Tag Archives: netflix

Movie Review – Hubie Halloween (2020)

Well, I suppose I had to watch it sooner or later.

BQB with a review of Adam Sandler’s latest Netflix movie, “Hubie Halloween.”

I wish I could remember who said this so I could give them credit, and I’m going to be paraphrasing here, but I remember one time a reviewer likened Adam Sandler to a drug dealer in that both provide products that the public consumes and yet both never stop to think if they should. Ouch.

However, as Sandler movies go, this isn’t his worst, and if you’re looking for a film that will put you in the Halloween spirit without being too scary, this will work.

Sandler returns to his Waterboyish demeanor as Hubie Dubois, the constantly dumped on and made fun of town doofus in Salem, MA, which you history buffs may recall was the home of the Salem Witch trials in the 1600s and thus has been the locale of many a Halloween based movie.

Hubie is a man child, having never really grown up. He works in a deli and in his free time, he holds himself out as a self-appointed town volunteer, involving himself in this or that cause on the auspices of being a good citizen but ultimately, you the viewer quickly realize that this guy is so awkward and lonely that he basically volunteers for a reason just to come into contact with people.

His favorite time of year is Halloween and as the town’s self-appointed “Halloween monitor” he spends his days in October snitching on kids who are purchasing absurd amounts of eggs and toilet paper, lecturing school kids on Halloween safety and dodging all the various objects that townsfolk throw at him while riding his biycyle.

Long story short, someone is kidnapping townsfolk on Halloween night and it is up to Hubie and his trusty Swiss Army thermos full of soup to solve the case. Along the way, he’ll have to dodge bullies like Ray Liotta, Time Meadows and Maya Rudolph, collaborate with police officer Kevin James, and win the love of his high school crush (Julie Bowen who I recognized but wasn’t sure from what until I looked it up and realize she played Sandler’s love interest in Happy Gilmore and has still got it!)

I’ll be honest, I’m not sure who this movie is for. Sandler still practices that old school style of unwoke comedy though you can sort of tell it was run through a filter where various suits probably told him “You can’t do this or that or this or that and here’s as far as we’ll let you go.”

As someone who was alive during Sandler’s early heyday, I appreciate his style, though Im not sure many today still do…or then again maybe they do as this movie is ranked in the Netflix’s top ten as of late (at least, last I checked).

It does have some swears and some adult jokes, yet overall it is silly and childish so I can’t see adults loving it – it is Halloween based so you’d think it would be for the kids yet due to the aforementioned swearing and adult jokes, I’m not sure you’d want your young kids to watch it either. I believe it is PG 13 which seems about right.

STATUS: Shelf-worthy.

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Movie Review – Enola Holmes (2020)

Add a dash of girl power, a pinch of adventure and sprinkle a heaping helping of fourth wall breaking and you have a new Netflix film based on the popular young adult novels about Sherlock Holmes’ younger sister.

When her mother (Helena Bonham Carter) goes missing, Enola (Millie Bobbie Brown) turns to brothers Sherlock and Mycroft for help. Sherlock (Henry Cavil as a Sherlock who looks like he’d prefer to bench press clues rather than search for them) is sympathetic to his younger sister’s tom boyish nature, while Mycroft (Sam Claflin) is the patriarchy personified in that he just wants to ship Enola off to a finishing school for girls where Enola will learn how to be a wife and a mother and never ever ever do anything fun ever again.

Yeah, not gonna lie. This film is all about hearing women roar in numbers too loud too ignore.

Finding her older bros useless, Enola sets out to London on her own in search of her mother, only to find a young lord on the run as well. A murderous villain is hot on the lord’s trail and together…yadda yadda yadda, just watch it.

The movie does run a bit long and there are the occasional acts of violence that seem out of place for a young adult movie. It does meander between plots and at times it seems the writers weren’t sure if Enola should be searching for her mother or helping the young lord escape but all in all, it’s fun, though it does run a bit long.

Ultimately, this movie might be Millie Bobbie Brown’s ticket to bigger, better things. She has wowed us as Eleven in Netflix’s runaway hit, Stranger Things and appeared in the latest Godzilla movie, but this movie gives her a chance to display a wide array of emotions. I dare say it looks like she might be one of those lucky child actors who gets to go on to stardom as an adult, if this movie is any indication.

STATUS: Shelf-worthy.

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TV Review – Space Force (2020)

Be a spaceman, 3.5 readers.

BQB here with a review of Netflix’s new comedy series.

I avoided this series for awhile because I assumed it was going to be a dump on Trump fest. Now, don’t get me wrong, politicians have long been easy fodder for comedy, and our current president provides more than enough material, but at some point I feel comedians moved away from finding original jokes and just got lazy, creating a non-stop meme machine, i.e. “Trump is a bad orange man who is bad and orange!”

That’s not the case here. It’s a goofy comedy about all the antics you might imagine would happen in the creation of a brand new wing of the military.  Think F Troop, but in space.

Steve Carell plays General Mark Naird, a decorated war veteran who has long dreamed of leading a branch of the military. When he is promoted to 4-Star, he mistakenly believes that he is being groomed to replace his longtime nemesis General Kick Grabaston (Noah Emmerich) as leader of the Air Force, only to find that he’s actually going to become the founder of the Space Force.

The assignment, at first, seems like a bad joke, with the name Space Force conjuring images of science fiction flicks in which intrepid space explorers engage in tense laser battles with little green men.

But Naird takes the job seriously, seeing it as his opportunity to be remembered in history alongside great generals like Patton, Eisenhower and so on.

Naird’s foil is John Malkovich’s Dr. Adrian Mallory.  While Naird runs all things military at Space Force’s Colorado base, Mallory runs all things science. They’re basically an odd couple, where Mallory never wants to take a risk and Naird never meets a risk he doesn’t want to take.

Killer satellites designed to destroy other satellites, space chimps, space dogs, spies, moon colonies, and an ongoing rivalry with China’s version of the Space Force become inspiration for hilarity.

Various subplots ensue, including Naird’s wife (Lisa Kudrow as Maggie Naird) who is in prison for (SPOILER ALERT) a reason we are never told, and assumably we’ll have to wait until next season to find out, if we ever do.  We know she’s there for 40 years, so she did something serious, but Naird wasn’t required to step down so it couldn’t have had consequences that were that dire.  She’s free in the first few minutes of the series and clearly despises the idea of leaving Washington, D.C. to move to a remote location in Colorado, so my money is that she probably flipped out and tried to hijack the flight to Colorado or something.  We’ll have to keep watching to find out.

Naird’s daughter, Erin (Diana Silvers) ends up having to raise herself as her mom is in the slammer and dad is constantly dealing with one space catastrophe after another.

To the series’ credit, it isn’t that political at all, but when it is, it harangues both parties equally. In one scene, Naird is chewed out by an Alexandria Ocasio-Cortez clone for wasting taxpayer dollars on spaceships with lasers and pulse cannons only for Naird to have to gently explain that these things only exist in Star Wars.  Meanwhile, he has to explain to a stereotypical Southern senator that the earth isn’t flat.  Trump is never official said to be the president, though Naird gets ribbed with texts from “POTUS” calling him a loser whenever Space Force suffers a setback.

The late Fred Willard plays Naird’s doddering father who suffers from a multitude of health problems but refuses to go into assisted living.  Poignant, because this was Willard’s last role.

Ben Schwartz plays Naird’s despised social media consultant F. Tony (nicknamed Fuck Tony), essentially reprising his ultra-trendy pop culture obsessed Jean-Ralphio from Parks and Recreation.

Ironically, and I’m not sure if this was the series’ intention or not, but it actually convinced me that militarization of space isn’t that bad of an idea.  Put aside goofy sci-fi notions of space soldiers fighting with vile aliens and consider today’s issues, namely, we are more dependent on the Internet than ever, and if a foreign power has the ability to knock an Internet providing satellite out of the sky, then perhaps the military does need to be involved.  Meanwhile, if multiple countries have plans to eventually colonize the moon or Mars, then those colonies will need protection.

And in a funny way, it explores many of the issues that are bound to happen as earthlings keep navigating into the stars.  Will countries fight over astro-turf just as they fight over earth turf back home? Will experiments that could help humanity though medical breakthroughs be put to the wayside for finding new ways to carry out war? Who owns what is discovered in space and last, but not least, is the great taxpayer expense worth it? As Malkovich points out, the cost to launch a rocket is the equivalent of what thousands of Americans make in an entire life time. How many thousands of life-time salaries can be wasted without demonstrated benefits before taxpayers put a stop to space exploration altogether?

STATUS: Shelf-worthy.  I binge-watched this in a day because it was that funny and I’m looking forward to season 2.

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TV Review – Unbreakable Kimmy Schmidt: Kimmy vs. The Reverend (Interactive Special)

3.5 readers, if you need a cure for the corona blues, this is it.

Note that I said a cure for the corona blues, not the corona itself.

Anyway, I was feeling pretty blue myself yesterday morning when I made my new normal commute from the bedroom to the couch, only to be instantly cheered up by the surprise of an interactive Kimmy Schmidt special.

I love this show because I feel like it was one of the last true examples of good comedy out there. Jokes that fly at you at a rapid clip, so much so you have the watch the series at least twice to catch them all.  They pull no punches and they aren’t afraid to poke fun at both sides of a topic, no easy feat in this day and age when the masses demand that comedians pick a side.

Naturally, I was bummed when the show ended rather abruptly. Though we were given an ending, it felt like everyone found love but Kimmy.  Indeed, Kimmy did find success as the author of a children’s book series, but love eluded her. I suppose there’s a larger debate about whether she needed love and while yes, anyone can achieve success on their own, finding that special relationship is, well special.

By the way, for those new to the show, it is about a woman who, as a teenager, was kidnapped (I forget the actual year but I want to say late 90s or early 2000s) by the insane Reverend Wayne Garywayne (Jon Hamm in a role that blows Don Draper out of the water) and forced to live in a bunker as one of Garywayne’s many sister wives.

Lied to by the Reverend and told that he has saved them because the apocalypse has broken out on the earth up above, Kimmy and friends are shocked when they are rescued decades later by the police and find that the world is still here.

This does not sound like fodder for a comedy at all but the crux of the humor surrounds Kimmy having a child like naivete, trying to make it big in New York City while learning thing we all take for granted. Her “teachers” on this journey are wannabe actor Titus and crazy landlady Lillian.

So, not to belabor the show’s history, in this special, Kimmy is three days away from marrying an actual prince played by Daniel Radcliffe when she discovers that the Reverend, now in prison, had been keeping a second bunker full of sister wives the entire time.  It’s up to Kimmy to save the day on a cross country trip and free the Reverend’s hostages while making it back to the wedding on time.

You, the viewer, get to make choices for Kimmy and friends, and often your choices have unexpected and hysterical results. They also do have consequences, as your decisions lead to happy, mediocre and or bad endings – just like life!

In fact, as I watched the show, I couldn’t help but wish that I had a remote control that would let me go back and make better decisions.

STATUS: Shelf-worthy. Look away for a spoiler – Making choices that are out of Kimmy’s character tend to be funnier, but making choices that Kimmy would make tend to keep her on the straight and narrow path.

PS: As a fan of the show, I think this does provide better closure as it ties up the loose end about whether Kimmy would find her soulmate, while leaving the door open if they want to ever make another special or more episodes. Further, it is amazing what tech can do with interactive storytelling and Netflix is leading the way on that.

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Movie Review – The Wrong Missy (2020)

Careful what you text, 3.5 readers.

BQB here with a review of the Netflix comedy, “The Wrong Missy.”

Adam Sandler and friends, his coterie of 90s era comedians who usually do his Happy Madison production company movies, have had their share of hits and misses, and sadly, in recent years, its been more misses. Their style of comedy (silliness for the sake of silliness without much else thrown in) has by and large gone the way of the dodo, and we can have a debate over whether or not that’s a good thing another time.

This one is a hit.  That’s my opinion, but its topping the charts of Netflix’s offerings today, it’s release day on the streaming service. I think eventually, people will agree.

It’s got two things that Sandler’s flicks have been lacking during their last few (eh, make that several) outings – heart, and actual laughs.

David Spade plays Tim, a brokenhearted bank executive who has given up on love, unable to get over a breakup with ex-fiance Julia (Sarah Chalke). One night, he goes on a blind date Melissa #1 – (Lauren Lupkus of Orange is the New Black Fame who I always confuse with comedienne Kristen Schaal, so much so that I wonder if Kristen and Lauren’s agents are in a perpetual war over who can race to get their client any and all roles that call for a crazy, wild eyed brunette.)

Anyway.  That blind date doesn’t go well, for many wacky reasons but the chief one that comes to mind is that she carries a Crocodile Dundee sized knife in her purse and whips it out often, threatening to use it willy nilly.

Tim brushes Missy #1 off as a psycho, but while in an airport one day, he meets the woman of his dreams, also named Missy, or Melissa (Molly Simms) when he and she mix up their bags at the airport.

Long story short, Tim, urged by BFF Nick Swardson, texts his preferred Melissa with an invited to come on his company retreat to Hawaii. only to be aghast when “The Wrong Melissa” shows up on the flight instead.

Yadda, yadda, yadda. This Melissa is nuts. Tim’s job is at stake because his boss is basically using the retreat as a means to choose between Tim and another candidate for a promotion but Melissa can’t stop saying and doing crude, obscene things and the rest is history.

I think one of the better decisions made with this movie is that Spade cancelled his “I just like to rag on everyone even though deep down inside I wish I was them but I can’t because even though I’m awesome on the inside I’m short on the outside” routine.

Instead, Spade plays Tim as the straight man, the foil to Melissa’s absurdity.

Indeed, there’s plenty of room for criticism. Spade, God help me, is 55 now, and less well preserved, less famous and less wealthy men of his age generally grab hold onto whatever they can get, whereas in this film, Spade is juggling two Melissas as well as his ex who begins to wonder if she missed out on something good if all these Melissas are after her ex’s hanglow.

But Lupkus shoots a cannon in the name of this film’s self awareness at that age difference early in the movie, saying, “What are you? 65? I don’t care.”

I’ve checked some other reviews and the criticism is fairly standard.  Spade should be playing opposite some age appropriate women and how dare Melissa #2 be presented as the end all be all just because she’s uber beautiful.

Part of me wants to point out that old rich men are able to land hot younger women because, all arguments about equality aside, men tend to be more attracted to beauty while women tend to be more attracted to security (the biggest cavemen thousands of years ago, or the man with the biggest wallet today.)

That of course, doesn’t apply universally and it probably doesn’t even apply here. Hollywood wants those hot babes on screen, whereas male actors can be schlubs (although ladies if you think you have it hard trying to live up to Hollywood standards of beauty, try competing with the likes of Chris Hemsworth and Chris Pine if you’re a man and ok…I’ll be quiet now).

If this is a spoiler, then so be it, but what I did like about this movie is it didn’t go the road that rom coms usually go in when a main characters is forced to choose between two love interests. Inevitably, the writers always make the decision for the character, making one of the interests do something so awful and unforgivable that the choice becomes clear.

Technically, that doesn’t happen here. Spade has to make a choice between two women he loves and he makes it….though you do have to suspend your grip on reality to believe that a successful businessman is going to choose a woman who force feeds him dog tranquilizers and speaks in devilish tongues as part of a she’s so quirky routine would not just go for the demure Miss USA contestant.

Lauren Lupkus is great in this and hopefully Hollywood will take further notice.

STATUS: Shelf-worthy.

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Movie Review – Extraction (2020)

Hey 3.5 readers.

BQB here, taking a break from my classic movie marathon to watch a new one, that being Netflix’s “Extraction” starring Chris Hemsworth, which dropped today.

Hemsworth stars as Tyler Rake, a drunk, drugged up merc with a deathwish as in he doesn’t care if he lives or dies and given his druthers, acts like he’d prefer the latter.

When the son of a Mumbai, India gangster is kidnapped, Tyler is recruited to save young Ovi. To do so, he’ll face legions of enemies as well as double, triple and quadruple crosses.

A lot of great action scenes, gun battles, fist fights, explosions and what have you. Box office blockbuster quality brought straight to streaming in HD.

It was interesting to see Hemsworth playing someone other than a superhero. He stepped out of his comfort zone to play a flawed, tragic hero.

Honestly, during this corona stink fest, it comes at a time when we haven’t caught a good new flick in what, like over a month now? So it was welcome.

STATUS: Shelf-worthy.

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BQB’s Classic Movie Reviews – Lethal Weapon Series 1-4 (1987-1998)

I’m getting too old for this shit, 3.5 readers.

I’ve been kicking it 80s style during this quarantine, and over Easter weekend, I celebrated the resurrection of our Lord and Savior by watching Riggs and Murtaugh deep six a lot of bad guys who are never coming back.

On the surface, they may seem silly, but these movies really do have it all (well, the first two are near perfect whereas the last 2 are a bit flawed but I’ll get to that).

They’re funny.  They’re serious.  The stakes are high but the laughs are still present.  You’ll laugh.  You’ll cry.  You’ll get to know the cops, their families, friends, hopes, dreams, etc.  They aren’t just cookie cut outs.  They’re fully developed characters, which is rare for an action movie.

Danny Glover plays Roger Murtaugh, an LAPD Homicide detective who, in the first movie, turns 50.  As is his catch phrase, he is “getting too old for this shit.”  In a scene where his wife and kids bring a flaming birthday cake into the bathroom, catching him by surprise while he’s in the tub, we see his elation, that the family he has built nourishes his soul.  When they leave alone, he looks in the mirror and the look speaks a thousand words silently.  He is depressed that he is getting old.  His best years are behind him.  He is mortal and the fear that one day, he might die and lose the family and home he has built weighs heavily on him.

Across town, we meet Martin Riggs (Mel Gibson).  He’s younger than Riggs.  I’m not sure what age he’s playing but if I had to guess, in the early 30s range.  He lives alone in a trailer by the beach, no one but his dog to keep him company.  His wife has died in a car accident.  It’s Christmas.  We see the look of epic sadness on his face.  He sticks a gun in his mouth and as his finger touches the trigger, we see a pained look on his face, like he might actually do it, that at any rate, he is capable of doing it.  Obviously, he doesn’t do it but if you were seeing this movie in the 1980s for the first time, you definitely might have been lead to believe that he was about to do it.

Riggs and Murtaugh join forces and become the ultimate odd couple.  Murtaugh wants to play it safe because he has too much to lose.  Meanwhile, Riggs has no problem being reckless.  Car chases, shootouts and fist fights are his forte.  Murtaugh nags Riggs, urging him to slow down at every turn, like an old woman.  Riggs is like the young son who pushes his old man into living dangerously.

Ironically, they compliment each other.  As the movies wear on, Murtaugh realizes that in addition to being a dad, he is also a cop.  While there’s a part of him that yearns to leave the force behind and live a safe life, surrounded by family while he goes fishing and collects a pension, there’s another part of him that knows he’ll only feel useful when he’s fighting crime, and Riggs brings this side out of him.

Conversely, as we get to know Riggs, we learn he isn’t as crazy as he seems.  Rather, he was a special forces soldier during Vietnam and followed that up by becoming an LAPD cop.  These are dangerous jobs and one does not get results in either profession by not acting a little bit crazy.  It’s not that Riggs wants to die, it’s just that he learns to suppress the fear and tackle it with humor and bad jokes so as to keep from going completely insane.  The Murtaughs become the family he never had.   Roger like his grumpy uncle, Trish like his Mom doing his laundry and cooking for him.  The kids become like his nieces and nephews.  Along the way, he seeks out the family life that he’s missing and builds a life like Roger’s, one that he’s afraid to lose.

The first two are quite solid.  The third and fourth?  I don’t know.  The third takes place in the early 1990s and doesn’t quite have the cache of 1990s action flicks, which were all more or less about ex Vietnam vets becoming cops and crooks and squaring off against each other, using their ‘Nam skills to kick ass and settling old scores.  Mix in the coke dealers and the fast and loose lifestyle and I don’t know, all that kind of became blase in the 1990s.

Riggs falls for lady cop Rene Russo in the third film and starts a family with her in the fourth.  By 1998, Danny and Mel seemed way too old to be running around getting into fights and car chases, though they address that by embracing the getting too old for this shit line.

Don’t get me wrong.  Three and Four are worth watching, but the real magic rests in 1 and 2.

Not everything holds up.  There are some things that don’t fly today.  Riggs and Murtaugh make fun of Trish’s cooking throughout the series, whereas today the idea of poking fun at a woman’s culinary skills as though this somehow makes her less worthy isn’t kosher.  I mean, hell, good luck even getting a woman to make you dinner.  If you are lucky enough to have one who will, don’t make fun of her cooking skills.

Riggs and Murtaugh also regularly crack jokes about each other being gay and/or unmanly.  After a bomb blast in the first film, Murtaugh grabs Riggs only for Riggs to push Murtaugh away and call him a “fag.”

So yeah, there are some things that will make the modern viewer cringe but if you can write it off as all being a product of the time, you might be able to still enjoy it.  Maybe not.  I don’t know.

Meanwhile, the series does rest on a number of running gags.  Running jokes include Roger borrowing his wife’s car only to completely fuck it up while chasing bad guys, cursing Riggs the entire time, demanding that he go easy on his wife’s car.  The Murtaugh family home takes a beating throughout the series, from drug dealers driving through it with their cars to a toilet explosion in the second film ( a highlight of the series to be sure.)

Joe Pesci is added to the series in 2 as Leo Getz, a slimy accountant turned witness who whines incessantly, yet often comes up with sleazy ideas that help Riggs and Murtaugh catch the crooks.

Overall, it’s a great series that really captures two ways of looking at life.  You can be a Murtaugh and live in fear of losing it all, or be a Riggs and laugh in the face of danger lest you dwell on it and let the fear eat you up inside.

SIDENOTE: It always saddened me when Mel went on his racial tirades.  I didn’t want to believe it at first but the way the racial words roll off his tongue in various recordings, adding in the fact that he was given so many chances to redeem himself yet kept saying such things makes it clear that unfortunately, a lot of this crap was in his heart all along, which it makes it odd when you watch Riggs because that character is so far from being a racist.  Part of me wants to chalk up Mel’s tirades to him becoming an angry old man but I don’t know, there are ways to be an angry old man without invoking all kinds of racial epithets, thus making it hard to believe these bad thoughts weren’t with him all along.

STATUS: Shelf-worthy.

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BQB’s Classic Movie Reviews – The Money Pit (1986)

Hey 3.5 readers.

Your old pal BQB here with another review as we continue the corona quarantine hullabaloo.

This movie was on all the time when I was a kid.  I thought it was funny then and so it was cool to see it is on Netflix today.

The premise may be near and dear to the hearts of every first time home buyer.  After all, the sequence of events goes like this:

  1. You need a place to live.
  2. You find a place you like.
  3. You do your best to inspect the place you like, but inevitably, the homeowner will do their damndest to hide any and all defects so as to avoid paying to fix them, essentially passing the buck to you, the buyer, then playing dumb when you notice it after you moved in.
  4. At that point, maybe you have a case, but in most instances, you’ll spend more time and money on suing the original owner than you would on just paying to have the problem fixed.
  5. You’ll hire a contractor.  The contractor will take your advance payment, and then once they have their money, you will be lucky if you see them before the next ice age.  You can’t hire someone else because you already sunk money into them.  You can’t get too snippy with them because they might walk away and ultimately, most contractors will make you wait so you ultimately just have to live with the hole in your roof, or in your ceiling or dry wall until the contractor takes pity on you…or has spent your initial money down and realizes they need to show up and do some work before they get paid again (unless you were an idiot who paid it all up front in which case, you will never see that contractor again.)

Tom Hanks and Shelley Long made an entire movie about this!  They play Walter and Anna, a young couple who try to make a go of it in a new home, only to get duped by the previous owner.  The majority of the movie is dedicated to wacky hijinx – exploding ovens that shoot turkeys through the air, wiring that sets the house on fire, stairs that fall apart while Walter is walking on them, leaving him to do action movie style jumps to the ledge.  Walter takes the brunt of the beatings, getting knocked in the head by all manner of flying debris.

As unscrupulous contractors take their money and then promise the house will be fixed within two weeks for way, way, way longer than two weeks, the couple is pushed to the breaking point, and they will struggle to keep their sanity and relationship afloat.

Bonus points to Alexander Godunov, that long haired 80s villain who plays Anna’s cheating ex-husband, the cad who tries to take advantage of the situation, hoping to steal Anna back.  I didn’t realize it as a kid, but as an adult I instantly recognized him as the dude who played German terrorist Karl aka Hans Gruber’s right hand henchman in Die Hard.  Yes, he was the villain who helped Sgt. Al Powell realize that he could raise his gun to shoot again.

STATUS: Shelf-worthy.

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Movie Review – Coffee and Kareem (2020)

This movie is just awful.  I really can’t say enough bad things about it.

On the surface, it seems like it would be good, because it has a lot of good actors in it.  Ed Helms, Taraji P. Henson, Betty Gilpin, David Alan Grier.

But just as pizza, ice cream, orange juice, and Mountain Dew all taste good on their own, they are destined to explode into a pile of crap when you put them together.

The plot, if you can call it one, is that Ed Helms (Officer Coffee, given that unlikely name for no reason other than to create a catchy buddy comedy movie title)  is dating Vanessa, the mother of the rambunctious and foul mouthed 12 year old, Kareem (Terrence Gardenhigh.)

Long story short, Kareem witnesses a murder, Coffee gets framed for it, and its a madcap romp to fight the bad guys and score the evidence that will get Coffee off the hook.

It sounds simple enough yet, it all falls apart at a comedic level.  I don’t know when it became popular for kids to say raunchy things in movies.  I’ve noticed it as a growing trend more and more in movies over the past decade.  Someone, somewhere decided it would be funny to have a kid swear and say naughty things and then movies just kept upping the game, having kids swear more, saying naughtier things until you have this travesty.

Feel free to disagree, but I just think that having kids being foul mouthed for the camera is just gross, a stupid gimmick that Hollywood should have had enough decency to have never gotten involved with in the first place.  How do none of the adults behind this movie not say, “Hey, kids shouldn’t be saying such terrible things and we shouldn’t make one do it for the camera?”

To be honest, I was going to switch it off in the first 20 minutes and I only stuck with it because of Betty Gilpin, who I think is an underrated national treasure, but even she couldn’t save this mess.

I don’t know what else to say.  Rarely do I give a bad review, but Netflix should give subscribers a free month and a formal apology for making this crap.


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BQB’s Classic Movie Reviews – Night Hawks (1981)


Hey 3.5 readers.

As an aficionado of 1980s action flicks, as well as everything Stallone, I was shocked to find this movie starring Stallone and Billy Dee Williams as two cops chasing a terrorist, Rutger Hauer as Wulfgar.

So, I watched it and I have to say, overall I was impressed.  It has a degree of seriousness, almost in the vein of “Day of the Jackal” where a London based terrorism expert moves to NYC to educate Stallone and Williams on how to track Wulfgar, that this cunning sociopath is a master of disguise and deception and could be anywhere at any time.

The key plot point is that Stallone, as a cop, is also a master of disguise and deception.  The film begins with an old woman about to get mugged.  She kicks the muggers’ asses, and rips off her mask to reveal that she is Stallone and Billy Dee jumps out of the shadows to provide backup.

My main complaint is about halfway through the film, the subterfuge or cat and mouse angle of the film is blown and it goes from an understated mystery thriller to an all out action flick.  At the beginning, I thought the point was Stallone was going to lull Wulfgar into a trap, but he just goes at him guns a blazing.

Still, there are some riveting action scenes, as well as some prophetic discussions of terrorism and how terrorists operate that seem eerily accurate post-9/11.

Ironically, I think with a few tweaks and perhaps a more serious title, this film could have gone down as one of the great ones.  Instead, it became lost, at least to me, until I found it on Netflix and only then I was on a coronavirus inspired deep Netflix dive.

And I’ll give it this – the ending makes the whole thing.  I don’t want to give it away, but it really is a great, unexpected, and redeeming ending.

STATUS: Shelfworthy.

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