Author

About the Author
Resident of Utah County, Ex Movie-Pass owner, and married with a baby! Good movies have been my go-to pastime for as long as I can remember; from my dad introducing me to gems such as Tommy Boy and Dumb and Dumber, to discovering the work of people like Paul Thomas Anderson, The Coen Brothers, Francis Ford Coppola, and Steven Spielberg. These filmmakers taught me that cinema truly is an art form. Movies are my way of better understanding complex emotions and unfamiliar walks of life. Movies are a consistent and reliable way of connecting ourselves to the human race, and it’s often done marvelously. I love it!

REVIEW: The Wolf of Snow Hollow

Orion Classics
Rated: R
Run Time: 83 minutes
Director: Jim Cummings

One more thing that COVID-19 has done to to the industry: The Indie movies that would’ve never been given a chance as a wide release in theaters are now camouflaging in with the blockbusters. I thought I was about to watch a straightforward, sobering, drama/thriller… Boy, was The Wolf of Snow Hollow NOT that.

Immediately following a beautiful and unsettling opening credit sequence, the off-beat, erratic editing, acting and dialogue begins and never lets up. You might be tempted to call it bad acting, or low budget, but give it a few minutes; once you get used to the rhythm of this truly odd movie, you start to enjoy the imperfections. It really doesn’t seem like a mistake, but rather intentionally other worldly. It reminds me a lot of how the same elements are handled in It Follows (2014); just a bit off and unfamiliar. But I think it works! Where as those little details gave It Follows a hipster feel, The Wolf of Snow Hollow brings more of an ironic comedy to the mix. And I wouldn’t classify this as “so bad it’s good,” it’s more grounded than that, and much more self aware. Whatever the film is, it’s good enough to get you engaged if you allow it 15 minutes of your time before giving up (the movie is only 83 minutes total). 

This story portrays a moment in the life of an unstable, small town sheriff’s deputy along with the rest of his office, and what would happen if a murderer (or something else) started going on a homicidal rampage. What ensues is a series of incompetent decisions, mental breakdowns, and desperation to stop the carnage. It’s honestly so great. 

Once you get used to the insane editing, the non linear, almost hyperactive story telling becomes one of the film’s strong suits…even if it’s just that it’s unique. It shows just how scatterbrained an amateur cop from the boonies would be dealing with something this HUGE (tease).

From left to right: Riki Lindhome, Marshall Allman, Robert Forster, Neville Archambault and Jim Cummings in a scene of The Wolf of Snow Hollow | Orion Classics.

So many moments of otherwise bizarre behavior feel so relatable, to the point where you’re surprised how much you’re laughing. Honestly, guys, from one scene in particular I ended up laughing uncontrollably for like 5 minutes.

To wrap it up, the horror factor is unnervingly mysterious and creepy by itself. Along with that, there’s a clever, whacky twist followed by a satisfyingly tranquil ending.

Side note: veteran actor Robert Forster, who co-stars in The Wolf of Snow Hollow, passed away during the filming. His character and performance end up being a coincidentally nice goodbye and a highlight of the film. Jim Cummings is the writer, director and lead actor. Being that he decidedly pulled off such an unlikely accomplishment, I’m excited to see his one other film he has to date, Thunder Road (2018), where he helms all three jobs again.

I’ll stand by The Wolf of Snow Hollow as one of the best and likely most underrated dark comedies of the year.

Recommendation: Go See It!

REVIEW: Hubie Halloween

NETFLIX
Rated: PG-13
Run Time: 102 minutes
Director: Steven Brill

Anybody else just really loving this holiday season more than usual this year? I don’t know what it is, but I’m especially open to anything Halloween related just to get the spooky feels going. Haunted houses, late night movies in bed, decorating my classroom, scary stories around the fire–I’m doing it all this time around. Maybe that’s why I was actually willing to give Hubie Halloween a shot. My take on this film will end up being pretty simple, short and not so sweet. But I don’t feel like passing judgment without first honoring merit where merit is due. So, let me talk a little bit about the producer and lead actor.

Deep down, don’t we all love Adam Sandler? From The Wedding Singer (1998) to 50 First Dates (2004), he’s made some definite classics that will be in my movie collection forever. He has a respectable resume between SNL, his large filmography, and an underrated knack for drama like in Punch Drunk Love (2002), The Meyerowitz Stories (2017) and most recently, Uncut Gems (2019). It’s not very debatable, the guy has talent.

On top of his career, he just seems like a really good dude off the screen. I love the tear-jerking, heartwarmingly personal memorial he gave Chris Farley in Adam Sandler: 100% Fresh (2018). He performed a beautiful song with Miley Cyrus respecting the victims of the Las Vegas shooting a few years back. Even that funny video of him and Justin Bieber spotting each other on the streets; just a nice, down to earth human being.

Now I’ll add to the overwhelming consensus: he’s had a lot of duds. In many cases, his later movies have been almost entirely void of the sincerity, wit and utter watchability of his past films. I don’t think I need to name them, but basically any Happy Madison produced flick in the last 10 to 15 years should give you a general idea. This doesn’t mean that these movies don’t have a place in the world. Just as the gags have delved into potty-humor and the stories and characters have turned (even more) ridiculous, they may just be more so geared for preteens. So don’t call me a hater. And for the record, I love that he uses his films as a way to kind of vacation and spend time with his buddies. I’m also sure he works really hard; they usually pump out 2 or more movies a year.

Julie Bowen and Adam Sandler appear in a scene of Hubie Halloween | NETFLIX.

So… Hubie Halloween. I’ll say a couple things I loved. There were really fun references to older, far superior Adam Sandler movies. Moments of these are what got me first engaged in the film and what often got me through it. That element and just a few other subtle bits of dialogue had me genuinely laughing. Another thing, Sandler’s character is a sweet guy, and the moral of the story centers around that. Though many might be tired of the standard Bobby Boucher/Happy Madison/Sandy Wexler voice and mannerisms (and at first his voice did make me moan in exhaustion), it works fine enough to make the character overall likable.

BUT expect the bizarre, witless potty-humor. Expect other jokes that just simply fall flat. Expect less than award-worthy acting and a script and story that don’t help much either in bolstering this flick out of the slew of subpar Netflix Originals.

For many die hard fans of his content, or if some individuals are just that easily pleased by a movie, this may be a fun new addition for you. After all it’s Halloween genre. And in my opinion, that alone makes any movie more fun.

Aside from those select few mentioned, I’d advise the general audience to skip it for now. Keep an eye out on our content that has or will be released this month for some better suggestions of Halloween movie night options!

Recommendation: SKIP IT

REVIEW: I’m Thinking of Ending Things

NETFLIX
Rated: R
Run Time: 134 minutes
Director: Charlie Kaufman

So, I would place director, Charlie Kaufman in the same category as David Lynch. Both have never really made a customary film with things like a linear plot, even tone, clear purpose, and actual resolution. Both are some of the most talented screenplay writers of our time that employ groundbreaking creativity, and both have the same effect on actors: that is, the actors will do anything to be in their latest film. If I could just lump them together, I would say, “They both have gained success making really weird movies.”

Kaufman directed and/or wrote films like Being John Malkovich, Eternal Sunshine of the Spotless Mind (personal favorite), Anolmalisa, Adaptation., and Synecdoche, New York. All are extremely unique, are difficult (at least for me) to understand, and often involve elements dealing with human psychology and mortality. There’s also a recurring theme of puppets… In fact Anomalisa utilizes puppets for all of its characters, though it’s one of the most humanistic films I’ve ever seen. They all utilize music, poetry, literature, and just great original writing to really enrich themselves, and it’s all from the mind of Kaufman.

Though his latest release through Netflix, I’m Thinking of Ending Things, takes a turn for the more creepy, all of these elements (minus the puppets this time) can be found here. Whether some of those aforementioned quirks sound captivating enough to reel you in or make you shrug or sigh and cause you to overlook this film, I understand either way. This movie is not for everyone. I’m not even sure it’s for me.

In I’m Thinking of Ending Things, a woman and her new boyfriend take a trip to his parents’ rural, isolated farmhouse. What’s supposed to be a dinner with awkward pleasantries turns into a night that loses its grip on reality and exploits the woman’s dark thoughts on life and time. 

Jessie Buckley as Young Woman, Jesse Plemons as Jake in I’m Thinking Of Ending Things. Credit: Mary Cybulski | NETFLIX © 2020

Here’s some of things I love about it:

There’s this bizarre yet honest first person narration from the main character, played by Jessie Buckley, that truly feels like it’s out of a bestseller novel (the film is based off a book by the same name). This narration is interactive, constantly interrupted, and enhanced by a beautiful score.

The movie involves a lot of pastime with Buckley’s character and her boyfriend, played by Jesse Plemons, driving in a car on a snowy, lonely highway. Their discussions caused me to write down quotes that I thought were so insightful and relatable about little details in life. Unfortunately, most of those details are rather bleak, but like I said, the writing alone will keep you entertained for a good while. There’s some truly poetic monologues and dialogues. 

There’s an unsettling figurative backdrop that leaves you waiting for a jump scare, but it never comes because it’s not that type of movie. Rather, the plot clumsily bumps into disturbing details of morbid animals, distorted time, and erratic behavior. There’s even quirky moments of genuine, relatable comedy that somehow isn’t out of place. There’s even a beautiful contemporary dance out of nowhere that feels clever and right. The whole thing makes your eyes widen, and I appreciated how the movie got me to feel just as uncomfortable as the main character. 

Finally, to complement the great writing and direction, the acting is impeccable. Both Buckley and Plemons, as well as Toni Collette and David Thewlis, give great performances with a wide range of emotion and state of mind.

When it comes to what I didn’t necessarily enjoy, and what might make people stray away from watching is just how terribly vague and bizarre the movie is.

(From left to right) Jesse Plemons, Jessie Buckley, Toni Collette and David Thewlis in a scene of I’m Thinking of Ending Things | NETFLIX.

Most people like to have some sort of grasp of what is going on in the movie they’re watching. Maybe it’s just me, but this film will likely prove difficult to get a grasp. The whole time, you’re not sure whether there’s a supernatural haunting going on, there’s some sort of black hole that’s affecting time and space, one or more characters are losing their minds, or if you’re not even close and the whole movie is some sort of a metaphor. Trying to understand the movie just kind of leaves you in a blur. The secret may be to just not try too hard, and let the movie pass through you…or something. If you know the point of the movie, please comment below!

It ends up feeling like a bizarre dream you had the night before and you’re trying to recall later in the day; you’re left trying to remember vague scattered pieces. I have to admit, I have the same attitude in both scenarios: earnest effort to listen and see it through, but overall confusion. And there’s the same urge to move on and forget the story forevermore.

But, that doesn’t mean you shouldn’t watch it. If you’re a fan of Kaufman or you can appreciate a film for its qualities without requiring all the answers, give this a try. Otherwise, I think this may be irritating to a lot of viewers. Either way, I’ll leave the general invitation to give this a single watch.

Oh, and a warning: I’ve heard the word “horror” floating around to describe this film, but I would call it psychological suspense. DO NOT watch this with a group of friends expecting a unique horror film. Your friends will likely leave early and judge you for putting them through it.

Recommendation: STREAM IT

REVIEW: Bill and Ted Face the Music

United Artists Releasing
Rated: PG-13
Run Time: 92 minutes
Director: Dean Parisot

Your calculated consideration in viewing this editorial is most appreciated, dude!

What to say about the third and (I’m sure it’s safe to say) final installment of the Bill & Ted series? Well, I can’t speak about one movie without the other two in this case, especially since there’s so much reference to them in Bill & Ted Face the Music. So let’s start from the beginning…

Like many who are reading this, I grew up watching Bill & Ted’s Excellent Adventure (1989, the first in the trilogy). Though I was born and introduced to it long after 80‘s culture had diminished, this became one of the solidified go-to’s watched on pre-teen Saturday night sleepovers and on trans-state road trips. Dated as it is, it’s one-liners have always lived on in my family circle, and I’ve shamelessly shown it to family and friends who missed it amongst the sea of 80’s classics.

I went ahead and watched the original again at about the time I heard that ‘Face the Music‘ had received a release date. It had been about a decade since I last watched it, and as ridiculous as it is, it has truly kept its good humored, sincere savor over the past years. I especially loved the plot point that’s probably the most in your face but that I had never really given a lot of weight to: they learned history and defied expectations by being who they truly were, a couple of chill, really nice guys that could get along with anyone including the most diverse group of historical figures. As a history buff, and also someone that didn’t do well in school, this aspect alone makes me want to stand by this movie’s goodness forever. Oh, and the soundtrack is THE BEST.

What followed for me was a viewing that was a long time coming. I didn’t grow up watching Bill & Ted’s Bogus Journey (the 1991 sequel), and I’ve always been hesitant to visit it. I don’t know what it was; maybe it’s the fact that most comedy sequels are usually awful and I really didn’t want it to taint my love for the first movie, or maybe it was just that the Death character on the movie posters and VHS covers creeped me out as a kid, and I still have some PTSD. But unfortunately, and I think based off pure coincidence, my two stated worries had some legitimate grounds. Where ‘Bogus Journey‘ isn’t busy taking a few quirks from the first movie and exhausting them till all logic and good humor has dulled, it adds a cartoonish underworld, a long awaited creepy Death character (not to mention the creepiest martians), dirtier jokes, uneven tone, and finally a less endearing, less clever representation of Bill and Ted. Another big disappointment for me is where the first movie takes the unique approach of making the antagonist intangible (namely their intelligence, the looming lack of time, and the fear of being separated by military school), the sequel just makes the villain an evil European future guy and some uncomfortably insulting evil robot versions of our heroes. I feel like I just said everything, so I’ll leave it there. Sorry to offend any die hard fans, but the sequel is pretty bogus.

(From left to right): Samara Weaving, Kristen Schaal, Keanu Reeves and Alex Winter appear in a scene of Bill and Ted Face the Music | United Artists Releasing.

Now you may understand why I was a bit ambivalent about watching the third. Surprisingly, the same writers have helmed the script for all three movies, so for my friends that are nostalgic toward the first AND the second, I’m confident that you’ll enjoy this.

Bill and Ted find themselves still stuck 40 years later after the events of the first two films without their hit song which supposedly was going to bring the world into harmony. They go on an adventure through the future to get the song from their future selves while their daughters go back in time to find the most talented songwriters in the world (reminiscent of the first movie). Everyone ends up running into mortal danger which reintroduces Death and the underworld (referring to the sequel). Sounds like a big mess but it actually works more decently than you think.

It was weird approaching a movie with both positive and negative bias but I can honestly say the following: Bill & Ted Face the Music takes familiar characters and aspects across both of its predecessors to make a fun enough conclusion for our two excellent friends. The fact that they basically never changed over the half century annoyed me a bit at first, but they eventually wear you down (I mean how can you not love Keanu no matter what?). The ending was heartwarming with a climatic performance along with a sweet familial reveal, even if it did feel a bit hurried.

Keanu Reeves and Alex Winter in a scene of Bill and Ted Face the Music | United Artists Releasing.

Now being that this film is in theaters, I do need to give a responsible review before designating this flick. It does play on many past tropes that may feel entirely exhausted. I mean, we’re so culturally far from the 80’s stereotype bros that we started out with, so this vibe may not appeal to everyone (fan of the originals or not). I’ll say that the fact that the two millennial daughters are pretty much a pale imitation of their metalhead fathers often made for a more annoying and illogical detail than a fun redirection. As mentioned, the ending and even much of the movie itself felt just a little rushed (perhaps too much was going on between the two plots). Lastly, it’s just nowhere near as comical as the first–at least not enough to quote for years to come. 

I will say that all the faithfulness to the first movie was enough to help me overlook many of those offbeat quirks. So in the end, ‘Face the Music‘ was a necessary, even crucial addition to the Bill & Ted saga as a whole because it makes up for the second movie and gives us a decently solid conclusion. However, I still think that the world would be better off with solely the original in their movie collection. But if they need to see the full story, it’ll make for a fun enough watch. But maybe spare the miles and movie ticket and rent it on-demand.

Recommendation: Maybe A Matinee

REVIEW: An American Pickle

HBO Max
Rated: PG-13
Run Time: 89 minutes
Director: Brandon Trost

Rogen, Rogen, and Pickles…

Like so many movies lately going straight to VOD or streaming channels, An American Pickle felt like it came out of thin air and with very little hype preceding it. That’s life as we know it for the time being. Though this flick has its faults, I’m particularly delighted at its spontaneous arrival. Even though I watched it far from a movie theater in a basement bedroom with intrusive outdoor lighting, this movie felt well done enough to bring me back to a small sense of normalcy, and I appreciated that!

From the drawing boards of Seth Rogen, Evan Goldberg, and Brandon Trost who have worked together near exclusively on past films and tv series, comes a movie that feels a bit whimsical and aimless at times (even compared to some of their other stoner buddy comedies), but makes for an almost lighthearted Black Mirror episode. With every moment that the plot is actually progressing, there’s some curious insight into generational ideals, ethics, and abilities and what might happen if the wrong generation clashed with our current times. Connected with that is some heartwarming commentary on family relationships and honoring family tradition, which really turns out to be the main point.

So when I talk about the movie being a bit laughable, it mostly falls to this premise: Seth Rogen plays an early 20th century Jewish immigrant that comes to New York and is accidentally preserved in a pickle factory for 100 years. When he is awakened, he tries to connect with his now great grandson (also played by Seth Rogen, though more familiar), and the dramatically changed world around him. Yeah… this movie has the synopsis to make it sound like it came out in the early 90’s when everybody thought that all the non-ridiculous ideas were all taken. I say this, but there’s a common trend among a lot of those far-fetched flicks, in that they become subtle classics. I think this happens when the movie manages to be somewhat self aware and still has the ability to connect the absurd plot and characters to real human emotion. Kindergarten Cop (1990) does this for me everytime, and after watching An American Pickle, I think this will likely fall in that category.

Seth Rogen and…Seth Rogen in a scene of An American Pickle | HBO Max.

That isn’t to say that An American Pickle doesn’t have some real flaws. The film has some poor pacing between the prologue, the introduction of the main conflict, and the resolution. The laughs are there, but maybe at times, a little too far in between. And to be honest, the plot really is just so distractingly ridiculous (I know I may have already beat this to the ground). I somewhat let these things slide in the end, but I want to prepare everyone: this may not be at the same level of quality that you’re used to with a Rogen/Goldberg produced comedy.

That being said, this may be one of the more thought provoking movies these men have ever brought forward. Firstly, in most movies they’ve made there’s been quippy and overlooked dialogue on Jewish culture (them both being Jewish), and I’m glad that they seemingly embraced that aura for this movie. It’s almost a love letter to their family tradition, and that alone is enjoyable. But it goes further to ask questions like, how much blame do we put on other generations for the morals that were thrust upon them by the society of their time? How much more industrious and driven were these other generations than us having gone through subjectively worse economical conditions? Would they outdo us if they were put in our working classes today? Would we make them proud with who we’ve become?

I would say that my final opinion aligns pretty heavily with Rotten Tomatoes: just above average. I’ll probably bump into it on a sick day in five years and give it a revisit. And I’ll likely enjoy it for the reasons stated above, but I’m definitely not going out of my way to make sure this happens. And it’s not going on any favorite list. You get the idea; this movie’s most likely worth at least a single watch. Find it on HBO Max!

Recommendation: STREAM IT

Blindspotting: A Lighter But Honest Take On Today’s Social Issues

Daveed Diggs and Rafael Casal in a scene of Blindspotting | Lionsgate.

I was lucky enough to hear about Blindspotting (2018) when it was initially released in limited theaters. I could have easily missed out on this movie. Its release fell during a quiet time for the Black Lives Matter (BLM) movement; five years after the group’s inception, and two years before the latest resurgence. That being said, I feel like this film could have been used by the movement to sincerely and humbly show the world what life might be like for a Black man living in an urban area. Unfortunately, Blindspotting went under the radar for most of the country; chalk it up to bad timing, perhaps. However, even two years after its release, this movie’s impact hits just as hard now as if it came out two to three weeks ago.

I want to add a little bit of context to me as a viewer: I grew up in a place that was often rated #1 on lists for safest cities in the world. I’m a white male, and my parents provided everything I would ever need. From my limited perspective, I was truly touched by this film and felt an overflow of empathy for a population of people that deal with the issues displayed in this movie every day. The movie also managed to make me laugh—a lot!

Daveed Diggs (original Hamilton Broadway production, and Wonder) and Rafael Casal grew up together in Oakland and both experienced much of what they eventually created in this film. They both co-wrote and co-starred in Blindspotting and their chemistry makes for an enthralling and hilarious watch by itself. I was hooked all the way from their playful banter to their emotionally and racially charged arguments.

Daveed Diggs and Rafael Casal in a scene of Blindspotting | Lionsgate.

The film itself really works with two distinct elements (though they are interrelated): the often comical predicament of Diggs’ and Casal’s characters dealing with their hometown slowly and annoyingly gentrifying due to the influx of hipsters and software company executives, and the anxiety Diggs’ character feels from racial tensions on so many sides—whether it’s judgement from his appearance, witnessing police brutality, or dealing with the label of being an ex-convict. The way these two elements collide is done in such a meaningful and heart-wrenching way, but I won’t go further into detail because you need to watch it!

All in all, the most important lessons I’ve learned from this film are the following:

  • I’m more aware that we live in a society that often bases grave decisions on far too limited of information or preconceived bias, and it’s in large part of the reason why BLM exists. 
  • A White man can have the exact same upbringing and live in the exact same area as a Black man, and they’ll more than likely have a huge divide in experiences, treatment, and anxieties. 
  • Whether or not racism has gotten worse, life in an urban area makes it so heartbreakingly normal that people often take it with a grain of salt. 
  • Just as the movie utilizes comedy and friendship to get through the heavier parts, grace only through unity is going to be essential to get through our current predicament.
  • If there’s anything more I could say, it would just be that if you want a movie free of any condescension that expands your perspective of why the BLM movement is happening, I think this is a fantastic choice. 

If you have yet to see Blindspotting, take advantage of the time left to watch this movie for free on video-on-demand services like iTunes, Amazon Prime, or VUDU. Or if you have an HBO Max subscription, it’s currently streaming there as well. This film is well worth your time, and you just might gain more insight and empathy to demographics of people different than you.

REVIEW: Capone

Vertical Entertainment
Rated: R
Run Time: 104 minutes
Director: Josh Trank

First off, I haven’t been more uncertain as to what the actual title for a movie is since the Tom Cruise-alien combat-version of Groundhog Day. Once and for all, is it Fonzo or Capone?! Feel free to weigh in. 

In any case, the common usage of the first or last name of the lead character in a title seems to be an attempt (however feeble) to reel people into a juicy biopic. Between that and the expectation of an intricate and spectacular performance from Tom Hardy, I have to say, it caught my attention. 

Whether you love Tom Hardy or think he’s overrated, I think you’d have to admit that he inhibits a uniquely infectious brand that makes any movie or T.V. show he’s associated with 10 times more anticipated by general audiences. But here’s my opinion: I think he’s talented. I’m a huge Hardy fan; from watching Bronson as a teen discovering independent films, to his blood pumping action sequences in Warrior, The Dark Knight Rises, Mad Max: Fury Road, and his truly Oscar-worthy performances in The Revenant and Locke. I think for many cinephiles, Tom Hardy’s name and face slapped onto a biopic is enough to bring in open hearts and minds to what would likely be a great film with a great lead performance. 

Enter Josh Trank: Director, Writer and Editor.

Aside from nailing a solid lead actor (I guess they’re actually close friends), I really was excited to give Trank a chance with this film. We were all ready to give him the benefit of the doubt that he really wasn’t to blame for the critical and financial atomic bomb that was Fantastic Four; maybe it really was just studio interference. Unfortunately, he just might not be a talented director, and he certainly shouldn’t be editing or writing. A big problem is that from the top, he chose a period in a “true story” that really just didn’t have a lot to work with. 

Tom Hardy as Al Capone in Capone | Vertical Entertainment

Now there’s plenty of movies that can and have been made with someone as infamous as Al Capone playing or inspiring some sort of role; whether that’s as a main character, a co-star (as in The Untouchables), or even just referenced to (as in Scarface, Road to Perdition, even the likes of The Godfather).

Trank chose to base a near two-hour movie around Capone’s life—post the gangs, guns, and criminal glory. Even past the fall from said glory and his imprisonment due to tax evasion. The film takes place just after he’s released from prison, is mentally and physically deteriorating from disease, and is living out the rest of his life on a quiet, private manor in Florida.   

From there, it has all of the depressing elements of a central figure delving into dementia, along with all of the incontinence you’d ever need in a movie without any meaningful point to be cemented, though attempts were made. 

To Trank’s credit, I understand what kind of perspective he was trying to give the audience of this villainous, all-powerful mob boss we’ve come to know through pop culture. 

I think Trank was trying to help us empathize with the vulnerable, unbearably mortal side of a once ruthless giant. We watch the post-golden era of a king that’s lost his throne, and witness his slow and steady erosion. There’s an element of him regretting his innocence lost, as well as violent and irresponsible decisions he has made in the name of good business (all shown in flashbacks or hallucinations, or maybe both). Old Capone is trying to hold a grasp of authority and relevance, but age and sickness have left him without any devices. And no, I don’t mean to poke at this being a metaphor for Trank’s career, but there are some unfortunate parallels. 

There’s also a potentially interesting subplot of the feds trying to get whatever they can out of Capone’s last days. But every one of these potentially lifesaving elements aren’t explored in-depth enough to make the film have any sort of an impact. And the crazy thing is that none of those underwhelming elements are grounded in facts (not even the incontinence). If you’re going to puff up a true story with your own plot points, make them good—make them engage the audience. The film isn’t concerned with developing those areas, but instead is more concerned with having you watch Tom Hardy be versatile. 

Tom Hardy as Al Capone in Capone | Vertical Entertainment

To be fair, Hardy does great with what he’s been given. The best part of this movie is his performance, whether wholly accurate to the historical figure or not. But there’s a moment where you get a glimpse of what he looked like as Capone in his hay day and that is the movie I really want. Tom Hardy is too much in his prime to be taking roles that have to make so much out of an old, decrepit, terminally-ill vegetable. He needs to be swinging a bat and making spontaneous, intimidating monologues like De Niro in The Untouchables. I’m not saying we need a literal remake, but it’s been enough time since  an actual Al Capone movie featuring him as we think we’ve come to know him. And with the likes of Tom Hardy in the lead role? I’m convinced that something great, if not entertaining, could have been done here. 

Instead we got some semblance of a fading personality for the first 30 minutes. Then you get a beating corpse for an hour. Of course, there’s a respect for Hardy’s commitment to the unique role, but Daniel Day Lewis couldn’t have saved this movie.

I don’t think it’s a bad idea to take a derivative from your common gangster movie formula, and show this kind of unsung final chapter to a life of crime. But again there wasn’t enough to work with, and you’re left staring at a man who’s staring at nothing for the length of the movie. If they wanted to keep with the unique change in tone, they could’ve started with Capone going to prison, then we could get the actual fall and the aftermath. The content of the 100 minutes of screen time could’ve been reduced to a 10 or 20 minute epilogue in a more holistic approach, and it would’ve been far more impactful because you’d lose the fluff!

Bear with me while I spurt out my imaginings of a better film that would accomplish the same thing: There’s 11 years of him in prison that hasn’t been (recently) put to screen. You could explore the celebrity welcome he got at the Atlanta and Alcatraz prisons and his subsequent manner of living. You could show him still trying to run his failing business from behind bars, and the disarrayed reactions to prohibition ending and his purpose becoming null. Leading right up to the ending Capone offers, you can see how his demeanor went from that of a titan to a debilitated wreck. All in all, I’d be more than interested in seeing that flick with Tom Hardy.

Alas, I need to accept that just wasn’t the movie we got. Where credit is due: the original score was interesting enough, and the backdrop and much of the cinematography was well done. 

Lastly, I’ll just mention one thing about the editing. In every conversation, it feels like the camera has attention issues constantly cutting back and forth from close ups of one character to another. I think he’s trying to show subtle details in the acting (that aren’t actually there) as one speaks and one listens. Honestly, if you want to catch the dramatics in the dialogue, just use a wider angle with both characters in the shot. And let your actors act. That’s pretty “backseat” of me to say, but we don’t claim to be anything else!

Let us know if you have outlying questions or if you agree or disagree with this review in the comments below!

Recommendation: SKIP IT

DIRECTOR SPOTLIGHT: David Fincher

David Fincher (Merrick Morton, 2011)

If you look up any list of “The Top 10 Modern-Day Thrillers”, you’ll likely run into one of David Fincher’s films. Being that he only has 10 entries to his directorial filmography, I’d say that makes him noteworthy, and one of the most bankable directors in Hollywood today. That being said, some of his work has been underrated, so if this entry convinces you to visit or revisit any of his films, the Fincher fan in me will have done his job!

About a decade ago, a forgettable, high school weekend spent binge watching cable (pre-Netflix) led me to my first Fincher film, Zodiac (2007)–one of the finest biopic thrillers of all time, and massively underrated (starring Jake Gyllenhaal, Robert Downey Jr., and Mark Ruffalo). Jump forward… When I first decided to pursue movie-watching beyond just your regular pastime, I started by seeking out the directors of my favorite films, and then exploring their work. I knew that Fincher would be one of my reliable directors to look into further based off of Zodiac alone—and I was right! He did not disappoint as I was introduced to inevitable favorites like Se7en (1995), The Social Network (2010) and Gone Girl (2014). In every case I started to realize that you can expect a few things from almost any Fincher film: visceral realism, high octane, stacked casts, and rewatchability.

David Fincher got his start working on classic films like Return of the Jedi (1983) and Indiana Jones and the Temple of Doom (1984). Though having a solid foundation with his father also being a screenwriter, he had to go through some years of directing commercials and an almost “Josh Trank-esque” experience with his directorial debut. Though the Alien franchise had garnered considerable success up to this point and his start with Alien 3 (1992) was met with mixed reviews (along with an Oscar nod for visual effects), there was a ton of studio interference along with nine different writers. Fincher would go on to disown the film saying, “No one hated it more than me; to this day, no one hates it more than me.” Though I think it is far from the weakest in the franchise, it’s definitely not one of the strongest sequels.

Luckily, his films have only gotten better as he has since been given more management over them. Se7en and Fight Club (1999) found their way to many of those aforementioned best-thriller lists with their engaging stories, novel twists, and great performances from Brad Pitt (in both), Edward Norton (Fight Club), and Morgan Freeman (Se7en). Honestly, these flicks are quality, and if you want to see how Fincher’s talents developed over the years, watch his movies in chronological order.

More recently, his installments have gained significant commercial and critical success, grabbed the attention of award circuits, and have been heavily considered some of the best movies of the year in which they came out. In fact, it’s been preferred by many that The Social Network had beat out The King’s Speech (2010) for Best Picture at the Oscars. Other Fincher films that have received more recent notoriety includes The Curious Case of Benjamin Button (2008) and Gone Girl. I would strongly suggest that you watch the latter if you haven’t already. Rosamund Pike, Ben Affleck and even Tyler Perry give intriguing performances, and the story (written and based on the bestseller by Gillian Flynn) makes for one of the most jaw-dropping, entertaining, mind “messer-uppers” that could only be flawlessly brought to life through Fincher’s expert directing. 

David Fincher on the set of Mank (2020) | Netflix

Fincher’s next movie should be released this year (fingers crossed with COVID). It’s titled Mank (2020), which will chronicle a screenwriter’s battle with Orson Welles over writing credit for the movie Citizen Kane (1941), which many consider to be the greatest movie of all time. Being a big fan of The Social Network, and already seeing some striking similarities, I’m very much anticipating this release. Mank was actually written by David Fincher’s late father, Jack Fincher, and is set to star Gary Oldman in the lead role. Keep an eye out!

Fincher has said that he was heavily influenced by Hitchcock, which shouldn’t be a surprise as most of his movies have a considerable touch of Hitchcock-like suspense, albeit modernized. Common throughout his films, the cinematography has a signature dark-and-musky shade. You’ll notice it (if you haven’t already) while watching his films—it’s like a desaturated, monochromatic coloring that really ends up reinforcing the usually dreary world that his characters live inwhat mostly comes to mind while explaining his style in Blade Runner (1982). Really, it’s a lot of that neo-noir, but without the sci-fi—and trust me, it works!

The funny thing is that there are many commonalities like this throughout his filmography, but he doesn’t seem to collaborate very much with the same people. The similarities in tone and style probably have something to do with the fact that he’s known for being a bit of a meticulous micromanager. Some of his lead actors (e.g. Jake Gyllenhaal, Rooney Mara) have spoken about their exhaustion from having to do retake after retake to get “the perfect scene”. But in turn, his perfectionism hasn’t been wasted as one of his editors said, “[It’s like] putting together a swiss watch… all the pieces are so beautifully machined. He’s incredibly specific. He never settles. And there’s a purity that shows in his work.” Honestly, in consideration of how much I love his films, I couldn’t be more grateful for the time and detail he puts into his work, even at the slight expense of his cast and crew. 

David Fincher

Below is my ranking of Fincher’s movies. Check them out, and leave me a comment on whether you agree or disagree with the ranks, or if you love, hate or don’t care about David Fincher!

  1. Gone Girl (2014)
  2. Se7en (1995)
  3. Zodiac (2007)
  4. The Social Network (2010)
  5. Fight Club (1999)
  6. The Girl with the Dragon Tattoo (2011)
  7. The Curious Case of Benjamin Button (2008)
  8. Panic Room (2002)
  9. The Game (1997)
  10. Alien 3 (1992)

REVIEW: Blow the Man Down

Amazon Studios
Rated: R
Run Time: 91 minutes
Director: Bridget Savage Cole & Danielle Krudy

This movie might have gone overlooked as it basically went straight to Amazon Prime (original movie) during the COVID-19 pandemic. But don’t let it slip by in your watchlist without some fair consideration!

Who knew there was room for another New England, seaside thriller since The Lighthouse (2019) only came out a few months ago? Honestly, I am in love with the production design and on-site authenticity that comes with movies set in this locale. I want more, and I hope this is only the beginning of this sub-genre movement. This flick in particular charmingly takes advantage of this element. Though the plot by itself doesn’t make for the most engaging or memorable watch, there’s enough originality to merit your time for sure!

Between the scruffy, wet fishermen that serve as a sort of Greek Chorus throughout the film, the fun twist on who populates “the mob” in the small, Maine town, and the raw, grainy cinematography (Todd Banhazl, Hustlers), any independent film lover will eat this up. This movie also really only features women in the “driver’s seat” from all sides, which is a refreshing change as it’s uncommon for crime thrillers, and it doesn’t feel forced in any way at all.

Priscilla and Mary Beth are college and high school-aged sisters who, after their mother dies, are left to pick up the pieces with their oceanside convenient store, and something else far more alarming—to get rid of a body. They become fully aware of the secrets this quiet nautical town has and the powerful individuals controlling it all.

Morgan Saylor and Sophie Lowe appear in a scene of Blow the Man Down | Amazon Studios

I’ll admit that makes the film sound a bit more grandiose than it actually is. The plot doesn’t have too many twists and turns throughout, and rather keeps things small and contained with the feeling that these things could actually happen in a small town without any do-good bystander ever catching on. All in all, it’s enjoyable for that reason, but some may consider it boring all the same—I didn’t. 

Another element that made the movie stand out with its knack for realism, was that there were barely any recognizable actors. In that way, really nothing distracts from the observation of the cold, coastal, secret-rural life. But worth mentioning, it stars Sophie Lowe and Morgan Saylor (Homeland, McFarland, USA) in the lead roles, as well as Annette O’Toole (Smallville, Stephen King’s IT) and Margo Martindale (Justified, The Americans). Writing and directing came from Bridget Savage Cole and Danielle Krudy. This is the first feature-length film for both! And a strong start I’d say.

Though I’d still put this somewhere in the middle of Rotten Tomatoes’ all-too-often awarded 99% range and IMDB’s often unsurpassable 6-point threshold, in the end I advise you go ahead and stream it!

Recommendation: STREAM IT

Smash Critic’s Ultimate Feel-Good Movie List to Get You Through the Quarantine

At the beginning of the month I had a completely different topic in mind for an article. Boy, how the last few weeks have brought perspective. Thankfully, most of us aren’t critically affected by this event, but we might be left with a cloud of gloominess as we continue to get through the unknown. As our day-to-day activities have been reduced to what we can do in doors, here’s just one pro-tip to get you through your quarantine. The following are movies that I feel will most likely get you out of any biohazard blues due to their common thread of cheerfulness, low stakes, and unapologetically happy endings. I’ve broken them up into a few different categories based on your taste or mood, but why not work through them all!?

Inspiring Feel-Good Movies

Eddie the Eagle (2016), directed by Dexter Fletcher | 20th Century Fox

Eddie the Eagle (2016), PG-13
This one kind of flew under the radar when it came out in theaters a few years back. As it turns out it’s one of the most underrated movies of 2016 and has joy-filled performances from Hugh Jackman and the fast up-and-comer Taron Egerton (Rocketman, Kingsmen: The Secret Service). Based on a true story, Eddie (Egerton) is an awkward outcast that’s always had a burning desire to be in the Olympics. Once he meets a cynical has-been Olympic skier (Jackman), a fateful journey begins leading to one of the biggest and most heartwarming flukes in Olympic history (along with the Jamaican bobsled team). Honestly, this movie brags a music score and climatic scene that brings happy tears to my eyes everytime! Such a sweet story of friendship and determination. Watch it!
How to watch: Buy or rent on iTunes, Amazon Prime or Vudu.

The Secret Life of Walter Mitty (2013), PG
So, I’m a little ambivalent about the following pick. This movie may inspire you to get out and explore the world… which is kind of a complicated endeavor at this point. But if you’re able to just store that motivation in your backpocket till hopefully the near future, you’re still going to get a movie that offers a quirky, picturesque story. A daydreaming (this element is hilarious by itself), timid corporate worker played by Ben Stiller is forced to get out of his comfort zone and travel to multiple countries in the hopes of saving his Magazine company’s final printed cover. What comes next is an awesome, unique viewing experience that you’ll want to revisit again and again. Also directed by Ben Stiller!
How to watch: Buy or rent on iTunes, Amazon Prime or Vudu.

The Peanut Butter Falcon (2019) PG-13
Alright guys, this was hands down one of the best movies of this past year, and probably one of my top 3 favorite feel-good movies of all time. Reminiscent of a Mark Twain story, this modern day journey through the po-dunk south will make you so pumped for a post-pandemic summer full of rope swinging into lakes and beachy bon-fires. A fugitive fisherman played by Shia Labeouf befriends a runaway nursing home resident with Down Syndrome (Zack Gottsagen). Together they go on a search for the latter’s wrestling idol which turns into a journey of self discovery and brotherly love. I’ve watched this like 4 times since it came out a few months ago because I just keep wanting to show it to my friends.
How to watch: Buy or rent on iTunes, Amazon Prime or Vudu.

Hunt for the Wilderpeople (2013), PG-13
Taika Waititi is getting pretty well known at this point with directing Thor Ragnorak and winning an Oscar for Jojo Rabbit (both may deserve to be on this list themselves!). In case you missed this earlier gem, now’s the perfect time. This movie is full of beautiful landscapes, quippy one-liners and characters with hearts of gold and the best accents ever. A foster boy named Ricky causes himself and his reluctant, old guardian, Hec to have to go on the run from child welfare. They end up having the time of their lives in the New Zealand Bush.
How to watch: Streaming on Hulu. Buy or rent on iTunes or Vudu.

Classic Feel-Good Movies

The Goonies (1985), directed by Richard Donner | Warner Bros. Pictures

Angels in the Outfield (1994), PG
Say what you will about 90’s Disney movies but this is, and forever will be, a classic in my home. Sure it’s got clichés all over the place and a plot that’ll make you scoff when first hearing about it, but it’s truly just the best. Roger (Joseph Gordon-Levitt) is a foster kid who wants his dad to finally commit and make them a real family. In passing, the dad says they’ll finally work things out around the same time the Angels (who suck) will win the Pennant. Roger then prays to God for a miracle, and literal angels start helping the titular major-league team. Yeah, it’s bananas but it stars a young Gordon-Levitt, Danny Glover, a pre-famous Matthew McConaughey, and a heaven-sent Christopher Lloyd. And it’s just a chill, goofy, old, kids’ movie. Give it a chance!
How to watch: Streaming w/ tv subscription to DIRECTV.

The Goonies (1985), PG
Pretty much the original Stranger Things but it was actually made in the 80’s… so it’s not even trying profusely to be 80’s-like! A bunch of dorky teens living in a soon-to-be-demolished neighborhood find an old pirate map in one of their attics (the Dad is a curator). They then go on a legendary Oregon treasure hunt. But will a homicidal family that the map leads to end up killing the vibe… Or even killing the teens?! You gotta find out, it’s so great. Starring a young Sean Astin (The Lord of the Rings), Corey Feldman (Stand By Me, The Lost Boys), and Josh Brolin (No Country for Old Men, Avengers: Infinity War).
How to watch: Buy or rent on iTunes, Amazon Prime or Vudu.

The Three Musketeers (1993), PG
Another slightly campy 90’s Disney movie, this one’s just a good time. I don’t know if it’s anywhere near accurate to the book, but it’s fun! Chris O’Donnell (Batman and Robin), Kiefer Sutherland, and Charlie Sheen.
How to watch: Streaming on Disney+. Buy or rent on iTunes, Amazon Prime or Vudu.

School of Rock (2005), PG-13
I think we’ll all be pretty familiar with the rest of the nostalgic picks. Jack Black plays a dead-end musician that tries to make some extra money posing as a substitute teacher. He ends up realizing his purpose to turn his elementary school class into the greatest rock band of all time—and the result is stuff of joy. If you haven’t watched the final performance in a while, you need to revisit this!
How to watch: Buy or rent on iTunes, Amazon Prime or Vudu.

Galaxy Quest (1999), PG
Honestly, this has gotta be the best space movie spoof ever made: Tim Allen, Sigourney Weaver, Alan Rickman, Sam Rockwell—it’s stacked. Galaxy Quest is a hilarious meta movie about has-been TV stars that get abducted by aliens who are under the belief that their old Star Trek-esque episodes are historical documents, and that the actors really are intergalactic heroes. They then have to try to improvise through the most realistic, deadly mission they’ve ever encountered.
How to watch: Buy or rent on iTunes, Amazon Prime or Vudu.

A Knight’s Tale (2001), PG-13
I’m sure we’ve all at least heard of this one. Heath Ledger is a peasant in Medieval times who sneaks his way into becoming a jouster and changing his destiny. Probably the most historically inaccurate, but most fun soundtracks of all time.
How to watch: Buy or rent on iTunes, Amazon Prime or Vudu.

Maverick (1994), PG
Underrated Western film! Set in 19th Century American Frontier, Mel Gibson plays an aspiring poker player looking for his biggest win yet—and everyone west of the Mississippi is out to get in his way. This flick has that total campfire feel that takes you for a fun stagecoach ride. Really gives just a truly happy, old-timey feel to it that’ll bring you to a simpler age. Also starring Jodie Foster, and Alfred Molina (Spider-Man 2).
How to watch: Buy or rent on iTunes, Amazon Prime or Vudu.

Laugh Out Loud Feel-Good Movies

Pineapple Express (2008), directed by David Gordon Green | Sony Pictures

Pineapple Express (2008), R
This movie is for stoners but also for the friend that declined the joint, and then proceeded to be entertained for the rest of the night. Starring Seth Rogen, James Franco, and Danny McBride. A pothead and his dealer try to evade a drug kingpin after witnessing a murder, and it creates the biggest, funniest mess in the world.
How to watch: Buy or rent on iTunes, Amazon Prime or Vudu.

21 Jump Street (2012), R & 22 Jump Street (2014), R
The most non-stop hilarious buddy-cop movie series that’s out there (though I love me some Shanghai Noon and Rush Hour). I believe that both the first installment and the sequel are equally quotable, hysterical, and self-aware. If you’re trying to get through four or so hours of being indoors and just need a good laugh, watch both of these. Jonah Hill, Channing Tatum, and Ice T.
How to watch: Streaming on STARZ. Buy or rent on iTunes, Amazon Prime or Vudu.

Bridesmaids (2011), R
A lot of people call this “The Hangover for Women”. Forget that. This movie makes for twice as many laughs with 10 times as much heart. It’s one of the best comedies—period. Starring Kristen Wiig, Maya Rudolph, and Melissa McCarthy.
How to watch: Streaming on HBO Now and HBO GO. Buy or rent on iTunes, Amazon Prime or Vudu.

Romantic Feel-Good Movies

About Time (2013), directed by Richard Curtis | Universal Pictures

About Time (2013), R
This totally flew under my radar for years. Then my brother convinced me to open my heart up to another romantic comedy. And God bless him for it! This is a simple, but lovely story about a man who realizes he can travel through the past, and uses this to help him find love and cherish the present. It’s honestly a beautiful, purely happy movie. Stars Domhnall Gleeson (Star Wars, Ex Machina), Rachel McAdams, and Margot Robbie. Same director as Love Actually, but this is far superior. Warning: One scene makes me weep like a child every time (happy tears!).
How to watch: Streaming on Netflix. Buy or rent on iTunes, Amazon Prime or Vudu.

Pride and Prejudice (2005), PG
The one with Keira Knightley! When I say “low stakes” being an essential element to feel good movies, this is the movie I think of. The worst that can happen is marrying someone that makes less than a billion dollars a year, and people will speak gossip about your family. I’ve read the book, seen the A&E series, and this captures the spirit of the Jane Austin story to a T. As a bonus, the cinematography and music is truly breathtaking. This is one of my go-to Sunday afternoon movies. Make sure you watch the version with the final scene, or find the scene on YouTube (for some reason, one version ends super abruptly before you get the last bit of closure).
How to watch: Streaming on STARZ. Buy or rent on iTunes, Amazon Prime or Vudu.

Dan in Real Life (2007), PG-13
You guys… I love this movie. I’m pretty sure this is one of the first films Steve Carell was in that wasn’t a straight-up comedy. He’s a widower with three daughters, and writes a periodic news column on parenting—but he has no idea what he’s doing as a parent and it’s hilarious. The love interest is introduced in a clever way, the relationships feel real and familiar, and the backdrop of a family reunion makes for such a homey, comfy viewing experience. I’ve probably watched it like six times this year because it makes me feel so good. I want to watch it right now just writing about it.
How to watch: Streaming on Showtime. Buy or rent on iTunes, Amazon Prime or Vudu.

While You Were Sleeping (1995), PG
The Smash Critic awarded “Best Sandra Bullock Rom-Com” (and there’s a lot to choose from). This may belong with the others like Angels in the Outfield and School of Rock just because of how ridiculous the plot sounds, but it’s gold, true gold. Crazy story short: Sandra’s character likes this man that’s in a coma and his family is misled into thinking that she’s engaged to him. She’s not, but doesn’t know how to tell them the truth, so she goes with it. The movie tells it a bit better, but it is pretty dumb sounding. But trust me—it’s a good time.
How to watch: Streaming on Showtime. Buy or rent on iTunes, Amazon Prime or Vudu.

Road Trip Feel-Good Movies

Little Miss Sunshine (2006), directed by Jonathan Dayton & Valerie Faris | Fox Searchlight Pictures

*Note: this section isn’t about movies that are good for watching on road trips. There are just literally enough fantastic feel-good movies with the majority of their run-time spent on road trips to demand its own section.

A Goofy Movie (1995), G
This is old enough that maybe some of us aren’t aware that Goofy has a teenage son named Max and they go on a zany field trip together (against Max’s will) full of the best cartoon dance scenes and the most obnoxious but hilarious Bigfoot representation.
How to watch: Streaming on Disney+. Buy or rent on Amazon Prime or Vudu.

Fundamentals of Caring (2016), TV-MA
Oh my gosh, you guys. This is the most relentless feel-good movie I’ve ever seen. By that I mean every second you think something awful is going to happen (like the car crash in Remember the Titans or the freaking rope swing in Bridge to Terabithia), you’re reminded, “No stupid! Relax—this is a happy movie”. Paul Rudd plays an unmotivated, soon-to-be divorcée that starts care-taking for a quadriplegic, viciously sarcastic teenage boy. Together they go on a trip to the most mediocre American landmarks. It’s so great. When I was dealing with being indoors all day and getting very little sleep on paternity leave, this brought me out of my funk!
How to watch: Streaming on Netflix.

Little Miss Sunshine (2006), R
My friend won’t watch this movie no matter how much I plead and beg. This is all because he didn’t like the trailer when he first saw it like 15 years ago. It brings me sorrow because I know he’s missing out on a little piece of happiness that this film will give to whoever watches. Comical, messy, sincere family relationships all put to the test in a cramped VW van headed toward a children’s beauty pageant three states away. Greg Kinnear, Toni Collete (Hereditary), Steve Carell, Paul Dano (Swiss Army Man, There Will Be Blood), and a little, sweet, Oscar-nominated Abigail Breslin (Signs, Zombieland). And Alan Arkin won the supporting Oscar for playing the coked up Grandpa. It’s a gem.
How to watch: Streaming on STARZ. Buy or rent on Vudu.

Tommy Boy (1995), PG-13
Like many of you, I grew up with these last two picks. They probably belong in the classic section but it was just too convenient to not create a road trip section! Tommy, played by Chris Farley, goes on a sales trip with his pessimistic coworker, Richard (David Spade), to try to save his dad’s company. It’s quotable beyond compare, it’s heartfelt, and it’s gut-bustingly funny—even the 100th time around. If you haven’t seen it, get on this train! Or even if you have, get on it again!
How to watch: Buy or rent on iTunes, Amazon Prime or Vudu.

Dumb and Dumber (1994), PG-13
Jim Carrey and Jeff Daniels. The epitome of stupid buddy films. I hope you’ve seen this. But in case it’s been awhile, cheer yourself up with this classic!
How to watch: Buy or rent on iTunes, Amazon Prime or Vudu.

And there you have it! Even if you just take one movie recommendation from each category, that should keep you busy through the weekend. Let me know in the comments which movies you decided to watch, or reach out to me on social media.

Scroll to top