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21 Jump Street, a review by addicted2dvd
Jonah Hill as Schmidt
Channing Tatum as Jenko
Brie Larson as Molly Tracey
Dave Franco as Eric Molson
Rob Riggle as Mr. Walters
DeRay Davis as Domingo
Former high school foes turned rookie cop partners can't catch a break – until they're assigned to pose as students and bust a drug ring inside their old alma mater. Living like teenagers again, they slip back into their adolescent selves and risk the case – and their friendship – with hysterically disastrous results! Jonah Hill, Channing Tatum and Ice Cube star in this outrageously hilarious action-comedy!
My Thoughts:I am a big fan of the TV series 21 Jump Street... It is a show I watched every week with my family when I was a teen. And there really wasn't many shows that the family would watch together. So needles to say the series holds a special place in my heart. So going into this movie... I wasn't expecting much out of it. Matter of fact... I was expecting to hate it. Just going by past experience of other movies based on TV series.
I was surprised when I found that I enjoyed this movie. Maybe it is because I had such low expectations. But one thing that definitely helped... they didn't just remake the series with the same characters... it is more like a continuation of the series. Where they are re-opening the Jump Street program. It was cool to see Holly Robinson Peete with a cameo appearance as her 21 Jump Street character... Officer Judy Hoffs. Other old Jump Street characters that made an appearance is Tom Hansen and Doug Penhall... now partners at the DEA. They were under cover and in disguises... but I am almost positive it wasn't Johnny Depp and Peter DeLuise reprising their roles. Whoever they were... they were not credited in the credits.
Anyway... found it to be a fun movie. It has a few laughs in it. I can easily see myself watching it again. I am surprised to say that I definitely recommend this one.
Out of a Possible 5
(From What Movies I Been Watching on July 12th, 2012)
Lola rennt, a review by goodguy
Cover Blurb: Manni (Moritz Bleibtreu), who works as a small-time courier for a big-time gangster, is in huge trouble. He has accidentally left the cash from a mob deal on the subway, and he has only twenty minutes to deliver the 100,000 marks to his unforgiving boss. Desperate, he calls his girlfriend, Lola (Franka Potente), the only person who can rescue him form certain death.
As the seconds tick away and the tiniest choices become life altering, Lola must try to reach Manni before the line between fate and fortune begins to blur. One story told from three different perspectives, Run Lola Run is a veritable maze of intriguing plot twists and heart-stopping suspense in a high-octane thrill ride about one woman's desperate attempt to save her lover.
A rating of 4½ would be probably more adequate, but since Jon was so dismissive in his recent review, I decided to round up. Frankly, Jon's reaction surprised me, because "Run Lola Run" bridges the gap between experimental arthouse cinema and mainstream with a postmodernist approach that is not entirely unlike the early movies of Tarantino. Of course, Tykwer is less violent, a little more philosophical, a lot more puristic, and his hommages (which are actually just little nods) to other movies show a better taste.
Now, is RLR the best video game adaptation without being based on any actual game, a cross between "Groundhog Day", Godard's "Breathless" and "Wonder Woman", a philosophical meditation on fate and chance, or a portrait of the reunited Berlin, completely in flux?
Well, it is all that and probably more, but while the movie certainly isn't without depth, it also works on a strict surface level as a fantasy of wish fulfillment that is pure Hollywood. Add to that an iconic female lead, true love that conquers all and a few thriller elements, and you are in for a fun ride.
Right from the start, the prolog ironically alternates between both choices. T. S. Elliot versus Sepp Herberger, a narrator waxing philosophically only to be dismissed by more football platitudes from a guy in uniform.
The plot and the backstory are given in the initial phone conversation between Lola and Manni that gets more and more hysterical until Lola's first glass-shattering scream. Then it's mission time for Lola. 20 minutes to get the money from her banker dad and to get to Manni before he robs a supermarket. Game on and Lola runs through Berlin to frantic techno music with spoken lyrics, Anne-Clark-style. If at first you don't succeed, repeat. Three times.
That's pretty much all that happens. There is no narrative ballast, no character motivations, no further explanations, only encounters and exchanges, although the repetitions cleverly interlock, expand and, of course, change the happenings until the final outcome is achieved. That minimalist narrative is of course what makes RLR interesting, because while it keeps the basic framework of an escapist mainstream fantasy, it throws away all the exchangeable fillings.
Tykwer uses different techniques and even different film materials to organize his story. Lola and Manni are shot on normal 35mm film, the flashbacks of Manni's initial backstory are in black and white, any scenes not involving those two are shot on video. As Lola runs into various people on her mission, a sequence of photographs shows flash-forwards to their future as generated by the ripple effect of Lola's actions. There is animation, there are split screens, an almost codified use of colors, dazzling camera moves that create a hyperkinetic visual style. The pacing and editing is flawless and the rhythm precise with ironic counterpoints and full stops, such as the sudden soap opera of Lola's dad and his mistress in the bank office.
Each segment starts with the same scene Lola leaving the apartment (and her distracted mother). Then it turns into a cartoon of Lola running down a staircase and passing a guy with a dog on the way. That's her first obstacle and the first difference between the segments, with a strong hint how the segment will play out. The song lyrics do so as well. In the first run, she is determined, but she just passively reacts. In the second run she fights head-on, with no regards for herself or the people around her. In the third run she becomes completely in tune with what is happening around her, causing her to succeed.
The final ending cannot be anything than a happy one, albeit again with a slightly ironic touch. Also, if you didn't pay attention to the bank security guard, you might have missed something.
I'm glad Jon caused me to rewatch this; I had almost forgotten why I liked Tykwer once. I also posted a few remarks directly in response to Jon's review.
And for a Berlin film that is the complete antithesis to RLR, I recommend Maria Speth's "In den Tag hinein" (AKA The Days Between).
(From goodguy's Watch Log on July 19th, 2010)
Fear Itself Marathon, a review by addicted2dvd
Fear Itself: The Complete Series
8. New Year's Day (Director's Cut)
A young woman wakes up in a post apocalyptic world overrun by terrifying zombies and struggles to survive the day.
Director: Darren Lynn Bousman (Saw II, Saw III, Saw IV, Repo! The Genetic Opera)
While watching this one I must admit I found myself a little lost more then once. What with the flashbacks going back and forth all the time. But for me at least... the end reveal made the episode. Thinking back maybe I should have... but I just didn't see it coming.
(From Fear Itself Marathon on April 7th, 2010)