Monthly Archives: April 2018

A Week In Film #493: Newfers

[Lethal Weapon title screen]
Lethal Weapon
I’d never actually seen this 80s buddy cop classic, only ever known it through the prism of It’s Always Sunny In Philadelphia and Hot Fuzz and the like. Hardly Richard Donner’s directorial peak, but pretty watchable if unexceptional, with a nice rapport between Danny Glover and Mel Gibson as a pair of chalk-and-cheese LA cops thrown together by circumstance.

[Lethal Weapon 2 title screen]
Lethal Weapon 2
A sequel that’s actually better than its parent movie – thanks in large part to the addition of Joe Pesci to the cast, and some cardboard cut-out Seff Efrican bad guys.

[Garfield: The Movie title screen]
Garfield: The Movie
Crappy live action/CGI mash-up of Jim Davis’ lazy cat comic strip, with Bill Murray on feline voice duties, his fellow Groundhog Day alumnus Stephen Tobolowsky one of the few good things as a bad guy, and Breckin Meyer (the stoner dude from Clueless) as Jon.


A Week In Film #491: XPERIMENTAL

[Bridesmaids title screen]
Paul Feig directs from Kristen Wiig and Annie Mumolo’s script about women and friendships, and shit gags. With Rose Byrne, Melissa McCarthy, Chris O’Dowd etc.

[Dying Of The Light title screen]
Dying Of The Light
Dire spy shenanigans, ostensibly from the hand of writer-director Paul Shrader, but apparently a case of murder-by-studio. Nicolas Cage and Anton Yeltsin work hard as a mentor-mentee pair of CIA spooks on a freelance mission against a bin Laden type, with the older man constantly battling against the onset of dementia; but in the released version (as opposed to Shrader’s original, impressionistic vision) is just a hackneyed spy thriller minus any thrills.

A Week In Film #490: Yowsers

[Copycat title screen]
Shlocky thriller, just how I like ‘em; with cop Holly Hunter teaming up with cob-up-her-ass agoraphobic academic Sigourney Weaver to hunt a serial killer. Directed by Jon Amiel.

[The Hitman’s Bodyguard title screen]
The Hitman’s Bodyguard
Could have been great, with Samuel L Jackson and Ryan Reynolds fizzing off each other; but in reality a flat and poorly-paced plodder from Patrick Hughes.