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Non-Review Review: We’re the Millers

We’re the Millers is a fairly humorous premise extended well past breaking point. The basic set-up (a bunch of strangers pretend to be a family to smuggle drugs into the United States) is a solid enough starting point for a comedy, but We’re the Millers often feels like it’s running on fumes trying to stretch the gag out. There are long lulls of the film where nothing seems to happen, and entire subplots that seem grafted in simply to eat up precious minutes. Does the film really need a teenage romance subplot?

We’re the Millers has a few hilarious moments, and Jason Sudeikis and Jennifer Aniston have enough charm that it’s never too painful to watch, but the film’s extended runtime means that its cynical premise can only maintain its wry thrust for so long before it’s brought down to Earth by the oppressive weight of sentimentality. For a film that starts out cheeky and subversive, the movie meanders into sappy and cheesy territory with considerable speed.

Family fun...

Family fun…

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Non-Review Review: Celeste & Jesse Forever

While it’s not quite as novel as the core idea might suggest, Celeste & Jesse Forever has a fascinating central concept. Most romances leave off after the initial courtship – the “and they lived happily ever after” all but printed at the bottom of the end credits. Celeste & Jesse Forever offers a somewhat skewered take on that. We begin at the end of a marriage, and follow the two central characters as they try to deal with living apart from one another. The movie isn’t as subversive as it could be, working hard to integrate conventional romantic formulas into this new framework, but it is something a bit different – and the concept carries it quite far. A winning central performance from Rashida Jones and a charming sense of humour help keep the movie interesting, even if it never quite commits fully.

Celeste & Jesse Forever is well worth a look, if only to demonstrate that there is room to tinker with the conventional formula for romantic comedies.

The long kiss goodnight...

The long kiss goodnight…

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Non-Review Review: Scream 4 (Scre4m)

Alright, Kirby, then it’s time for your last chance. Name the remake of the groundbreaking horror movie in which the vill…

Halloween, uh, Texas Chainsaw, Dawn of the Dead, The Hills Have Eyes, Amityville Horror, uh, Last House on the Left, Friday the 13th, A Nightmare On Elm Street, My Bloody Valentine, When A Stranger Calls, Prom Night, Black Christmas, House of Wax, The Fog, Piranha. It’s one of those, right? Right?

(beat)

I got it right. I was &@#!ing right.

– Ghostface and Kirby redefine the frame of reference

In many ways, Scream 4 feels like a fitting end to the Scream franchise. In fact, it feels like it has come something of a full circle from the first film, which was envisaged as something of an obituary for the dying slasher genre. In the years since, prompted in a large part by the success of the original Scream, the genre has been resurrected. Watching the grind of horror films released, it seems that Hollywood has been churning out nothing but empty roman-numeral-denoted sequels and hallow remakes, with very little thought or creativity. Scream 4 feels a like a reflection on the “success” that the first film wrought, and actually feelings like a fitting closing act.

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