Danger Mouse's Movie Reviews - Wherein He Suffers So You Won't
- Thread starter Danger Mouse
- Start date
This absolutely made my day. I'd put it up there with Cookie Monster Les Mous
View: https://www.youtube.com/watch?v=GyYZfSmwH3c
What? He’s not dead as far as I know. There’s a YouTube video of him from May this year.
Tony: A Lost Soul Finds Their Passion in Cooking
What it is: The Anthony Bordain biopic, that focuses on his formative time prior to culinary school
Feels like: The Karate Kid meets Star Wars meets Transformers One meets every other origin story
Where it falls down: It's a biopic with all that it entails
The VFX: Mostly practical, but there may be some seamless effects shots to help the illusion of being set in the 1970s
Bathroom Break: It's barely 90 minutes long, which is easily endurable
Soundtrack: Some funky disco era tracks to set the mood
Voiceover: Nothing that I recall
I got to see this as part of Harkins Secret Cinema, where you pay less but get surprised by whatever shows up on screen.
But I missed the first few minutes due to an execrably long wait in the popcorn line, but I believe all that I missed is the setup to how/why Tony is sleeping on a restaurant owner's porch hammock.![:\](/px/aHR0cHM6Ly9jZG4uYXJzdGVjaG5pY2EubmV0L2NpdmlzL2RhdGEvYXNzZXRzL3NtaWxpZXMvc2xhc2gtMXgucG5n "Slash :\")
The story is plain enough, being based upon the Bordain auto biography, but there's a lot of the fun and flare that some years ago an Arsian confirmed about the high pressure restaurant kitchen environment.
Sex, drugs, booze and rock and roll are both part of the era as well as the restaurant kitchen vibe.
Hilariously, there were at least 2 or 3 people in the audience who were obviously drunk and laughing way too hard at things that weren't that funny.
The critical part is you get to see how Tony loses his way at the start of the picture and is trying to pick up the pieces by lying and muddling his way through it all.
The usual main character vibe is there along with the older more worldly protege character as portrayed by Leo Woodall who starred in Tuner.
Soon enough you get to pick up the Mr Miyagi vibes from the character that Antonio Banderas plays, trying to shape a hapless but brilliant dork (Tony) of a dishwasher into something more, while also being distracted by Tony's more worldly friend and coworker.
Then just when it seems like it's all coming together, the climax hits and you find that Tony lost everything he was trying to hold together with bullshit and lies and cocaine.
Picking up the pieces in the aftermath, Tony finally comes to term with his muddled nature and finds his path again.
Right before the credits, you get to hear Tony finally say the eponymous line.
The end credits includes a nice photo of Bordain with "Chef".
6.0 for a reasonably interesting biopic that ends on a great note, but is about as shallow as the recent Michael Jackson biopic. That's not a knock against either movie, since people don't necessarily want to see their culture heros deconstructed to the nth degree.
What it is: The Anthony Bordain biopic, that focuses on his formative time prior to culinary school
Feels like: The Karate Kid meets Star Wars meets Transformers One meets every other origin story
Where it falls down: It's a biopic with all that it entails
The VFX: Mostly practical, but there may be some seamless effects shots to help the illusion of being set in the 1970s
Bathroom Break: It's barely 90 minutes long, which is easily endurable
Soundtrack: Some funky disco era tracks to set the mood
Voiceover: Nothing that I recall
I got to see this as part of Harkins Secret Cinema, where you pay less but get surprised by whatever shows up on screen.
But I missed the first few minutes due to an execrably long wait in the popcorn line, but I believe all that I missed is the setup to how/why Tony is sleeping on a restaurant owner's porch hammock.
The story is plain enough, being based upon the Bordain auto biography, but there's a lot of the fun and flare that some years ago an Arsian confirmed about the high pressure restaurant kitchen environment.
Sex, drugs, booze and rock and roll are both part of the era as well as the restaurant kitchen vibe.
Hilariously, there were at least 2 or 3 people in the audience who were obviously drunk and laughing way too hard at things that weren't that funny.
The critical part is you get to see how Tony loses his way at the start of the picture and is trying to pick up the pieces by lying and muddling his way through it all.
The usual main character vibe is there along with the older more worldly protege character as portrayed by Leo Woodall who starred in Tuner.
Soon enough you get to pick up the Mr Miyagi vibes from the character that Antonio Banderas plays, trying to shape a hapless but brilliant dork (Tony) of a dishwasher into something more, while also being distracted by Tony's more worldly friend and coworker.
Then just when it seems like it's all coming together, the climax hits and you find that Tony lost everything he was trying to hold together with bullshit and lies and cocaine.
Picking up the pieces in the aftermath, Tony finally comes to term with his muddled nature and finds his path again.
Right before the credits, you get to hear Tony finally say the eponymous line.
The end credits includes a nice photo of Bordain with "Chef".
6.0 for a reasonably interesting biopic that ends on a great note, but is about as shallow as the recent Michael Jackson biopic. That's not a knock against either movie, since people don't necessarily want to see their culture heros deconstructed to the nth degree.
Thanks for watching! Both this and the MJ biopic aren't movies id go see in a theater. Biopics in general are a hard sell to go out and see. The last one i saw in theaters was the Freddy Mercury one, Bohemian Rhapsody, but that won Oscars. They are WAY more suited to an early Saturday or Sunday morning on HBOmax or Netflix. That said ill definitely see it when it hits streamers.Tony: A Lost Soul Finds Their Passion in Cooking
What it is: The Anthony Bordain biopic, that focuses on his formative time prior to culinary school
Feels like: The Karate Kid meets Star Wars meets Transformers One meets every other origin story
Where it falls down: It's a biopic with all that it entails
The VFX: Mostly practical, but there may be some seamless effects shots to help the illusion of being set in the 1970s
Bathroom Break: It's barely 90 minutes long, which is easily endurable
Soundtrack: Some funky disco era tracks to set the mood
Voiceover: Nothing that I recall
I got to see this as part of Harkins Secret Cinema, where you pay less but get surprised by whatever shows up on screen.
But I missed the first few minutes due to an execrably long wait in the popcorn line, but I believe all that I missed is the setup to how/why Tony is sleeping on a restaurant owner's porch hammock.
The story is plain enough, being based upon the Bordain auto biography, but there's a lot of the fun and flare that some years ago an Arsian confirmed about the high pressure restaurant kitchen environment.
Sex, drugs, booze and rock and roll are both part of the era as well as the restaurant kitchen vibe.
Hilariously, there were at least 2 or 3 people in the audience who were obviously drunk and laughing way too hard at things that weren't that funny.
The critical part is you get to see how Tony loses his way at the start of the picture and is trying to pick up the pieces by lying and muddling his way through it all.
The usual main character vibe is there along with the older more worldly protege character as portrayed by Leo Woodall who starred in Tuner.
Soon enough you get to pick up the Mr Miyagi vibes from the character that Antonio Banderas plays, trying to shape a hapless but brilliant dork (Tony) of a dishwasher into something more, while also being distracted by Tony's more worldly friend and coworker.
Then just when it seems like it's all coming together, the climax hits and you find that Tony lost everything he was trying to hold together with bullshit and lies and cocaine.
Picking up the pieces in the aftermath, Tony finally comes to term with his muddled nature and finds his path again.
Right before the credits, you get to hear Tony finally say the eponymous line.
The end credits includes a nice photo of Bordain with "Chef".
6.0 for a reasonably interesting biopic that ends on a great note, but is about as shallow as the recent Michael Jackson biopic. That's not a knock against either movie, since people don't necessarily want to see their culture heros deconstructed to the nth degree.
I can once again return to viewing this thread, after staying out of it for two weeks to avoid spoilers.
I saw Spider Man - Brand New Day last night. I'm so happy that I avoided spoilers, as I had two genuine gasp-out-loud moments in the movie, which hasn't happened in a long time. I'm going to go catch up on this thread, then post more. But damn. This has to be a top 3 or 4 movie in my list. Just really amazing.
I saw Spider Man - Brand New Day last night. I'm so happy that I avoided spoilers, as I had two genuine gasp-out-loud moments in the movie, which hasn't happened in a long time. I'm going to go catch up on this thread, then post more. But damn. This has to be a top 3 or 4 movie in my list. Just really amazing.
I'm not certain if we're still using spoilers for spider-man, but I'll be cautious.
Really, really, really enjoyed all the visuals, all the funny bits, and all the in-jokes for people that read the comics and/or have seen all the movies.
- Saw it at 5:45 on a Wednesday. Theater was 3/4'th full, which is darn good.
- Punisher and Spider-man interactions were just phenomenal. They really work well together. Loved it when Peter's Brooklyn accent really came out when fighting with Punisher.
- My heart broke in the first MJ scene. Just devastated me.
- Geek talk with Banner? Phenomenal.
- Fights with the Hulk? Even better. Done so darn well.
- The Hand battles were wire-fu at their best.
- The villain revelation? Phenomenal.
- Black widow scenes? Excellent humor, and moved the plot along well. Young Avengers tie in, definitely.
- Loved the whole arachnid-hormone tracker, and the philosophical concepts behind it.
- The regular-life scenes with Peter, and Ned, and MJ were done well, and advanced the plot.
Really, really, really enjoyed all the visuals, all the funny bits, and all the in-jokes for people that read the comics and/or have seen all the movies.
Regarding MJ: I am pretty sure when Spidey is swinging her to the rooftop, she is NOT flipping out like she did at the end of Far From Home, and that had MY spider-sense tingling when she started talking about trying to remember.
Yeah, I totally fell for it. I wanted it to be true SO BAD.
I should have recognized that anything that happens near the Silvercup sign from Highlander can't be good.
Inspired by the Odyssey and fond memories of seeing this movie as a kid, I watched Clash of the Titans (1981). Folks, it wasn’t good.
First, things I liked:
Yeah. 2/5 flying pegasuses.
First, things I liked:
- Harry Hamlin is perhaps the most beautiful man ever to appear on screen, with unspeakably luscious lips and luxurious hair.
- Sian Phillips and Lawrence Olivier show up and add a bit of class to the proceedings.
- The Greek gods are prominently featured, and act like Greek gods: vain, jealous, petty, and constantly capriciously fuck with mortals’ lives. This was a nice contrast to more modern Greek mythology movies (I’m looking at you, Troy and The Odyssey) that downplay or omit the gods altogether.
- Harryhausen’s hand-made special effects were pretty charming.
- This movie starts well and ends fairly dramatically, but the middle third is incredibly boring.
- The R2D2 knock-off cutesy robot owl was annoying.
- The script was very bad. At one point, someone actually said, “I’m tired of your philosophy. It’s time for action! Not words!”
- Perseus was a boring character at the center of the film. He was just a golden child who effortlessly succeeded at everything he did. He gave no signs of any kind of interior life or complex thoughts; he just gamely wandered from adventure to adventure.
- The acting was generally terrible. Poor Harry Hamlin, as gorgeous as he was, just couldn’t act at all. He constantly wore an expression of dopey befuddlement, unfortunately much like Sam Jones in Flash Gordon. Behold:
Yeah. 2/5 flying pegasuses.
The End of Oak Street: When a Hollywood movie feels like a ripoff of a Japanese Manga
What it is: A street/area of a town gets transported into the Cretaceous era
Feels like: Jumanji meets Jurassic Park meets Back to the Future meets 1980s meets Stand By Me meets Marriage Story meets The Croods
Where it falls down: Somewhat big fails in the survival angle, but forgivable as this isn't any kind of "serious" sci-fi movie.
The VFX: Great dinosaur effects, except for a certain scene When the hairy brontosaurs are humping and some when the dog is onscreen, but doing fur is harder than most people who haven't seen the CGI Lion King realize. Bonus points for having alligators look more or less unchanged.
Bathroom Break: It's pretty short, but you won't miss anything meaningful in the scene where they reinforce the windows/doors.
Soundtrack: Some great early 80s tracks, but the movie was really heavy on traditional orchestral mood music throughout.
Voiceover: Not much if any I could remember.
The first thing you need to know is to be emotionally prepared to handle all of the feathered hairdos throughout the movie. It's beyond Motor City in terms of epic 80s feathered hair.
While there is some truly great acting onscreen, to the point it elevates the nonsense above what would be just a Netflix release, the underlying movie is structured and has the same conceits and constrants as the movies from the early 1980s. Don't try to get all nerdy about the time travel or about how to behave in what is effectively an apocalypse.
If you're able to do that, what you'll get is a simple enough story but with an interesting amount of depth in the main characters and backstories of their lives.
Act 2 flips the script and their lives are upended, but some of the terrible stupidity of their lives continues to haunt them in the main characters' new circumstances.
Act 3 lets the budding love story in Act 1 get answered, albeit not in the expected manner, but the end result isn't wholly unexpected.
The climactic moment in Act 3 is as shocking as it is unexpected, but the race to the solution in Act 4 leads to other entanglements.
Then Act 4 results in the expected handwavy reset, without any discussion about collateral damage especially as it regards to the girl from the rich family who now exists twice in the supposed present.
The alligator injury through the judicious use of a fireplace poker is dumb and improbable
It's enough of a mishmash of a story, that it feels extremely derivative in the manner of AI story telling, but the script dialogue choices show a greater than expected complexity if that was the case.
6.0 for light summer moviegoing fare, it's fine, but probably better left for streaming
What it is: A street/area of a town gets transported into the Cretaceous era
Feels like: Jumanji meets Jurassic Park meets Back to the Future meets 1980s meets Stand By Me meets Marriage Story meets The Croods
Where it falls down: Somewhat big fails in the survival angle, but forgivable as this isn't any kind of "serious" sci-fi movie.
The VFX: Great dinosaur effects, except for a certain scene When the hairy brontosaurs are humping and some when the dog is onscreen, but doing fur is harder than most people who haven't seen the CGI Lion King realize. Bonus points for having alligators look more or less unchanged.
Bathroom Break: It's pretty short, but you won't miss anything meaningful in the scene where they reinforce the windows/doors.
Soundtrack: Some great early 80s tracks, but the movie was really heavy on traditional orchestral mood music throughout.
Voiceover: Not much if any I could remember.
The first thing you need to know is to be emotionally prepared to handle all of the feathered hairdos throughout the movie. It's beyond Motor City in terms of epic 80s feathered hair.
While there is some truly great acting onscreen, to the point it elevates the nonsense above what would be just a Netflix release, the underlying movie is structured and has the same conceits and constrants as the movies from the early 1980s. Don't try to get all nerdy about the time travel or about how to behave in what is effectively an apocalypse.
If you're able to do that, what you'll get is a simple enough story but with an interesting amount of depth in the main characters and backstories of their lives.
Act 2 flips the script and their lives are upended, but some of the terrible stupidity of their lives continues to haunt them in the main characters' new circumstances.
Act 3 lets the budding love story in Act 1 get answered, albeit not in the expected manner, but the end result isn't wholly unexpected.
The climactic moment in Act 3 is as shocking as it is unexpected, but the race to the solution in Act 4 leads to other entanglements.
Then Act 4 results in the expected handwavy reset, without any discussion about collateral damage especially as it regards to the girl from the rich family who now exists twice in the supposed present.
The alligator injury through the judicious use of a fireplace poker is dumb and improbable
It's enough of a mishmash of a story, that it feels extremely derivative in the manner of AI story telling, but the script dialogue choices show a greater than expected complexity if that was the case.
6.0 for light summer moviegoing fare, it's fine, but probably better left for streaming
The big fun thing they did was to have MJ hang her legs on Spiderman, rather than drag them below.
This was to fix a big complaint and glaring hole in the earlier standalone Tom Holland Spiderman movies.
They also stuck the landing showing Spiderman first then MJ puts her legs down.
Truly epic thing that all of the Spiderman movies has missed, is if Spiderman gave Ned a carry when swinging between buildings.
I’m going to try pretty hard to go see Coyote vs Acme next week.
Just make sure the concession stand gives you popcorn rather than ball bearings painted to look like birdseed.
I’m also going to poke any archway-covered entrances to make sure they’re real and not a painting on a solid surface.
Smart move. Also, leave the rocket powered roller skates at home and maybe just bike or walk to the theater.
Mutiny: Jason Statham proving that he's Gen X's Matlock
What it is: Another Jason Statham actioner, this time set on land then on ship then on land again
Feels like: The Transporter meets Under Siege meets all previous Jason Statham movies where he's former special ops and out for vengeance. Alternately, there is also an old made for tv movie called "Deadly Voyage" about stowaways on a freighter and what happens to them.
Where it falls down: Some what of a fail in not going over some of the ethnic tension and back story hinted at in the onscreen details. Indian business man, Chinese villain, what appears to be Rohingya victims, set in Bangkok. Norwegian ship captain handling a Viking totem? The story writes itself. Too bad noone ever said anything to connect the dots.
The VFX: Barely anything I can tell. Lots of practical effects and stunt work, which is cheap compared to VFX, but the movie still cost $40 million, which I expect to be a big chunk blown on the ship rental
Stunt work: all the supporting cast and stuntmen seem to be former military or just really good at faking it. I think the big Iranian guy from John Wick 3 got some time to shine with a small speaking role as a navy SEAL officer. Some truly sketchy stunt work on a freighter and possibly on a sound stage.
Bathroom Break: I can't recall a Jason Statham actioner that hit 2 hours. It's 95 minutes. You should be fine.
Soundtrack: Dreary instrumentals meant to drill in the seriousness of the story details, but what every Gen X audience member wants to see is Jason Statham do his beautifully choreographed fight scenes and stunt work, unless there's some techno laced R&B as in The Transporter.
Voiceover: Some small bits that practically become a voice over, but nothing explicitly meant as such
The movie starts off seriously enough, setting the emotional stakes to what follows, and the obvious story telling hints make it easy enough for anyone to follow.
The Transporter scene hits and you realize that the quiet part of the film is over.
And then, yep. The expected things happen, and the expected possible complications happen then go away. Don't worry, it'll come back.
The Under Siege portion gets going. How lucky that the goon that Statham manages to off and steal the passport for, just happens to look like Statham? I mean Cole Reed.
Although I protest the name. I think Jason Statham should make it a contractual requirement that all of his onscreen character names must rhyme with Jason.
I put in earlier about how they could have made things more interestingly along the way, but then again, does anyone who's watching the movie care?
If you're looking for subtlety or exquisite storytelling finesse, WTF are you watching a Statham movie?
I want to see Statham bone crunch and front kick and flip and twist bad guys. And this movie delivers.
I suspected after seeing The Beekeeper and Working Man, that Jason Statham's audience average age is somewhere north of 50.
The average audience member looked to be close to 60 this time.
There was an especially loud OOOOOHHH during one truly vicious killshot.
I was laughing to myself as I exited the theatre and came to the realization that Statham is the Gen X equivalent of Matlock.
The theatre was about 2/3 full. The Gen X audience saw their Matlock do his thing and went home satisfied. (That includes me)
7.5 for any Statham fans. No political weirdness like in The Beekeeper, just lots of bone crunching and Statham looking constipated which is his "serious" face. If they'd gone for a bit of techno laced R&B during some of the fight scenes or the early Transporter scene, then I would have given it a 8.0.
What it is: Another Jason Statham actioner, this time set on land then on ship then on land again
Feels like: The Transporter meets Under Siege meets all previous Jason Statham movies where he's former special ops and out for vengeance. Alternately, there is also an old made for tv movie called "Deadly Voyage" about stowaways on a freighter and what happens to them.
Where it falls down: Some what of a fail in not going over some of the ethnic tension and back story hinted at in the onscreen details. Indian business man, Chinese villain, what appears to be Rohingya victims, set in Bangkok. Norwegian ship captain handling a Viking totem? The story writes itself. Too bad noone ever said anything to connect the dots.
The VFX: Barely anything I can tell. Lots of practical effects and stunt work, which is cheap compared to VFX, but the movie still cost $40 million, which I expect to be a big chunk blown on the ship rental
Stunt work: all the supporting cast and stuntmen seem to be former military or just really good at faking it. I think the big Iranian guy from John Wick 3 got some time to shine with a small speaking role as a navy SEAL officer. Some truly sketchy stunt work on a freighter and possibly on a sound stage.
Bathroom Break: I can't recall a Jason Statham actioner that hit 2 hours. It's 95 minutes. You should be fine.
Soundtrack: Dreary instrumentals meant to drill in the seriousness of the story details, but what every Gen X audience member wants to see is Jason Statham do his beautifully choreographed fight scenes and stunt work, unless there's some techno laced R&B as in The Transporter.
Voiceover: Some small bits that practically become a voice over, but nothing explicitly meant as such
The movie starts off seriously enough, setting the emotional stakes to what follows, and the obvious story telling hints make it easy enough for anyone to follow.
The Transporter scene hits and you realize that the quiet part of the film is over.
And then, yep. The expected things happen, and the expected possible complications happen then go away. Don't worry, it'll come back.
The Under Siege portion gets going. How lucky that the goon that Statham manages to off and steal the passport for, just happens to look like Statham? I mean Cole Reed.
Although I protest the name. I think Jason Statham should make it a contractual requirement that all of his onscreen character names must rhyme with Jason.
I put in earlier about how they could have made things more interestingly along the way, but then again, does anyone who's watching the movie care?
If you're looking for subtlety or exquisite storytelling finesse, WTF are you watching a Statham movie?
I want to see Statham bone crunch and front kick and flip and twist bad guys. And this movie delivers.
I suspected after seeing The Beekeeper and Working Man, that Jason Statham's audience average age is somewhere north of 50.
The average audience member looked to be close to 60 this time.
There was an especially loud OOOOOHHH during one truly vicious killshot.
I was laughing to myself as I exited the theatre and came to the realization that Statham is the Gen X equivalent of Matlock.
The theatre was about 2/3 full. The Gen X audience saw their Matlock do his thing and went home satisfied. (That includes me)
7.5 for any Statham fans. No political weirdness like in The Beekeeper, just lots of bone crunching and Statham looking constipated which is his "serious" face. If they'd gone for a bit of techno laced R&B during some of the fight scenes or the early Transporter scene, then I would have given it a 8.0.
The annual Statham fistfest is really becoming a tradition in our family (all north of 50). At least he's still putting out a workable product instead of going down the drain like some of the other action-movie guys. Steven Segal, Bruce Willis (not his fault), Wesley Snipes, Gerard Butler, guys like that.
Reviews are apparently starting to release for Coyote vs. Acme; happened to come across this one in the LA Times. Short version: really good, go see it. A couple of quotes:
On tap for this weekend...
Tomorrow at noon for me. I’ve been excited for this ever since the initial rumors that a group was trying to pry it out of grubby hands of unreleased-WB-tax-write-off-hell.
Friday for me, I was already interested but hearing the reviews starting to gush forth that it's REALLY good have gotten me hyped.
Was going to see it Monday in early access, but my son wanted to see Mutiny.
We both guffawed at seeing the goon that gets offed, that looks exactly like Statham, so then becomes the ideal vehicle for identity theft.
We both guffawed at seeing the goon that gets offed, that looks exactly like Statham, so then becomes the ideal vehicle for identity theft.
Saw it earlier tonight and Coyote vs acme deserves all the hype it's getting.
Coyote vs Acme: A secret promo for Foghorn Leghorn for President 2028
What it is: Wile E Coyote tries to use a lawsuit by an ambulance chaser, as yet another plot to get the delicious Road Runner on a plate
Feels like: Who Framed Roger Rabbit meets Cool World meets Erin Brockovich meets The Two Jakes (Chinatown sequel)
Where it falls down: Some of the old cartoon antics feels a bit tired, since I'm decades past being an ardent watcher, but there were some truly funny bits like the anti-predator spray, being used on Pepe LePeu at just the right moment
The treacle pie: Finding out that Granny was happily married to Peter Lorre (played Igor) and eventually there is a reunion. The public spectacle of Road Runner's congressional testimony and his relationship to Wile E Coyote
The flabbergast: Granny had a amazingly impressive figure, like early Judy Dench or Helen Mirren
The VFX: Some really nice integrations of practical stunts and CG with some obvious wholly CGI elements Granny's house is actually like Aunt May's house in Spiderverse, with a whole underground lair/lab environment
Stunt work: Some really nice integrations of practical stunts and CG with some obvious wholly CGI replacement sequences, but nothing that noticeable against the cartoon elements overriding it all
Bathroom Break: It's around 90 minutes. You'll make it.
Soundtrack: Some late 70s/early 80s punk standards
Voiceover: Nothing I can recall
I wasn't quite sure of what to expect other than the obvious, so it was a nice touch to see different cartoon figures show up in various roles, including as the heavy plus a truly excellent opening sequence worthy of a Bond movie.
It was touted by some as being about the everyman against the faceless corporation, but that's not quite what it is either.
Wile E Coyote gets to show himself off as a more of a mad scientist figure along the lines of Back to the Future's Emmett Brown with the convoluted perpetual motion machine type trigger sequences for traps.
The main lawyer character goes through a hero's journey of sorts to come out the other side a better person, more true to himself
You also get a nice backstory for why Daffy Duck is Daffy Duck plus other hapless "losers" in the Warner Carton Universe (WCU, I said it, and obviously not the first) such as Porky Pig.
John Cena gets to play the villainous stooge and then we get to the real star of the movie.
Foghorn Leghorn.
Foghorn Leghorn easily has some of the best lines in the movie.
Foghorn Leghorn is both a tried and true portrayal as a William Jennings Bryan style blowhard, but mix in Musk and Zuckerberg style distaste for regular humanity and there you have it, the next president of the United States. Elmer Fudd as the head of the senate committee was just too on the nose
Whenever John Cena manages to blurt out an anti-bird colloquialism good ole Foghorn Leghorn is there, ready to rake him over the coals.
It was closer in feel (by memory) of the Scopes Monkey Trial in some sense, but also had the same kind of feeling as the congressional testimony sequence from Contact.
The final sequence in Act 3 is a nice touch, but we also get the second set of treacle gushers in Act 4.
6.5 for anyone familiar with the old WCU, but there some missed opportunities to lampoon courtroom dramas and thrillers. This is a minus -0.5 as I don't recall seeing Wakko, Yakko, Dot nor Pinky & the Brain cameos. Lots of blink and you miss it cameos, but the subpoena delivery was delicious and appropos.
What it is: Wile E Coyote tries to use a lawsuit by an ambulance chaser, as yet another plot to get the delicious Road Runner on a plate
Feels like: Who Framed Roger Rabbit meets Cool World meets Erin Brockovich meets The Two Jakes (Chinatown sequel)
Where it falls down: Some of the old cartoon antics feels a bit tired, since I'm decades past being an ardent watcher, but there were some truly funny bits like the anti-predator spray, being used on Pepe LePeu at just the right moment
The treacle pie: Finding out that Granny was happily married to Peter Lorre (played Igor) and eventually there is a reunion. The public spectacle of Road Runner's congressional testimony and his relationship to Wile E Coyote
The flabbergast: Granny had a amazingly impressive figure, like early Judy Dench or Helen Mirren
The VFX: Some really nice integrations of practical stunts and CG with some obvious wholly CGI elements Granny's house is actually like Aunt May's house in Spiderverse, with a whole underground lair/lab environment
Stunt work: Some really nice integrations of practical stunts and CG with some obvious wholly CGI replacement sequences, but nothing that noticeable against the cartoon elements overriding it all
Bathroom Break: It's around 90 minutes. You'll make it.
Soundtrack: Some late 70s/early 80s punk standards
Voiceover: Nothing I can recall
I wasn't quite sure of what to expect other than the obvious, so it was a nice touch to see different cartoon figures show up in various roles, including as the heavy plus a truly excellent opening sequence worthy of a Bond movie.
It was touted by some as being about the everyman against the faceless corporation, but that's not quite what it is either.
Wile E Coyote gets to show himself off as a more of a mad scientist figure along the lines of Back to the Future's Emmett Brown with the convoluted perpetual motion machine type trigger sequences for traps.
The main lawyer character goes through a hero's journey of sorts to come out the other side a better person, more true to himself
You also get a nice backstory for why Daffy Duck is Daffy Duck plus other hapless "losers" in the Warner Carton Universe (WCU, I said it, and obviously not the first) such as Porky Pig.
John Cena gets to play the villainous stooge and then we get to the real star of the movie.
Foghorn Leghorn.
Foghorn Leghorn easily has some of the best lines in the movie.
Foghorn Leghorn is both a tried and true portrayal as a William Jennings Bryan style blowhard, but mix in Musk and Zuckerberg style distaste for regular humanity and there you have it, the next president of the United States. Elmer Fudd as the head of the senate committee was just too on the nose
Whenever John Cena manages to blurt out an anti-bird colloquialism good ole Foghorn Leghorn is there, ready to rake him over the coals.
It was closer in feel (by memory) of the Scopes Monkey Trial in some sense, but also had the same kind of feeling as the congressional testimony sequence from Contact.
The final sequence in Act 3 is a nice touch, but we also get the second set of treacle gushers in Act 4.
6.5 for anyone familiar with the old WCU, but there some missed opportunities to lampoon courtroom dramas and thrillers. This is a minus -0.5 as I don't recall seeing Wakko, Yakko, Dot nor Pinky & the Brain cameos. Lots of blink and you miss it cameos, but the subpoena delivery was delicious and appropos.
Re: Granny one of the(many) fun bits from the 2010's Looney tunes show was the reveal she was a WW2 spy.
View: https://youtu.be/eosvh4yLxTY
View: https://youtu.be/eosvh4yLxTY
Coyote vs. Acme was far better than it had any right to be. Even funnier that Zaslav tried to bury it. What a fucking moron.
Coyote V Acme, by Ian Frazier
The New Yorker
February 19, 1990
https://www.newyorker.com/magazine/1990/02/26/coyote-v-acme
It goes on for quite a while, and is VERY much the inspiration for the film.
The New Yorker
February 19, 1990
https://www.newyorker.com/magazine/1990/02/26/coyote-v-acme
It goes on for quite a while, and is VERY much the inspiration for the film.
I really, really, really wanted to go see Coyote Versus Acme in the theaters, but life is consipiring against me. I am very disappointed.