Guardians of the Galaxy

 Guardians of the Galaxy (2014)

Starring Chris Pratt, Zoe Saldana, Dave Bautista, Lee Pace, Djimon Hounsou, John C. Reilly, Glenn Close, and Benicio Del Toro

And the voice talents of Vin Diesel and Bradley Cooper

Directed by James Gunn

Click here for my Letterboxd review

The RyMickey Rating:  D+

Click here for my previous RyMickey Rating review

Kong: Skull Island

Kong: Skull Island (2017)

Starring Tom Hiddleston, Brie Larson, Samuel L. Jackson, John C. Reilly, Corey Hawkins, Jing Tian,  John Ortiz, Thomas Mann, Shea Whigham, Toby Kebbell, and John Goodman

Directed by Jordan Vogt-Roberts

Written by Dan Gilroy, Max Borenstein, and Derek Connelly

Summary (in 500 words or less):  A team (both military and scientific) head to Skull Island in order to investigate some strange findings.  Upon their arrival, they soon discover the island is home to many larger-than-life creatures including the titular simian Kong.

Click here for my Letterboxd review

The RyMickey Rating:  C+

Movie Review - The Lobster

The Lobster (2016)

Starring Colin Farrell, Rachel Weisz, Léa Seydoux, Ben Whishaw, John C. Reilly, and Olivia Colman

Directed by Yorgos Lanthimos

***This film is currently streaming via Amazon Prime***

I was so on board with director/co-writer Yorgos Lanthimos' weirdly offbeat The Lobster throughout most of its first hour as its surreal tale begins to unfold.  David (Colin Farrell) has just gotten divorced and in the strange land in which The Lobster is set that means that he must find someone to fall in love with him in forty-five days lest he be turned into an animal.  Yep...I said it was weird.  David heads to a hotel run by a manager (Olivia Colman) who sets up a variety of activities to set people up with someone they can love.  As his days dwindle down and romance seems less likely, David ponders whether an escape is necessary...and that's where the story drastically changes and grows increasingly uninteresting in its second hour.

The comedic satire in the film's opening half creates a world with new rules that are fully embraced by both the film's characters -- which include John C. Reilly as a lisping loner and Ben Whishaw as a limping lover -- and the audience.  I bought into the insane set-up that people would actually turn into dogs or horses or even lobsters if they failed to fall in love, and I found the set-up unique and engaging despite the bleak and sometimes melancholy sadness that permeates the inhabitants of the hotel.  The second half, however, removes us from the hotel setting and things fall apart.  The comedic aspect fades away and the tone of the film shifts into something that disappoints.  (I'll admit to being vague here to avoid spoilers.)

Kudos to Colin Farrell for carrying the film and giving a solid performance as the depressed David who finds himself forced to find true love in a short amount of time.  Creatively, Lanthimos at least envisioned a dystopia that we haven't seen before.  Unfortunately, he can't sustain a two-hour film across this land set up in the way he has.  There was promise here that unfortunately didn't pan out.

The RyMickey Rating:  C-

Movie Review - Guardians of the Galaxy

Guardians of the Galaxy (2014)

Starring Chris Pratt, Zoe Saldana, Dave Bautista, Lee Pace, Djimon Hounsou, John C. Reilly, Glenn Close, and Benicio Del Toro

And the voice talents of Vin Diesel and Bradley Cooper

Directed by James Gunn

The hit of Summer 2014, Guardians of the Galaxy is Marvel's funniest flick to date and it's those comedic aspects that work the best and give the film its life and vivacity.  Whereas some of the action sequences feel a bit derivative of things we've seen before (not just in Marvel flicks necessarily), the humor keeps Guardians kicking and makes it one of Marvel's better efforts to date.

Despite seeming perhaps convoluted, the overarching premise here is simple -- in outer space, a group of low-level criminals band together to fight a supervillain in hopes of saving their people and making a little money on the side.  While we're not reinventing the wheel, a film like this hinges on finding a credible cast of actors to portray an amusing cadre of characters in order to carry the film beyond the average.  Guardians succeeds undoubtedly as it's the characters (and the actors portraying them) that elevate this film to something worth watching.

Head of the brigade is Peter Quill -- an Earthling abducted when he was a young boy by a group of space pirates who saw potential in him to carry out various petty criminal acts because of his background.  Quill (played amusingly by It Guy of the Moment Chris Pratt) is a ladies' man, a guy's guy, and a self-aware jerk.  Having carried out many a petty crime, Quill is being hunted by bounty hunters as the film opens and, this being based on a highly inventive series of comic books, two of those hunters happen to be a small raccoon named Rocket (voiced by Bradley Cooper) and a tree-humanoid-type create named Groot (voiced by Vin Diesel) whose English vocabulary consists only of the sentence "I am Groot."  Quite frankly, Rocket and Groot make Guardians of the Galaxy the success it is.  Virtually unrecognizable vocally, Cooper's take on Rocket is hilarious giving the genetically engineered raccoon more hutzpah and humorous grit than I ever could have expected.  Add to that Diesel's shockingly amazing ability to convey a variety of emotions simply by spouting the words "I am Groot," and the dynamic duo of Rocket and Groot should be formulating their own spin-off as I type this.

Nice turns from Zoe Saldana and Dave Bautista round out the ragtag bandits who end up doing battle against the vicious Ronan the Accuser (a virtually unrecognizable Lee Pace) who is attempting to find the Infinity Stone which will give him great power and set him up to handily defeat his foe in Thanos (a cameo turn from Josh Brolin), widely considered to be one of the most powerful men in the universe.  With this being an origin story for the Guardians and their universe, it's obvious that set-up was going to be needed for Marvel virgins like myself, but the tensions between Ronan, Thanos, and the Guardians felt a bit underserved here.

Director James Gunn certainly ups the humor quotient in Guardians of the Galaxy to great effect, but the action sequences in the film he also co-wrote feel a bit underdone.  Perhaps it's just the silliness of battling in space -- which never feels "real" to me in any film -- but the sense of tension or excitement was never really present for me in any of the flick's action sequences.  Ultimately, this is a real shame because Guardians of the Galaxy attempts to be a breath of fresh air in the Marvel Universe.  While it certainly succeeds at being different, the potential was there for something better and it doesn't quite achieve it.

The RyMickey Rating:  C+

Movie Review - Life After Beth

Life After Beth (2014)

Starring Aubrey Plaza, Dane DeHaan, John C. Reilly, Molly Shannon, Cheryl Hines, Paul Reiser, Matthew Gray Gubler, and Anna Kendrick

Directed by Jeff Baena

***This film is currently streaming on Amazon Prime***

Girlfriend dies.  Boyfriend is sad.  Girlfriend suddenly reappears...as a zombie.  Chaos ensues with a supposedly comedic purpose.  There's not much else to Life After Beth, a film whose premise shows some promise but fails to generate any laughs.  With a supporting cast of adult comedic actors whom I expected to buoy the younger set, the likes of John C. Reilly, Molly Shannon, Cheryl Hines, and Paul Reiser are given very little to do.  Their reactions to Dane DeHaan's Zach's comedic depression over his girlfriend's death and Aubrey Plaza's frenetic "teenage" zombie Beth are tired and worn, lacking any zip which is what the screenplay is lacking overall.  There's possibility here, but this flick is attempting to really play things for laughs (unlike the similarly themed Warm Bodies which played the romance angle a bit stronger) and it just doesn't deliver in the slightest.

The RyMickey Rating:  D+

Movie Review - Wreck-It Ralph

Wreck-It Ralph (2012)

Featuring the voices of John C. Reilly, Sarah Silverman, Jack McBrayer, Jane Lynch, and Alan Tudyk 

Directed by Rich Moore

I am certainly not a gamer.  As I grew up, I had an old Atari in the house, but it wasn't until my brothers came along and grew up a bit that there was any semblance of "Nintendo" or "Sega" around.  And, the fact is, I never really cared.  I never felt like I was missing out on anything and I certainly don't feel like I'm missing out on anything today.

Because of that, I was a bit hesitant going into Wreck-It Ralph which, in its previews, was certainly priding itself on bringing together a vast array of characters from video games.  To me, that meant nothing and I admittedly doubted the film's ability to connect with me.  Much to my surprise, after a very amusing intro that plays as a Who's Who of '80s and '90s video game characters (but still amused to this non-player), the film shifts into its own storyline that proves to be more heartwarming and humorous than I expected.

Ralph (John C. Reilly) is fed up with being labeled a bad guy.  Day in and day out, he finds himself continually demolishing an apartment complex in his game Fix-It Felix, Jr., but Felix (Jack McBrayer) and the apartment dwellers in the game don't want anything to do with Ralph after the arcade closes forcing him to mope in a junkyard he created himself.  Fed up with a lack of friends and being constantly looked down upon, Ralph decides to game jump into a first-person actioner name Hero's Duty where he meets the gritty and tough Sergeant Calhoun (Jane Lynch) who soon realizes that Ralph, despite being disguised in an army uniform, is not meant to be in her game.  However, Ralph discovers that winning Hero's Duty yields a medal which he feels will show the characters in his game that he is worth something.  Unfortunately, a series of events manages to land Ralph the medal, but also put him into a racing game named Sugar Rush where he meets the precociously obnoxious Vanellope von Schweetz (Sarah Silverman) who finds herself in a similar predicament to Ralph in that no one in her game (including the goofy King Candy [Alan Tudyk]) wants her around either.  Ralph and Vanellope mutually connect because of their problems and together decide to do their best to earn the respect of their peers.

Surprisingly, Wreck-It Ralph is much more emotionally engaging than its "video game" concept would lead you to believe (but maybe my mindset of games being hard-edged and lacking warmth is ill-conceived).  The connection that Ralph and Vanellope form is perfectly pleasant and despite their noticeable differences in age, appearance, and demeanor, the two misfits' newfound friendship creates an emotional core that is hard to deny.  It certainly helps that John C. Reilly absolutely nails the depressed tone with which his titled character is burdened creating a top notch vocal performance that rivals the best we've seen before.  Jane Lynch and Jack McBrayer aren't necessarily doing anything different than what we've come to expect from them, but their tones fit their characters to a tee.

The film's problem spot comes sporadically from Sarah Silverman who, admittedly, has a persona in real life that I cannot stand (or at least can only stand in small, limited amounts like in this video).  Here, her voice is a good fit for the annoying character of Vannelope, but it does grate at moments.  However, I will say that I'm not entirely certain that it's her fault.  The character was written as a bit of an obnoxious brat (albeit, a brat who simply wants to be loved), but when Vannelope stoops to incessant name-calling and foot-stomping pouting, it makes Wreck-It Ralph a little less timeless to me than other Disney movies.

Still, Wreck-It Ralph is certainly one of the best animated films of the year.  In terms of animation, this is Disney at the top of its game, rivaling Pixar in terms of beautiful images and clever design.  [I loved how some of the old school video game characters were animated with a choppy motion...rather ingenious.]  At this point, it's in a close battle with Paranorman for the top spot in that category, but I'm going to refrain complete judgment until my end of 2012 round-up rolls around (and as everyone knows, that likely won't be until mid-2013...so I have plenty of time).

The RyMickey Rating:  B+

Movie Review - We Need to Talk About Kevin

We Need to Talk About Kevin (2011)

Starring Tilda Swinton, John C. Reilly, Jasper Newell, and Ezra Miller

Directed by Lynne Ramsay

A woman loving life in her late twenties/early thirties perhaps reluctantly decides to settle down with someone with whom she's fallen in love.  She gets pregnant, but finds herself not feeling the maternal instinct kick in like other moms-to-be.  In the back of her mind, though, she thinks that maybe when she finally gives birth, she'll finally experience what she's "supposed to feel."  However, that innate propensity to love your offspring never kicks in for her and although she attempts to bond, it's obvious to her and obvious to her child as he grows older that this young being was never wanted.

While this all sounds like an impossibility, I'd have to imagine that it occurs more often than we'd think and We Need to Talk About Kevin explores this seldom discussed psychological phenomenon which, in this story's case, comes with great and horrific ramifications.  For Eva (Tilda Swinton), she could have never imagined that her difficult relationship with her son Kevin (Ezra Miller as a teenager and Jasper Newell as a young boy) would result in him committing the unthinkable act of going on a murderous school rampage days before his sixteenth birthday, but their tumultuous relationship appears to have been the impetus for just that.  

Fret not, I'm not spoiling anything with this important "reveal" above.  Director and co-screenwriter Lynne Ramsay pieces together Eva's life like a puzzle jumping around and sometimes staying with scenes for mere seconds before jumping to another.  Admittedly, this technique, while interesting, is off-putting at first if only because as the film progresses, Ramsay decides to stay with moments longer, trying to tell a story rather than trying to showcase a "directorial flourish."  The opening act, unfortunately, starts things off as more of a director's showcase instead of placing the story center stage which is pivotal in a film that is incredibly reliant on shaping complicatedly distraught and disturbed characters in order to progress the tale.  Couple this quick-cutting, jump-editing technique with Ramsay's near-incessant and blatantly obvious use of "red" to foreshadow Kevin's inevitable attack and I couldn't help but think the director brought this flick down a couple of notches from where it could have ended up.

Tilda Swinton is, as is the case most of the time, truly wonderful.  She can convey an incredible amount of emotion with nary a word.  Her eyes oftentimes appear blank and lifeless, yet on a second glance reveal more of the inner workings of her character than words ever could.  She's coupled onscreen by John C. Reilly as her husband Franklin, the more affable and parental of the two.  Reilly is quite good playing the most dramatic role I've seen him attempt and he manages very well.

The character of Kevin, however, is a bit of an anomaly to me.  I understand that the script wanted to present him as a "problem child" of sorts from the very beginning -- a kid who never received the love he so desperately needed from his mother -- but I couldn't help but think I was watching a modern-day reincarnation of Damien from The Omen.  He does some really whacked-out things (particularly as he grows older) and I just couldn't help but think that these parents wouldn't have been on the same page that something was dreadfully psychologically wrong with him.  Then again, the film is called We Need to Talk About Kevin and there's a difference between "needing to talk about" and actually "talking about" Kevin which I guess explains why their communication is next to nil.  The two young actors who portray Kevin do an admirable job, but I feel like they just weren't given a whole lot to work with beyond "You're a bad kid...don't show any emotions other than pent-up anger."

I'm sure the anticipation of this film may have built up something that couldn't be reached -- and, in fact, I was waiting to see this before starting the annual RyMickey Awards -- but I can't help but think another film released in 2011 about this exact same topic -- Beautiful Boy -- told a better and more realistic story.  Granted, that film dealt entirely with the aftermath of a school shooting whereas We Need to Talk About Kevin deals almost entirely with what comes before such an attack, but the little seen Maria Bello-starring picture deserves a bit more respect than Lynne Ramsay's pic which garnered more acclaim when awards season came around.

The RyMickey Rating:  C+

Movie Review - Carnage

Carnage (2011)

Starring Jodie Foster, Kate Winslet, Christoph Waltz, and John C. Reilly

Directed by Roman Polanski

Based off a Tony Award-winning play, Carnage graces us with a quartet of wonderfully talented actors in a showcase for their skills.  However, the film which takes place in real time mostly within the confines of the apartment of Penelope and Michael Longstreet (Jodie Foster and John C. Reilly) should have felt more claustrophobic than director Roman Polanski is able to provide.  It's not that a movie like Carnage which is essentially four people talking with each other for eighty minutes should be "tension-filled", per se, but as the film progresses, there should be an ever-escalating sense of excitement...a building towards something grand at the conclusion.  It's not that the ending of the flick disappoints, but the roller coaster ride the film should have provided was full of too many valleys and not enough hills.

After their two sons get in a tiff on the playground resulting in one striking the other with a stick causing damage to two teeth, the aforementioned Longstreets get together with Nancy and Alan Cowan (Kate Winslet and Christoph Waltz) to try and patch things up.  Things begin quite civilly, but it's soon obvious to both parties that despite being on their best behavior, the "adults" here are really just play-acting, trying to put on their best fronts.  As criticisms of the others' parenting skills begin to be bandied about as if they were deadly bullets, the two couples begin to devolve into children fighting on the playground, albeit with a much better vocabulary.

Carnage certainly succeeds because of the four actors onscreen.  The very nature of the project calls for the quartet to be viewed pretty much the entire time (one would assume in the play, the actors would never leave the stage) and each holds their own with no one overshadowing anyone else.  It's always nice to see Jodie Foster onscreen (which actually happened twice this year with this and The Beaver) and here she's at her most neurotic.  It doesn't help her character that John C. Reilly as her husband tries to be the peacemaker rather than stand up for his wife.  If I had to choose a standout star from the bunch, it would have to be Reilly who has the comedic chops for a role like this.  In the end, he seems the most relatable to me (perhaps the reason why I liked him the most) in that, at times, his character appears to spout what the audience is feeling about these childish adults.

Kate Winslet is also wonderful as the uptight Nancy and she works very well with Christoph Waltz who continues to prove that he is quite adept at dark comedy (a category in which one could certainly place 2009's Inglourious Basterds).  Carnage is a film all about about personal interactions and it is pivotal that the cast mesh and flow together which is successfully achieved here.

However, something about the flick doesn't quite click and I have to think the problem lies in the direction since the blame certainly doesn't fall onto the actors.  I have to wonder what this story plays like on a stage where all four actors are present all the time.  In a film, we cut away to certain reactions and only every so often are treated to shots with the entire quartet in our field of vision.  If we had that stage-like ability to constantly be mindful of all four actors, I have to wonder if the edge-of-your-seatness of the "what are they gonna say next" tension inherent in the script would be elevated.  Of course, Roman Polanski wasn't going to shoot the movie with nary a one shot of of an actor, but it simply further goes to prove the difficulty at times of transferring plays to the big screen.

This isn't to say that Carnage is a failure.  It's far from that.  There are many laughs to be had and for sheer acting talent, the film is recommendable.  But if the film has done anything, it's made me desperate to want to see the film performed by a talented stage ensemble (**cough**I'm talking to you, University of Delaware Resident Ensemble Players**cough**).

The RyMickey Rating:  B-

Movie Review - Cedar Rapids

Cedar Rapids (2011)

Starring Ed Helms, Anne Heche, Isiah Whitlock Jr., Sigourney Weaver, and John C. Reilly

Directed by Miguel Arteta

Cedar Rapids kind of feels like The Office transplanted to the Mid-West and paired with a bit more raunch and a little less humor (despite its best attempts).  There's a droll, dry sensibility on display that works some of the time.  However, there are simply too many moments in the film's short 86 minutes that fall flat, relying on that indie comedy staple that humor can be derived from poking fun at the small town local yokels who live inside some cocoon and go a little cuckoo once the bubble pops enabling them to escape into the more metropolitan world.

Ed Helms is Tim Lippe, an insurance salesman from the small town of Brown Valley, Wisconsin.  Having never really set foot outside of the confines of the town, when Tim's boss asks him to attend an insurance conference in Cedar Rapids, Iowa, he finds himself a bit on the edge.  With the encouragement of his lover and former elementary school teacher Macy (Sigourney Weaver), Tim gets the courage to head to the "big city," getting on his first plane and sleeping at his first hotel.  With the goal to win his company the coveted Two Diamond Award, Tim finds himself spending time with three conventioneers who have been to the affair before -- the serious and solemn Ronald (Isiah Whitlock, Jr.), the crazy and lewd Dean Ziegler (John C. Reilly), and the sexy and wry Joan (Anne Heche).  Needless to say, Tim's eyes will be opened to a brand new world unlike his small-town eyes have ever seen before.

The problems with Cedar Rapids certainly don't stem from the actors.  Everyone here is actually quite charming and surprisingly believable.  Based off of his introduction, I figured I'd have been rolling my eyes every time John C. Reilly's oafish Ziegler came on the screen, but he won me over somehow.  Isiah Whitlock (apparently of The Wire) probably struck the best note with me thanks to his dry delivery.  And Anne Heche is goshdarn charming and cute here.  Ed Helms simply seems to be playing his character from The Office and he's the weak link of the quartet, but that's more the fault of "Tim Lippe" than "Ed Helms."

All in all, with the pleasant group of actors, it's a disappointment that the humor just isn't there.  The film veers off into an odd and rather uncomfortable finale which is supposed to serve as some kind of awakening for Helms' Lippe, but it ends up veering into my Movie Pet Peeve which I've mentioned numerous times before -- Old People Doing Drugs for the Purposes of Laughter.  And while that's not the only sticking point -- see my initial paragraph about a common indie comedy staple that applies here as well -- it made the film end on more of a down note than I would have preferred.  Cedar Rapids is pleasant enough thanks to the actors, but it's a shame they weren't given a bit better material.

The RyMickey Rating:  C

Movie Review - The River Wild

The River Wild (1994)

Starring Meryl Streep, Kevin Bacon, John C. Reilly, Joseph Mazzello, and David Strathairn

Directed by Curtis Hanson

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

I hate to overly praise Meryl Streep because I think, as of late, she puts herself in a movie and the viewing public and the Academy automatically think she should be granted an Oscar nomination.  But that fact of the matter is, Streep is a pretty darn good actress, able to capably perform in comedies, dramas, and, in the case of The River Wild, action flicks.

This 1994 film features Streep as Gail, a mother of two whose marriage to Tom (David Strathairn) is perhaps on its last legs.  For a summer vacation, Gail, Tom, and their oldest child Roarke (Joseph Mazzello of Jurassic Park fame) decide to take a river rapids journey in Idaho.  Gail was a former rafting instructor so she's familiar with the river so when the group comes across Wade (Kevin Bacon) and Terry (John C. Reilly), two seemingly bumbling fools stuck on the side of the river, Gail decides to help them make their way down the treacherous rapids.  Little does Gail know that Wade and Terry are more insidious than the river could ever be.

I saw this movie back when it came out and I remembered thinking it was okay, but for some reason or another, I felt like giving it another shot and I'm glad I did.  The River Wild is actually a pretty solid actioner.  It takes a little bit to get started and all of the characters are rather one-note, lacking any real nuances, but to give credit where credit is due, Meryl Streep carves a nice little performance out of what she's given to work with.  She's the reason this movie works as well as it does because she genuinely elevates her character to a different level simply by adding an interesting facial expression here or an uncomfortable laugh there.  She really is an impressive actress and even a movie like The River Wild shows this.

Kudos also to director Curtis Hanson for lensing some pretty exciting rafting scenes that made me kind of want to attempt white water rafting one of these days.

The RyMickey Rating:  B-

Movie Review - Cyrus

Cyrus (2010)

Starring John C. Reilly, Marisa Tomei, Catherine Keener, and Jonah Hill

Directed by Jay and Mark Duplass

mumblecore (n.) - an American independent film movement characterized by their low budgets and their focus on personal relationships amongst twentysomethings utilizing improvised dialog with mostly non-professional actors

Apparently, Cyrus is considered a pic from the mumblecore movement despite the fact that it doesn't fit about half of the criteria listed above.  You hear that word, though -- mumblecore -- and it just kind of conjures up this feeling of boredom which, considering how I feel about a lot of indie, low budget comedies, is probably apropos.  Surprisingly, however, Cyrus proved to be somewhat enjoyable (even despite the presence of Jonah Hill).

Part of the reason for Cyrus's moderate success is that it doesn't overstay its welcome.  Clocking in at under ninety minutes, directors Jay and Mark Duplass keep things moving along at a brisk pace...which is nice considering that there isn't much story here.  John (John C. Reilly) is a divorced middle-aged guy stuck in a rut, thinking that he'll never find someone with whom to share his life.  At a party thrown by his ex-wife (Catherine Keener), John meets Molly (Marisa Tomei), a sexy younger woman who shows an interest in him.  Things become serious rather quickly and John soon discovers that Molly has a grown 22-year old son, Cyrus (Jonah Hill).  Still living at home, Cyrus and Molly have an odd co-dependent relationship that John soon discovers will cause a serious hindrance to his fun times with Molly.

Ultimately, the problem with the film is with the title character and his relationships with others.  There was not a single instance in the film when I believed that Cyrus could actually exist.  Seeing as how this is a film that bases itself in reality, it is of fundamental importance that I be able to believe what I'm actually watching.  Unfortunately, I never believed in Cyrus as a character.  Part of that blame falls on Jonah Hill who always seemed to be hiding a smirk on his face (which may have been his way of playing the devious character...if it was, it was a tactic that didn't work).  But I think the bigger blame belongs to the screenwriters/directors Jay and Mark Duplass who never shaped Cyrus into anything other than a broad caricature.

Still, against the odds, I found myself liking a decent amount of the movie.  John C. Reilly, who typically doesn't get the chance to shine in lead roles unless they are of a broad comedic type (a la Step Brothers or Walk Hard), is actually quite charming here.  He's understated and completely believable as the depressed then reinvigorated John.  Marisa Tomei is also good as well, although she is burdened with the ludicrous parent-child relationship the script forces her to have with her son.

The RyMickey Rating:  C

Movie Review - Walk Hard: The Dewey Cox Story (2007)

Starring John C. Reilly, Jenna Fischer, and Kristen Wiig
Directed by Jake Kasdan

This one tanked in theaters when it was released around Christmas two years ago, but I found myself laughing much more than I thought I would.

Shockingly, co-writer Judd Apatow manages to bring this movie in at a brisk (for him) 100 minutes, unlike his unnecessary opus Funny People.

The tale of Johnny Cash/Bob Dylan/Buddy Holly/Beatles sound-alike Dewey Cox, the flick details his crazy life as he finds success and deals with failures. There are some clever songs included as well.

I laughed...that's the point of movies like this. Enough said...

The RyMickey Rating: C+

Movie Review - 9 (2009)

Featuring the voice talent of Elijah Wood, Christopher Plummer, Martin Landau, Jennifer Connelly, Crispin Glover, and John C. Reilly
Directed by Shane Acker

Let me be honest up front here. There were some work issues that occurred during the middle of this that caused my attention to be taken away from the film for a portion of the middle. The thing is, though, this thing never caught my attention from the very beginning, so I don't think it really will end up making a difference in my rating.

It's a post-apocalyptic world, all humans are dead, and the only things surviving on the planet are nine little "sock people" created by some scientist guy prior to his demise. These "sock people" live in fear of some various robot creatures that want to kill them by sucking their "souls" out of their bodes (the scientist placed bits of his soul in each of the sock creatures). That's it.

And I couldn't care less. I felt like I was watching a distant cousin of The Nightmare Before Christmas. There were scenes and characters that felt like they were pulled right out of that film. Sure, it looked a little richer and had better backgrounds (but I'd expect that from a computer-animated flick made two decades after Nightmare), but this really didn't have any emotional oomph to it. I didn't care what happened to any of these "sock puppets." Everything looked the same (and I'm not just talking about the characters). The backgrounds and "set design" were just shades of brown and gray, ultimately very unappealing to the eye even for the short running time of the movie.

Maybe this thing worked as an animated short (which it was prior to the director deciding to flesh it out to a feature), but it didn't work at all in this extended format. And, once again, there's not a single animated film that I'd long to see in the Best Animated Film category this year.

The RyMickey Rating: D+