Movie Review - Results

Results (2015)

Starring Guy Pearce, Cobie Smulders, Kevin Corrigan, Giovanni Ribisi, Anthony Michael Hall, Brooklyn Decker, and Constance Zimmer

Directed by Andrew Bujalski

***Ts film is currently streaming on Netflix***

Despite nice performances from Guy Pearce and Cobie Smulders as fitness instructors Trevor and Kat, Results feels like a film searching for its core plot.  Is it a film about the current business and potential personal relationships between gym owner Trevor and employee instructor Kat?  Or is it a film about Danny (Kevin Corrigan), an overweight divorced guy who, following his mother's recent death, has received a windfall of money and decides to use some of it to try and lose weight (and emotionally grow) by hiring a personal fitness instructor from Trevor's gym?  Or is Results about Danny wanting to use his money to help Trevor expand his gym empire from a small single storefront to a chain of all-encompassing wellness center?

Writer-diretor Andrew Bujalski's film seems completely unsure of what it exactly wants to be.  While it succeeds at creating an appropriate balance between comedy and light drama, its various plotlines prove to be underdeveloped and scattered.  Initially, I thought the film was going to be all about Danny, but then that character seems to disappear in the film's final half after we've already invested a good amount of time with his storyline.  The switch is jarring and ultimately proves to be disappointing in a film that I was somewhat buying into initially.  As mentioned, Pearce and Smulders are quite good, proving to have a chemistry with one another and other characters that keep the film interesting, but it's simply not enough to make the flick recommendable.

The RyMickey Rating:  C-

Movie Review - Meadowland

Meadowland (2015)

Starring Olivia Wilde, Luke Wilson, John Leguizamo, Elisabeth Moss, Ty Simpkins, and Giovanni Ribisi

Directed by Reed Morano
***This film is currently streaming on Netflix***

In Meadowland, a typical stop at a gas station convenience store ends in horror when the young son of Sarah and Phil (Olivia Wilde and Luke Wilson) is snatched out of the bathroom right under their noses.  Panic sets in and unfortunately over a year later, their boy is still nowhere to be found.  Phil, a police officer, has succumbed to the fact that his son will likely never be returning, while Sarah, a middle school teacher, will not face the possibility that she will never hold her son again.  Unable to really connect with one another, they find other outlets to try and find relief, but relief doesn't equal happiness.

With some wonderfully nuanced performances from Olivia Wilde and Luke Wilson (two actors who I must say that I may never have appreciated as much as I did in this film), it's a bit of a shame that about halfway through Meadowland starts to fall apart.  Watching Sarah and Phil's initial devastation is heartbreaking, but as they begin to explore opportunities that give them a little joy, director Reed Morano's film doesn't really know where to go story-wise, ending in such an awkward and unappealing way that a good chunk of the goodwill it harbored in the very good first half is nearly diminished.

This is Morano's first film and there's certainly potential in the young director.  He got two great turns from his two leads and I think the fault lies more in the script (also from a debut screenwriter) than his direction.  While I'd like to recommend it (and the rating below infers a slight recommendation), Meadowland is really only worth watching for Wilde and Wilson -- there are better films about parental grief than this one.

The RyMickey Rating:  C

Movie Review - A Million Ways to Die in the West

A Million Ways to Die in the West (2014)

Starring Seth MacFarlane, Charlize Theron, Amanda Seyfried, Giovanni Ribisi, Neil Patrick Harris, Sarah Silverman, and Liam Neeson

Directed by Seth MacFarlane

I'm not sure I ever thought I'd write a sentence containing this sentiment, but Sarah Silverman is the best part of Seth MacFarlane's much too long A Million Ways to Die in the West.  Quite frankly, it's a shame the female comic isn't in the film a bit more.  Then again, I can take Silverman in small doses so it's probably better her role as a morally conscious prostitute in 1882 Arizona is only a supporting one.  Still, her comedic timing with co-star Giovanni Ribisi as her celibate boyfriend provide the film its few and far between laughs.

In an obvious attempt to meld Mel Brooks' Blazing Saddles with modern-day Family Guy sensibilities, writer-director MacFarlane throws a bunch of jokes at the audience (at least in the first two-thirds of its two hour running time), but they mostly fall flat.  MacFarlane's comedic timing works on an animated show like Family Guy where we can easily suspend our reality, but when MacFarlane himself is onscreen rattling off jokes that overstay their welcome, we tire much easier, unable to really foster his scattershot comedic style in a live action setting.

MacFarlane is essentially playing himself (or at least the persona we've come to know) in the character of Albert, a sheep farmer who desires nothing more than to escape the wild west where death is around every corner.  When his girlfriend Louise (Amanda Seyfried) leaves him for Foy (Neil Patrick Harris), the proprietor of a mustache grooming store, Albert is heartbroken until he meets cowgirl Anna (Charlize Theron) whose no-nonsense style he falls for right away.  Anna reciprocates Albert's feelings, but she is unfortunately involved in a bad marriage with the evil Clinch (Liam Neeson) who is none too pleased when he discovers that his wife is having relations with another man.

Throw in a bunch of fart jokes, Neil Patrick Harris pooping into a hat (scratch that -- multiple hats), Sarah Silverman having a certain male bodily fluid dripping off the side of her face, and many more low-level bathroom-related jabs that any eighth grader would find hilarious and you've got A Million Ways to Die in the West.

The RyMickey Rating:  D

Movie Review - Selma

Selma (2014)

Starring David Oyelowo, Carmen Ejogo, Tom Wilkinson, Tim Roth, Common, Renee Toussaint, Wendell Pierce, André Holland, Ruben Santiago-Hudson, Colman Domingo, Omar J. Dorsey, Tessa Thompson, Giovanni Ribisi, Jeremy Strong, Henry G. Sanders, Keith Stanfield, Oprah Winfrey, Cuba Gooding, Jr., and Martin Sheen

Directed by Ava DuVernay

For years, I've made note of how much I hate the film genre of the "biopic," but over the past few years, I've grown to appreciate what such flicks bring to the table in terms of opening my eyes to the intricacies of historical events that may have not necessarily flown under my radar, but perhaps been lower key in my mind than they probably should have been.  In 2014 alone, I've been treated to two very good stand-outs in the genre with The Imitation Game and The Theory of Everything.  Selma joins that list.

Smartly detailing only a small segment of his life, Selma focuses on Martin Luther King, Jr.'s attempted 1965 fifty-four mile march from Selma to Montgomery, Alabama, in order to raise awareness of that state government's refusal to give black Americans the right to vote.  Rather than introduce us to Mr. King via childhood anecdotes or college shenanigans, director Ava DuVernay and screenwriter Paul Webb sink us right into the action with King (played strongly and confidently by David Oyelowo) trying to persuade President Lyndon Johnson (Tom Wilkinson) to pass a Voter's Rights Act that would allow all Americans to be allowed to register to vote without harassment from government officials.  When Johnson denies that request, King decides that he must continue on his mission of peaceful, nonviolent protest in order to get his point to the American people since his government was not assisting in providing this basic human right.

The film very shrewdly shows that King was cunningly media-savvy, knowing that in order for him to succeed, he needed to have cameras and reporters present.  While he respected the work that some lesser black community organizations were doing to push voting bills into place, King knew that they would fail simply because they were "too small."  This sly intelligence and insight into this brilliant man's mind was interesting to see unfold.  Credit must also be given to the fact that the film doesn't present King as a saint as his well-known infidelities are touched upon more than once.

David Oyelowo takes on the unenviable task of embodying Mr. King -- a man whose recorded and televised speeches are some of the most well-known in American history.  Oyelowo is hugely successful at bringing the civil rights' leader's diction, mannerisms, strength, humility, and intelligence to the screen.  Oyelowo is moving in the film's quiet moments, yet powerfully rousing as the rather ingenious orator that King was.  Oyelowo is buoyed by a strong supporting cast that weave in and out of the tale, including a nice turn from Carmen Ejogo as King's put-upon wife Coretta.  Tom Wilkinson as a headstrong (less-than-eloquent) president provides a nice counterpoint to King's/Oyelowo's passionate fervor.  (Also interesting to note -- Democrats weren't exactly kosher with the African American community getting the right to vote -- yet us Republicans are constantly paraded around as the more "racist" party.)  Particularly moving is an incredibly strong small role by Henry G. Sanders as the grandfather of a young man killed in cold blood by an Alabama police officer.  Sanders has very few scenes, but I found him riveting and emotionally powerful whenever he was onscreen.

On the downside, the film felt a little longer than its two hour running time and I found myself checking the watch a few times.  However, I certainly was never bored.  Perhaps more than any other film I've seen this year, I came away from the theater thinking about how our society needs someone powerful like Martin Luther King, Jr., today.  The Al Sharptons and Jesse Jacksons of the world are only out for themselves despite what they may have you believe.  While I mentioned King's utilization of the media above, Sharpton and Jackson manipulate the media for their own time in the spotlight.  King used the press for the betterment of the people.  

The film certainly comes along at a pivotal time in our culture what with the Ferguson fiasco.  No matter where your opinion may fall on that spectrum, what this film showed me was that our society now doesn't have the voice that Martin Luther King, Jr., provided in the 1960s.  (I always thought Bill Cosby could maybe have been that voice -- but we all know where that ended up now.)  In that way, Selma made me quite sad for our current state of affairs.  King didn't pit society in a black-against-white type way, whereas nowadays that's the way everything is presented whenever "race" is involved.  King knew that a "race war" wouldn't solve any problems -- unity was needed, not race baiting.

Kudos to the relatively new-to-the-scene Ava DuVernay who has crafted a pic that resonates.  She doesn't necessarily pull out any tricks (and when she does, they sometimes fall flat -- like a slow-motion fight scene involving police officers and actress Oprah Winfrey), but she creates a impact showcasing the courage of not only Dr. King, but the many black and white Americans who quite literally joined hands with him to create change.  There's power in these images DuVernay brings to the screen -- the opening shot of the Sixteenth Street Baptist Church Bombing starts things off with such an impact that I was taken aback (in a good way) by the way Ms. Duvernay decides to present things -- and there's absolutely something to be said for being able to create something that can carry such weight.

The RyMickey Rating:  B+

Movie Review - Gangster Squad

Gangster Squad (2013)

Starring Josh Brolin, Ryan Gosling, Nick Nolte, Emma Stone, Anthony Mackie, Giovanni Ribisi, Robert Patrick, Michael Peña, Mirielle Enos, and Sean Penn

Directed by Ruben Fleischer

Los Angeles.  1949.  Gangster Mickey Cohen (Sean Penn) and his goons have taken control of everything and everyone.  The cops.  The politicians.  The drug dealers.  Even a good cop like Sgt. John O'Mara (Josh Brolin) is being told by his superiors to let Mickey be.  However, police chief Bill Parker (Nick Nolte) hasn't been bought by the mob and he commissions O'Mara to form a gangster squad of cops under the table to infiltrate all aspects of Cohen's shady dealings.

I must say that two-thirds of the way through the "based on a true story" Gangster Squad, I was digging the slight buddy comedy-retro action vibe that was going on amidst O'Mara and his cronies played by Ryan Gosling, Anthony Mackie, Giovanni Ribisi, Robert Patrick, and Michael Peña.  There were enough hints of humor, drama, and action that it made each scene leading up to the final act interesting enough to not feel so derivative of movies past.  However, when the final act kicks in and the Gangster Squad actually comes face to face with Cohen, the film falls apart for me.  The action scenes prove to be bland and the big showdown with Cohen himself is a bit of a letdown.  No one was ever going to say Gangster Squad was fantastic, but it had potential that it somewhat squanders in the end.

However, the film has a real solid cast going for it.  I wanted to dislike Sean Penn immensely because I can't really stand the pretentious guy in real life, but he makes a decent bad guy here, and Mirielle Enos brings just enough of a stock character to life in her role as O'Mara's wife, helping to humanize and give a more well-rounded portrayal of her husband.

The stars, really, are Josh Brolin and his gang.  Brolin's actually the lead here (despite the fact that I thought this was going to be Ryan Gosling's show all the way) and he steps up to the plate in a role that, in a better written film, may have had potential to be something really special.  Still, as it stands now, he's completely compelling and makes his quiet scenes with Enos have just as much meaning as the ones with his cop buddies.  And it's in those scenes with his cronies that the film really springs to life.  Brolin, Gosling, Ribisi, Patrick, Mackie, and Peña really make each other better and play off each other quite well.

Like I said, though, the film flounders in the final act.  Perhaps it's because the film's end was reshot after 2012's horrible Aurora, CO, movie theater shooting and the whole thing just didn't come together, or perhaps the screenwriter just didn't have a solid way to conclude the flick.  While the first two-thirds certainly aren't perfect (a love story between Gosling and Emma Stone should've really been left on the editing room floor), Gangster Squad is a fun ride for about seventy minutes and a bit of a letdown in its final thirty.

The RyMickey Rating:  C+

Movie Review - Ted

Ted (2012)

Starring Mark Wahlberg, Mila Kunis, Joel McHale, Giovanni Ribisi, and Seth MacFarlane

Directed by Seth MacFarlane

Thanks to a convenient wish on a star that came true, Josh Bennett has grown up with a real-live teddy bear as his best friend for over twenty years.  Josh (Mark Wahlberg) certainly hasn't kept the bear a secret, seeing as how Ted (voiced by Seth MacFarlane) made appearances on Johnny Carson's late night talk show decades ago, but both Josh and Ted's celebrity has faded as all flash in the pan news stories are wont to do.  Josh now works at a rental car dealership, and Ted stays home, smokes weed, has sex (somehow) with skanky women, and is pretty much that college buddy or coworker you know who has refused to grow up.  While Ted's an all around lovable guy, his rowdy ways don't sit well with Josh's longtime girlfriend Lori (Mila Kunis) who, finally fed up with Ted's shenanigans, gives Josh the ultimatum to either have Ted move out or lose her forever.

If only Ted had stopped there.  But, no.  Much like a meandering episode of Family Guy, writer-director Seth MacFarlane's live-action film debut throws a bit more at the audience -- a snobby love interest for Lori (Joel McHale) and a kidnapping plot involving an obsessed fan (Giovanni Ribisi) of Ted's which results in one of the most ridiculous (and utterly unfunny) climaxes this year -- and the goodwill that MacFarlane gains from a rather hilarious opening hour is tossed out the window.  It's rather unfortunate because I laughed out loud multiple times during the film's opening two acts, but I'm not sure I even cracked a hint of smile during the final forty minutes -- and in a comedy, that's a problem.

Nevertheless, Ted does have a lot of positives going for it.  For one, the Ted special effects are quite impressive and worthy of some commendation.  Secondly, I give MacFarlane credit for crafting half of a good film and while that sounds like damning praise, I mean that fully as a compliment.  I wasn't expecting much from him -- I like Family Guy, but can only take it in mild doses -- and he proved me wrong.  Lastly, Mark Wahlberg actually didn't suck here.  For the 2010 RyMickey Awards, I awarded Mr. Wahlberg the dubious honor of Worst Performance of the Year for his role in The Other Guys and said, "Wahlberg and comedy do not mix."  While his role here isn't over-the-top fantastic by any stretch of the imagination, he was certainly bearable (pun slightly intended).

The RyMickey Rating:  C+

Movie Review - Heaven

Heaven (2002)

Starring Cate Blanchett and Giovanni Ribisi

Directed by Tom Tykwer

***This film is currently streaming on Netflix***

Whereas director Tom Tykwer's Run Lola Run is a nonstop frenetic ride, his Heaven is the complete opposite.  Moving at a snail's pace, the ninety-five minutes of this tale which focuses on a British woman named Phillipa (Cate Blanchett) enacting revenge on the drug dealer who killed her husband felt like an eternity at moments.  It's a shame because the film starts out incredibly promisingly with what is a criminal act gone wrong (told in a methodical tension-building manner), but Tykwer can't keep me interested in the slightest in the remaining eighty-five minutes once Phillipa gets caught by the Italian government and eventually begins a relationship with one of her guards, Fillipo (Giovanni Ribisi).  Despite some decent performances, I just couldn't get into this one and the ending was just too pretentious to satisfy.

The RyMickey Rating:  D

The Personal Canon - Saving Private Ryan

The Personal Canon is a recurring column highlighting my favorite films of all time.  While they may not necessarily be "A" rated, they are the movies that, for some reason or another, hold a special place in my filmgoing experience.

Saving Private Ryan (1998)

Starring Tom Hanks, Edward Burns, Tom Sizemore, Jeremy Davies, Barry Pepper, Adam Goldberg, Giovanni Ribisi, Vin Diesel, and Matt Damon

Directed by Steven Spielberg

Damn you, Saving Private Ryan.  When the single tear rolled down my cheek after watching you on my freshly received Blu-Ray, I was cursing your name.  I remember back on your opening day on July 24, 1998, as a somewhat fresh high school graduate, I sat in a theater full of mostly senior citizens (of which I assumed some were veterans) for your opening show.  Even twelve years ago, I remember welling up as the credits began to roll.  And I was not alone in the watery eye department.  You worked your emotions on nearly everyone in the theater.  I'm more than happy to report that you still stand the test of time, providing an eye-popping, gut-wrenching, and awe-inspiring glimpse into the trials our soldiers tackled head-on in World War II.

No discussion of director Steven Spielberg's Saving Private Ryan can be had without discussing the epic Omaha Beach D-Day battle sequence that opens the film.  A directing tour de force of the highest degree, Spielberg places us squarely in the action, not giving us a moment to breath for over twenty minutes.  In front of our very eyes, limbs are lost, explosions tear bodies apart -- loss of life everywhere.  The scene is relentless, unceasing, and as a viewer there is no greater desire for this assault (both physically and visually) to end. Emotionally, it's painful to watch.  Cinematically, it's brilliant.  Immediately, Spielberg has made us a soldier, shakily moving the camera as if we were standing on the beach witnessing the horrific chaos.  

By placing us in a soldier's shoes from the outset, we become one of the small battalion of men who go on a mission to search for Private James Ryan (Matt Damon) whose three brothers have been killed in various battles during the war.  Ordered from his superiors to find Ryan, Captain John Miller (Tom Hanks) and a group of eight other soldiers trek across France looking for, as Capt. Miller perfectly describes it, "a needle in a stack of needles."  Along the way, smaller battles will be fought, soldiers will be lost, and the fear, pain, joy, and camaraderie are palpably felt by the viewer.

Even though the film is bookended by two intense, lengthy battle sequences, a huge chunk of the emotional impact the film garners is derived from the quiet moments.  Towards the beginning, there's a gut check moment in which Ryan's mother is given the news that her sons have died.  There is not a word spoken in the scene by anyone, but the emotional impact of John William's melancholic score and Janusz Kaminski's breathtaking Academy Award-winning cinematography (coupled, of course, with Spielberg's deft direction and stellar acting even from secondary actors) make this moment instantly memorable.  Another particular "calm before the storm" moment occurs prior to the film's final battle where the surviving soldiers sit around thinking about life at home.  As they boast about sexual encounters or discuss simply missing their wife's rose garden, these quiet, understated moments in Robert Rodat's script allow us to get to know our fellow soldiers, all the while amplifying the anticipatory tension of the inevitable impact of the forthcoming battles.

Of course, the emotional resonance wouldn't make much of a difference if the actors in the film didn't shape characters to care about, but that's not a problem in the slightest.  Some may think Tom Hanks is rather subdued as Captain Miller and while they wouldn't be wrong per se, the dedication of Miller to both his military career and his fellow soldiers is the greatest quality Hanks brings to the character.  While Edward Burns brings a sarcastic roughness to his Private Reiben, Jeremy Davies' Corporal Upham is just the opposite -- scared and meek as he faces his first combat experience (mirroring, perhaps, how we may feel were we in his shoes).  Adam Goldberg, Giovanni Ribisi, Vin Diesel, Barry Pepper, and Tom Sizemore each craft distinct characters which, to me anyway, is not an easy thing to do in war movies in which many of the physical characteristics of people are so similar.

Unlike some future films that will be a part of my Personal Canon, Saving Private Ryan was honored by many of the year-end awards bodies.  For what it's worth, it walked away with Golden Globes for Best Picture Drama and Best Director.  At the Oscars, the film was nominated for eleven awards, walking away with five for Best Director, Best Cinematography, Best Sound, Best Sound Effects Editing, and Best Film Editing.  It did, however, lose the big Best Picture award in a memorable upset to Shakespeare in Love, a film I have grown to really enjoy in recent years (and, who knows...it may end up in the canon in time, I enjoy it that much).  But for it to beat Saving Private Ryan?  That's just crazy.  Granted, if Ryan has a fault it's that it runs on a tad too long, but it never feels like the nearly three hour film that it is.  Maybe folks in the Academy couldn't get past the intense opening reel (or maybe those infamous Weinstein brothers -- the producers of Shakespeare -- paid off a bunch of voters). 

I'm not afraid or ashamed to admit that Saving Private Ryan hits me in the gut and genuinely makes me well up.  I wiped away a single tear as the film concluded.  Yes, I knew how it ended, but this film fires on all emotional cylinders, rousing up pride for our country and our soldiers who helped shape this country into what it is today.  You ladies can cry over something like The Notebook, but give me a movie that, while perhaps sad, is about the joys of the brotherhood of man.  That's what gets to me and Saving Private Ryan fits the bill perfectly.

The RyMickey Rating:  A

Movie Review - Avatar 3D (2009)

Starring Sam Worthington, Zoë Saldana, Giovanni Ribisi, and Sigourney Weaver
Directed by James Cameron

James Cameron's Avatar takes us to the planet Pandora where ten foot-tall blue human-like creatures roam, gaining strength (via some anemone-like phalanges at the ends of their ponytailed hair) from elements of their environment like trees and animals. The Marines, however, have been commissioned to assist some corporate bigwigs in mining for some special expensive, coal-like element on Pandora. In order to both better learn about and infiltrate the Na'vi people of Pandora, scientists have crafted avatars -- they take a human and create a Na'vi-like creature that the human can control from hundreds of miles away via some sophisticated machinery.

Jake Sully (Worthington) is a paraplegic marine whose twin brother was heavily involved in the avatar program. However, at the beginning of the film, the brother has died and since Jake's DNA is similar to his brother's, Jake is pulled into the program to take his brother's place. At odds with the program's scientific director, Grace (Weaver), Jake takes control of his avatar much too quickly and almost immediately infiltrates the Na'vi people, taking a liking to their leader's daughter, Neytiri (Saldana). Jake soon finds himself conflicted between his strong Marine training and the passive nature of the Na'vi.

The story is ridiculously drawn out over an unnecessary 165 minutes. Somehow, though, even with an incredibly boring middle 40 minutes, I didn't find myself wondering when this thing was going to be over. And the reason for that is the visuals and the visuals alone.

This is, without a doubt, the best looking 3D film I've seen in theaters. Cameron has crafted a rich, sumptuous land in Pandora, one that is unlike any I've seen on film. We're completely taken into this new land filled with dinosaur-like creatures and phototropic plants. While on Pandora, we venture into a land completely created by CGI and witness characters brought to life via motion-capture technology. Just recently, I reviewed Disney's A Christmas Carol and I said I wasn't completely sold on the motion-capture technique. Well, I'll eat my words because Avatar has taken this new technology and stepped up the game by leaps and bounds. Sure, it still feels like I'm watching a cartoon, but it's the most realistic-looking cartoon I've ever seen.

Often with 3D, there's a slight blur to any type of quick motion, but Avatar looked amazingly crystal clear. Whether on Pandora or on the human's spaceships, everything looked stunningly "perfect." It really was a beauty to behold.

While the story lacked, it certainly wasn't the fault of the actors, all of whom really brought their A-game. Sam Worthington who starred in this summer's Terminator: Salvation proves an strong leading man who, whether in his human or avatar form, is quite an onscreen presence. Sigourney Weaver is unfortunately saddled with the worst lines of the script, forced to often spout the "science" behind the goings-on, but she still manages to rise above the silly dialogue (and she's really quite attractive for being sixty). I loved Giovanni Ribisi's bit role as the corporate shill for the company going after the lucrative mineral deposits on Pandora. Taking on what is esentially the nasty Paul Reiser part in James Cameron's Aliens, Ribisi is a joy to watch...I just wish he had a bigger role.

Surprisingly, my favorite role belongs to Zoë Saldana who was completely computer-animated the entire time. As Jake Sully's love interest, the geniuses at the special effects departments captured every little nuance of Saldana's body language (they captured this in everyone...it really was a treat to watch the little facial and body tics like a tensing of the neck or a slight raise of an eyebrow...it certainly didn't go unnoticed by me). Saldana's really is an exquisite, unique, and gripping portrayal -- both animal and human in one.

So, is this the best movie of the year? Nah. But James Cameron really has created something special, one-of-a-kind, and innovative. Going into this, I had big doubts, but having seen it, I'm able to look past the simply average, mundane script and see the bigger picture. Avatar is quite possibly a revolution in animation and digital cinema and something that really shouldn't be missed on the big screen.

The RyMickey Rating: B+