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For Your Queue: It’s like when you had Pac Man Fever, but without the rash

An animated feature with incredibly broad appeal releases to DVD this week, and if you missed Wreck-It Ralph in theaters, now’s a chance to make amends. This video game fantasy has its roots in a tale of misfit friendship that promises to keep every audience member engaged. Vocal talent John C. Reilly, Sarah Silverman, Jane Lynch and Jack McBrayer are perfect in this vivid adventure. Meanwhile, director Rich Moore throws enough color and action at the screen to fascinate the very young, and more than enough video game odes to appeal to the newest generation of parents (and any thirtysomething not yet in that category). This is sly, engaging storytelling at its best.

For a more serious take on video games, don’t miss The King of Kong: A Fistful of Quarters , director Seth Gordon’s 2007 documentary on the quest to hold the world record high score in Donkey Kong. Gordon (Identity Thief, Horrible Bosses) lets the characters and events speak for themselves and, as the best docs often do, the film unveils a world you may not have known existed. In many ways, The King of Kong is a perfect microcosm of American culture. The fact it’s also funny and truly fascinating makes it nearly impossible to resist.

So that happened…A Dead Guy at Shake Shak

When my twin sister Joy and I were high school freshmen, our older sister Ellen – by then a teacher in another town – got us jobs at the ice cream stand where she’d worked throughout high school, the Shake Shak.

For a couple of high school freshmen, working at the Shake Shak was about as dreamy as dating Johnny Depp in his 21 Jump Street glory. We were almost entirely unsupervised and were, therefore, free to consume soft serve, hot dogs, and shredded chicken sandwiches until the preservatives leaked from our pores. And we did.

The gig also had its negatives. The criminally meager pay, for one, but the primary flaw was the odor. Walking inside the door of the building’s tiny metal back end doomed you to reeking of coney sauce until showering. Forget about picking up your check and then heading out for the night. One foot in, and the clothes had to be burned.

That back half of the building – concrete floors surrounding the giant freezer; metal tables supporting vats of the saucy meat product – stunk the worst. The front half benefited from a breeze via the sliding-window openings in the three walls of glass where patrons placed the orders – decisions they’d come to after pondering our wares from dozens of fading, grime-covered fliers taped to the window fronts.

Joy and I worked evenings and weekends, which, coincidentally, were the shifts owner Jon Drummer was too cheap to stock with a manager. No, sir, strictly teens being paid well, well below minimum wage.

Joy and I worked with scary Cara, the high school senior who sold drugs from the drive thru window and filled her pockets with every twenty dollar bill in the register before leaving work at shift’s end. I began smoking at 14 because of Cara Bloomville. She handed me a cigarette one day and I obeyed.

Cara loved Iron Maiden and, therefore, hated everything else the 80s vomited forth as metal. She used to sing a song to herself as she worked, one she’d written to the tune of Bon Jovi’s “Wanted Dead or Alive”:

I’m a faggot

and my name is Jon Bon Jovi

and I got AIDS

and I’m gonna die

 

Aside from hair metal, Cara hated Dawn, this cheery, pastel-wearing co-worker who beamed with an earnest sense of accomplishment and high self concept. She was easy to loathe.

I had the great joy of working the shift where Cara, apropos of nothing, called Dawn’s name in an unusually cheerful tenor. It was the chipper tone that caused me to put down my Star Hits magazine featuring a new Duran Duran foldout and take note.

Dawn spun about with her trademark effervescent zeal, only to face a double barrel onslaught of condiments. Cara wielded a catsup in one hand, a mustard in the other, and squeezed those bitches like their contents might put out a raging fire.

Or one super sparkle smile.

But Dawn simply skipped back home to change, her house sitting beyond the large yard out back where Jon kept a couple of rickety picnic tables and a rusted green dumpster. On lucky days, Jon – shirtless, sweaty, and unmistakably obese – would mow that patch of grass between Shake Shak and Dawn’s house. I would Brillo that image from my very eyeballs if only I could.

Filling out the cast of characters was another set of twins – hillbilly sisters. One sister was constantly scarred up with hickies. She was a redhead and for the life of me I can only remember her as Reba. This is not her name, but I somehow replaced her name in my head, and so, now and forever more, Reba it is.

Her sister was just an idiot. I don’t remember her name, either. Idiot will work. Reba I liked, but Idiot was intolerable. She pinched off chunks of shredded chicken sandwich and then put her sandwichy fingers in her mouth. She smiled with the seductive naivety of an adolescent with pubescent hormones and pre-school brain function. I found her repellant.

Her friends, though – the half dozen or so that loitered in front of the building eating ill-gotten treats whenever either sister worked – they were a riot!

Idiot’s boyfriend got into an argument about Monster Trucks (presumably), in front of our glass-encased building and eventually pulled out nun-chucks. Nun-chucks! How awesomely white trash is that?! He was even wearing tube socks and a wife beater. That part is probably inaccurate, but he totally had nun-chucks. And a mullet.

So he hit some guy and blood slapped across the window front like something from one of Cara Bloomville’s condiment guns. At which point the group out front scattered like cockroaches, but it was glorious while it lasted.

And so it was, a smattering of rubes congregating in front of the order windows, one day as I shared a shift with my sister and Reba. The lesser sister stood outside the open order window pilfering free food, when one of her buddies said, “Do you know there’s a dead guy out by the dumpster?”

I responded with the contemptuous grimace I’d been working on, which would eventually become my go-to response to all queries. He mistook it for a quizzical, perhaps ignorant, expression.

“Out back. By the dumpster. There’s a dead guy.”

I tried again to chill him with my withering glare of superiority and hate, but the others had heard, and so the situation suddenly required investigation.

Several more members of the Free Food Rabble moseyed to the back of the building to have a look while, indoors, Joy, Reba and I began to wish Cara Bloomville were working. Just in case. Surely it was a lame joke, or else there was a passed out drunky. No doubt he’d take off with the approach of the mob.

Still, Cara probably knew what to do with a dead body.

“Yep,” informed Jimmy Slackjaw. “He’s dead. I burped in his face and everything.”

OK, his name is not Jimmy Slackjaw, but I swear to God, that’s what he said.

Idiot concurred. “No, seriously, you guys…” she began, with her trailer park sultry overemphasized s sound. “He’s dead.”

The overfed, under-appreciative group looked to us to take charge of the situation. We chose not to respond. They eyeballed us with disdain. We closed the order windows and hid in the back end of the building with the meat vats.

The Hick Posse got bored and wandered off, but the three of us couldn’t quite enjoy the taste of our Oreo blizzards or butterscotch dip cones. What if we really were trapped inside a glass building while a corpse rotted in the summer sun out in our parking lot?

Surely it wasn’t so.

Joy, Reba, and I opened the back door and, clinging one to another, peered around it to see how much of the mysterious body we could glimpse.

None of him.

Nobody was there. We were sure of it.

How could we really be sure of it, instead of lying to ourselves as we clearly were doing at this point?

We called Dawn. Our strategy was to lure her over under the pretense of friendship. She’d have to walk right past the dumpster on the way.

Dawn wasn’t home. She was at synchronized swimming lessons.

Of course she was!

We’d have to do this ourselves. It would require leaving the building.

We stepped as one teal-wearing, coney-smelling body toward the dumpster. Reba saw a shoe.

We screamed, arms flailing, and stumbled over each other back inside.

Should we have phoned the authorities at this point? Undoubtedly, but this is why you don’t leave your business in the hands of three Tiffinite teens.

“We should call Cara,” Reba recommended.

“Go ahead,” I tentatively agreed.

“I’m not calling her. You call her,” she told me.

“Fuck that.”

“You should call her, Hope. She’s friends with you,” Joy counseled.

Really? Did Cara Bloomville like me?

“She’s lying,” Reba clarified. “Everybody likes Joy best.”

But Joy wasn’t calling. And at no point did it occur to any of us to call the shop owner.

Based on what amounted to my experience with similar situations, I explained to Joy and Reba what was bound to lie ahead.

“Dawn will stop by on her way home from synchronized swimming. She’ll see him and tiptoe in closer, hoping to help. He’ll reach out with the cold grip of someone returned from the dead, and he’ll kill her.

“We’ll hear the screaming and open the door, only to see his limping, tattered rage as he turns his attention to us.

“We’ll slam the door, but he’ll begin pounding relentlessly. He’ll circle the building. We won’t be able to go near the window. He’ll slap wildly at the glass out front, and then all will go silent.

“Terrified, we’ll lock ourselves in the freezer, but eventually we’ll hear Cara at the back door, wanting to get in for her check. She’ll curse and bitch about how slow we are. We’ll hear her voice trail beside the building, out around front, and then we’ll hear the wet thump of her mangled body against the window. We’ll scream and scream, utterly incapable of saving ourselves as he uses her lifeless corpse to bust through the glass.”

“Let’s go back out,” Reba whispered.

We gumptioned up and headed back out, this time with a small amount of air between each body. I took the lead, but would walk only so far ahead of Joy that I could still reach back and grab her. She kept a similar distance from Reba. We inched forward.

There was definitely a whole guy attached to those dirty Converses. He was on his side, wearing ratty athletic shorts and a green tee shirt. He was freakishly pale. Fishbelly white. Nasty white.

We threw a stone. Nothing.

We called to him. Nothing.

We called and threw more stones. We offered him ice cream. We asked him to please, please get up and go away. We huddled desperately together and decided one of us had to touch him.

We had to know for certain to intelligently determine our course of action.

It was the obvious next step.

I would be the one to go.

Why was it me? Why was it always me?!

I made my move toward the heap of dude. I crouched. I looked back at the clinging JoyandReba mass behind me in the parking lot, the door to the building behind them ajar and letting out waft after waft of coney stench. I looked back at the dead guy at Shake Shak.

His eyes were open.

“You didn’t call the cops, did you?”

 

Just one beer? Sure, what could go wrong?

 

By George Wolf

 

If your name happens to be Randy, you’ll get some extra chuckles out of 21 and Over, thanks to a running gag about a d-bag of that name and his overly supportive friends.

For you non-Randys, the first directing effort from a seasoned writing duo will seem plenty familiar. It is  funny in spots, it’s just not too concerned with doing anything remotely original.

Jon Lucas and Scott Moore boast a resume full of comedy screenplays, some very funny (The Hangover, The Change-Up) and some..not so much (Ghost of Girlfriends Past, Four Christmases).  For their first foray into directing their own script, they don’t stray far from the comfort zone of bawdy dude humor and beer-fueled mayhem.

Stressed out college boy Jeff Chang (Justin Chong) has no plans to hit the bars on his 21st birthday, thanks to a big job interview his taskmaster father has arranged for early the next day.  This doesn’t sit well with Jeff’s buddies Miller (Miles Teller) and Casey (Skylar Astin), and as they coax Jeff out for “just one beer,” the night goes horribly wrong in record time.

The drunken adventure unfolds with plenty of nods to Weekend at Bernie’s, Animal House and of course, The Hangover, as Lucas and Moore unveil most of the shenanigans via the “what happened before” angle of their biggest hit. What’s missing from this, and all, Hangover imitators, though, is the sharply drawn characters and the talented chemistry of the actors.

21 and Over does earn an “A“ for effort, painting Miller as the crazy party-hound, Casey as the good-hearted nerd, and JeffChang (always called by this one name, which remains funnier than you might think) as the nutty Asian guy because, you know, The Hangover had one. No Mike Tyson? What gives?

Teller also starred in the high school party flick Project X, and he seems to relish playing a character with more of a grown-up edge.  He goes a bit overboard though, as Miller’s obnoxiousness nearly renders the character unlikeable.  Astin is basically recycling his nice-guy role from Pitch Perfect while Chong, when his character isn’t passed out entirely, does manage some humorously unhinged antics.

Ironically, Lucas and Moore may have been better suited to follow Project X’s lead and offer no apologies for the debauchery. Ultimately, though, they can’t resist lessons about maturity as they chase the cheesy “I’ve learned something today” moment.

2 ½ stars (out of 5)

 

Something’s Up with Jack

By Hope Madden

Have you ever wanted to see a nose so big you might be swallowed whole by its gaping pores? In 3D, no less? Director Bryan Singer (X-Men) hopes so, because he means to shake up our chilly moviegoer blahs with an enormous adventure filled with ill-tempered, poorly groomed giants. It’s Jack the Giant Slayer, Singer’s attempt to cash in on teen romance, 3D, and the dearth of late winter entertainment.

The story veers a bit from the nursery school fable, in that there’s an adventurous princess, a back stabbing egomaniac suitor, a crown made of giant heart, and no golden goose at all. Plus, there are an awful lot more giants than I remember.

Wisely, Singer sees the opportunity for medieval battle on a grand scale. Like a giant scale. And once we finally get to some action, the film’s a lot of fun. But beware: its prelude is a long slog.

Singer’s first foray into the third dimension bores. Giants look like unconvincing cartoons, the views are nice but not spectacular, and the action sequences – though entertaining – benefit in no way from the technology.

Nicholas Hoult finished Twilight-ing zombies for Warm Bodies just in time to pull that same shit with this old fairy tale. While he’s a very likeable soul, he brings too little energy or magnetism to the screen.

A sly Ewan McGregor, on the other hand, charms as the princess’s main guardian, his ever wackier hairstyle (who knew so much product was available in days of yore?), captivating smile and over-the-top gallantry injecting the flick with some much needed vibrancy.

The great Stanley Tucci finds himself underused – a particular shame because he makes such a great villain, and his comic timing could have helped the film find more enjoyable footing. Also underutilized is Bill Nighy, voice of one of evil giant General Fallon’s heads. Plus, the usually wonderful Ian McShane just looks silly in that suit of gold armor.

Singer’s pace is leaden, and his patchwork script puts off action far too long to keep your attention. The film’s slightly too violent and far too slow for very young viewers, yet too earnest and lumbering for anyone else. The FX can’t even impress.

There’s nothing especially awful about Jack the Giant Slayer (though, I, for one, was hoping for a slightly different ending). Maybe Hollywood thought that good was enough for late winter at the movies.

2 stars (out of 5)

For Your Queue: Best Living American Filmmaker – there, we said it

Filmmaker Paul Thomas Anderson has made six near-perfect films in his brief time on this planet, the latest of which, The Master, may be his most confident and ambitious. If box office numbers are accurate, you probably missed it. That is a genuine shame, and one you can rectify immediately, as the three-time Oscar nominee hits DVD shelves today.

A seriously damaged WWII vet-turned-vagabond (Joaquin Phoenix, in an astonishing performance) stows away on a yacht. Its enigmatic commander (Philip Seymour Hoffman, incandescent as always) takes the boy under his wing, determined to use this vessel to prove his theories about the human mind – to himself, to the veteran, and to an increasingly hostile public.

Phoenix is a tightly coiled spring of rage and emotion, so honest and raw as to make your jaw drop. He’s flanked on all sides by impressive turns, not the least of which is Hoffman’s perfectly nuanced megalomaniac. His presence provides the counterbalance to Phoenix that allows Anderson to explore core American ideas of freedom versus security, submission versus power, self determination versus subservience. It’s a challenging but awe-inspiring film that proves Anderson the true master.

All of Anderson’s films demand to be seen, including his 1996 debut feature Hard Eight (aka Sydney) a sly piece of film noir that foreshadows some of the themes he would revisit in The Master. Set on the outskirts of Las Vegas, Hard Eight follows an accomplished gambler (Phillip Baker Hall)who takes a down and outer (John C. Reilly) under his wing. Also featuring Gwyneth Paltrow and a mesmerizing performance from Samuel L. Jackson in a pivotal role, Hard Eight is a raw but impressive beginning for a true visionary.

Really, Paul’s genius should be no surprise. After all, he’s the son of Ernie Anderson, aka “Ghoulardi” from Cleveland TV in the mid-1960s, so his rise to America’s finest filmmaker was just a matter of time.

Outtakes: Fearless Oscar Picks

 

That’s right, fearless, because we’re not afraid to go on record saying Daniel Day-Lewis will win for “Lincoln.” Hey, sometimes you gotta go with your gut.

 

Best Picture

“Argo”

 

Best Director

Steven Spielberg, “Lincoln”

 

Best Actress 

Jennifer Lawrence, “Silver Linings Playbook”

 

Best Actor

Daniel Day-Lewis, “Lincoln”

 

Best Supporting Actress

Anne Hathaway, “Les Miserables”

 

Best Supporting Actor

Tommy Lee Jones, “Lincoln”

 

Best Original Screenplay

Mark Boal, “Zero Dark Thirty”

 

Best Adapted Screenplay

Chris Terrio, “Argo”

 

Best Animated Feature

“Brave”

 

Best Foreign Language Film

“Amour”

 

Best Documentary

“How to Survive a Plague”

 

Best Cinematography

Claudio Miranda, “Life of Pi”

 

Best Original Score

John Williams, “Lincoln”

 

Best Original Song

Adele & Paul Epworth, “Skyfall”

 

Best Animated Short

“Head Over Heels”

 

Best Live Action Short

“Asad”

 

Drugs are Bad…Mmmkay?

 

By George Wolf

 

In the first few minutes after we meet the main character in Snitch, he utters the line, “I’ve been rolling the dice all my life.” Ugh.

Normally, an eye-rolling opening such as this does not bode well for the rest of the film. Happily, though, Snitch is able to squeeze a nice bit of human drama into an otherwise standard Hollywood whitewash of a complex issue.

Snitch is, as they say, “based on true events” that occurred when a man named James Settembrino went undercover for the DEA in exchange for leniency toward his son’s sentence after a first-time drug offense.

The film version centers on construction company owner John Mathews (Dwayne Johnson), a successful businessman with a new wife and child. When his estranged son from a previous marriage agrees to hold a package of drugs for a dealer, all involved quickly learn harsh realities about mandatory sentencing.

John’s pleas to the federal prosecutor (Susan Sarandon) go for naught, so he offers to help the Feds nab more major players in the drug trade.

Johnson has made his mark as a action star, which might explain pairing him with director Ric Roman Waugh, a longtime stunt coordinator still fairly new to helming feature films. There certainly are action sequences, but Snitch works best when Waugh dials it down to focus on smaller moments.

Particularly effective is a side plot involving John’s employee Daniel (Jon Bernthal of The Waking Dead). Daniel is an ex-con trying to distance himself from his drug-running past, but John needs him for an introduction to a local dealer named Malik (a menacingly good Michael Kenneth Williams).

Waugh wrings palpable tension from John’s foray into the drug world, and Bernthal skillfully articulates Daniel’s internal struggle, giving the film the emotional pull that should have come from John and his family.  Those scenes, flush with overwrought writing and uninspired acting, barely rise above the level of a daytime soap.

The problem really isn’t Johnson, who pulls off his best performance to date. Wisely, his massive physique is kept under wraps as much as possible, in an effort to paint John as little less Superman and a little more common man.

Unfortunately, the superhero element eventually wins out, and the film walks away from the moral ambiguities it was contemplating to instead deliver an over the top finale clearly designed to draw empty applause.

 

3 stars (out of 5)

 

 

Outtakes: Party Like a Movie Star

by Hope Madden

Oscar party? Hells yeah!

MaddWolf will celebrate Hollywood’s biggest night by annoying people with our jocularity at the 16th Annual Drexel Red Carpet Bash. (Seriously, last year a woman pooped on the party by shushing us, saying, “I don’t appreciate your banter.”) So come on out to the Drexel (2254 E. Main St.), witness the mayhem, and feast your eyes on Bradley Cooper by way of the theater’s brand spanking new digital projection system.

Oscar Night Co-Host George Wolf will bring his “A” banter while Hope hands out a fantastic assortment of prizes. How can you partake? Just bedeck yourself in a Hollwood-themed costume for a chance to win. For those less bedeckable, you might also answer some trivia, or beat us all with your Oscar picks (which could win you a full year of free movie tickets!).

Take in the glitter and glam on the big screen, take home some fun prizes, and enjoy a cash bar and tasty, free hors d’oeuvres from local restaurants. What’s not to love?

So join MaddWolf, won’t you? This Sunday night, help us ring in Oscar with the Drexel folks and their sparkling new digital theaters. Tickets are $30 in advance / $35 at the door. (DREXEL MEMBERS are $20 in advance / $25 at the door.) The event begins at 6:30 and runs until the last statuette is given to Ben Affleck for the best picture he (apparently only adequately) directed.

Hope to see you there!

For Your Queue: Affleck Proves his Mettle as Director

After racking up several big wins this awards season, Argo has emerged as the favorite to win Best Picture this Sunday at the Academy Awards. If you didn’t catch it in theaters, you can bring it home this week on DVD, and you’ll be glad you did. The true story of how a CIA operative got six hostages out of Iran in 1979 by posing as a film producer, Argo is simply fantastic moviemaking.

Working with a smart, taut script by Chris Terrio, director Ben Affleck expertly layers political intrigue with Hollywood deal-making. He also crafts an effective period piece, with a sharp eye for details that not only recreate an important slice of history, but also foreshadow more recent international events.

Though you already know how it ends, Affleck infuses Argo with tension and urgency. Regardless of his perplexing snub in Oscar’s Best Director category this year, Affleck, after just three directing efforts, has emerged as one of the best in the business.

Honestly, he showed the skill right from his directing debut in Gone Baby Gone…

Four-year-old Amanda McCready has gone missing in one of Boston’s rougher neighborhoods. Not the neighborhood of Will Hunting and his buddies, because this is not Ben Affleck’s Oscar winning turn as screenwriter. This film is Gone Baby Gone, Affleck’s first, hauntingly successful attempt at directing a feature film.

The director’s kid brother Casey, in fine form, plays a baby-faced PI working his neighborhood connections to find the girl as the mystery plays out among Boston’s nickel-and-dime drug dealers, mules, perverts and ex-cons.

Gone Baby Gone is a complex work examining place as an existential determiner, using setting as character, and plumbing the validity of conscience, all the while developing a disturbingly absorbing mystery. And though the mystery itself tailspins into something less than the story deserves, the final moments of the film remind the audience again of the craftsmanship that went into creating a film you may have missed back in 2007, but you need to see now.

Yippi Ki Yawn

 

 

By George Wolf

 

Okay, full disclosure:  the original Die Hard is my all time favorite movie.

One of that film’s many great qualities is, back then Bruce Willis’s John McClane character was a regular guy in extreme circumstances. While each of the three sequels has been at the very least decent, McClane himself has morphed into more of a wise-cracking superhero.

That has never been more true than in A Good Day to Die Hard, the fifth, and definitely the weakest, in the series.

This new adventure has John traveling to Russia, where there apparently is no police force. He’s there to help his estranged son Jack (Jai Courtney) out of a jam, but John is barely out of the cab from the airport when things start exploding, drawing father and son into a ridiculous yarn involving a Russian political prisoner and a secret file.

There may have been an acceptable action flick at the heart of Skip Woods’s script, but director Jon Moore (Max Payne) buries it under misguided pacing and wretched excess.

The extended car chase that kicks off the film becomes downright tedious, setting the stage for a film that never has a chance to build any tension or interest. Though the film’s finale does boast some action that’s worthy of the Die Hard name, getting there just isn’t enough fun. Moore keeps his foot on the gas until he abruptly stops for some father-son bonding time, and much of the film feels slapped together (the bad editing job doesn’t help matters).

Producers may be grooming Courtney (Jack Reacher) to take over the franchise, but his charisma, in this effort at least, is lacking.

Sadly, so is the film.

2 stars (out of 5)