Zombieland: Double Tap goes down so much easier when I think of it as a comedy rather than a zombie film. It doesn't contain a single non-gag, let alone a moment of real horror, that has any staying power. I suspect Ruben Fleischer knows this, but that hasn't stopped the filmmakers from spending a lot of time and money on monotonous CGI-enhanced zombie massacres. Thankfully, despite some indications that the comedy well might be running dry—or at least, where the…
There's an alternate universe in which Larry Cohen convinced Alfred Hitchcock to make a version of Phone Booth in the 1960s, and this is sleazy and weird enough that I think I'd still pick Joel Schumacher's cocaine energy over whatever Hitchcock might have injected into the material.
(And there's a lot to say for Colin Farrell frantically yelling at people for an hour and a half, but to my mind, this wouldn't feel complete without Kiefer Sutherland's gleeful amorality and mocking tone. Great casting all around.)
Robocop 2 just can’t capture what makes Paul Verhoeven’s take on the material so wonderful and transcendent. The satire is there, but it’s all over the place and therefore a bit diluted. What starts out as an interesting take on corporations and their ability to absorb and repackage potentially subversive views just culminates in lazy “corporations = Nazis” iconography. Same goes with the police material, which couldn’t have aged more poorly—a lot of jokes seem to emerge from the “totally…
Roy, a mercenary and absentee father, finds himself caught in a time-loop, waking up each morning pursued by the same team of assassins. I won't waste much time thinking about the narrative, because Joe Carnahan clearly didn't. Case in point: sometimes he wakes up with a partner, except for when it proves inconvenient for the beats the movie wants to hit. This is film as spectacle, and as spectacle, it's a mixed bag. A lot of jokes land with an…