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Movie Review: Daddy's Home


Daddy's Home is a versus comedy that pits Will Ferrell against Mark Wahlberg, who previously co-starred in the hilarious The Other Guys. While the first half of The Other Guys was comedy gold, the second half was a bit of a letdown, which is probably how you'd describe Daddy's Home.

This is a domestic yarn about a stepdad, who gets sideswiped by his wife's first husband, who swoops in to take a shot at winning his family back. As you'd expect there's a lot of headbutting as the flashy biological father tries to schmooze past the stable stepfather. It's almost inspired by Modern Family, where a similar subplot played out as Ed O'Neill and Benjamin Bratt lock horns as Javier Delgado and Jay Pritchett.

While the Ferrell and Wahlberg pairing was luminous in The Other Guys, they're better as a team than adversaries and struggle to ramp up the same chemistry in Daddy's Home. Essentially, it should have been a surefire hit, but this isn't a typical Will Ferrell or Sean Anders film.

Daddy's Home

"Now who wants to play with a real shark?"

Ferrell is at his best when comedies are boisterous, over-the-top or just plain ridiculous. While writer-director, Sean Anders, is best known for raunchy comedy having created: Sex DriveWe're the Millers,Hot Tub Time Machine and Horrible Bosses 2. Comparatively, Daddy's Home is restrained, trying to mimic Modern Family for an equal dose of razor-sharp comedy and heart-melting warmth. Sadly, it falls short of this formula with more product placements than genuine laughs or heartfelt moments.

It's tame to a fault, diminishing the raunchy comedy of Anders and numbing Ferrell's rambunctious edge. You get the impression they're denying themselves in order to make a more family-appropriate comedy. The end result is bland with more misses than hits, leaning on Ferrell and Wahlberg's spark, which only really begins to flicker in the third act.

The product placements are blatant and annoying as the film starts with Ferrell openly advertising a family car mid-narration only to have a skate park suddenly sponsored by an energy drink. You understand that films need financing, but Daddy's Home may as well have had ad breaks.

While you keep watching in the hope that those infectious The Other Guys show up, they never do and it becomes a tedious exercise with little return. They try to rustle up some Office Space style comedy with Thomas Haden Church as a substitute for Gary Cole, but it's a sideshow and while probably the funniest part of Daddy's Home, it still feels a bit off-kilter.

The end result is a tame, uninspired comedy with Modern Family ambitions. The versus games are so-so, the comedy is lack-lustre and it only really starts to build in the third act, by which stage you're tired of sifting for laughs. The script doesn't work for these co-leads and director, who given their history, should've gone for something much more out-of-control.

The bottom line: Tame

 
Talking Movies with Spling - The Revenant, Joy and Max


Spling reviews The Revenant, Joy and Max as broadcast on Talking Movies, Fine Music Radio. Catch Talking Movies on Fridays at 8:20am and Saturdays at 8:15am every week on Fine Music Radio.

Talking Movies with Spling - The Revenant, Joy and Max by Spling on Mixcloud

 
Movie Review: The Revenant


The Revenant is a gritty survival adventure masquerading as a grim western, which while brutal remains beautiful and spirited. We follow the tale of a frontiersman, whose desire for revenge gives him the strength he needs to carry on after being mauled by a bear and being left for dead by his hunting party in the 1820s.

The title, which for all intents and purposes means 'zombie', gives you an idea of this film's dark edge. The Terrence Malick finesse of the nature versus man visuals is counterbalanced by a Charles Bronson certified blood-and-guts revenge story. We're swathed in the aesthetics and technical agility of two pristine film-makers in director, Alejandro González Iñárritu, and cinematographer, Emmanuel Lubezki, who are fast becoming regulars at the Academy Awards.

The winning streak isn't over for the duo, who essentially created a western version of Saving Private Ryan's opening Normandy landings, which moves seamlessly between the action as Indians ambush a group of frontiersmen to reclaim their pelts. Beyond this technical marvel, the film relies on natural light, which only afforded them a few hours of shooting per day. Despite this constraint, The Revenant remains breathtaking in its soulful beauty and provocative cruelty.

Iñárritu's previous directorial credits include intense dramas such as: 21 Grams, Biutiful and the squirrely backstage freak out, Birdman, which resulted in a landslide of Oscar nominations. The Revenant continues this trend as the in-demand director gets to pick the actors he'd like to work with. Which actor in their right mind wouldn't want a chance to work with the contemporary great?

The Revenant

"Eat your heart out, Rasputin."

Leonardo DiCaprio and Tom Hardy, two of the best actors of our generation, must have seized the opportunity to star in Iñárritu's latest film. DiCaprio is yet to win an Oscar, a feat that has aligned him in recent years with Martin Scorsese, who has became a worthy ally. While he's racked up a couple of Golden Globes, even Scorsese wasn't able to help DiCaprio earn that one golden statuette that's missing from his mantelpiece.

Is it because he hasn't made enough of a mental or physical transformation? The jury's still out on this one as DiCaprio continues to deliver one knock-out performance after another. Many, including this reviewer, believe his performance in The Revenant could spell the end of the drought. As a vegetarian, he overcame his convictions by eating bison, which just underscores how committed he was to this tremendous heart-and-soul performance.

He wasn't alone as the titular character, supported by Tom Hardy as a hard-headed villain and Domnhall Gleeson as an optimist, peacekeeper and leader. Hardy is murky and mercurial in The Revenant, playing a maddeningly dark character whose morally unconscious and slippery actions make him seem almost invincible. He's stone cold, devious and commands an unhealthy respect from the audience. While Gleeson is a light in the darkness, almost unrecognisable as the Captain.

The performances are strong and counterbalance the technical wizardry as a sparse yet effective revenge and survival story plays out. The natural vistas are screensaver-worthy and the adventure is real as our hero fights to stay alive and carry out his mission. His struggle is palpable and the drama is loaded as a series of injustices serve as a precursor to the ultimate revenge.

The Revenant is a film of rare beauty and brutality, two aspects that co-exist to create underlying tension as our heroic survivor battles for personal redemption against the elements and odds. It carries heart in the way our tenacious, travel-weary husk of a lead keeps his focus and soul in the midst of a mesmerising journey that carries him (and us) forward in search of a long-awaited and overdue reckoning.

The bottom line: Transcendent

 
Talking Movies with Spling - The Big Short, Suffragette and Self/less


Spling reviews The Big Short, Suffragette and Self/less as broadcast on Talking Movies, Fine Music Radio. Catch Talking Movies on Fridays at 8:20am and Saturdays at 8:15am every week on Fine Music Radio.

Talking Movies with Spling - The Big Short, Suffragette and Self/less by Spling on Mixcloud

 
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