TV. I, too, was curious about the film that put these two stars together, so we decided to check it out. I wouldn’t call it a mistake, but by the end of its needlessly long 2.5 hour runtime, we both came out of the theatre with a collective “eh”. There was nothing inherently bad about the film, but nothing remarkable either.

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One of the central issues is that this film tries to do way too much and, thereby, doesn’t fully commit to many of its subplots (and, trust me, there are lots). Duvall (a reserved, small town judge) and Downey, Jr (a smooth talking criminal defense lawyer) play a father and son who are estranged (of course they are). The father is accused of murder, so the son must return to the small town he abandoned years ago where his big city ways don’t mesh well with his father’s small town (and, as the movie would have us believe, better) mindset.

This, in itself, would have been enough for the film to focus on (even if it is beyond a cliché). But The Judge doesn’t stop there. There are several extraneous subplots (including a very bizarre one where Downey, Jr thinks he might have made out with his 20-year-old daughter) that just make the movie almost seem like a complete mess. It, surprisingly, holds it together, but barely.

The glue that keeps all of this together are the performances by Downey, Jr, Duvall, and a supporting cast of character actors. They are all lively, and it seems like the actors are having fun. But, even though this helped keep my interest in the film, even then, it pushes the limit on how melodramatic a film is allowed to get. The father and son go back and forth from hating each other to loving each other too many times for it to be palatable.

Perhaps that is the biggest issue with The Judge – it is too overly-melodramatic. Perhaps director David Dobkin wanted to run an experiment on how clichéd and melodramatic can a film be before breaking. If that’s what he did, then brilliant. He found that limit. It doesn’t shatter, but it comes perilously close.

The film bombed at the box office, and it is likely already forgotten (assuming people knew about it already – there was near-zero marketing for it).  The Judge just isn’t worth the time to see. Rotten Tomatoes consensus predicts that this film will likely end up on basic cable. I can really see that happen. This is the type of not-bad-but-not-good film that one would channel surf through on a lazy Sunday afternoon.

~N

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