The post Reverse The Curse first appeared on Worth it or Woke.
]]>The post Reverse The Curse first appeared on Worth it or Woke.
]]>The post Fly Me To The Moon first appeared on Worth it or Woke.
]]>Fly Me to the Moon reimagines the Apollo 11 mission. Set during the first half of 1969, the movie follows an unlikely duo—a marketing maven and a NASA launch director—as they each race to the moon, one on a soundstage and the other from mission control.
It took me a while to pinpoint exactly what’s wrong with Fly Me to the Moon. On it’s surface, it should be great. It’s a well-shot, well-paced piece that benefits from the incredible late 60s aesthetic. The problem(s) isn’t a lack of talent. The film has some heavy hitters in front of the camera. Scarlett Johansson is a pro with a career that spans three decades and boasts Academy Award-winning films, thoughtful indies, and, of course, billion-dollar franchises. Woody Harrelson always gives audiences something interesting. Channing Tatum, while best known for the Magic Mike movies and playing silly characters in comedies, is an underrated performer who nails what there is of his role in this film.
There are actually a couple of problems with the film. The first is one that seems to be a recurring theme in Hollywood these days: a lack of focus. It wants to be a delightful rom-com set in the between moments of one of the greatest achievements in the history of mankind, but it also wants to be a sincere tale of redemption for Channing Tatum’s character who feels responsible for the tragedy of the Apollo 1 mission. Simultaneously, it attempts to be a historical catalog of the bureaucratic hoops NASA had to jump through at the same time that they were putting together the world’s most difficult and important jigsaw puzzle. But wait, there’s more. Fly Me to the Moon desires to put a comedic spin on the long-running and ever-increasingly-popular conspiracy theory that the Moon Landing was faked. Finally, the film mostly wants to be a showcase for Scarlett Johansson. The lion’s share of its “action” consists of her briefly turning up the charm and fast-talking her way into and around various issues, which are then quickly wrapped up with seemingly little effort just in time for the next one. There are actually a few other subplots, but you get the idea.
Despite this lack of focus, arguably, the film’s greatest flaw is that for most of its runtime, it seems as though it is yet another attempt by Hollywood to deconstruct and denigrate yet another moment of American greatness, this time for some very cheap laughs (oh look at the flamboyantly gay primadonna director cliché – hilarious – in fairness, Lance Rash, best known as Dean Pelton in Community, is a film highlight). So, half of the audience is alienated, the ones old enough to remember a time before smartphones and feel a very real and very personal connection to what America used to be. The other half, the ones who have had their unearned and arrogant cynicism strobed into their brains as children, don’t care and aren’t given a reason to.
This is a real shame because there are moments in which one can see the movie that should have been, with a frightened government smack dab in the middle of the Cold War racing its arch-nemesis to the stars. Having already faced setbacks like losing to the Soviets with Sputnik and Yuri Gargarin, not to mention tragedies like Apollo 1, the government decides to make a clandestine production of the moon landing and cheat their way to winning the Space Race. When key characters at NASA get wind of this it becomes a mad dash to see who can get to the moon first, actors on a set, or Neil and the Boys. It practically writes itself.
Fly Me to the Moon may be worth a rent for a date night, but if you’re dead set on going to the theater, go see Thelma. You’ll be glad you did.
The post Fly Me To The Moon first appeared on Worth it or Woke.
]]>The post Poor Things first appeared on Worth it or Woke.
]]>Set in a fictional steampunk 1800s Europe, when mad scientist Dr. Godwin Baxter (Willem Dafoe) finds a fresh and viable corpse floating in the river, he’s compelled to experiment on it, ultimately bringing it back to life as the seemingly dimwitted Bella (Emma Stone). As the abomination Bella matures, she begins a journey of self-discovery that will lead to her full actualization.
Billed as a dark comedy, Poor Things is a reimagining of the Gothic Horror classic Frankenstein, but unlike most reimaginings, which usually only end up being inferior to their source material, Poor Things is a dumpster fire of vileness, infantile philosophy, and arrogance that can be seen from space.
Willem Dafoe gives his usual 110% as the quirky doctor, but for all of the impressive prosthetics he wears, his character isn’t much to look at. Despite how the commercials may make it appear, Dafoe is a tertiary character with very little development or screen time. Instead, his primary use is that of a plot catalyst and not much else.
Mark Ruffalo plays Duncan Wedderburn, a lawyer and self-proclaimed cad who is immediately besotted with Bella. Mind you, she has the mind of a toddler. His first interaction with her is to molest her, which she enjoys… because she has the mind of a toddler and the sex drive of an adult. Disgusted yet?
One of the film’s few redeeming qualities is Ruffalo’s exaggerated performance. Regrettably, his character engages in a disturbing and graphic sexual relationship with a severely mentally handicapped woman, portraying a torrid and explicit love affair throughout their European tour. This ugliness lays waste to any potential comedy beats that his performance might otherwise provide.
While the film has much and more wrong with it, one of its most significant weaknesses is everything about its main character. Completely ignoring Tropic Thunder’s sage advice, Emma Stone’s natural comedic panache renders Bella’s mental capacity as an 80s/90s middle school joke instead of the nuanced character those involved in the film’s creation mistakenly believe it to be.
Furthermore, Bella’s childlike mentality elevates the film’s relentless pornography from merely graphic and gratuitous to utterly grotesque. That Bella’s evolution is only ever propelled forward by graduated sexual perversions culminating in her getting run through as a French whore (WITH THE MIND OF A CHILD) is a disturbing commentary on the filmmakers’ worldview.
Making things worse, Poor Things is a plodding two-and-a-half hours with a meandering plot. While it repeatedly tells us about fun adventures that Bella gets into, it chooses to show us scene after scene of her walking around in between said adventures. This gives the audience plenty of time to ponder the horror show that must have been writer/director Yorgos Lanthimos’s childhood. We wouldn’t be surprised if he’s not allowed within 500 yards of a school.
Ultimately, Poor Things is a never-ending pedo-fetish porno with fantastic cinematography and a beautiful aesthetic that has absolutely no idea what it takes to make a well-paced and focused film, let alone what it means to be human.
Let’s talk about sex.
The talking points are strong with this one.
Sacrilege
Men are overrated
The post Poor Things first appeared on Worth it or Woke.
]]>The post The Little Mermaid (2023) first appeared on Worth it or Woke.
]]>*UPDATE* It is our usual practice to include our “Children Suitability” and “Parent Appeal” ratings for children and family films. However, there’s been a lot of happenings behind the scenes here at Worth it or Woke this week and I (James) dropped the ball on this one. I’ve now added it to our review of The Little Mermaid.
Starring Halle Bailey, who is best known for her role in the Black-ish spin-off series, Grown-ish, The Little Mermaid peaks in the opening sequence of a tumultuous sea. From there, the movie slowly (and I mean slowly) swirls around a sinkhole of graphics as soulless as the computers in which they were generated as well as identity politics posing as creativity.
At this point, most of us have accepted that these live-action remakes are blatant money-grabbing nostalgia bait. What is impossible to understand is then, why does it seem like every change made, big or small, is the wrong choice? Will Smith as the Genie? Garbage. Photo-realistic lion king? Emotionally spayed and neutered. Everything about Peter Pan & Wendy? The slime oozing out from the bottom of an August garbage heap. So it is with 2023’s live-action remake of The Little Mermaid.
Remember the character and charm of Sebastian, Flounder, and Scuttle from the original? Well, they’ve been sacrificed to “photo-realism” and second-rate vocal performances, and they’re in good company because every cherished and tried comedic beat or emotionally impactful scene that you remember from the original has either had its head held under the water until the bubbles stopped or were axed completely, only to be replaced by sudden jarring bursts of sound and color so clearly staged on a set that you can practically see the matte painted backgrounds. Flotsam and Jestsom? Silent afterthoughts.The dinner scene that pits Sebastion against the cartoonishly sadistic French chef? It’s been replaced by a Caribbean-inspired marketplace filled with a mix of inexplicably white Americans and black Caribbeans, with just a smattering of Asians thrown in for good measure.
From the color palette and pale blue dress that Ariel wears to Melissa McCarthy’s bland and wooden-by-comparison digital cosplay of Pat Carroll’s iconic Ursula, everything about this shipwreck is a waterlogged and enervated simulacrum of the original. Even the destruction of Ariel’s cave is underwhelming and completely lacks the emotional impact of the original. It’s no small irony that the only actor who has anything resembling a standout emotional moment that connects on any level is Jessica Alexander, a relative unknown with a smattering of mostly one-off TV episodes to her credit, who briefly plays Ursula’s human alter-ego, Vanessa.
Veteran actor and Academy Award-winning Javier Bardem, who plays King Triton, definitively proves that he needs to stick to quietly menacing characters and that his out-of-place turn as Hector Valenti in last year’s Lyle Lyle Crocodile was not a one-time aberration. Not to be undone, Halle Bailey, who plays Ariel, is so far out of her depth that she might as well be treading water over the Mariana Trench.
With the lightest peppering of exceptions, Bailey’s performance consists of her doing her best (and failing) to either look innocent and naive or innocent and lost. The seasoned casting directors, Tiffany Little Canfield and Bernard Telsey must have been hungover the day that they decided to cast someone with all of the charisma of a sea cucumber in a role that requires the actress to silently emote for nearly half of the film.
Bardem, Bailey, and McCarthy aren’t alone. With the exception of the aforementioned Jessica Alexander, every performance from actors both seasoned and green feels on the level of a Disney theme park stage show featuring second-rate college theater majors in their first “big” summer stock role. This is undoubtedly due to a mixture of incompetence from director Rob Marshall and a whole lot of underwhelming and creatively dead animation from a staff with otherwise good credentials.
Seriously, the animation team from Ant-Man and The Wasp: Quantumania must be sighing in relief to no longer be responsible for the year’s worst example of CGI in film. The underwater sequences are less than underwhelming, largely looking like a muted Windows screensaver almost brought to life, but not quite. The merpeople never look as though they are really underwater, and their movements (unless speedily swimming) appear as unnatural and poorly conceived as their performances. Â Moreover, their overall design looks like it was based on a Barbie cartoon which is in jarring contrast to the underwater backdrop, which is bland, muted, and boring.
According to his IMDB page, this is screenwriter David Magee’s first solo outing, and it’s easy to see why. As each scene inexpertly slogs its way from obvious stage set to atrocious computer-generated trash, the audience is also treated to The Great Pacific Garbage Patch of unnatural-sounding dialogue and forced exposition dumps. Because there’s nothing that audiences want more in a reported $200 million spectacle than to watch two people, or merpeople, sit or float and puke up exposition all over them.
Furthermore, Magee completely drained the story of the original’s most powerful emotional hook, the 3-day time limit to get Eric to kiss Ariel. While the time limit is still there, for some inexplicable reason, Magee chose to magically MacGuffin it out of Ariel’s memory or ability to register its existence via an addendum to Ursula’s enchantment. This most horrible choice among horrible choices serves to put the emotional weight of the deadline squarely on the digital shoulders of her three animal sidekicks, none of which have the ability to emotionally engage the audience thanks to the attempted photo-realism of their design. As a result, Â Ariel is relegated to being a secondary character who is only along for the ride, thinking that she has all of the time in the world.
Finally, we’ve come to the musical part of the review. For if there is something in this film that has a chance of being even remotely good if only by way of nostalgia, it has to be the iconic music. Wrong! No clam chowder for you! Not only are the songs that we all know and love performed with the same incompetence and lack of energy as the rest of this mess, but the new songs are bland and lack any sense of cohesion to the original score.
When the silt settles and the baked salmon cools, the 2023 live-action remake of The Little Mermaid is a seafood salad of poor performances, worse pacing, and creative bankruptcy that is better left on the sea floor. Do yourself a favor and rent a projector, a small sound system, and an inflatable projection screen and introduce your kids to the magic and wonder of the 1989 original.
Advertisement
If you’re looking to buy something special for your daughter who loves the little mermaid, Custom Enamel Pins could be a great option. These pins featuring a beautiful red-haired girl are versatile and can be used as a pendant on a schoolbag or as a decorative piece on a table.They perfectly capture the charm of the little mermaid from the original 1989 film.
The post The Little Mermaid (2023) first appeared on Worth it or Woke.
]]>The post Your Place or Mine first appeared on Worth it or Woke.
]]>Your Place or Mine follows Debbie Dunn, played by Reese Witherspoon (Legally Blonde), and Peter Coleman, played by Ashton Kutcher (best known for banging Demi Moore and Mila Kunis). The two have been best friends since their one and only hook-up together 20 years ago, and now they live on opposite coasts and talk with one another every day. The two haven’t seen each other in person in quite a while and are planning on meeting up when Debbie goes to New York (where he lives) so that she can finish up her accounting degree. But thanks to her “wacky” actress friend finally securing a part in a film, she no longer has a babysitter for that week. So, Peter flies to L.A. to watch her son.
Directed and written by Aline Brosh McKenna (The Devil Wears Prada), Your Place or Mine is a nightmare wrapped in a horse biscuit that’s been drowned in puppy tears. Movies are a visual medium, the basic rule of which is show don’t say, but Your Place or Mine says “to hell with that” and is almost entirely exposition. Seriously, 70% of the movie is exposition via phone call, another 25% is face-to-face exposition, and five percent is uninteresting nothingness. There must be at least four different times when some character exposits that Witherspoon’s character is smart and creative but too practical to make a go at her dreams, and did you know that Kutcher’s Coleman is an unhappy womanizer? No, well just wait because someone is sure to have a conversation about it. When characters aren’t sitting and talking on the phone, they are standing and talking on the phone, or they’re in a car talking on the phone.
You’d think that a film that relies almost exclusively on conversations to move the narrative forward might have some interesting and snappy dialogue. Well, you’d be right. How about these gems: “she calls you a rolling stone that gathers no moss,” “are you aware there’s a guy and his buttcrack in your yard all the ding dong day,” or “it was dope.”
Is your mind blown? No? Well, let’s look at the characters then. Debbie wears denim and Peter wanted to be a writer. Holy $h!t. Godfather move over, Your Place or Mine is the new big dog in town. Legitimately, there’s not a single interesting character in this artistic murder. Witherspoon and Kutcher’s characters are generally pleasant but otherwise devoid of personality. Steve Zahn (Saving Silverman) is completely wasted as a cartoon character of a Steve Zahn character. His New York counterpoint, Minka, played by Zoe Chao (don’t worry about it, you’ve never seen her in anything before) isn’t any better as the archetypical self-absorbed wealthy socialite but without the charisma. Only Jimmy Kimmel’s nephew, Wesley, who plays Witherspoon’s son Jack, shows an inkling of dimension, but it’s squashed by the miasma that is the rest of the film.
“But James,” you say. “This is a rom-com. It must be funny, right?” You know it. I don’t want to spoil too much but there’s a reoccurring joke about how Peter…brace yourself…Peter organizes the books on his bookshelf by color. Oh, man! Wait, you want another example? There are so many to choose from. Let me think. Ok, Debbie’s neighbor Zen…let me catch my breath…Zen is quirky and wants to have sex with Debbie. I’ve got one more. Be prepared to split your sides open as the two leads sit in one another’s respective bathtubs and talk with each other on the phone. Do you get it? They’re in the other person’s bathtub at the same time! HAHAHAHAHAHAHAHAhahahahahahahahahAHAHAhahaaaaaaaaa! I think I just pi$$ed myself.
Plagued with third-rate dialogue, pacing that makes the dinner rush at an old folks home look like NASCAR, and a boring and useless plot, if I had to sum up Your Place or Mine in a single word, it would be forgettable. Watch something from our romance selections instead.
If this movie has any redeeming factors, it’s that it shows how important it is for boys to grow up with a stong male father figure in their lives.
The post Your Place or Mine first appeared on Worth it or Woke.
]]>The post True Romance first appeared on Worth it or Woke.
]]>The film boasts a talented cast, led by Christian Slater and Patricia Arquette, who deliver powerful and emotional performances that bring their characters to life. Their chemistry is electric and truly captures the essence of their relationship. Clarence, played by Slater, is a lovable slacker who finds his calling as a hero, while Arquette’s Alabama is a fiery woman who steals every scene she’s in.
The script, written by the legendary Quentin Tarantino, is a masterpiece of dialogue and storytelling. It is filled with witty one-liners, memorable scenes, and tense moments that will keep you on the edge of your seat. The film’s plot is driven by its characters, and writing so good that you’ll find yourself rooting for Clarence and Alabama every step of the way.
The direction by Tony Scott is stylish, and the film is a feast for the eyes, with its bright colors, fast-paced action, and slick cinematography. Every shot is carefully crafted to enhance the story, and the film’s visual style is instantly recognizable and unforgettable.
The film also features an all-star supporting cast, including Dennis Hopper, Val Kilmer, Brad Pitt, and the legendary Christopher Walken. Each of these actors brings their own unique style to the film, and their performances are nothing short of spectacular. Walken, in particular, delivers a standout performance as a ruthless gangster who is as terrifying as he is charismatic.
The soundtrack is equally impressive, featuring an eclectic mix of classic rock, opera, and soul music. Each song is carefully selected to perfectly complement the action on screen, making the film an audio-visual feast. Whether it’s the haunting strains of “You’re So Cool†or the pounding beat of “You Never Can Tell,†the music will stay with you long after the end credits roll.
True Romance is a film that deserves its place as a classic of modern cinema. Whether you are a fan of romantic comedies, action films, or just great storytelling, this film is a must-see. With its unforgettable characters, thrilling plot, and stunning visuals, it is a cinematic experience that will stay with you long after the end credits roll. It’s a film that is as timeless as love itself, and it’s one that you’ll want to watch again and again.
None. The movie’s only agenda is to further the narrative.
The post True Romance first appeared on Worth it or Woke.
]]>The post Stardust first appeared on Worth it or Woke.
]]>The film follows the journey of Tristain Thorn, played by Charlie Cox, who must brave a series of challenges and dangers in order to win the heart of his true love, played by Danes. Along the way, he encounters a host of colorful and memorable characters, including a scheming sorceress, a fierce warrior, and a mysterious and powerful star.
One of the standout elements of Stardust is its production design and costumes, which are lavish and breathtaking. The film’s art direction and costume design truly bring the fantastical world of Stardust to life, immersing viewers in a fully realized and magical environment. The special effects are also top-notch, further enhancing the film’s immersive quality and adding to the overall sense of wonder and wonderment.
In addition to its action and adventure, Stardust also explores themes of love, loyalty, and self-discovery with depth and nuance. These themes are woven throughout the story, adding depth and emotional resonance to the film. The characters are well-developed and their relationships are depicted with care and authenticity, making it easy for viewers to become invested in their journey and root for them to succeed.
Overall, Stardust is a delightful and enchanting film that is sure to delight audiences of all ages. Whether you’re a fan of adventure or heartfelt romance, this film has something for men and women alike. The film’s stunning visuals and magical atmosphere make it a truly immersive and enjoyable cinematic experience, and its themes of love and self-discovery give it added depth and meaning. If you’re looking for a film that will transport you to another world and leave you feeling enchanted and uplifted, Stardust is definitely worth checking out.
There is a homosexual character shoehorned into the film. However, since it seems to be done out of a sense of comic relief, rather than, a Disney-like “not so secret” gay agenda, I only dinged the score a tiny bit. It’s also very brief…and very funny.
The post Stardust first appeared on Worth it or Woke.
]]>The post Saving Silverman first appeared on Worth it or Woke.
]]>As expected in a comedy, the plan does not go smoothly and the trio gets into a series of wacky and outrageous situations as they try to win Darren back. Wayne, in particular, stands out with his over-the-top performance as a naive optimist who is convinced he can use the power of positive thinking to save the day. Meanwhile, J.D. brings the laughs with his hilariously misguided attempts at rescuing his friend.
Despite its zany sense of humor, Saving Silverman ultimately delivers a sweet and uplifting message about the strength of male bonds and the lengths we will go to for the people we care about. The film is a reminder of the importance of friendship and how it can help us through even the toughest of times.
The cast is strong, with standout performances from Steve Zahn, Jack Black, and Amanda Peet. Peet delivers a delicious performance as the villainous Judith. The film’s humor may not be for everyone, but those who enjoy irreverent comedies with a heartwarming message will surely find something to enjoy in Saving Silverman.
One of the highlights of the film is the chemistry between the three lead actors, who have an authentic and believable friendship. This helps to ground the film’s more outlandish moments and adds an emotional depth that elevates it above your average comedy.
Overall, Saving Silverman is a hilarious and heartwarming comedy that is sure to please audiences of all ages. Its mix of wacky humor and genuine emotion makes it a film that is both entertaining and uplifting. Whether you’re a fan of irreverent comedies or heartwarming tales of friendship, there is something for everyone to enjoy in Saving Silverman.
There are some allusions to homosexuality in the film but that isn’t inherently woke. The only agenda that the film has is to forward the narrative and make you laugh.
The post Saving Silverman first appeared on Worth it or Woke.
]]>The post As Good As It Gets first appeared on Worth it or Woke.
]]>The film is an excellent showcase of Nicholson’s already lauded acting ability as he delivers a captivating and hilarious performance as Melvin. Nicholson captures the essence of a man who is both lonely and unlikeable, tortured by his mental illness, while still making him as endearing as he is frustrating. Hunt’s performance as Carol is equally impressive, as she brings warmth and empathy to the role that balances Melvin’s abrasiveness. Unfortunately, Kinnear’s likable and vulnerable turn as Simon is often overshadowed by the two other leads, but he not only holds his own when sharing scenes with Nicholson, but he gives a sincere and touching performance that is the equal of, and often better than that of Hunt’s.
The film’s script is smart, economical, and often hilarious, with a sharp wit and a surprising amount of depth. The dialogue is fast-paced and clever, and the characters are well-developed and multi-dimensional. The film’s themes of loneliness, obsession, and acceptance are handled with intelligence and sensitivity, and it never feels preachy or heavy-handed.
The film’s direction is equally impressive, with Brooks using a light touch to bring the story to life. The film is visually impressive, with excellent cinematography which is a great example of visual storytelling. The film’s soundtrack is also noteworthy, with a lush and emotional score that underscores the film’s themes and adds to the overall mood.
Overall, As Good as It Gets is a touching and entertaining film that is both funny and profound. With outstanding performances, a sharp script, and top-notch direction, this film is a true classic of the romantic comedy genre. Whether you are a fan of Nicholson, Hunt, or Kinnear, or simply enjoy well-made films, As Good as It Gets is a must-see.
If this movie was made today, many of us would assume that it was woke. The main character, a white guy is the one who has to learn how to live life from a woman and a gay man. However, while some of its themes are certainly progressive, the film isn’t preachy. It tells the story of a man who is deeply troubled who is taking it upon himself to be a better man. Sure, his motiviation in the begining is the power of boners, but in the end he learns how to love both his heart’s desire and (platonicly) his gay neighbor, and if it was made today they’d end up a throuple and Nicholson’s character would give a soliloquy about the superior virtues of homosexuals.
The post As Good As It Gets first appeared on Worth it or Woke.
]]>The post What Women Want first appeared on Worth it or Woke.
]]>The film boasts a strong cast, with Gibson delivering a charming and likable performance as the lovable scoundrel and Helen Hunt turning in a delightful performance as the no-nonsense marketing executive who becomes his love interest. The supporting cast, including Marisa Tomei, Alan Alda, and Judy Greer, also deliver standout performances.
The script manages to blend comedy and romance in equal measure, tackling themes of self-discovery and redemption with wit and heart. The film’s resolution is satisfying without being overly predictable, making it the perfect date movie that is sure to leave viewers feeling warm and fuzzy inside.
Gibson’s character, Nick, is a classic example of the “loveable rogue” trope, a charming and charismatic man who has always relied on his good looks and smooth talk to get ahead in the business world. But when he gains the ability to read women’s thoughts, he is forced to confront his own biases and prejudices, and he begins to see the world in a whole new way.
As he struggles to understand and connect with the women in his life, he finds himself drawn to Darcy, played by Helen Hunt, a no-nonsense marketing executive who is initially put off by Nick’s chauvinistic attitude. But as he begins to understand and empathize with her struggles, their relationship deepens, and they begin to see each other in a whole new light.
Overall, What Women Want is a delightful and entertaining romantic comedy that is sure to please audiences of all ages. It’s the perfect date movie, and it’s sure to leave you feeling warm and fuzzy inside. With its clever premise, strong performances, and heartwarming themes, it’s a film that will stay with you long after the credits roll.
The entire movie is predicated on the cartoonish concept of overly simple toxic misogynistic men and the virtue of the complexity and trials of women, especially professional women. However, Mel Gibson’s charisma and the film’s quality writing make up for much of its overt misandry.
The post What Women Want first appeared on Worth it or Woke.
]]>