The Night Clerk

The Night Clerk (2017)

Starring Tye Sheridan, Helen Hunt, Ana de Armas, and John Leguizamo

Directed by Michael Cristofer

Written by Michael Cristofer

Click here for my Letterboxd review

The RyMickey Rating: D

Movie Review - The Inflitrator

The Infiltrator (2016)

Starring Bryan Cranston, Diane Kruger, John Leguizamo, Benjamin Bratt, Yul Vazquez, Juliet Aubry, Elena Anaya, Olympia Dukakis, and Amy Ryan

Directed by Brad Furman

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

During the 1980s, the Medellin Cartel smuggled 15 tons of cocaine a week into the United States.  Special agent Robert Mazur (Bryan Cranston) went undercover in 1985 Tampa in order to become a trusted confidante of drug lord Pablo Escobar's men as they attempted to launder money in America.  The Infiltrator details this true story with a solid -- albeit rote -- exploration of Mazur and his intense dealings with some very bad people.

The Infiltrator doesn't reinvent the wheel, but it's not exactly a film that has to do that anyway in order to succeed. What it does need is performances that capture the audience to carry them through the type of story that we've seen before and fortunately, The Infiltrator has that in spades.  Anchored by a compelling Bryan Cranston, the central cast of Diane Kruger, John Leguizamo, and Benjamin Bratt create an atmosphere that more than makes up for the somewhat convoluted screenplay which in its opening third takes a little too long to get the ball rolling.

The RyMickey Rating:  B-

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 - American Ultra

American Ultra (2015)

Starring Jesse Eisenberg, Kristen Stewart, Topher Grace, Connie Britton, Walton Goggins, John Leguizamo, Tony Hale, and Bill Pullman

Directed by Nima Nourizadeh

I recorded American Ultra on the DVR during a free preview weekend of some pay cable network and before watching it, I deleted it.  Did I really wanna watch a movie whose main character is a stoner pot smoker?  In the opening minutes, Jesse Eisenberg's Mike Howell and Kristen Stewart's Phoebe Larson must've lit up at least five times.  Longtime blog readers know that I'm not a huge fan of drugs mixing with comedy -- I just feel it's an easy, cheap way to elicit laughs -- so I actually deleted the film.  For some reason, though, I decided to restore it to my DVR and give it a go -- and I'm glad I did.  American Ultra isn't going to set the world on fire, but its ultra-violent premise yielded enough laughs (in a non-drug-centric manner) and a clever, well-acted story that I found myself pleasantly surprised.

Mike is a convenience store clerk who, when not smoking pot, spends his free time hanging out with his girlfriend Phoebe and writing a comic book about a heroic ape.  One evening, Mike is approached at the store by a strange although very put-together and sophisticated woman (Connie Britton) who begins babbling some nonsensical words to him.  Mike shrugs off the exchange, but minutes later when he's jumped by two guys, Mike goes into violent beast mode, attacking and killing the duo with ease.  Mike slowly begins to realize that he may have been programmed by the government to commit such crimes and now that he's been "activated," some government officials may want him dead.

Moving along at a rather rapid clip, American Ultra smartly doesn't overstay its welcome because its entire story is essentially summed up in that aforementioned paragraph.  Without a huge amount of plot, we're instead treated to incredibly violent set pieces that are played for laughs -- a tricky balance to achieve, but executed successfully for the most part by relative newcomer director Nima Nourizadeh.  Tarantino-level in their graphicness, the violence is undoubtedly over-the-top and at times unbelievable, but the film is able to cleverly get the audience to embrace the insanity because the flick's main character can't believe what he's seeing either.  Stoner Mike's expert combat techniques are just as incomprehensible to him as they are to us in the audience so that surprisingly immediately connects us to the character and allows us to "accept" the elevated violence because we're on the same page as Mike.

Eisenberg and Stewart are a nice match for one another, although neither lights the world on fire here.  They're both a bit too monotone throughout for my liking, but that's really their acting style most of the time, I've always felt.  The supporting cast of Connie Britton and Topher Grace as CIA agents respectively for and against Mike are enjoyable, bringing some additional laughs to the flick.  My review may be slightly overpraising American Ultra which is by no means exceptional, but it was a bit of a surprise for me.  Certainly not for everyone, the flick is much better than I ever expected.

The RyMickey Rating:  B-

Movie Review - Sisters

Sisters (2015)

Starring Tina Fey, Amy Poehler, Ike Barinholz, Maya Rudolph, John Leguizamo, Bobby Moynihan, James Brolin, and Dianne Wiest

Directed by Jason Moore

Every review of Sisters that I read seemed to indicate that Tina Fey and Amy Poehler deserved a better film than what was placed in front of them when it came to this flick, but, if I'm being quite honest, I'm not sure they do.  I say that not nastily, but simply to indicate that Fey and Poehler are known and acclaimed (quite deservedly) for the their work on the small screen.  Not every tv star (and certainly not every Saturday Night Live alum) is worthy of a big screen career.  And there's nothing wrong with that.  Perhaps in time I'll be proven wrong when it comes to Fey and Poehler's cinematic ventures, but Sisters is not doing the very funny duo any favors.

Drawn out for an interminably long duration, Sisters gives us Maura and Kate Ellis (Poehler and Fey) -- two sisters who return to their childhood home in Orlando after they've discovered that their aging parents (James Brolin and Dianne Wiest) have just sold it so they can move into a retirement community condo.  Angry that their parents would do such a thing without consulting them, Maura and Kate decide to live it up one last time in the house and throw a party for all their high school friends like they did in the old days.  This leads to fellow SNL and variety show actors and actresses hooting and hollering it up in sketch-like scenes that do little to forward the actual plot of the film.  (Not that the film had much of a plot to start...)

There are laughs to be had in Sisters -- and, in fact, there are moments that sustained extended laughter for me which is never easy to do particularly when you watch a movie alone in your home -- but the bigger comedic bits aren't the least bit intrinsic to the plot.  Rather than add to the story, they make you feel as if you're watching an SNL-type show where only a few of bits are actually humorous and then you get angry at yourself for wasting so much time watching it.  [Therein is the reason I refuse to watch SNL anymore.]  The script by Paula Pell (an SNL writer herself) is a sketch in search of a full-length plot and it never gets there.

As far as Fey and Poehler go, the latter fares a tiny bit better than the former, but both aren't given much with which to work.  Perhaps one of these days, the two actresses will be given a movie part really worthy for their obvious comedic talent, but Sisters does not deliver in that department.

The RyMickey Rating:  C-

Movie Review - Cymbeline

Cymbeline (2015)

Starring Ethan Hawke, Ed Harris, Milla Jovovich, John Leguizamo, Penn Badgley, Dakota Johnson, and Anton Yelchin

Directed by Michael Almereyda

Text from the opening moments of Cymbeline tells us the following about one of Shakespeare's lesser-known tales:  For years Cymbeline (Ed Harris), King of the Briton Motorcycle Club, has maintained an uneasy peace with the Roman Police Force.  The Queen (Milla Jovovich), Cymbeline's second wife, has her own agenda.  But she's losing hope that her son Cloten (Anton Yelchin) will pair up with the King's only daughter, Imogen (Dakota Johnson).  Without consulting her royal parents, Imogen decides to marry Posthumus (Penn Badgley), Cymbeline's penniless protégé.  The marriage triggers the King's rage, setting in motion a series of disastrous events.  But fortune brings in some boats that aren't steered...  I presume that the unsteered boat is Iachimo (Ethan Hawke), an acquaintance of Posthumus who sets up a wager that if he can prove to have taken Imogen's virginity he'll win a coveted ring of Posthumus's, but if he doesn't succeed, he'll have to give Posthumus money and a sword.

Quite frankly, Cymbeline feels like an amalgamation of many of Shakespeare's other works and the placement of this particular film adaptation into modern times as is written and directed by Michael Almereyda simply adds to the confusion in tone.  After we grow accustomed to the Shakespearean language (which always takes a little bit of time), the general plot of the play/film lays itself out somewhat clearly.  However, the ultimate problem with the flick is that the character of Iachimo seems sorely out of place and, seeing as how his bet with Posthumus is the integral cog to setting the plot in motion, this causes issues.  Attempting to steal a woman's virginity may have been radical in 1600s England, but by placing this story in a modern setting, this key plot point seems ludicrously childish and silly.

Although Dakota Johnson and Penn Badgley are actually quite good (and given the cast they may not seem at first glance to be the members who would really shine), nearly everyone else feels as if they're overacting, upping the dramatics in order to make us feel like we're watching "SHAKESPEARE" in ALL CAPITALS!  While I'll always appreciate a Shakespearean cinematic adaptation for simply existing, this one just doesn't work.  Being unfamiliar with the play itself, the fault may lie moreso with the original work than the film, but as it stands, there are cinematic problems running rampant here as well.

The RyMickey Rating:  D+

Movie Review - Chef

Chef (2014)

Starring Jon Favreau, Sofia Vergara, Emjay Anthony, John Leguizamo, Scarlett Johannson, Dustin Hoffman, Oliver Platt, Bobby Canavale, and Robert Downey, Jr. 

Directed by Jon Favreau

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

Chef certainly isn't aiming to be anything deep, but director and screenwriter Jon Favreau creates a lovely glimpse at a father/son relationship, the simplicity of which we don't often see on screens in this day and age.  Chef details the story of chef Carl Casper (Favreau) who has worked in a moderately ritzy restaurant owned by Riva (Dustin Hoffman) for years, but has really been unable to create unique dishes as Riva wants to maintain the status quo because customers are still pouring in.  When a food blogger/critic (Oliver Platt) comes to the establishment one evening, he writes online that Carl's food is tired, old school, and lacking any modern flair.  Upon receiving the bad review, Carl goes a bit berserk online thanks to a visit from his son Percy (Emjay Anthony) who introduces his father to Twitter.  After Carl inadvertently tweets numerous public jabs at the critic that he thinks were sent privately, Carl becomes a bit of a laughing stock across the country at which point he realizes that he's not happy doing what he does anymore and decides to take a little respite to Miami with Percy and his ex-wife Inez (Sofia Vergara) where he rediscovers his passion for food and his desire to show that to the public.

Chef is a movie broken up into two halves -- the first with Carl at the restaurant and the second with Carl reinventing his food passions by opening up a popular food truck.  While the halves certainly carry a similar tone to them, the film feels almost like two different movies at times.  Fortunately, Carl's relationship with his son is the through line between the two and it's this paternal connection that feels incredibly comforting and realistic.  In fact, what really makes Chef shine is that all of the relationships here -- Carl with his ex-wife, boss, co-workers -- carry a sense of believability and genuineness.  Favreau as a writer seems to have a real grasp of dialog -- his characters' moments with his son are particularly authentic despite the fact that his son seems a bit too tech-savvy for his own good at age ten.

Nonetheless, there's a charm that exudes in Chef thanks to the writing and the cast, all of whom really take Favreau's words and make them come to life.  Sofia Vergara is at her least annoying here, playing a loving mom and ex-wife to Carl -- once again, the ex-wife/husband relationship exudes a credible believability despite being a shockingly pleasant association we don't typically see displayed in films.  John Leguizamo as Carl's friend and co-worker adds some character to the mix and Scarlett Johansson and Dustin Hoffman keep the first half of the film buzzing with some interesting camaraderie with Carl.

In the end, Chef is maybe a bit too simple for its own good -- I compliment the film quite highly above, but I found it a little bland at the start and it took me three sittings to make it past the first hour.  While that sounds a bit damning, I simply don't think I was giving Chef a big enough chance.  Had it dropped an F-bomb or two or a sexual innuendo out of the equation, Chef would've been fit for all ages, exuding a sweetness that I frankly wasn't expecting, but truly enjoyed.

The RyMickey Rating:  B

Movie Review - John Wick

John Wick (2014)

Starring Keanu Reeves, Michael Nyqvist, Alfie Allen, Willem Dafoe, Adrianne Palicki, John Leguizamo, Ian McShane, and Bridget Moynahan

Directed by Chad Stahelski

"Keanu Reeves is back!" raved some of the overwhelmingly positive reviews for John Wick upon its release in the fall of 2014.  The story of the title character who seeks revenge on a group of Russian mobsters who kill his newly received beagle -- a gift from his recently deceased wife (Bridget Moynahan) -- John Wick is a series of (admittedly cool) violent fights with the tiniest strand of flimsy story to tie them together.

Reeves seemingly speaks less than one hundred words as a retired hit man called back into duty when the members of a stereotypical Russian mob family pick on him for some reason and to say that the actor "is back" in top form based off this performance is outrageous hyperbole.  Yes, he works well enough in the choreographed fight scenes and he tries his best to engage the audience in his vengeful acts, but there's very little for the actor to latch onto.

The odd thing is that there's some weird sense of potential in screenwriter Derek Kolstad's script with hints of interesting elements.  For example, when Wick heads back into the realm of being a hit man, he sleeps at a hotel that caters to people of his type, keeping their residents' secrets and providing them with the necessary instruments to carry out their assignments.  This is just one of the unique elements present, but very little is done to expand upon them, making me wonder if there was an awful lot left on the cutting room floor...or perhaps it was all oddly surface on the scripted page.

Nevertheless, the incessant fight scenes grow tiresome a little less than halfway through and makes the film's final fifty minutes a slog to watch.

The RyMickey Rating:  D+

Movie Review - Moulin Rouge

Moulin Rouge (2001)

Starring Ewan McGregor, Nicole Kidman, John Leguizamo, Richard Roxburgh, and Jim Broadbent

Directed by Baz Luhrmann

As I sit here thinking back on my first viewing experience of Moulin Rouge in probably close to eight years, I'm hemming and hawing about whether this film belongs in my Personal Canon.  I very much appreciate director Baz Luhrmann's "throw everything at you" manic-style direction and insanely quick editing, but at the same time, it's that non-stop sensory overload (particularly during the film's first act) that takes the flick precariously close to cheesiness.  Once he calms down the bombastic nature of the whole affair and gives the film a chance to breathe, Moulin Rouge is a lovely musical that remains surprisingly "hip" and cutting edge over a decade after its initial release.

The doomed tale of a Parisian courtesan named Satine (Nicole Kidman) and her lover Christian (Ewan McGregor), a bohemian poet who treasures "truth, beauty, freedom, and above all else, love," Moulin Rouge is a simplistic tale wrapped up in truly gaudy paper.  Tasked to create an elaborate musical in order to turn the dance hall -- The Moulin Rouge -- into a more prestigious "theater," Christian quickly falls for Satine, the star of the burlesque , but Christian and Satine's love affair is doomed right from the start as the Moulin Rouge's proprietor, Harold Zidler (Jim Broadbent), has promised Satine in marriage to "The Duke," the play's investor (Richard Roxburgh).

Utilizing pop songs in rather unique ways -- forming medleys, creating dance mixes, and more -- Moulin Rouge doesn't have a single original tune in its repertoire.  Sure, the lovely ballad "Come What May" hadn't been heard before this film, but it was in fact not written for this movie (hence the reason it wasn't nominated for an Oscar for Best Song...although the film itself was nominated for eight Oscars, deservedly taking home two for its exquisite set design and beautiful costuming).  Admittedly, it's a bit odd at first, hearing such iconic songs as Elton John's "Your Song" or The Police's "Roxanne" in a different manner than what we're used to, however, any odd feelings we have quickly vanish when the lovely voices of Ewan McGregor and Nicole Kidman croon to each other.

That isn't to say that the music works entirely.  As I mentioned, the manic nature in the film's opening half hour throws more songs at you than you can register...and it's a bit off-putting at first.  And, unfortunately, as the film continues, we're treated every now and then to the occasional odd scene that simply doesn't work.  For example, the "Like a Virgin" number featuring Zidler and The Duke makes me cringe.  It stops the film dead in its tracks just when the love story was picking up steam.  And the uncorked champagne symbolizing "sexual release" is childish and laughable.  Still, there's more good than bad when it comes to the music and there are some truly magical moments (the aforementioned "El Tango de Roxanne" stunned me the first time I saw it and still resonates today...but I'm a sucker for stringed instruments and this tango lets the orchestra shine).

Certainly lifting Moulin Rouge up beyond the sporadic silliness are three fantastic performances.  For the first time while watching the movie, I greatly appreciated Jim Broadbent's role as Zidler, who outwardly is the hard-edged boss, but inwardly truly cares for the ladies working at his establishment.   Ewan McGregor and Nicole Kidman give some of their best performances of their careers.  McGregor is sweetly charming as the lovesick Christian -- it's easy to see why Kidman's Satine would fall for him.  Kidman is surprisingly sexy, but full of heart.  Sure, it's that typical "prostitute with a heart of gold" character we see often in movies, but it works here...I mean, the whole movie is filled with characters who are broad archetypes, but with the insanity of the visuals, it's surprisingly rather pleasant to have characters that aren't bogged down with anything more than basic traits.

In a way, Baz Luhrmann is like Quentin Tarantino in that I'm not exactly certain either director has any original ideas themselves.  Instead, they take their vast knowledge of film and create loving homages to movies they adore, honoring them while crafting something unique unto themselves.  Filmmakers like Luhrmann and Tarantino are tricky for me to critique in that sometimes I'm great admirers of them and then other days I may think of them as hacky auteurs.  And it's that very reason why I'm not sure if Moulin Rouge belongs in the Personal Canon.  I appreciate its insanity, but there are moments where that craziness is a directorial crutch that impedes the evolution of its story.  Nevertheless, this is still a film I admire greatly...even though I'm completely cognizant of its faults.

The RyMickey Rating:  B+

Movie Review - The Lincoln Lawyer

The Lincoln Lawyer (2011)

Starring Matthew McConaughey, Ryan Phillippe, Marisa Tomei, Josh Lucas, John Leguizamo, Frances Fisher, and William H. Macy

Directed by Brad Furman

You've seen movies like The Lincoln Lawyer before.  Courtroom tales featuring twists and turns galore with somewhat quirky characters peppered throughout.  Nothing new is brought to the table here and, if I'm being honest, there's not a thing about this movie that would make it seem worthy to be seen on the big screen.  But, seeing as how it's now on dvd, when watching it in the comfort of your own home, the flick becomes a perfectly adequate little mystery even if it tries too hard sometimes to be a little edgier than the rather stodgy story permits it to be.

Rich playboy Louis Roulet (Ryan Phillippe) gets accused of beating up a prostitute and hires the smarmy and somewhat sleazy lawyer Mick Haller (Matthew McConaughey) to represent him.  With the help of his detective-for-hire Frank Levin (William H. Macy), Mick begins to uncover the truth behind the crime Louis is convicted of and soon begins to realize that there is more to Louis than he seems to be revealing.

If the summary above seems a little bland and uninspired, that's because the movie itself isn't anything particularly special.  As I've said, there's nothing new brought to the table here.  And, if I'm being honest, I'm surprised I was as interested as I was considering the fact that both Matthew McConaughy and Ryan Phillippe aren't exactly known in my mind as having the best acting chops.  Their performances here do nothing to change my tune.

Still, somehow for some inexplicable reason, I somewhat enjoyed The Lincoln Lawyer.  I can't really explain why, so I won't even try (which I realize is the antithesis of what a review is supposed to do).

The RyMickey Rating: C

Movie Review - Romeo + Juliet

Romeo + Juliet (1996)

Starring Leonardo DiCaprio, Claire Danes, John Leguizamo, Harold Perrineau, Pete Postlethwaite, Paul Sorvino, Brian Dennehy, and Paul Rudd

Directed by Baz Luhrmann
***This film is currently streaming on Netflix***

Despite your feelings towards the film, no one can deny that director Baz Luhrmann has crafted a unique, modern take on William Shakespeare's classic tale of the two lovers Romeo and Juliet.  As their families fight each other, the two young amours become enamored of one another and refuse to deny their love up until their dying days (oops...did I spoil the tale for someone?).

I remember going to the movie theater to see this when I was sixteen and thinking that it was pretty darn cool.  At this point in time, Luhrmann wasn't known at all and his crazed, schizophrenic visual style was oddly compelling and unlike anything I had ever seen before.  Placing the Bard's "old school" dialog in a completely contemporary setting was riveting to me.

Cut to fifteen years later and I'm not so sure that I'm as much of a fan.  Don't get me wrong, Luhrmann has certainly crafted a distinct take on the material, but there are (several) moments where there is just too much going on visually.  Because of the bombardment of images, the words sometimes get lost in translation and the story becomes a secondary afterthought to the film's appearance.  A decade-and-a-half after the film's release, rather than being riveted I found myself laughing at an early scene involving a showdown between members of the Montague and Capulet families simply because of the way Luhrmann utilizes his camera.  The "wild west showdown" atmosphere he creates just didn't set well with me.

The aforementioned scene is one of several that just had me clamoring for a more straightforward (or at least less crazed) take on the material.  Maybe I'm just becoming a fuddy duddy in my old age, but the film as a whole was a bit of a disappointment.

Luhrmann does manage to get a decent performance out of Leonardo DiCaprio, but Claire Danes' Juliet felt a bit wooden to me at times (although, if I'm being honest, I'm not sure the character of Juliet is all that interesting of a person to begin with).  Most of the other supporting roles didn't really strike my fancy either this time around.

All that said, I can't deny that this is a different spin on the classic tale, but it's one that I don't need to revisit any time soon.  As I was watching it (and not loving it), I wondered to myself what my take on Luhrmann's Moulin Rouge would be so many years later.  Seeing as how that film has the same visual style of Romeo + Juliet, I can't help but think it will have faded from my initial praises as well.  Might be time to take another look at that one...

The RyMickey Rating:  C

Movie Review - Vanishing on 7th Street

Vanishing on 7th Street (2011)

Starring Hayden Christensen, Thandie Newton, Jacob Latimore, and John Leguizamo

Directed by Brad Anderson

***An early review -- This film will be released in local theaters on February 25***

One evening during a quick electrical power outage, nearly everyone in Detroit vanishes into thin air, leaving their piles of clothing strewn about the city.  Four people have seemingly survived the mass disappearance and they soon realize it's because they were around a non-electical light source at the time -- a candle, flashlight, etc.  Can this quartet survive the ghostly shadows that appear all across the city or will their metaphorical light be snuffed out?

The whole premise of Vanishing on 7th Street sounds silly, I realize, but I've got to say that the story was moderately entertaining.  There is an eerie quality present that derives its spookiness from sheer simplicity.  It's obvious that the budget on this flick wasn't large, but director Brad Anderson makes the most of things, creating a tense atmosphere with very little with which to work.  Anderson keeps the film moving at a brisk pace and the under-90 minute running time was a welcome surprise.

However, the film falters a bit when it comes to surviving quartet of characters themselves.  Everything that we learn about the group seems completely irrelevant.  Hayden Christensen's young news reporter was cheating on his wife with a married woman and Thandie Newton (who overacts out the wazoo at the beginning of this flick) is a new mother who recently separated from her baby's daddy.  I guess these plot revelations were supposed to make me "feel" for these characters or, at the very least, make them seem more relatable to me...needless to say, that didn't happen.  John Leguizamo's character doesn't have any secrets revealed, but he plays a film projectionist and we all know what secrets those recluses hold.  The fourth character is a kid because every movie like this has to have a kid in it because apparently kids in peril make audiences nervous or something.  Unfortunately, the film really fails these four actors by not developing their characters in the slightest.  I didn't give a damn about any one of these people and couldn't care less if they were taken by the shadows.

Despite my dislike for the character development, it wouldn't have been enough for me to disregard the flick.  However, it's also a shame that the film ends on a disappointing note.  The ending is slightly cop-outtish and I wish the movie would've had the nerve to conclude on a slightly different note.  Still, despite the qualms (and the not-so-great rating below), I didn't despise the movie.  Not that I ever need to watch it again, but you can certainly fare worse when it comes to eerie ghost movies.

The RyMickey Rating:  C-

Movie Review - Ice Age: Dawn of the Dinosaurs 3D (2009)

Featuring the voice talents of Ray Romano, John Leguizamo, Denis Leary, Queen Latifah, and Simon Pegg
Written by ?? [I'd love to tell you who it was written by, but imdb has deemed them not important enough to be on the main page anymore. They used to be right where they belonged -- below/above the director on the main page. They've demoted writers to the "Full Cast and Crew" page, but the writers for this flick aren't even there as I type this?!?!]
Directed by Carlos Saldanha and Mike Thurmeier

I know I've seen at least one of the previous Ice Age movies, but I really couldn't tell you a thing about them. They're simple throwaway movies and hold no place in my mind. This flick will join them.

The movie opens oddly, not giving us any backstory at all. I feel like the movie started in the middle of something that I wasn't privy to (if that makes sense). Anyway, woolly mammoths Ellie (Latifah) and Manny (Romano) are expecting a baby. Sabretooth tiger Diego (Leary) realizes that he'll be pushed to the wayside in their roving clique, so he runs away. Meanwhile, sloth Sid discovers three T-Rex eggs and when they hatch he becomes their "mother" which makes Momma T-Rex none too happy. Momma T-Rex picks up her three babies along with Sid and runs into some underground world where dinosaurs still exist (see we're in the Ice Age, so I guess they'd all be extinct). Ellie, Manny, and a recently found Diego decide to band together and save Sid.

By far, the best part of the movie is Buck (Simon Pegg), a British-accented weasel who is some gung-ho, yet crazy, adventurer. Some of the sequences with Buck were quite inspired. Every scene without him lulled me to sleep -- I literally almost fell conked out multiple times during this one.

I should mention that Scrat, the little squirrel in constant search of acorns, is here as well, and the scenes with him are fine...they are just completely time fillers because they don't fit in with the rest of the movie in any way. As little individual 3-minute cartoons, these throwaway scenes with Scrat are fine. As part of the movie, they're a waste.

The RyMickey Rating: D+