Movie Review You Can't Run Forever

You Can't Run Forever (2024)

Directed by Michelle Schumacher

Written by Caroline Carpenter and Michelle Schumacher

Starring J.K. Simmons, Alan Leech, Fernanda Urrejola, Olivia Simmons

Release Date: May 17, 2024

Published: May 16, 2024

The thriller "You Can't Run Forever" begins with J.K. Simmons arriving at a remote gas station on a motorcycle. He draws a gun and inexplicably shoots three people. Spotting a woman hiding behind her car, he smirks and spares her life. Another man emerges from the gas station, sees the carnage, and Simmons acknowledges him with a nod before riding away. This electrifying opening grips the audience from the outset.

The film takes a dark turn from its shocking start, focusing on Isabelle Anaya as Miranda, a teenager grappling with her father's suicide a year prior. Her mother's remarriage and impending childbirth have inadvertently deepened Miranda's struggles. Her stepfather, Eddie (Alan Leech), is supportive and kind, yet he cannot replace her father, straining their relationship.

Find my full length review at Geeks.Media, linked here. 

Movie Review I Saw the TV Glow

I Saw the TV Glow (2024) 

Directed by Jane Schoenbrun

Written by Jane Schoenbrun 

Starring Justice Smith, Brigette Lundy-Paine, Ian Foreman, Helena Howard, Fred Durst, Danielle Deadwyler

Release Date May 17th, 2024 

Published May 17th, 2024 

I Saw the TV Glow is my favorite movie of 2024 so far. Written and directed by rising star Jane Schoenbrun, the auteur behind the brilliant We're All Going to the World's Fair, I Saw the TV Glow centers on the story of Owen, played by Ian Foreman as a child and Justice Smith as he gets to High School and beyond. Owen was a lonely kid with no friends. A traumatic childhood pushed Owen deep inside himself. As if possessed by a will outside of himself, Owen brings himself to talk to a girl, a slightly older kid at his High School, Maddy (Brigette Lundy Paine). 

Knowing what it is like to be an outsider, Maddy takes pity on Owen and shares with him her book. It's a book about her favorite TV show, a supernatural mystery called The Pink Opaque. The show is about two teenage girls who meet at a summer camp and then never see each other again, in person. Instead, the show protagonists can speak to each other across a different plain of existence. This incredible talent allows them to fight monsters that attack their respective hometowns. It's an odd show that airs on weekends, Saturday nights at 10:30 PM. Too bad for Owen that it airs after his bedtime. 

Find my full length review, linked here. 

Movie Review Backspot

Backspot (2024) 

Directed by D.W Waterson 

Written by Joanne Sarazen, D.W Waterson

Starring Devery Jacobs, Evan Rachel Wood, Kudakwashe Rutendo, Shannyn Sossamon 

Release Date May 31st, 2024 

Published May 29th, 2024 

If you are going to use a particular style of handheld camera work, make sure that it is being used for a good purpose. Handheld or shaky cam style is a visual tool that works when you are making a movie like The Blair Witch Project where the characters are first person, and their camera is also the eyes of the audience. The characters are active and running and the shaky cam reflects the fact they are running for their lives. Shaky cam is not recommended when you are trying to have a serious, dramatic conversation, say, between a mother and a daughter at a crossroads. 

Unfortunately, there is a scene in the new cheerleading melodrama, Backspot, in which star Devery Jacobs is having a dramatic, late in the movie, conversation with her mother, played by Shannyn Sossomon. The scene isn't poorly acted, from what I could see of it. Sadly, I had to look away because co-writer and director D.W Waterson chooses to shoot the scene with a camera that will not stop shaking. The style choice undermines the drama, it loses focus on the heavy emotions at play and it's just visually impossible to look at. 

Find my full length review at Geeks.Media, linked here.

Documentary Review Sorry/Not Sorry

Sorry/Not Sorry (2024)

Directed by Caroline Suh, Cara Mones

Written by Documentary 

Starring Jen Kirkman, Abby Schachner, Megan Koester, Andy Kindler, Michael Ian Black, Michael Schur

Release Date July 12th 

I have a pet peeve. Every time I hear some boomer asshole talk about how such and such behavior was okay at the time. NO IT FUCKING WASN'T! There was never a time in recorded history where sexual assault was okay. There was never a fucking time in human history when a man could pull out his penis in front of other people and begin masturbating and it was okay. There has never been a time when inflicting your sexual perversion on other people without their consent was okay. Racism, sexism, homophobia, Transphobia, these things were never okay. They should never have been treated as if they were okay. 

It was a different time they say. They say this because they want to avoid being judged for engaging in this unacceptable behavior or for condoning it, or turning a blind eye to it. It's shameful and you should be ashamed. I should be ashamed. When we allowed this unacceptable behavior to be treated as okay, we were wrong. When my friends and I encouraged another kid to show his penis to some girls as a prank, we were wrong. And when our parents found out, we all got in trouble. And why? Because it was wrong. 

Click here for my full length review. 

Movie Review Sinners

Sinners 

Directed by Ryan Coogler 

Written by Ryan Coogler 

Starring Michael B. Jordan, Miles Caton, Delroy Lindo, Hailee Steinfeld 

Release Date April 18th, 2025 

Published April 24th, 2025 

Sinners is my favorite movie of 2025 so far. Written and Directed by Ryan Coogler, this sex soaked, violent, primal scream of a movie is among the most technically accomplished and entertaining movies of this young century. Truly, Ryan Coogler can do anything behind a camera and Sinners is the proof of concept, if one was needed, that he is a top shelf auteur, a filmmaker with a distinct eye and voice. It's a voice of radical politics tinged with a showman’s natural instinct for enthralling an audience. 

Let’s get the basics, Michael B. Jordan stars in the dual role of twin brothers, Smoke and Stack Moore. Born in Mississippi, the two fought in World War 1 and then moved north to start what would become a legendary criminal career. Bits of dialogue drop the name Al Capone as an associate of Smoke and Stack and their stacks of cash are a testament to just how successful their trip north truly was. They learned and they earned in Chicago and now they are back in Mississippi to set up shop.

Read my full length review at Geeks.Media, linked here. 

TV Review The People Vs. O.J Simpson American Crime Story

The People vs O.J Simpson: An American Crime Story 

Directed by Ryan Murphy 

Written by Ryan Murphy, Jeffrey Toobin

Starring Cuba Gooding Jr., John Travolta, Sterling K. Brown, Sarah Paulsen

Release Date February 2nd, 2016

The People vs. O.J Simpson: An American Crime Story is the best thing I have seen on television in quite some time. This engrossing melodrama from the creators of American Horror Story takes viewers inside the O.J Simpson saga in ways we have only ever imagined. Moment to moment drama and tension build from O.J's limo driver seeing a figure crossing the lawn to the mansion just after the murders, to O.J's odd excuses for being late to that limo to the discovery of the bodies of Nicole Brown Simpson and Ronald Goldman, the authentic, engrossing drama of never lets up. 

Cuba Gooding Jr. takes on the role of O.J Simpson and delivers big time with a powerful performance that captures O.J's arrogance, fear, and startling temper. Gooding's O.J is at first eerily calm and agreeable but quickly turns scattered and volatile like a wounded animal stuck in a trap. When the white bronco arrives in episode two, Malcolm Jamal Warner's A.C Cowlings only adds to the remarkable authenticity of the scene that will have you feeling as if you are in that Bronco as the legendary chase plays out. 

The cast of The People vs. O.J Simpson is uniformly fantastic. In an unpredictably great performance, John Travolta stars as Robert Shapiro, the celebrity lawyer O.J turns to before each agrees that a more cynical and calculated choice, Johnny Cochrane (Courtney B. Vance), is more suited to the defense they are planning. Travolta's Shapiro is canny and practical in the face of the incredible storm of media. David Schwimmer is equally great as the good-hearted Robert Kardashian, O.J's friend whose desperate hope for O.J's innocence becomes genuinely heartbreaking as the realization hits him. 

On the other side of the aisle, Sarah Paulson cuts a brilliant figure as prosecutor Marcia Clark. Paulson captures the humanity behind the professional and aloof manner many complained about in Marcia Clark during the actual trial. Yes, Clark is tough as nails with a cynical, angry, demeanor but Paulson also captures the crusading side of Clark who simply wanted to see a wife beating murderer get what he deserved. Bruce Greenwood and Christian Clemenson are perfect foils for Clark as equally cynical defenders of justice while Sterling K. Brown brilliantly captures the tragic figure of Christopher Darden who strived to be more than a token in the DA's office only to find himself shunted into the prosecution of O.J Simpson. 

Race plays a major role in The People Vs. O.J Simpson with Darden's visit to his father in Compton, California, a brilliant counterpoint to our modern conversation about race relations and police. The LAPD have long had a terrible reputation but the scripting here is fair to the LAPD while casting a wider correlative conversation about police mistrust among African Americans. This is edgy material and gives just that perfect extra kick of timeliness to a story that could have felt trapped in the 90's. 

The direction is top notch, the writing and acting are spot on and there is still plenty of room for the daring and salacious brand that the American Horror Story crew are known for in The People vs. O.J Simpson. Yes, when I say salacious I am referring to the Kardashian's who are background players in the O.J saga but play as a brilliant counterpoint to the intensity of the prosecution and defense. Did you know Kris Jenner was one of Nicole Simpson's closest friends or that she once dated O.J? We even get a glimpse of the Kardashian kids playing at Nicole's funeral, an especially eerie scene when O.J shows up to mourn. 

Everything about The People Vs.O.J Simpson An American Crime Story works and the show is among the best things TV has produced in years. This is historic television, capturing an event that millions remember in a brand new, shocking and even suspenseful way. This is a truly MUST SEE show.

Movie Review The Alamo

The Alamo 

Directed by John Lee Hancock

Written by Leslie Bohem, Stephen Gaghan, John Lee Hancock

Starring Billy Bob Thornton, Jason Patric, Patrick Wilson, Dennis Quaid 

Release Date April 19th, 2004

With the patriotic fervor of the war in Iraq having died down, the time for a rousing patriotic war film may have passed. Indeed the producers of The Alamo had to be considering that fervor when they went into production in early 2003. Unfortunately, they lost the opportunity to capitalize on it when the film was deemed not ready for its original December release. Now dumped, with little fanfare, into the month of April, The Alamo arrives as a professionally made but unmemorable history lesson. 

Directed by John Lee Hancock (The Rookie), The Alamo tells the story of how legendary figures Jim Bowie (Jason Patric), William Travis (Patrick Wilson) and Davy Crockett (Billy Bob Thornton) came to a tiny church in San Antonio to fight for the idea that would become the state of Texas. With tin-eared dialogue and stolid pacing, The Alamo unfolds a story that will certainly provide some welcome downtime for teachers who use it to fill the end of a school year. 

For Jim Bowie, San Antonio was the home of his late wife where he had spent many happy nights. His return to San Antonio and to the Alamo was a favor to his friend General Sam Houston (Dennis Quaid). Houston was to retrieve the Texas army's largest canon and return it to Gonzales, Texas where the leaders are debating their future. By taking the canon, they are essentially ceding San Antonio to the Mexicans.

William Travis on the other hand, has been charged with holding the Alamo until a decision can be made as to how Texas will declare and defend itself from Mexico's dictator Santa Anna. Will the Texans declare their independence or negotiate a settlement with Santa Anna to hold onto their land under Mexican rule? Under the assumption that Santa Anna will not attack in the winter, the Alamo is thought to be fairly secure, allowing time for the leaders to debate their options.

For David Crockett, as he prefers to be called, Texas is a place to reclaim his legend after losing his congressional seat in Tennessee. Crockett has spoken to Sam Houston and been assured a good deal of land and power if Texas is declared independent. Crockett arrives at the Alamo unaware that the fighting has not stopped, only slowed due to the weather and the Texans' indecision over how to declare independence.

The setup for the climactic battle is slow and drawn out, probably because the actual battle of the Alamo didn't last long. Once Santa Anna decided on a full frontal attack with thousands of Mexican soldiers, there was little that the three hundred or so Texans could do to stop them. The setup for the battle has its moments, such as when Davy Crockett grabs his fiddle and plays along with Santa Anna's army marching band. Still, for the most part it's all rather dull. 

We learn little about the historical figures of Bowie, Travis or Crockett other than both Bowie and Travis were slave owners and that Crockett never actually jumped a raging river or took on 20 men at once. Credit Billy Bob Thornton with the film’s best performance. Davy Crockett is a poetic pragmatist who struggles with his legendary status that was assured well before he became a martyr for Texas independence at the Alamo.

The film’s best moments are the battle scenes, the siege at the Alamo, which is quick and brutal, and the battle of Houston where Sam Houston avenged the Alamo by routing Santa Anna's army in 18 minutes. Director John Lee Hancock manages one great moment of emotion with Houston's "Remember The Alamo" rallying cry but other than that the film is rather staid and emotionless. Well made, but soulless.

The film is very professionally crafted with solid acting and a well remembered story. However, it plays like a history lesson from a very dull high school class. None of the characters, aside from Davy Crockett, have much of a personality and none of the supporting performances makes any impression whatsoever.  There was a controversial rumor about Davy Crockett's death but it's only a misunderstanding. The Crockett legend is very much intact at the end of the film. Without the controversy there is very little that is memorable about this Alamo.

Movie Review After April

After April 

Directed by Brian Evans 

Written by Ryan Farley 

Starring Michael McKiddy, Angela Duffy, Ethan Jordan 

Release Date Unknown

AIDS is an issue that has disappeared from mainstream consciousness. That doesn't mean that it isn't still killing people and destroying lives because it certainly is, especially in urban communities.  What that means is that AIDS is no longer the cause celebre it once was. Hollywood stars still wear their fashionable AIDS ribbons and show up for the occasional benefit. Still, AIDS statistics that were once front page news are now buried in the back and research into a cure for AIDS languishes even as great strides continue to be made. 

In the movie universe you would think AIDS has been cured, because few of us can recall the last time we saw a movie with an AIDS afflicted character. The film After April does not come out with an agenda aimed at bringing AIDS to the forefront once again. Moreover it deals with the disease in an intelligent and emotional way one hopes will make people remember this most horrible of killers and the lives it destroys.

After April is the brainchild of director Brian Evans and writer Ryan Farley. The film stars Michael McKiddy as Patrick, an inner city white kid whose parents are non-existent and whose drug habit was an all consuming problem until he met Eve, played by Angela Duffy. While Eve is also a junkie they both would like to get clean and leave their inner city home. Just one week from starting a new life with the help of Eve's Aunt, Patrick gets some very bad news. 

In a devastating revelation, a letter informs Patrick that the local blood bank could not use his blood for unspecified reasons. Determined to know why his blood was rejected, Patrick and Eve go to the blood bank and Patrick intimidates a bureaucratic nurse into telling him what happened. Patrick's blood was rejected because he has HIV, the virus that causes AIDS. 

Angry and depressed Patrick begins to search for the girl he is certain infected him, April, played by Stephanie Slongo. A fellow junkie, April has become a prostitute since she met Patrick. In flashback, we see Patrick meet April in a bar where she entices him into an alley where they have unprotected sex.

Knowing that Patrick brought this onto himself makes him difficult to sympathize with but McKiddy's sad desperate performance makes Patrick a frighteningly real character. McKiddy's Patrick is like someone we know, anyone who sees this film will see traits that they recognize in people who are close to them. Much like Brad Renfro's performance in Bully, McKiddy's raw realism gives After April more effect than you’re expecting. 

Angela Duffy as Eve is far more than your average movie girlfriend. Not merely a plot device Eve is a fully fleshed out character who allows the audience to care about Patrick because she cares about him. Even in Patrick's most extreme moments Eve stays with him, not because she is weak or needy but because she truly cares about him. 

The cast is rounded out by Ethan Jordan as Carney, Patrick’s drug dealer until he finally decides to clean up. Carney is also April's dealer so when Patrick goes looking for her, Carney is the first person he goes to. Surprisingly philosophical for a dope dealer, Carney combines an unusual social conscience with his antisocial dealings. Carney doesn't like what has happened to his neighborhood, but openly admits that he is part of the problem. 

He honestly respects Patrick's attempt to clean up and when he sees Patrick slipping as he searches for April, Carney offers wise counsel. Though his rap about how having inner city kids killing each other is what the government wants makes the character look ridiculous, Jordan's honest well delivered performance keeps the character grounded and real.

The unique combination of revenge thriller and an issue as serious as HIV makes After April one of the most fascinating films I've seen in a long time. The film’s direction and production values could stand for improvement but as it is, After April is a raw and thought-provoking film. A film with more than just an idea, more than just a gimmick, April brings the tragedy of AIDS to the streets in a way that is shocking and attention grabbing without being sensationalistic or preachy. This is a very good movie.

Documentary Review AfroPunk: The Rock N'Roll N***** Experience

Afropunk: The Rock N’Roll N***** Experience 

Directed by James Spooner 

Written by Documentary 

Starring Ralph Darden, Matt Davis, Maya Glick

Release Date August 4th, 2007

German philosopher Georg Hegel defines alienation as the unhappy consciousness. He continues on saying that alienation is typical of philosophical skepticism as an alienated soul which is conscious of itself as a divided being, or a doubled and contradictory being whose aspirations towards universality have been frustrated.

The subjects of James Spooner's fascinating documentary Afropunk know all about alienation as defined by Mr. Hegel. Being black in the predominantly white punk scene and a punk in the black community is to be a divided soul. However, as this documentary shows these divided souls are making a way for themselves in a growing community of artists.

Shot over a year on a minuscule budget Afropunk is a collection of interviews with fans and artists in the punk scene. This is not the whitewashed MTV punk scene as identified by the Good Charlotte's of the world. Rather this is the true punk scene of tiny clubs and rowdy hardcore fans. As well as near poverty stricken artists who don't do punk to get on MTV but rather as their only true way to express themselves artistically. Artists who found something in the angry thrashing rhythms and screeching riffs of Punk that can't be simply explained.

Among these artists is Matt Davis from Iowa City Iowa, who performed in a number of punk bands over his short life including the well regarded Ten-Grand. Living in near poverty with his band-mates, Davis personified the duality of the punk lifestyle. He lived for the music and the energy of performing, even if it meant selling blood to make rent. Tragically, Davis died before completion of the film.

Tamar Kali is well known in the New York underground scene for combining hardcore rock and soul identified with the aestheticism of punk. The punk look and the angry lyrics stirred something inside her. After years of struggle with her identity as a punk and a black woman, her fully formed personality leaps off the screen with great strength. Don't be surprised when she breaks through to wider audiences.

Moe Mitchell is the lead singer of the hardcore punk band Cipher. The band with its three white members and Moe at its lead is known for its black power lyrics. Whether Moe's audience has an understanding of his message seems unlikely, the audiences are almost entirely white. Moe doesn't seem to care. After attending Howard University and becoming involved in the black power movement, Moe has found peace with his duality and his friends in the band are aware that when the revolution comes they won't be on the same side.

Finally, my favorite person in the documentary is Marika Jonez, a punk DJ in California. Her strength is organization. She runs a website that promotes punk shows in her California locale and DJ's at punk clubs. Her struggle as a young black punk is the most poignant of the stories in Afropunk because she is the youngest and most vulnerable of the people profiled. She isn't as comfortable with herself as the others and is only at the beginning of her self-discovery.

The documentary intersperses the stories of its four leads with interviews with the people who kicked down the door and made it easier for African-Americans to thrive in the Punk scene. There are interviews with the members of Bad Brainz, Fishbone and the Dead Kennedys amongst many other pioneers.

Director James Spooner weaves a remarkable story in Afropunk. One that combines the history of a scene with a philosophical exploration of identity and humanity. For anyone who thinks Punk is just loud angry noise, Afropunk will teach you that Punk is one of the few musical forms where discourse thrives. Expressions of anger and frustration over politics, religion and race are just some of the topics that Punk tackles that all other music genres stray from.

Movie Review Blind

Blind

Directed by Michael Mailer

Written by John Buffalo Mailer, Diane Fisher

Starring Alec Baldwin, Demi Moore

Release Date July 14th, 2017

In the vast landscape of cinematic experiences, where masterpieces and mediocrities coexist, there emerges an occasional anomaly that defies categorization, a film so remarkably and incomprehensibly awful that it transcends the boundaries of conventional criticism. "Blind," a 2017 film directed by Michael Mailer, stands as a testament to this cinematic aberration, a work of such profound ineptitude that it can comfortably share the stage with the likes of Tommy Wiseau's "The Room" and not feel out of place.

"Blind" is a cinematic train wreck of epic proportions, a film that squanders the talents of formerly big-name stars Alec Baldwin and Demi Moore, reducing them to amateurs through a script, editing, and direction that can only be described as amateurish at best and intentionally incompetent at worst. The film's narrative centers on Bill Oakland, a once-famed novelist rendered blind by a tragic car accident that claimed the life of his wife. Five years later, he's a bitter, disillusioned college writing professor who spends his days berating volunteers who come to read to him the work of his students. Bill's life takes an unexpected turn when he encounters Suzanne Dutchman, the wife of a Bernie Madoff-esque con man serving time behind bars.

While this synopsis may suggest a straightforward narrative, "Blind" is anything but. The film's script, penned by first-time screenwriter Diane Fisher, is a labyrinth of bewildering dialogue and nonsensical character interactions. Actors deliver their lines with a stilted awkwardness that suggests they've never uttered words before, while characters engage in exchanges that defy the norms of human interaction.

The film's supporting cast is equally perplexing. Characters are introduced and discarded with a haphazardness that suggests they were borrowed from other films and had to be returned in a hurry. One such character, a young aspiring writer who seeks Bill's mentorship, appears as if plucked from a bad remake of "Finding Forrester," only to vanish without a trace after serving his expository purpose.

Dylan McDermott's portrayal of Demi Moore's husband, a stock manipulator with a thick Queens accent, is a masterclass in expositional dialogue. McDermott's character narrates his every thought and action, leaving nothing to the audience's imagination. This penchant for overt exposition extends to most of the film's characters, who seem incapable of interacting without explaining their relationships and motivations to each other and the audience.

The film's visual language is equally disorienting. Scenes are edited with a jarring abruptness, creating a sense of disjointedness that mirrors the narrative's incoherence. The cinematography is uninspired, relying on clichéd close-ups and awkward camera angles that fail to capture any sense of intimacy or emotional depth.

One particularly cringe-worthy scene involves Demi Moore giving Alec Baldwin a shave. The scene, intended to be intimate and sensual, is rendered unintentionally comedic by the stilted dialogue and the palpable lack of chemistry between the two actors. Baldwin's character's leering remarks about Moore's childhood experiences with her father add a layer of creepiness to the scene, while the camera's erratic movements and the use of an obviously dull razor only serve to heighten the sense of absurdity.

In the annals of cinematic misfires, "Blind" stands as a monument to incompetence, a film so profoundly awful that it transcends the boundaries of conventional criticism. It is a cinematic experience that must be seen to be believed, a testament to the power of bad filmmaking to both bewilder and amuse in equal measure.

Movie Review The House

The House

Directed by Andrew Jay Cohen

Written by Brendan O'Brien, Andrew Jay Cohen

Starring Will Ferrell, Amy Poehler, Jason Mantzoukas, Ryan Simpkins

Release Date June 30th, 2017

The movie "The House," starring Will Ferrell and Amy Poehler, is a comedy about a married couple who start an illegal casino in their suburban home to pay for their daughter's college tuition. Unfortunately, the film fails to deliver on its comedic potential, resulting in a disappointing and unfunny experience.

The movie's premise revolves around Scott and Kate, played by Ferrell and Poehler, who find themselves in a financial bind when their daughter's college scholarship falls through. Desperate to find a solution, they turn to their friend Frank, who suggests they open an illegal casino in his house. The idea is simple: capitalize on the boredom of their suburban neighbors and their willingness to gamble.

However, "The House" suffers from a lack of originality and comedic execution. The humor relies heavily on clichés and excessive improvisation, which often falls flat. The characters lack depth and feel more like caricatures than real people. The film's reliance on improv, without a strong directorial hand to guide the narrative and performances, results in a series of disjointed and unfunny gags.

One particularly cringeworthy scene involves Ferrell's character accidentally cutting off a man's finger during a cheating dispute. The scene is chaotic and drawn out, with the intended humor completely lost in the poorly executed slapstick. This scene exemplifies the film's overall comedic failure, where jokes are rushed and poorly executed, leaving the audience with a sense of discomfort rather than amusement.

The weak script and lack of direction also highlight a recurring issue in Will Ferrell's filmography. While Ferrell is a talented comedic actor, his movies often suffer from a lack of discipline and focus. Films like "Blades of Glory," "Talladega Nights," "Step Brothers," and "Semi-Pro" all had comedic potential but ultimately disappointed due to an overreliance on improvisation and a lack of narrative cohesion.

In "The House," jokes are thrown at the audience without proper setup or payoff. Character traits are introduced randomly and then overplayed, resulting in tedious and unfunny gags. For example, Ferrell's character's fear of numbers is played for laughs but quickly becomes tiresome due to its lack of context and development.

The film's overall tone is grating and uninspired. Even the opening credits, featuring the cliché song choice of "My House" by Flo Rida, feel forced and unfunny. The attempt to draw a parallel between the movie's title and the song's lyrics is painfully obvious and lacks any comedic value.

In conclusion, "The House" is a disappointing comedy that fails to deliver on its potential. The film's reliance on clichés, excessive improvisation, and weak script results in a series of unfunny and forgettable gags. The characters lack depth and the overall tone is grating and uninspired. "The House" serves as a reminder that even talented comedic actors like Will Ferrell and Amy Poehler need a strong script and directorial vision to create a truly funny and memorable film.

Classic Movie Review Adventures in Babysitting

Adventures in Babysitting

Directed by Chris Columbus

Written by David Simkins

Starring Elizabeth Shue, Maia Brewton, Keith Coogan

Release Date July 3rd, 1987

The 1987 film "Adventures in Babysitting," directed by Chris Columbus, remains a nostalgic favorite for many who grew up in the 80s, particularly young girls. Despite some of its outdated elements that haven't aged well, the movie's heart was always in the right place, a quality that many 80s teen comedies lacked.

The film stars Elizabeth Shue as Chris Parker, a resourceful teenager who finds herself babysitting for the Anderson family after her boyfriend cancels their date. Chris is tasked with looking after Sara (Maia Brewton) and Brad (Keith Coogan), who has a long-standing crush on Chris.

The adventure begins when Chris's friend Brenda (Penelope Ann Miller) runs away from home and calls Chris for help. Chris has no choice but to take the kids with her to downtown Chicago to pick up Brenda from a bus station. Brad's friend Daryl (Anthony Rapp) tags along, threatening to tell their parents if Chris doesn't let him join them.

On their way, they encounter a series of mishaps, including a blown tire on the expressway. The group must find a way to get their car fixed and return to the suburbs by 1 AM before the parents get home. They face various challenges, including a quirky tow truck driver, a car thief who surprisingly helps them out of dangerous situations, and even a musical number at a blues restaurant where they sing alongside the legendary Albert Collins.

"Adventures in Babysitting" marked Chris Columbus's directorial debut, and its rough edges are part of its charm. Early in his career, Columbus often explored themes of disrupting suburban normalcy with wacky adventures. Growing up in the Chicago suburbs himself, Columbus displays a fondness for the upper-middle-class lifestyle, even as he uses their experiences as a source of humor when they venture into the unfamiliar city.

While the film doesn't offer profound social commentary, it effectively uses the well-known trope of naive individuals navigating a big city they're unprepared for. The movie's strength lies in its execution, making it an enjoyable and entertaining experience. "Adventures in Babysitting" doesn't pretend to be anything more than a lighthearted and silly adventure, and it succeeds in that regard.

Revisiting the film years later, some may find that it doesn't hold up to their childhood memories. However, for others, it can still evoke a sense of childlike wonder and appreciation. The young cast appears to have had a great time, and while some of Columbus's adult humor may feel awkward or uncomfortable in hindsight, it remains mostly harmless. Most importantly, the film maintains a sense of good-heartedness.

One particularly touching scene involves Sara, the youngest child, who is obsessed with the comic book character Thor. She encounters a mechanic played by Vincent D'onofrio, who resembles her hero. When he is rude to them, Sara, believing he is maintaining a secret identity, offers him her cherished Thor helmet. It's a simple yet heartwarming scene that showcases Columbus's ability to create genuine and touching moments within a comedic context.

While the film does contain some racially and sexually insensitive elements that haven't aged well, it's important to consider the context of its time. "Adventures in Babysitting" was not intentionally malicious but rather a product of a less enlightened era.

Judged by the standards of its day, the film stands as an above-average teen comedy with a positive message and genuine laughs. It's a testament to a first-time director embracing the creative process and delivering a fun and memorable experience. "Adventures in Babysitting" may be silly and nonsensical, but it holds a special place in popular culture that many continue to enjoy and revisit.