Movie Review Phone Booth

Phone Booth (2003) 

Directed by Joel Schumacher 

Written by Larry Cohen 

Starring Colin Farrell, Kiefer Sutherland, Katie Holmes, Forrest Whitaker, Radha Mitchell 

Release Date April 4th, 2003 

Published April 3rd, 2003 

Like many fans of the D.C Comics Superhero Batman I have harbored a good deal of resentment toward Director Joel Schumacher for screwing up the Batman movies. However, whether I've become more mature or Schumacher's films have gotten better, that resentment has lessened. As Bat nipples and bat credit cards recede into the past, I find myself not liking Schumacher's take on the blockbuster franchise, but also not caring nearly as much as I once did about Schumacher having made a bad Batman movie. 

Since his Batman debacle Schumacher has done good work. Schumacher's work on Tigerland, for instance, was astonishingly low-tech yet very artful as the director coaxed a star turn out of then unknown actor Colin Farrell. Now with Schumacher's return to the big budget Hollywood machine, he brings Farrell with him in the minimalist action pic Phone Booth. I find myself once again appreciating the artistry of the man who killed Batman.

In Phone Booth, Colin Farrell is shady public relations guy Stu Shepard. Though Stu is married to Kelly, played by Radha Mitchell, he is also romancing a young starlet named Pam, played by Katie Holmes. When Stu decides to use a payphone booth to call Pam rather than one of his three cell phones, he finds himself the target of a crazed assassin (Kiefer Sutherland's voice). If Stu leaves the booth, he will be shot.

Stu's situation is complicated by a group of prostitutes who want the phone booth and are becoming increasingly more agitated. When the prostitutes get a male friend to try and remove Stu from the booth the assassin shoots the guy and Stu is blamed. As cops arrive, led by Forest Whitaker as the police negotiator, so do the media as well as Stu's wife and girlfriend.

This is quite a daring setup and the execution is flawless. When writer Larry Cohen pitched this story he had to have been met with a number of blank stares. So it comes as no surprise that he's been pitching the story for nearly 20 years. It wasn't until Joel Schumacher signed on that studios began to get interested in this challenging premise. Schumacher's involvement brought some interest from big name stars such as Jim Carrey and Will Smith but it's Farrell (admittedly the cheaper alternative to Carrey and Smith's $20 Million dollar price tags), who took the role and proved to be the perfect choice.

Farrell brings just the right combination of smarm and charm to the role of Stu. Farrel recalls a young Al Pacino, with his sweaty, passionate and energetic performance. Farrell melts down like a pro. As Stu slowly melts from cocky confident defiance to contrite good guy, Farrell never panders to the audience, never begs to be liked. Farrell remains true to the character’s nature, attempting to lie and negotiate his way out all the way to the end, always looking for an angle. 

The real star of Phone Booth however is Joel Schumacher, who's sweeping camera ratchets up the tension from beginning to end. Schumacher does a first rate Hitchcock impression taking this difficult premise and wringing every last bit of tension from it. Using the same real time approach that Hitchcock employed in Rope, Schumacher uses dialogue and stellar camerawork to keep the audience constantly off balance and on the edge of their seat.

Recently Joel Schumacher admitted that he screwed up Batman. That admission and a few more excellent films like Tigerland and Phone Booth and maybe I can forgive him. Of course, there is still 8MM to apologize for but let's leave that for another day. -

Movie Review: Year One

Year One (2009) 

Directed by Harold Ramis

Written by Gene Stupnitsky, Harold Ramis, Lee Eisenberg

Starring Jack Black, Michael Cera, Hank Azaria, Oliver Platt, David Cross

Release Date June 19th, 2009 

Published June 18th, 2009  

It's a nice idea. Get a bunch of funny people together; throw on some funny costumes, make some references to the bible and wait for one the talented performers to say something funny. That is the basic idea of Year One. Throw Jack Black and Michael Cera together with a large group of funny people like Bill Hader, Hank Azaria, David Cross and Paul Rudd and assume something funny will happen. Occasionally something funny does happen. More often however, a premise for a satiric scene is set and everyone stumbles about searching desperately for a punchline.

Jack Black stars in Year One as Zed a wannabe hunter. He stinks at it and the other hunters hate him. Unfortunately for Zed, he stinks at being a gatherer as well and those are really the only jobs in the caveman world. Zed's best friend is Oh played by Michael Cera. Oh is an expert gatherer but pines for a girl who only dates hunters. When he tries to go all caveman on her and drag her back to his hut, she beats him down, his latest in a long series of humiliations to come.

When Zed burns much of the village down he is banished and Oh decides to leave with him. Together they wander into biblical times where they witness the murder of Abel (Paul Rudd) by his brother Cain (David Cross). They move on and witness Abraham (Hank Azaria) offering his son Isaac (Christopher Mintz Plasse) as a sacrafice to God. Finally, Zed and Oh wind up in Sodom where the high priest (Oliver Platt) is a mincing queen and the princess (Olivia Wilde) thinks she can steal the crown with Zed's help.

The bible stuff is odd because Year One is not necessarily a biblical satire. It may have wanted to be but all the movie ever does is introduce biblical characters in their famous context and then waits for the actors to find something funny to do. These are very talented actors, some of whom with years of improv and sketch comedy training but without a solid script to work from even the best of the improv crowd simply flails about searching for something funny to do.

Stuck with an idea and not a character, Jack Black falls back on his well known antics and shows why audiences are growing tired of his schtick. Michael Cera to is in fallback mode as he transports his much loved persona as a gawky, shy, loser who always seems the subject of humiliation into the role of Oh. The same nervous energy that people found charming in Superbad gets old fast out of context in Year One.

Director Harold Ramis must have thought that all he needed were funny people and a lot of goofy costumes and somehow they would find something funny. Instead, we have a lot of funny talented people lurching about searching for punchlines that should have been provided for them by an actual script.

Not only does what there is of a script stink but Ramis's direction is stunningly lax and inept. Scenes arrive and sputter to a finish or, in the case of an early scene where Cera is attacked by a snake and then a cougar, the scene doesn't really end so much as the scene suddenly is abandoned without resolution. This is a stunning level of apathy from such a veteran director.

Year One is one of the biggest disappointments of the summer.

Movie Review: Youth in Revolt

Youth in Revolt (2010) 

Directed by Miguel Arteta

Written by Gustin Nash

Starring Michael Cera, Portia Doubleday, Jean Smart, Ray Liotta, Steve Buscemi, Fred Willard

Release Date January 8th, 2010

Published January 8th, 2010 

Michael Cera is not everyone's cup of tea. His fey, nonchalant nebbish-ness is a put off for some but not for me. From “Arrested Development” to “Superbad” to now “Youth in Revolt” and Scott Pilgrim vs. the World,” Cera's persona has become a wonderful comic tool that he wields with precision. It's fair to say that “Youth in Revolt” takes the Michael Cera persona to an extreme but it worked for me and will work for anyone who counts them a Cera fan.

Michael Cera stars in Youth in Revolt as Nick Twisp a shy young man living with his slatternly mother (Jean Smart) and her loser boyfriend of the moment, Jerry (Zach Galifianakis). When Jerry gets in trouble with some local tough the 'family' has to go on the run. They take refuge in a trailer park where Nick spies the girl of his dreams, Sheeni Saunders (Portia Doubleday).

Sheeni initially has no interest in Nick but his persistence is flattering and eventually she gives him a break but only after he becomes the bad boy of her dreams. Nick is no bad boy but when he manages to tick off Sheeni's parents it begins an unintended reputation that Nick must foster in order to keep Sheeni's attention.

After Jerry disappears Nick is forced to return home. Once there and torn from his beloved Sheeni, Nick must hatch a plan, a plan that will allow him to move back. This elaborate fiasco involves getting his dad (Steve Buscemi) a job and a place to live near the trailer park. Then, he has to convince his mom to kick him out and force him to live with dad. The ways in which Nick goes about this are part of a tricky, gloriously odd series of events that make up the plot of Youth in Revolt.

Director Miguel Arteta brings wonderfully subtle rhythm to some rather outlandish scenes and the conflict between the tone and the happenings in Youth in Revolt somehow emerges charming and very funny. The ways in which the direction is passive and the action is not clash so perfectly that if pushed in a more or less active direction the movie would tumble over.

Strangely, while the role of Nick Twisp seems custom built for the Michael Cera persona; “Youth in Revolt” is actually based on a series of novels from the early 1990's from writer C.D Payne. I have never read the novels but according to those who have it is as if Nick Twisp predicted Michael Cera and waited for his arrival before he could be brought to the big screen.

There is no other actor who could bring Nick Twisp to life other than Michael Cera. The changes of persona, the ways in which Nick imagines a more confident version of himself named Francois Dillinger, these are seemingly natural shifts for Michael Cera that would seem like comic extensions for other actors. Cera makes the move organic as if creating Francois came from his own mind.

People tend to see the Michael Cera persona as an example of limited range. I however, feel that what Michael Cera does on screen is quite challenging. He's like a modern day Chaplin carrying The Tramp persona from film to film, giving him different dimensions and playing him against different backgrounds and characters to a new and wonderful comic effect.  

Watch Michael Cera in interviews and then watch Michael Cera in movies and on TV and you get the full picture of the Michael Cera character. It is as if his entire career was a performance art piece that he keeps spinning out further in role after role with different names but always the same character in a new and fascinating comic context. It's rather genius if you like what Michael Cera does.

If you aren't a fan then you will call it limited range and dismiss Cera as some one note performer. I happen to be a huge fan and I love his work more and more each time out and I feel like I am in on a wonderful running gag that never stops and grows more and more fascinating with each role. One of these days the Michael Cera persona is going to hit upon a role that will cross over from just funny to poignant and even moving and more people will begin to get it. “Youth in Revolt” likely isn't that movie but for fans it's enough for now.

Movie Review Superbad

Superbad (2007) 

Directed by Greg Mattola

Written by Seth Rogen, Evan Goldberg

Starring Michael Cera, Jonah Hill, Emma Stone, Christopher Mintz Plasse, Bill Hader, Seth Rogen

Release Date August 17th, 2007

Published August 16th, 2007

There are moments of the teen comedy Superbad that remind me so much of my own teen years that I would have been red faced embarrassed if I weren't laughing so hard. This latest brilliant comedy from under the shingle of Judd Apatow is the movie that Porky's and American Pie wished they could have been. Smart, funny, and balls out filthy, Superbad has a heart as big as its love of penis drawings.

Written by the team of Seth Rogan, star of Knocked Up, and his childhood friend Evan Goldberg, Superbad is so true and authentic that guys between the ages of 18 and 34 will be in hysterics at just the familiarity of the characters and the situations.

Superbad tells the story of one night in the lives of two best friends. Seth (Jonah Hill) and Evan (Michael Cera) have been friends for over 10 years, something you get quickly from the shorthand of their conversation that seems as if it began a decade before the movie began. This is their last night of High School and the boys have been invited to their first High School party.

The party is being thrown by Seth's longtime crush Jules (Emma Stone). By promising to get alcohol for the party Seth hopes he can entice Jules into a drunken, last night of High School tryst. Also attending the party is  Evan's longtime crush Becca (Martha MacIsaac), she is into Evan but he is clueless how to handle that. He too hopes that a little alcohol will grease the wheels, though his intentions with Becca are slightly less puerile.

To get the booze the boys must rely on Evan's friend Fogell who has promised a fake I.D. Unfortunately, when Fogell produces the I.D his name change threatens to blow the cover. Fogell decided to call himself "McLovin", no last name, just McLovin. Nevertheless, McLovin is the boy's only hope to get the drinks and thereby, get the girls.

On my surface level description Superbad sounds like nothing more than American Pie Redux or maybe Porky's 15. In reality however, Superbad, under the skilled direction of Greg Mottola, is much smarter than the American Pie movies and even more outlandish than Porky's. Superbad is the rare teen comedy that delivers strong characters with the extra strength of low brow humor.

Seth Rogan and Evan Goldberg wrote the script for Superbad based on their experiences as teenagers. The two have been friends since junior high and that friendly shorthand lends the film authenticity that most other teen comedies can only imitate. Despite having to compound a high school lifetime of experiences into one night, Superbad never feels overstuffed. Director Mottola along with Rogan and Goldberg escape this trouble by simply ignoring it.

The bedrock of Superbad is the loving friendship of Seth and Evan. This is really a platonic male love story about two guys overcoming social pressures to confess that they love each other. Men in this culture are not allowed to admit their feelings for one another, not without a joking reference to Brokeback Mountain or some anti-gay slur to break the awkwardness.

Superbad throws off the social shackles and allows Evan and Seth to be honest with each other, with the aid of a little booze. They are headed to different colleges in the fall and they are going to miss each other more than even the girls whose hearts they hope to win. Now, before you start to think that Superbad is some touchy-feely, male bonding comedy, trust me, there are plenty of dick jokes. In fact, there is almost a dick subplot. I don't want to get too detailed, just keep an ear out for Seth's reasons for not liking Evan's crush Becca.

A great group of actors mixed with tremendous behind the scenes talent, Superbad is among the best films of 2007. Yes, some will be put off by the truly low brow humor but trust me, they will be missing the point. The lowbrow stuff comes from a good hearted place within these terrific characters. It's all in good fun and only occasionally is it gratuitous. In a year where we have seen The Simpsons Movie and Knocked Up it is Superbad that takes the crown as the funniest movie of the year.

Movie Review Nick and Norah's Infinite Playlist

Nick and Nora's Infinite Playlist (2008) 

Directed by Peter Sollett

Written by Lorene Scafaria 

Starring Michael Cera, Kat Dennings, Ari Graynor, Jay Baruchel

Release Date October 3rd, 2008

Published October 2nd, 2008 

One goal of a good critic is to try not to judge a movie before seeing it. That isn't so hard for me except when I really want to like a movie, sight unseen. I really wanted to like Nick and Norah's Infinite Playlist before I saw it. I like the cast, I liked the premise. As I watched the movie I ignored my niggling doubts and kept track of the things I liked. Now, as I sit to write the review, the flaws are crisper and my lingering doubts have replaced much of things I tried hard to love.

Michael Cera is one of the most likable actors to come along in years. From his adorable George Michael Bluth on TV's Arrested Development to his breakout in Superbad and Juno, Cera has grown before our eyes and is prepared to become a huge comic star in the classic Tom Hanks vein. For his latest starring role he plays Nick a musician in a gay rock band.

Nick is not gay but his two bandmates are. Nick, as we meet him, is bumming over the end of his relationship with Tris, a bubble -headed private school girl who abruptly dumped him on his birthday. Thankfully, Nick's bandmates won't let him sit home and cry, they drag him off to New York City where they have a gig and then a quest to find a legendary band performing in secret.

Kat Dennings plays the Nora half of the title, a dyspeptic music loving soul who happens to be an acquaintance of Tris. As Tris has discarded Nick's many mixed cd's Nora has picked them out of the trash and found Nick a kindred musical soul, though they have never met. That changes that night in New York City when Nora, her best friend Caroline (Ari Graynor) and even Tris head into the city and happen upon Nick's band and a mutual quest for this mythical band "Where's Fluffy".

I won't give away Nick and Nora's meet cute other than to say the contrivance is pretty weak even by romantic comedy standards. Once together there is no question that they are meant to be together. The question then for director Peter Sollett is how to believably keep them apart until they are supposed to be together. Thanks to Cera and Denning's prickly repartee this is one of the few things that really works.

What doesn't work, quite shockingly, is the film's music conceit. In a movie called Nick and Nora's Infinite Playlist one would quite fairly expect a lot of really great music. What you get is a lot of mediocre indie bands from some yet printed insert in Paste Magazine. The songs on Nick and Nora's Infinite Playlist sound remarkably indistinguishable from one another, whiny alt-rockers too hip indies, gay rock. No R & B. No hip hop, this soundtrack has a remarkably white, bourgeois sensibility for an 'infinite' playlist.

Worse yet from my perspective was the filmmakers inability to craft one singular music/movie moment. In the best movies with strong musical sensibilities the filmmakers craft a scene that combines music and film in a way that transcends both expressions. Who can forget Say Anything and Peter Gabriel's In Your Eyes, Moulin Rouge and the performance of Roxanne, every second of Glen Hansard and Marketa Irglova's sublime duet in Once.

Nick and Nora's Infinite Playlist needed a moment like that, an expression of the way Nick and Nora's musical souls were entwined. It is referred to and indeed assumed but it doesn't exist in the movie. I have many issues with Nick and Nora's Infinite Playlist but none with stars Michael Cera and Kat Dennings. Cera and Dennings spark terrific chemistry first as strangers, then as sparring partners and finally as love interests. Dennings has toned down the goth persona that had driven her type casting as recently as August's The House Bunny, and the change serves her well.

Here, Dennings is a leading lady with quirks that set her apart from the typical rom-com heroine. As for Dennings' co-star? What more can I say about Michael Cera. The kid just gets better and better with each succeeding role. Even in this flawed teen-centric romance Cera crafts a thoughtful, humorous, well observed performance.

Both actors, as well as the tremendous, hard-working supporting work of Ari Graynor, are lost, adrift in a movie that knows the lyrics to every Judd Apatow, Cameron Crowe and John Hughes movie, but ironically not the music. Nick and Nora's Infinite Playlist plays like a mix CD of Apatow, Crowe and Hughes and while I am not adverse to a good classic mix, I was hoping for something more... original.

With Cera and Dennings Nick and Nora's Infinite Playlist has a lot working in its favor. Unfortunately, by recycling the best of teen-centric romance and coming up short on the music side of things, Nick and Nora's Infinite Playlist fails to rise above its many influences. The movie really failed for me however by not finding one song and one moment to transcend all of the whole. The best movies with a strong musical presence do that.

Movie Review: Avengers Endgame

Avengers Endgame (2019) 

Directed by Anthony Russo, Joe Russo

Written by Christopher Markus, Stephen McFeely 

Starring Robert Downey Jr, Karen Gillan, Chris Hemsworth, Chris Evans, Mark Ruffalo, Scarlett Johannson, Benedict Cumberbatch, Chris Pratt, Tom Holland, Chadwick Boseman, Gwyneth Paltrow, Don Cheadle, Dave Bautista

Release Date April 26th, 2019

Published April 24th, 2019 

We’ve reached the Endgame, if not the finale of the Marvel Universe, the definitive ending of a chapter at the very least. One of the great tricks pulled off in Avengers Endgame by directors Joe and Anthony Russo is how they have crafted a story that is both a definitive ending and a new beginning that doesn’t leave you exhausted and dreading the future. When it was first announced that Avengers Endgame would balloon to just over three hours in length, I was among those who worried that the MCU was overstaying its welcome. That feeling is completely allayed after Endgame. 

Avengers Endgame picks up the story with Earth’s greatest heroes still reeling from ‘The Snap,’ Thanos’s victory and the wholesale destruction of half the people in the universe. Those left behind, including Captain America (Chris Evans), Tony Stark (Robert Downey Jr), Thor (Chris Hemsworth), Black Widow (Scarlett Johannson) and The Hulk (Mark Ruffalo) along with disparate members of the MCU, the remaining heroes of Wakanda, the missing Clint Barton aka Hawkeye (Jeremy Renner) are still spoiling for a fight. 

But first, Tony Stark needs to be retrieved from somewhere in deep space where food has run out and air will soon follow. Tony and Nebula (Karen Gillen) were the only survivors of The Snap in a group that included Spider-Man (Tom Holland), Dr Strange (Benedict Cumberbatch), and The Guardians of the Galaxy, Peter Quill (Chris Pratt), Mantis (Klemm Pomentieff), Groot (Vin Diesel) and Drax (Dave Bautista). Near death, Tony spots a light in the sky that proves to be a savior. I won’t spoil the fun, you can see for yourself who has the honor. 

Nebula knows where Thanos has gone and with her information the Avengers are able to locate him and make a play to regain the Infinity Gauntlet and those incredibly powerful stones. The Russo Brothers are smart to have this scene take place very early in the movie as it raises the stakes to infinity when you find out that the Gauntlet won’t be so easy to wield and that time may not be so easy to manipulate. 

I will stop there in my plot description as I don’t want to spoil anything for you. Just know that Avengers Endgame goes to some wonderfully unexpected places and gives you solid reasoning how we end up where we end up. This is quite a smart movie with many unexpected twists and turns. The writers, Christopher Markus and Stephen McFeely wonderfully lay out the story with roadblocks and detours that force the story into unexpected yet logical places. 

The issues I had with Avengers Infinity War are pretty much made up for in Avengers Endgame. I was annoyed that Infinity War ended on a few highly predictable and cynical notes. There was no real tension or suspense in the ending of Infinity War as it was easy to predict that Endgame would simply undo all that happened in Infinity War rendering that film a 2 hour and 45 minute anti-climax. I also did not care for the careless fashion in which certain characters were treated by the screenplay that had little room for the many characters. 

Somehow, those problems are relatively minor in Endgame. The more than 3 hour runtime has left plenty of room for our main characters and the many side characters whose fates we’ve come to care about over 22 Marvel movies. The best compliment I can give to Avengers Endgame is that even at 3 hours long, the movie never drags, it never feels like 3 hours. I did not check my phone during the entire run of Avengers Endgame because I was engrossed by this movie. 

It is remarkable that the Russo Brothers have crafted a story that is satisfying as an end point for the story they’ve helped to tell over 22 movies and a beginning for new stories to be told. We have new Spider-Man, Black Panther and Captain Marvel adventures to look forward to. We have more Guardians of the Galaxy in our future with a whole new look and new Captain America adventures and that is not a spoiler, you will have to see Avengers Endgame to see how that is not a spoiler. 

The new Marvel Universe is perhaps even more exciting than what we have seen before. The stars that this franchise has booked are the best of the best and even the heroes who won’t be returning will have a lasting impact via the actions of Avengers Endgame. The trick of Avengers Endgame is intricate and well detailed and its based on a strong and brave approach to storytelling and a group of characters who are irresistibly charming and compelling. 

Movie Review: A Perfect Getaway

A Perfect Getaway (2009) 

Directed by David Twohy

Written by David Twohy 

Starring Milla Jovovich, Timothy Olyphant, Marley Shelton, Chris Hemsworth, Steve Zahn

Release Date August 7th, 2009

Published August 7th, 2009

Beware the movie trailer/commercial that tells you of a 'heart-stopping' twist. Right then and there the marketing has spoiled the movie. Now the experience of the movie is waiting for the twist to happen or, in the case of the new thriller A Perfect Getaway, guessing the twist well before it happens. A Perfect Getaway isn't a great movie to begin with. Having the ending spoiled is merely the moldy cherry on top of a melted sundae.

Steve Zahn and Milla Jovovich star in A Perfect Getaway as Cliff and Cydney Anderson, newlyweds in Hawaii for their honeymoon. Having decided to hike to a secluded beach on a very remote part of Kauai they think they are in for some romantic alone time. Instead, they are quickly jolted out of their fantasies by two pairs of strangers. 

The first are a dangerous looking pair of hitchhikers, Kale and Cleo (Chris Hemsworth and Marley Shelton), who look fresh from a parole hearing. Then there are Nick and Gina (Timothy Olyphant and Kiele Sanchez). Nick is ex-special ops and unafraid of telling tales of murder and injury. Gina meanwhile, is a little too good with a knife and fearless. When Nick brings a dead goat back to the couple's shared campsite, Gina guts and cleans it, much to the disgust of both Cliff and Cydney.

Soon, news arrives that a murder has taken place. A newlywed couple has been murdered on the island that both of the newly arrived couples have just left and police suspect the killer are a man and a woman and that they may have jumped islands. Naturally, Cliff and Cydney come to suspect Nick and Gina are the killers. Ahh, but what of the Kale and Cleo, the nefarious looking couple?

Cliff is a screenwriter by trade and this leads to an inside baseball conversation between he and Nick that the movie thinks is exceptionally clever. Director David Twohey (Pitch Black, Chronicles of Riddick)  seems to think that by having his characters talk so openly about thriller clichés in mocking tones that that will excuse his movie from taking advantage of those clichés. The meta trick doesn't pay off, we can still see the wheels of the plot turning quite obviously.

Now, it's likely that I have seen too many movies and thus am more difficult to fool than those who don't see so many of the same movies over and over again. Indeed, I can see a less experienced audience taken in by A Perfect Getaway. Me, I wasn't fooled for a second. The clumsy plot fails to hide very particular details that are relatively easy to discern, especially if you aren't taken in by these characters and this dimwitted story. 

That said, A Perfect Getaway isn't without some charm. I did love the detailed stories that Nick tells about his many wild exploits. Timothy Olyphant oozes charismatic danger. He's just off kilter enough to keep you afraid of him but humorous and engaging enough to make you want to root for him, whether he's the killer or the one about to be killed. Steve Zahn and Milla Jovovich on the other hand? Ugh. Trying to bust out of their acting molds, she as a badass action heroine, he as a goofball comic relief sidekick, the pair desperately overplay the yuppie-ness of their characters. That may or may not be by design but that doesn't make it any less irritating.

So, what of this 'pulse pounding' twist? The film does everything it can to cheat around uber-aware audience members like me, even throwing out knowing dialogue about red-herrings, or as Olyphant mistakenly calls them 'red snappers'. The cheats are bothersome and rather than forcing call backs to earlier in the movie, as I am sure they are supposed to, they cause one to reconsider the whole movie and realize how much of a cheat the whole thing really is.

A Perfect Getaway needed to settle one aspect of the essential nature of its story and it could have succeeded in a modest way. Instead, the film cheats and hopes you won't notice. I did notice, repeatedly, and that combined with the irksome performances by Jovovich and Zahn make A Perfect Getaway a chore to endure.