22 Jump Street The inevitable sequel to 2012’s parody of the hit ‘80s television series has arrived. This time Jenko (Channing Tatum) and Schmidt (Jonah Hill) are going undercover in college to investigate the distribution of a new killer drug. There is no stretch of the imagination here and they don’t even try to hide it. It’s the same story, with the same characters and similar jokes, only this time they have a bigger budget and they are in college instead of high school.
Herein lies the bulk of the punchlines. Tatum and Hill have an easy camaraderie that translates well onscreen and their characters’ relationship mimics the challenges that would face real high school friends transitioning to college. It’s somewhat endearing as a story arc. There are some clunky sections that seem like the actors have been left to improvise too long, but similarly that is where some of the best material comes from. Stick around for the spoof sequels in the credits – arguably the best bit of the film. (LL) WWW
Winter Cult Classics at Dendy Newtown
The highly anticipated winter Cult Classics returns to Dendy Newtown with a line-up that includes some of the most popular comedies, musicals and horror films from the ‘80s and ‘90s. Mel Brooks’ hilarious Spaceballs (1987) boasts a stellar cast and parodies sci-fi franchises including the Star Wars trilogy. Bill Murray stars in box office hit Groundhog Day (1993) as a weatherman who finds himself living his most hated day over and over again. Filmed in black and white, laugh-out-loud Clerks (1994) centres on one day in the lives of two store clerks. Alternatively, audiences can be terrorised by Wes
Yves Saint Laurent Yves Saint Laurent is an overview of a life lived by arguably one of the greatest French fashion icons of our time. Spanning from 1958 until 2008, this film gives the audience a glimpse into Yves Saint Laurent’s (Pierre Niney) career as well as his unique relationship with devoted love and business partner, Pierre Bergé (Guillaume Gallienne). Yves Saint Laurent is full of potential: bright actors, beautifully-curated costumes and the cinematography is
From the producers of the highly improbable scenarios phenomenally successful and over-the-top nonsense French film The Intouchables, that transpires. comes The Volcano, a deliciously Made to a proven formula, wicked romantic comedy. the abundance of laugh-outWhen European airspace is loud moments and slapstick closed owing to the eruption gags are intertwined with of an Icelandic volcano, outrageous action sequences divorcees Alain (Dany Boon) and Valerie (Valèrie Bonneton) and the mesmerising scenic beauty of Europe. embark on a wacky road trip from Paris to Greece, breaking Not an entirely original concept and highly clichéd, but all the rules to attend their The Volcano provides a pleasant daughter’s wedding. alternative from the current The comedy is well paced, wave of blockbusters. (MM) building from the couple’s WWW½ mutual vindictiveness and the
on-point. The soundtrack is perfection, full of original works, classical compositions and even experimental jazz. With 77 original garments on loan from Pierre Bergé-Yves Saint Laurent Foundation, this movie is a visual banquet let down by a story that gives nothing to bite into. This is the story everyone has heard many times over: the tortured psyche behind genius and the runaway success bestowed upon brilliance. (AG) WW
Blended
It’s difficult to write a review for a movie where any mention of the genre is a spoiler. It only happens in romantic comedies, and that is Blended all over. The flick feels familiar because, not only is it another reunion for Drew Barrymore and Adam Sandler, but they aren’t the only Hollywood has-beens involved: this storyline has been washed
THE TWO FACES OF JANUARY Fleeing a fraudulent past, Chester MacFarland (Viggo Mortenson) and his younger wife (Kirsten Dunst) meet a lesser scammer, Rydal Keener (Oscar Isaac), in ’60s Greece. Accomplished screenwriter Hossein Amini should be given more chances to direct, but this debut is not all it could have been. Good performances from the leads are wasted in a production that lacks dynamics and tension. In particular, Mortenson’s performance hints at complexities of character that are never fully realised by the script. It is all a bit flat; Hitchcock would have done it better. (MMu) WW GRACE OF MONACO French director Olivier Dahan has taken
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artistic licence to heart with Grace Of Monaco, played by a plastic Nicole Kidman.The film is set six years after Grace Kelly’s marriage to Prince Rainier III (Tim Roth). Although a potentially interesting story, the screenplay by Arash Amel, coupled with Dahan’s direction, creates a film that is heavy-handed and needlessly glamourised. They suggest Monaco’s conflict with France is partly due to the controversy surrounding Kelly, which only serves to diminish her personal conflict. Kidman remains one-dimensional, relying heavily on close-ups of her tear-stained face. (ATS) WW THE TRIP TO ITALY Comedians Steve Coogan and Rob Brydon reunite for a road trip
Craven’s Nightmare On Elm Street (1984) which tells of a child murderer who stalks children in their dreams. The Adventures Of Priscilla: Queen Of The Desert (1994) is one of Australia’s most successful movies and a 20th anniversary Priscilla party will be hosted prior to the screening. Dendy Newtown’s Cult Classics season allows a new generation of film-goers to experience golden favourites on the big screen. (MM) Until Aug 18 (every second Monday), Dendy Newtown, 261-263 King St, Newtown, $10-12, (02) 9550-5699, dendy.com.au
up, thrown out and trampled on so many times it’s hard to keep count. The African scenery is, unfortunately, a highly westernised view of Africa, and while the super-imposed safari animals are almost convincing, the human acting is not. Barrymore and Sandler movies just seem like an excuse for them to kiss every 10 years. (AE) WW
around sun-drenched Italy in this entertaining follow-up to The Trip. Once again, it’s an absolute blast watching the duo compete in a never-ending game of oneupmanship in which the currency is rapid-fire quips and uncanny, albeit increasingly loopy impersonations. Yes, it’s inherently self-indulgent, and some of the humour is recycled from the previous instalment, but it is more than a Coogan/Brydon vanity project – the pair’s musings on middleage, family, mortality and legacy will resonate with viewers long after they die of laughter. (JH) WWW½
this mammoth-scale reboot, the imminent mating of menacing radiation-hungry mutations will render humanity defenceless. The clichéd and cheesy storylines are interwoven with explosive CGI and eye-popping 3D effects, but sadly lack the edge-of-your-seat excitement. Momentum is slow and extended scenes of the monsters at war aimlessly rampaging become dull and repetitive. Fans will be delighted, but others will question whether the world needed another Godzilla disaster film. (MM) WW
GODZILLA America is “under attack” in this epic action adventure which sees the mega-monster’s return. In
MALEFICENT Disney’s reimagining of the classic Sleeping Beauty is dark and beautiful with near-perfect styling.
The Volcano
Angelina Jolie gives a powerful performance as the scorned Maleficent. A well-written backstory and clever plot twists ensure that the character is enthralling and it bears repeating – Jolie is magnificent. She revels in the delicious malice of the character and reaches into the very depths of her soul to convey pain. There comes a point when Aurora must fall victim to her sleeping curse and this is unfortunately the only downside in an otherwise entertaining film. Suddenly scenes become esoteric and trippy, a style that doesn’t fit with the rest of the film. (LL) WWWW EDGE OF TOMORROW Tom Cruise returns to the
screen in the latest epic action thriller which is a cross between Groundhog Day and Aliens. Set in the near future, aliens have invaded the Earth and Major Cage (Cruise) joins forces with Special Forces Vrataski (Emily Blunt) in a bid to eliminate these creatures. Major Cage acquires the ability to reset his day every time he dies. This grants him endless attempts at defeating the enemy. The concept of the constant story rewinding is potentially laborious, but is surprisingly well-executed with clever editing and humorous elements. It is fanciful and far-fetched but is indisputably an engaging and entertaining film. (MM) WWWW