"Bad Moms" review

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Unboxing the "It Follows" steelbook

"Nerve" review

There's a lot to like about Nerve, especially its two leads. Emma Roberts and Dave Franco carry the film with equally charming performances. It's fun spending time with them as they drive around New York performing outrageous dares for money and anonymous viewers on Nerve, an online truth or dare game without the truth. The players with the most viewers make it into the final round and earn a chance at winning Nerve.

It might sound crazy, but Nerve actually provides some relevant insight into the underworld of online stunt bating wherein online personalities perform stunts of varying insanity in order to amass followers and celebrity (Don't believe me? After seeing the film, I found this article: http://www.nydailynews.com/news/national/graphic-video-indiana-man-shoots-face-fun-article-1.2725625) It's a popular occurrence that nobody ever talks about so it's nice to see it brought to light in a film.

In fact, Directors Ariel Schulman and Henry Joost made a career out of shining the light on popular online occurrences that nobody talks about. Their film Catfish documents the phenomenon, now known as "Catfishing," where people create fake social media accounts in order to hook up with unsuspecting victims. This is so popular, in fact, that the film spawned a television series documenting similar incidences all across America.

Schulman and Joost also have experience crafting nail-biting thrillers. Their work on the third and fourth Paranormal Activity movies can be felt during a few tense scenes that will have you gripping the edge of your seat. One scene in particular involves a drunk girl, a ladder, and her misguided attempt to make it into the final round of Nerve.

Rob Simmonds' also deserves cred for his composition of the film's hypnotic electro-score. It perfectly melds with Michael Simmonds' beautiful cinematography of New York's neon night life to realize Nerve's spellbinding ambiance.

For as much as there is to like about all these things, Nerve has a lot of writing issues. The entire mythology behind the Nerve gameshow isn't much explained and leaves a lot of basic questions unanswered: Is this game based only in New York? Where does the money you win for completing dares come from? What do you actually earn for winning the entire game?

The truly bad writing rears its ugly head once the lousy third act hits. Any previous tension is immediately and laughably killed off for the sake of wrapping everything up in a nice bow. You're left feeling like an idiot as unexplained plotlines reveal themselves and you're simply supposed to accept them no questions asked. It's enough to leave a bad taste in your mouth about the rest of the film, especially if you don't reflect on it as a whole later.

After my own reflecting (and a lot more about this film than originally planned), I've realized I enjoyed this film; however, I cannot recommend it for the price of admission simply based on the tragic fall off at the end, but it's definitely worth a look once it hits VOD.

"Lights Out" review

Originally I was not sold on Lights Out. Director David F. Sandberg's only previous work had been the Lights Out short and I was not sure how well that single scare was going to translate into a feature film. As well, seeing a big name latched on as a producer doesn't mean anything alone, even if it's James Wan. After seeing the film I am happy to report that I was dead wrong.

Like a catchy tune, any James Wan horror flick has a unforgettable hook. Insidious had the Lipstick-Face Demon, The Conjuring has the clapping hands, The Conjuring 2 has the evil nun, and even Saw has Billy the Puppet. Lights Out is no exception with Diana, the photosensitive spirit who appears and disappears with the flick of a switch. Also like any good James Wan horror flick, Sandberg has done a nice job constructing a solid story and mythos around his hook.

The best thing about Lights Out is that it plays more like a family melodrama with elements of horror rather than a straight up horror film, that is until it hits its supernaturally stuffed, predictable final act. It's truly a story about a fractured family learning to accept each member's sins despite their rock history together. It's a relatable premise and the solid performances all around make an investment in these characters and their story worthwhile.

Teresa Palmer (Warm Bodies) does nice work as Rebecca, the rebellious older sister who wants to movie her younger brother Martin (played convincingly by the young Gabriel Bateman) out of the house and away from the emotional wreck that is their mother (played by Maria Bello) after the recent death of their father. Of course Martin is being kept awake at night by the same supernatural experiences Rebecca had as a kid about a dark entity named Diana.

"Who is Diana?" and "Why is she here?" are a couple of the many questions you will ask yourself throughout the film that add to the eeriness of the mystery. The eeriness also translates into the atmosphere thanks to Sandberg's sure hand. Every frame is ripe with frightening potential which is sure to sweat the palms of brave moviegoers. When the scares do happen, they're typically clever as Sandberg sparsely uses his marketed hook. Of course there's the occasional jump in there for good measure.

If I wasn't sold on Lights Out before, I most definitely am now. Sure you can see the ending from a mile away, but you know what they say: it's the journey, not the destination. Lights Out is worth your time.

"Love & Friendship" review

Admittedly, I got giddy after my friend suggested we see Love & Friendship. The film had received positive buzz from critics and audiences alike, I loved the cast, and I'm a big fan of the Beach Boys (I'm sure some of you know where this is going). It wasn't until the concessioner handed me my ticket that I realized we were not seeing Love & Mercy, the acclaimed Beach Boys biopic; instead, we were seeing an adaption of a Jane Austen novel starring Kate Beckinsale.

To the disdain of many in my inner circle of friends, I, for whatever reason, am not fan of period dramas. It is not that I don't appreciate them and there are a few I enjoy. I'm just not generally moved by them in the same way so many people are. With that in mind and a chagrin on my face, I took my ticket and my seat. "At least it has Kate Beckinsale," I thought.

Once the lights came up after the 94 minute runtime, I felt as if I'd been in my seat for hours. I was put off watching Kate Beckinsale, who is quite good in the role, slither around trying to seduce a young, rich Englishman after the death of her late husband. If the main character isn't likeable then she must at least be interesting in order for the audience to establish an investment. Unfortunately, Lady Susan Vernon (as her character is called) is neither. She is merely a crude princess longing to maintain her uppity lifestyle at the expense of everyone around her, including her own daughter (played wonderfully by Morfydd Clark). She is an absolutely wretched woman.

Sure, the first half is pleasant enough. Director Whit Stillman establishes a light atmosphere where Kate Beckinsale and the rest of the quirky cast can flourish. The jokes are sharp-witted and landed often enough to keep my muse. However, the second half of the film is mostly void of humor and charm. Once the story started taking itself seriously, there was nobody to root for and I became disinterested.

I am afraid I must denounce Love & Friendship. It is not worth your time.

Review: Central Intelligence

When I sat down for a movie starring Kevin Hart and Dwayne Johnson, I knew exactly what I was getting myself into and for the most part I was right. The vast majority of Central Intelligence plays out like a by-the-numbers spy comedy and that's okay because it's funny and heartfelt.

"The Rock" plays Bob Stone, a C.I.A. agent who twenty years ago was bullied in high school and is now on the run from his own agency after being suspected of treason. Kevin Hart is Calvin Joyner, an all-star student who peaked in high school and now regrets his unfulfilling life as an accountant with an inflatable gorilla outside his office. As fate would have it, Calvin was the only kid in high school who was ever nice to Bob so when Bob lands a mission and finds himself in need of accounting expertise, he returns home and recruits a reluctant Calvin. Entertaining espionage hijinks ensues.

There is no lack of comedic talent behind this film. Hart and Johnson do have tremendous chemistry together both do excellent work. Director Rawson Marshall Thurber also has a successful history with comedy, having directed the cult hit Dodgeball and the more recent family farce We're the Millers. Tag on a handful of brilliant cameos and timely pacing and it's no wonder this film kept me laughing wall to wall, even if I never busted a gut.

The jokes, however, are not what sets this film a part from the many like it. It's not even its resonating themes of appreciating what you've got and never being too late to be who you want to be. No. What sets this film a part, specifically, is the way it hits on the lasting consequences of bullying. Dwayne Johnson knocks it out of the park in one scene particularly where a ripped Bob Stone cannot physically bring himself to confront a high school bully simply because he's too hurt. I teared up because so many can relate. We've also never seen "The Rock" play such a vulnerable character and it's a refreshing career move.

While Central Intelligence largely feels familiar, its talented cast and crew have delivered a solid popcorn flick with a handful of resonating themes and performances. It's worth your time.