Rating 15 Length 1h52 Release 16.09.2011 Director David Dobkin About Best friends Dave, a married lawyer, and Mitch, a playboy, envy each other’s lives. Hilarity ensues when their bodies get swapped, and they realise their lives are not as great as they had imagined. Moon: not sighted Where to Watch: Netflix Trailer:
Ryan Reynolds and Jason Bateman are pretty decent in this body-switch. Reynolds does seem to be able to handle both characters a little better, but Bateman equally works well when he’s acting in scenes with Reynolds. You could also argue that his character is trying to represent Dave.
The supporting cast, particularly Alan Arkin, Leslie Mann and Olivia Wilde is great.
The whole thing with getting Mitch, who is really Dave, to go on a date with Sabrina… but for her to end up with Mitch post switch-back. Like, the film makes it go really well. They almost seal the deal. What I’d really want is for Dave to realise they’re not compatible. Right? It’s not like Dave was pretending to be Mitch, he was totally being himself so I don’t get it.
The nudity, to me at least, is the one thing that’s keeping this film from being a 12a and, lets face it, a body-swap is 12a or lower territory, the family lesson learned… it all lends itself to a lower rating, and a better film. Am I a woman of a certain age a bit pissed of all these perky breasts on my screen?! Well, mine have never been perky, so perhaps?! That said, it is still gratuitous and it doesn’t add to the film. (I mean, come on… we can ALL do with one less slow-mo walk to Sweet Cherry Pie in our lives, right?!)
The CGI babies. They’re not quite at the level of Twilight’s abomination, however, that CGI chocolate starfish is a hard pass! Then there’s the mid-film knife skills that just make my brain hurt. I’m sure this is more to do with this being a repeat viewing, but it really sucks!
The poo jokes. There’s babies involved, I get there is a well there to be used. I have my issues with the projectile shit, but the biggest culprit for me is the “I need to lay off the Thai food” open doored shit Jamie takes. I’m calling bullshit on this! What a gratuitous, unfunny scene. Unless Jamie and Dave have some massive kink, she would be closing the fucking door on that shit, pun very much intended. Now, had it been the other way around, I’d have had no problem believing that Mitch, in Dave’s body, would have done this being used to living alone. That would have made for a so-so believable scene, and given Jamie cause to question what the blokes had said earlier. However, to suggest that this woman would habitually undress, leave the door open so her husband can have a direct view of the bog, and proceed to have a wet and squelchy shit. The smell of which will plague the bedroom for god knows how long?! Nope, not buying it. I know, I know, it’s not that deep! You’re right. Toilet humour is low, its superficial and I fucking hate it.
This is one of those films I actually forget I hate. Its Hangover, but a pale imitation. Thank fuck the Hangover buzz was left behind in the early 2010’s.
Rating 12 Length 1h22 Release 21.10.2011 (USA release only) Director Kurt Kuenne About A man begins experiencing his life out of chronological order. Every day he is a different age, in a different stage of his life, and never knows where he’ll be when he wakes up. Moon: Full moon 48 minutes in Where to Watch: Part of MGM subscription on Amazon Prime Trailer:
The characters are good and so is the story; once you have all the pieces.
TJ Thyne proves here that he can hold his own and lead a film. He’s charming, engaging and emotive. Everything you need in a leading man.
The mystery does keep you invested. Knowing that the protagonist is there with you too allows you to want for the answers. I never like it when the protagonist is holding back from the audience.
The lighting of the film is inconsistent. Now while it may convey something, I found it very distracting when it changed when the angle did. It didn’t feel like an artistic choice and more of a incompetence.
The unusual narration choice is really hard to follow, as seen by the extensive use of a vocal narrative. It became rather repetitive to hear the protagonist for the fiftieth time tell us he knows something, but doesn’t know how he knows.
There was no option for subtitles on this title. I have them on out of habit now, but this film really did need it. Perhaps its part of the “Indie” feel, but the sound mixing was terrible and I spent a lot of the film changing the volume.
One watch wonder. The out of sequence narration does not make for an easy or enjoyable watch. Once the mystery is solved, I’m not sure a repeat viewing is needed. Wanting something similar, but better? Time Traveller’s Wife, About Time or Benjamin Button all handle this bittersweet time travel much better.
Rating 15 Length 1h46 Release 2.9.2011 Director Craig Gillespie About When a nice new neighbor moves in next door, Charley discovers that he is an ancient vampire who preys on the community. Moon: no moon sighting Where to Watch: Disney Plus Trailer:
Ah, 2011! The height of of the 3D Hollywood cash-in. Some films, Pocahontas in Space comes to mind, used it well as part of a depth of field. Other, used it as a gimmick and set up certain parts for that ‘gotcha’ jump scare. That second sort have not aged well. Fright Night is one of those gimmick type movies and you can tell. From blood splatter to thrown objects; they have this gloss to them that just makes them stick out like a sore thumb.
Anton Yelchin’s death in 2016 makes this a hard watch. That lad was such a beautiful talent, and while I’m grateful to have the roles that we have, it still really hurts to think how much of a tragedy losing him was.
Not 100% sold on Colin Farrell’s vampire, Jerry. Don’t get me wrong, he’s really good as a bad guy. Hell, he’s grand as the ambiguous guy. However, there’s something off and a little ‘try-hard’ about this performance. The best example I can give is when Jerry gets the pack of Bud from Charley. It feels like he would fit right at home in Twilight rather than this film.
The club scene really fucking pisses me off in today’s climate. There’s a girl being fireman lifted to a dark corner and she’s asking anyone who will listen to help, yet no one listens. Its fucked up, and what’s worse is that I can’t tell if its a commentary on society, thoughtlessness or a way to desensitise us to what we now call the ‘me too’ culture.
Anton Yelchin is perfect as the geek that blossomed. He’s got the girl and you can see how he got the girl, but he also was once friends with the losers and you can also see how that is possible. There’s a balance that Yelchin is able to give in his performance; he is able to give the audience comedy, drama and horror without any one taking over. He also proved with this film, among others, that he is capable of leading a film. I can’t help but wonder while watching Fright Night; how cool would his Spider-Man have been?
David Tennant. In 2011, I wasn’t too impressed with his potty mouth. To me, it was like putting Micky Mouse in Ted. I understood that it was perhaps a way to break from his child-friendly Dr Who persona, but that was exactly what I didn’t like about it. Now, I fucking love the jaded, cursing bastard. I love the story arc we get and, much like his tenure as the keeper of the TARDIS keys, there’s the childlike joy along with the bitterness of someone who has seen pain. Only he can say fuck. A lot. The decision to make Vincent Price a much younger expert, and a Vegas act, was really quite novel. This, along with a few other choice changes, allowed this remake to stand alone from the original.
I’m not quite sure what it is about the films of the early 2010s, but they have this sheen to them that wasn’t present in many movies before. I’m not really researched enough to discover if it is around the time things moved from celluloid to digital, but there’s something distinctly different that really draws me in. Best example I can think of is the way in which the chase scene is filmed. The tracking of the camera within the car is dynamic yet strangely claustrophobic.#
The music is fantastic. Both the original soundtrack and the song choices. I was so convinced that it sampled the 1985 theme song that I’ve just had to pause in order to find out. While I can’t confirm, it certain does have a 1985 inspired vibe to it.
It’s a solid vampire entry, even if the big bad is so wooden I expected him to sparkle. While the CGI is passable, its let down by any attempt to pander to the 3D market.
Rating 12 Length 2h04 Release 29.7.2011 Director Joe Johnson About During World War II, Steve Rogers decides to volunteer in an experiment that transforms his weak body. He must now battle a secret Nazi organisation headed by Johann Schmidt to defend his nation. Moon: no moon sighting Where to Watch: Netflix (until 14th August) Trailer:
This film has a dream cast; Chris Evans, Hugo Weaving, Hayley Atwell and Stanley Tucci to name but a few of the heavy hitters in this origin story.
At the heart of this film is the relationships. From the mentor, mentee to the best friends and the romantic. This is a film that strikes just the right balance.
The wonderful Neal McDonough always makes a film that little bit better. Add with him a team of soldiers that include Sebastian Stan’s Bucky Barnes and you have an incredible middle act.
I’m not a fan of Red Skull and the face. I think I perhaps would have preferred a later reveal. I often think this way when films have prominent actors hidden behind masks like this.
It’s has a very clunky first half as we’re introduced to all of the characters. Part of the issue is the back and forth between characters until the audience know who is involved.
One of the best origin stories out there on film and part of that is due to Chris Evans’ performance.
Rating 12 Length 1h55 Release 27.4.2011 Director Kenneth Branagh About Thor is exiled by his father, Odin, the King of Asgard, to the Earth to live among mortals. When he lands on Earth, his trusted weapon Mjolnir is discovered and captured by S.H.I.E.L.D. Moon: Full moon behind clouds as Jane and Thor talk outside. Where to Watch: Disney+ Trailer:
The wonderful thing about this outing, or origin, of Thor is the Shakespearian richness of it all. There’s just something about Kings and heirs, betrayal and madness that lends itself to the tone of The Bard. If there was ever going to be a director that could accomplish this, it’s Kenneth Branagh. While it may not be everyone’s cup of tea, and perhaps it hasn’t aged as well for how it stands out from the others, but I still have a soft spot for what Branagh brought to the MCU.
As with most of the Marvel projects, this is well cast. Doubly so when you consider your protagonist and antagonist. Both up and coming actors and relative risks. Both hold their own and make this film the joy that it is to watch. We know both are now capable of the humour too, from their long standing returns to the universe, however I’m glad we didn’t get their full range here. The story would not have fit the journey both Thor and Loki needed to go on.
This film’s strength is the emotional scenes. In particular those that contain whatever combination of Thor, Odin and Loki Branagh chooses to give us. Without the gravitas and the weight behind those words, this film could have been ridiculous.
Two of my favourite Marvel characters appear in this film: Agent Coulson and Erik Selvig. Both very much human, thrown into all of this and handling it all very well. The thanks obviously need to go to the men behind those characters, Clark Gregg and Stellan Skarsgard respectively. Their interaction together when Selvig goes to collect Thor is genius.
Some of the camera angles made me a little motion sick this time. The asymmetry works on a big screen, but my eyes didn’t like it so much when at home.
I’m not sure I liked how the film opened. The sort of cold open is usually saved for episodes of tv shows once characters are established, so meeting Jane, Selvig and Darcy briefly to almost flash back. It didn’t work for me the first time I saw it and it never gets any better the more times I watch.
I am not so happy with how Clint Barton aka Hawkeye is introduced. Yes, I’m sure comic book loyalists would have got it straight away. However, you have to play to your whole audience. I’m not talking about adding much, but I don’t even recall his name even being mentioned.
Why are Lady Sif and Darcy so unworthy?! Darcy needs her show with ya man from Ant-Man and give Sif everything! It was amazing seeing her in Loki, but we need MORE. I don’t know what it was about Phase 1, but our female characters get built up so we want more. But then nothing happens.
A comic book origin story of Shakespearean magnitude. Must admit this was the film in my marathon two years ago that stopped me watching any more. I really didn’t enjoy it and found it a slog. This time though, I found it charming and rich with Easter eggs.
Rating PG Length 1h40 Release 2.12.2011 Director David Frankel About Three avid bird-watchers pursue the winner’s title to achieve the world record of spotting the highest number of birds during the Big Year event as the title holds a special meaning for each one. Moon: full moon spotting just before the closing of the film Where to Watch: Disney+ (Star) Trailer:
It is a charming film, from start to finish. For me, it’s on par with The Secret Life of Walter Mitty (2013), Hector and the Search for Happiness (2014) and the wonderful Simon Birch (1998).
It’s so hard to describe, but there’s a sincerity in this film that I wasn’t expecting. This film surprised me, and that does not happen very often. I think part of that is having three men well known for their comedy and stripping that away while also putting the viewer in a position of uncertainty.
The biggest win this film has for me, is how you have the plot revolve around a competition, yet the plot does not go down the route of having them sabotage each other. I must admit, I put it on expecting Bride Wars (2009) of the birding world. Instead, what we get is a healthy competition, exploration of dreams, deconstruction and reconstruction of relationships and an uplifting feeling.
The music, while cheesy, is perfect. So many songs about birds; who knew? It wasn’t overwhelming; it fit the storytelling.
The cast in this film is incredible. You have the main three; Wilson, Martin and Black. I cannot tell you how much I loved these three together. Each had their moment to shine and they are the perfect example of an ensemble. However, it doesn’t stop there, the supporting cast is full to bursting with people that will have you reaching for IMDB.
This is a very personal thing, but I could have done with less Rosamund Pike. it’s not that I don’t like her, I just don’t like her playing an American. Her accent is okay, but because I know she’s English, my ears register it as a cringe-worthy fake.
On a similar note, I find it a travesty that Anjelica Huston and Jim Parsons were not used more.
There was a visual cue to any flash-backs that occurred early in the film, however it was discarded near the hour mark. This was a shame , as it was used so little that it felt less like an artistic choice and more of an error in filming.
There will be tears for those who leak at pulled heartstrings. Quite a few points in each of the three men’s lives will most certainly have a lump in the throat, if not a hand reaching for the tissues.
This is a lazy Sunday afternoon film that will leave your heart warm, your eyes wet and a smile on your face.
Rating 15 Length 1h 51 Release 15.4.2011 Director Wes Craven About At the end of her book tour, Sidney visits her home town after ten long years. As she catches up with old friends, her return not only brings back memories but also beckons the return of Ghostface.
Emma Roberts has that ability to be believable in many forms. Perhaps that wasn’t as true back in 2011, but now that she has a chocked full CV, you can see that she’s versatile and creative. That final act is where she truly shines. In fact, its the final act that makes this film, almost, bearable.
Totally forgot Hayden Panettiere was in this movie and she was delightful. She pathed the way for the tv series character Audrey. The idea that there was a trilogy in which Panettiere continued to star sounds amazing and it is just a shame this bombed.
I love the concept they bring to the film about technology. The use of it, the commentary on it. Brilliant. Its execution in the plot is not fully invested so it feels more like lip service, outside of a few scenes.
I still don’t buy Sidney Prescott as an actress. I always find that a bizarre conclusion, but she’s just too… internal and shy.
Mary McDonnell as Kate Roberts irks me. She seems to be in a completely different movie to everyone else.
How wasted was Adam Brody?! I kind of get the feeling he was cast when his character had a bigger role. I remember it being announced he was going to be in the film and then being so disappointed.
Those fake openings were bordering on Scary Movie territory. I sort of see what it was trying to achieve, but it didn’t quite get over the lampooning the lampoon to belong in this movie.
The film hasn’t aged well for me and suffers a similar fate to Ghostbusters Answer the Call (2016). It relies too much on the past and almost tries to belittle it in order to bring in a new audience. It’s not a ‘pass the torch’, so the focus upon the teens in Woodsboro feels a little contrived and shallow. Yet, its not really a film about the original characters either; we get too little about what they’ve been doing for that to be the case.
The bigger issue with this film is that it unbalances a trilogy and lacks enough to bring it into the franchise to make a quadrilogy.
Each time I rewatch this film, I kind of hope that it’s better than it actually is. Every time I end up disappointed and promising myself I won’t waste any more time watching it again. My advice is to stick to the trilogy, or if you want to branch out, check out the tv series.
“Santa, we know we shouldn’t believe rumours, but we do.”
Watching on Netflix Length: 1Hr 37
Santa’s clumsy son Arthur sets out on a mission with St. Nick’s father to give out a present they misplaced to a young girl in less than 2 hours.
What an adorable addition to the Christmas movie fleet. With an all-star voice cast bringing the Santa family to life, you can’t help but feeling charmed and warmed by the story of the youngest Santa, who doesn’t quite fit the traditional expectations.
Arthur is voiced by James McAvoy and is passionate, clumsy and everything you want in the Christmas spirit. The character reminds me of the comedian Kieran Hodgson and he’d made a perfect live action counterpart.
The story brings together the old and the new. Tradition and technology are at the heart of the story that truly is about bringing joy and truly caring. It’s a message that can sometimes get lost. Evie, the traditional sleigh and Bill Nighey’s Grandsanta prove that there’s sometimes fault in relying in new routines.
There’s so many wonderful touches in this film; from the user manual for the S1, the batteries inside the toy and next in line santa’s Christmas camo uniform. And on that note, Steve is a welcome addition to the Santa role call. A character that is slightly removed from the true message of Christmas has been given the perfect actor to voice it. Hugh Laurie’s distinctive tones fit well among a high hitter family that also includes Broadbent. It also took a curious turn by not making Steve an outright antagonist. So often his character would be so hell bent on gaining the power that he would not be redeemable (2011’s Hop comes to mind). Thankfully, this feel allows the character to realise his strengths and accept there’s someone else to embrace his weakness’.
The Bad & Ugly
Clutching at straws here brings me to the fact that this charming beauty of a film is lacking a sequel. I saw clutching at straws because I’m not certain a sequel is needed. This was a self contained, charming film and the only thing that has me wanting a sequel is the fact that its so good that I’m quite curious to see what Sarah Smith and Peter Baynham could offer us again.
That’s all folks
That’s it for today’s advent calendar. See you tomorrow when Bill Nighey and Martin Freeman will be popping back into the festive countdown.