Tag Archives: O’Shea Jackson Jr.

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Inane Blacktop

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Idiots

by Matt Weiner

It took many years and a last-minute safe-for-work title change for Idiots to reach screens. Writer-director Macon Blair, always a welcome presence in front of the camera, has talked openly about the decade-plus and numerous cast changes to get his latest feature made.

That’s a lot of pressure for an antagonistic road comedy that follows two in-over-their-heads contractors who transport troubled teens to rehab centers. Davis (O’Shea Jackson Jr.) is well-meaning and religious, with a genuine empathy for his passengers. Mark (Dave Franco), on the other hand, seems more likely to be the one in the backseat being escorted.

The pair gives the impression they would be outmatched in the best of circumstances, let alone trying to handle their latest charge. Sheridan Kimberley (Mason Thames) is a sociopathic son of hands-off billionaires eager to get him out of sight, out of mind, and in compliance with the latest legal deal to keep him out of prison.

Sheridan plots to turn Mark and Davis against each other and escape their custody, which sends the pair on a road trip from hell that ends up roping in a vengeful sex worker (Kiernan Shipka), celebrity-worshiping sycophants and a band of Soundcloud-rapping bounty hunters/kidnappers whose incompetence rivals only Mark and Davis.

For a crass hard-R comedy, there’s sadly only one scene that comes close to the gross goo-fest to be had in Blair’s more focused and self-assured Toxic Avenger remake. Idiots does the best it can do with the low budget, but more physical comedy would’ve helped distract from all the implausible character decisions and their incongruent philosophizing.

Idiots counts Danny McBride, Jody Hill and David Gordon Green among its executive producers. Whether or not they played a direct hand in day-to-day production, the comic sensibilities of the HBO mainstays behind shows like Vice Principals and Righteous Gemstones are firmly part of the film’s DNA. Blair’s story takes major tonal swings for a grossout comedy with few redeeming characters. Or any redemption at all. This works for lovable losers like McBride’s Kenny Powers or Seth Rogen and the elder Franco brother in Pineapple Express. It’s a difficult register to pull off across a feature-length comedy, though, and Blair’s uneven script doesn’t pick up the slack consistently enough. Still, though there’s something to be said for a comedy willing to be this nihilistic and … well, idiotic.

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Power Couple

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Long Shot

by George Wolf

Long Shot‘s first success comes before the opening credits even start rolling. It’s right there on the movie poster: “Unlikely, but not impossible.”

So before you can scoff at the idea of Charlize Theron giving Seth Rogen the time ‘o day, your protest of the premise is a) acknowledged, and b) set aside, leaving plenty of loophole to just appreciate an R-rated romantic comedy that’s brash, smart, timely, and pretty damn funny.

Rogen is Fred Flarsky, a scruffy, sweatsuit-loving online journalist known for cutting-edge exposes such as “F*&^ You, Exxon,” and “The Two Party System Can Suck a D&^%.” When media monarch Rupert Murdoch, er, I mean Parker Wembley (Andy Serkis) buys the digital magazine Fred works for, he quits in protest.

Theron plays Secretary of State Charlotte Field, a graceful, brilliant stateswoman who’s ready to make a run for the Oval Office and could use a speechwriter. Back in her teens, Charlotte was Fred’s babysitter (!), and after they cross paths at an ill-fated fundraiser, he’s brought on to give Charlotte’s speeches a little of that Fred Flarsky feeling.

The surprising (but not impossible!) romance that follows doesn’t thrill Team Charlotte (the slideshow explaining how it might impact her poll numbers is a scream) but credit writers Dan Sterling (The Interview) and Liz Hannah (The Post) for having more on their minds than a dude makeover.

Keeping just enough of that Rogen stoner-comedy vibe, Long Shot skewers Bernie Bros, female candidate double standards, romantic comedy tropes, celebrity presidents and, most pointedly and hilariously of all, Fox News.

Theron and Rogen elevate every bit of it, working as a comedic power couple out in front of an ensemble cast full of standouts, most notably June Diane Raphael as Charlotte’s disapproving Chief of Staff and O’Shea Jackson, Jr. as Fred’s motivational best friend.

Director Jonathan Levine (The Wackness, 50/50, The Night Before) keeps things grounded and character-focused. Just when the parody or implauseability is in danger of running amok, he gets us back in the semi-real world of crowd pleasing entertainment.

And though that does mean a third act that gives in to overt sentimentality, Long Shot has the heart, charm and hilarity to win you over long before then.

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End the Fed

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Den of Thieves

by George Wolf

They’re back, baby! The star and one of the five writers from London Has Fallen are reunited, and it feels…so much better than you are thinking right now.

This time, writer Christian Gudegast also takes the director’s chair for his debut feature, an ambitious mix of Heat and The Town and maybe a few other heist flicks I’ll bring up later.

Gerard Butler is Big Nick, an L.A. County sheriff who’s a very bad lieutenant. Some cops just got killed in an armored car job, and Nick is pretty sure it’s the work of Merriman (Pablo Schreiber).

He’s right, but the big score is still to come: a master plan to rob the L.A. branch of the Federal Reserve. Amid some surprisingly engaging dialog, Gudegast effectively contrasts the good bad guys and the bad bad guys, slowly laying the groundwork for a final confrontation while getaway driver Donnie (O’Shea Jackson, Jr.) openly works both sides.

At 140 minutes, it’s at least half an hour too long, bloated with some futile attempts at character development, and a bit tone deaf on police brutality and some other current events. But there is well-plotted tension, some inventive turns among gaps in logic and an Ocean’s/Logan Lucky inspired wrap-up that will bring a chuckle.

 





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Single White Follower

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Ingrid Goes West

by George Wolf

Oh, look, some Hollywood elitists want to wag a finger in our general direction and lament how our obsession with social media connections keep us from making real ones. Can’t wait.

Hold on, Ingrid Goes West is smarter than your average wag, and the feature debut from director/co-writer Matt Spicer sports a welcome swagger that holds the film’s satirical bite just when you think it’s going soft.

Aubrey Plaza is Ingrid Thorburn, a shall-we-say “high strung” young woman in Pennsylvania who earns some mental health evaluation after an unsavory incident at a friend’s wedding. Ingrid’s spirits are lifted when she comments on a post by Instagram star Taylor Sloane (Elizabeth Olsen), and Taylor actually responds.

Uh-oh.

Newly motivated, Ingrid is off to California, where she finds a way to insert herself into Taylor’s perfect life, maybe make a boyfriend out of her Batman-obsessed landlord Dan (Straight Outta Compton‘s O’Shea Jackson, Jr.) and definitely live out her social media fantasies.

Though Spicer freely uses contrivance to set up and maintain his narrative, the comedy is deliciously dark and the characters keep us invested even when they’re far from likable. Plaza (earning another producing credit) easily makes Ingrid an appealing mix of sympathetic and psychotic, while Olsen crafts the perfect embodiment of insufferably attractive hipster.

The metaphors aren’t always subtle, but Ingrid Goes West finds a delicate balance in its travels, one that understands the allure of a volatile facade.

Verdict-3-5-Stars