REVIEW: Tammy [2014]

“You wanna go ride a cow?” I like Melissa McCarthy and her trademarked hard-edged, scumbag persona in films. She’s often the best part of things that don’t work—Identity Thief—and those that do—Bridesmaids. So I’d love to blame someone else for how tired and frankly unfunny her latest Tammy is despite knowing I can’t. She co-wrote the road trip comedy with her husband Ben Falcone while he also directed. Maybe there was some interference courtesy of Adam McKay and Will Ferrell lending their shingle to the production, but I’d be surprised…

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TIFF13 REVIEW: Bad Words [2014]

“I threw a tantrum just to get attention” Perhaps Jason Bateman is tired of playing the likeable voice of reason amongst more idiotic counterparts that his iconic turn as Michael Bluth on “Arrested Development” has typecast him into performing ever since the show’s debut launched his comeback into public consciousness. I’m not sure anyone can deny the fact that he’s played some variation on this character whether it’s Horrible Bosses, The Change-Up, or Identity Thief. The consummate straight man with unparalleled comedic timing, Bateman has finally found a role that…

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REVIEW: Identity Thief [2013]

“Foxhole! The safe word is Foxhole!” The words “from the director of Horrible Bosses” instilled little hope for me sitting down to Seth Gordon‘s newest work Identity Thief. Screenwriter Craig Mazan‘s name—he of too many asinine spoofs—only made matters worse. No, this road comedy’s saving grace would have to be co-star Melissa McCarthy and the level of hysterics she has unfailingly brought since breaking out in Bridesmaids. The fact her role of Diana was rewritten specifically for her after original intentions called for a man shows how high her star…

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Posterized Propaganda February 2013: A Snort of Fresh Air with ‘Warm Bodies’, ‘Identity Thief,’ ‘Charles Swan’ & More

“Don’t Judge a Book by Its Cover” is a proverb whose simple existence proves the fact impressionable souls will do so without fail. This monthly column focuses on the film industry’s willingness to capitalize on this truth, releasing one-sheets to serve as not representations of what audiences are to expect, but as propaganda to fill seats. Oftentimes they fail miserably. February. Just outside of the dump month that is January and yet still devoid of any true must-sees besides the arty ones no one has heard of and the umpteenth…

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