by Josh Sewell
The Naked Gun
(Rated PG-13 for crude/sexual material, violence/bloody images and brief partial nudity. Opens in theaters on August 1.)
The premise: In this legacyquel/reboot of Leslie Nielsen’s classic cop parody, Lt. Frank Drebin Jr. (Liam Neeson) follows in his father’s footsteps by leading the Police Squad and solving a mystery involving a beautiful femme fatale (Pamela Anderson).
The verdict: Comedy on the big screen is an endangered species in this era, so I’m happy The Naked Gun escaped streaming purgatory. Even better, it’s way funnier than anyone could’ve predicted. When I heard a reboot was happening, I was skeptical. However, director Akiva Schaffer (who also helmed the criminally underseen Hot Rod, Popstar: Never Stop Never Stopping and Chip ‘n Dale: Rescue Rangers) and his co-writers Dan Gregor and Doug Mand have crafted a screenplay that honors the original’s brilliant idiocy and nonstop gags.
Neeson’s casting is a stroke of brilliance. His gruff demeanor is perfect for a character whose comedic impact comes from playing everything deadly serious. He never mugs or winks at the camera, whether he’s dressed in an absurd outfit or delivering a monologue about the importance of never connecting an old TiVo to the internet.
However, Neeson’s costars also get some time to shine. Anderson, currently experiencing a welcome career resurgence, isn’t afraid to look ridiculous for a laugh, while Danny Huston and Kevin Durand are clearly having a blast as the villains.
The second act drags a bit and not every joke works, but The Naked Gun is still far better than it had any right to be. Plus, at a brisk 85 minutes, it doesn’t have time to wear out its welcome. The flick made me realize how much I missed sitting in a room full of strangers who are all laughing their heads off. Fingers crossed that audiences will give this one a shot – we need more theatrical comedies.
Grade: B+
She Rides Shotgun
(Rated R for violence and language. Opens in select theaters on August 1.)
The premise: In this crime drama (based on Jordan Harper’s novel), Taron Egerton plays Nate, an ex-con who is targeted for death by enemies he made in prison. Now he must go on the run with his estranged 11-year-old daughter, Polly (Ana Sophia Heger), to keep her away from brutal gang members and a corrupt sheriff-turned-meth kingpin (John Carroll Lynch).
The verdict: She Rides Shotgun is a mostly standard thriller, but director Nick Rowland (who reworked a screenplay by Ben Collins and Luke Piotrowski) packed the movie with strong actors who elevate the material. Egerton is solid and does what he can to bring new dimensions to the “tough guy with a good heart” trope.
Lynch is terrifying as the main antagonist, using his brief screen time (he pops up once or twice throughout before his big moments in the finale) to remind viewers how unsettling he was in David Fincher’s masterpiece Zodiac. Rob Yang is also good as a cop who blackmails Egerton’s character into helping him take down the bad guys.
However, the primary reason to check out She Rides Shotgun is Heger, who delivers one of the best child performances I’ve seen in quite some time. Kid actors’ tics, quirks and over-enthusiastic delivery tend to be a pet peeve of mine, but Heger (who got her start in the cancelled-too-soon sitcom Life in Pieces) avoids all the usual pitfalls. Hopefully, her work here marks the start of a long and successful career.
Grade: B-
Cloud
(Not rated but contains violence and language. Opens at Tara Theatre in Atlanta on August 1.)
The premise: Respected writer-director Kiyoshi Kurosawa crafts this thriller about Yoshii (Masaki Suda), a Tokyo factory worker who moonlights in the black-market world. After swindling his way into loads of cash, he’s plagued by unsettling incidents that threaten his success and hint at violence.
The verdict: This Japanese thriller came out of nowhere to become one of my favorite movies of the year. For the first hour or so, Kurosawa (no relation to filmmaking legend Akira Kurosawa) crafts a methodical drama about the soul-killing effects of capitalism, but then something spoilery happens at the halfway point that prompts a bonkers tonal shift and launches the movie in a new direction.
Both the subject matter and twisted nature of Cloud reminded me a bit of Bong Joon Ho’s masterpiece Parasite, but it still has its own voice and feel thanks to Kurosawa’s unique flourishes. It’s absolutely worth the drive to Atlanta to see the film in limited release; however, if you can’t, be sure to keep an eye out for it to hit VOD and streaming later this year.
Grade: A-
Happy Gilmore 2
(Rated PG-13 for strong language, crude/sexual material, partial nudity and some thematic material. Now available on Netflix.)
The premise: After a personal tragedy, Happy Gilmore (Adam Sandler) must overcome one obstacle after another to make his big comeback in professional golf. If he succeeds, his daughter (Sunny Sandler) will achieve her dream of attending a prestigious dance academy in Paris.
The verdict: Happy Gilmore – which came out nearly 30 years ago! – remains one of my favorite Sandler movies, so I was cautiously optimistic when I heard a sequel was hitting Netflix. Turns out, my cautious side was better prepared than my optimistic one. While Happy Gilmore 2 isn’t awful, it’s a couple of different movies haphazardly smashed together.
“What if Happy Gilmore was the protagonist in a John Cassavetes domestic drama with an unsettling amount of CGI?” isn’t a question I expected to be asked when I fired up Netflix last weekend, but I got the answer anyway. The first half is surprisingly dark, with serious-as-a-heart-attack story elements like death, alcoholism, financial struggles and fatherhood.
While intriguing from a snobby film critic perspective (and a welcome reminder that Sandler can be a darn good actor), I get the feeling fans expecting Bob Barker fistfights and Subway jokes are in for a jarring experience. That tone also doesn’t line up with the second half of the film, which turns into a nonstop parade of cameos from celebrities and athletes, along with super obvious callbacks to gags from the original. It’s a memorable experience without question, but not a successful one overall.
Grade: C
(Rated PG-13 for crude/sexual material, violence/bloody images and brief partial nudity. Opens in theaters on August 1.)
The premise: In this legacyquel/reboot of Leslie Nielsen’s classic cop parody, Lt. Frank Drebin Jr. (Liam Neeson) follows in his father’s footsteps by leading the Police Squad and solving a mystery involving a beautiful femme fatale (Pamela Anderson).
The verdict: Comedy on the big screen is an endangered species in this era, so I’m happy The Naked Gun escaped streaming purgatory. Even better, it’s way funnier than anyone could’ve predicted. When I heard a reboot was happening, I was skeptical. However, director Akiva Schaffer (who also helmed the criminally underseen Hot Rod, Popstar: Never Stop Never Stopping and Chip ‘n Dale: Rescue Rangers) and his co-writers Dan Gregor and Doug Mand have crafted a screenplay that honors the original’s brilliant idiocy and nonstop gags.
Neeson’s casting is a stroke of brilliance. His gruff demeanor is perfect for a character whose comedic impact comes from playing everything deadly serious. He never mugs or winks at the camera, whether he’s dressed in an absurd outfit or delivering a monologue about the importance of never connecting an old TiVo to the internet.
However, Neeson’s costars also get some time to shine. Anderson, currently experiencing a welcome career resurgence, isn’t afraid to look ridiculous for a laugh, while Danny Huston and Kevin Durand are clearly having a blast as the villains.
The second act drags a bit and not every joke works, but The Naked Gun is still far better than it had any right to be. Plus, at a brisk 85 minutes, it doesn’t have time to wear out its welcome. The flick made me realize how much I missed sitting in a room full of strangers who are all laughing their heads off. Fingers crossed that audiences will give this one a shot – we need more theatrical comedies.
Grade: B+
(Rated R for violence and language. Opens in select theaters on August 1.)
The premise: In this crime drama (based on Jordan Harper’s novel), Taron Egerton plays Nate, an ex-con who is targeted for death by enemies he made in prison. Now he must go on the run with his estranged 11-year-old daughter, Polly (Ana Sophia Heger), to keep her away from brutal gang members and a corrupt sheriff-turned-meth kingpin (John Carroll Lynch).
The verdict: She Rides Shotgun is a mostly standard thriller, but director Nick Rowland (who reworked a screenplay by Ben Collins and Luke Piotrowski) packed the movie with strong actors who elevate the material. Egerton is solid and does what he can to bring new dimensions to the “tough guy with a good heart” trope.
Lynch is terrifying as the main antagonist, using his brief screen time (he pops up once or twice throughout before his big moments in the finale) to remind viewers how unsettling he was in David Fincher’s masterpiece Zodiac. Rob Yang is also good as a cop who blackmails Egerton’s character into helping him take down the bad guys.
However, the primary reason to check out She Rides Shotgun is Heger, who delivers one of the best child performances I’ve seen in quite some time. Kid actors’ tics, quirks and over-enthusiastic delivery tend to be a pet peeve of mine, but Heger (who got her start in the cancelled-too-soon sitcom Life in Pieces) avoids all the usual pitfalls. Hopefully, her work here marks the start of a long and successful career.
Grade: B-
(Not rated but contains violence and language. Opens at Tara Theatre in Atlanta on August 1.)
The premise: Respected writer-director Kiyoshi Kurosawa crafts this thriller about Yoshii (Masaki Suda), a Tokyo factory worker who moonlights in the black-market world. After swindling his way into loads of cash, he’s plagued by unsettling incidents that threaten his success and hint at violence.
The verdict: This Japanese thriller came out of nowhere to become one of my favorite movies of the year. For the first hour or so, Kurosawa (no relation to filmmaking legend Akira Kurosawa) crafts a methodical drama about the soul-killing effects of capitalism, but then something spoilery happens at the halfway point that prompts a bonkers tonal shift and launches the movie in a new direction.
Both the subject matter and twisted nature of Cloud reminded me a bit of Bong Joon Ho’s masterpiece Parasite, but it still has its own voice and feel thanks to Kurosawa’s unique flourishes. It’s absolutely worth the drive to Atlanta to see the film in limited release; however, if you can’t, be sure to keep an eye out for it to hit VOD and streaming later this year.
Grade: A-
(Rated PG-13 for strong language, crude/sexual material, partial nudity and some thematic material. Now available on Netflix.)
The premise: After a personal tragedy, Happy Gilmore (Adam Sandler) must overcome one obstacle after another to make his big comeback in professional golf. If he succeeds, his daughter (Sunny Sandler) will achieve her dream of attending a prestigious dance academy in Paris.
The verdict: Happy Gilmore – which came out nearly 30 years ago! – remains one of my favorite Sandler movies, so I was cautiously optimistic when I heard a sequel was hitting Netflix. Turns out, my cautious side was better prepared than my optimistic one. While Happy Gilmore 2 isn’t awful, it’s a couple of different movies haphazardly smashed together.
“What if Happy Gilmore was the protagonist in a John Cassavetes domestic drama with an unsettling amount of CGI?” isn’t a question I expected to be asked when I fired up Netflix last weekend, but I got the answer anyway. The first half is surprisingly dark, with serious-as-a-heart-attack story elements like death, alcoholism, financial struggles and fatherhood.
While intriguing from a snobby film critic perspective (and a welcome reminder that Sandler can be a darn good actor), I get the feeling fans expecting Bob Barker fistfights and Subway jokes are in for a jarring experience. That tone also doesn’t line up with the second half of the film, which turns into a nonstop parade of cameos from celebrities and athletes, along with super obvious callbacks to gags from the original. It’s a memorable experience without question, but not a successful one overall.
Grade: C
Reach out to Josh Sewell at joshsewell81@gmail.com or on BlueSky @joshsewell.bsky.social
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