Review: 22 Jump Street

by Trevor Kirkendall

★★★

“22 Jump Street” is a movie that doesn’t lie about what it is. It’s an R-rated summer comedy film, but most importantly (and they don’t want you to forget it) it’s a sequel. In an age where the movie going public says they’re tired of sequels, remakes and reboots – yet pays to go see them anyway – “22 Jump Street” opens and tells its audience that it is definitely sequel and that it’s going to be just like the first time. It even hints at many more to possibly come.

I wasn’t a huge fan of the first film “21 Jump Street” but I did like the pairing of Jonah Hill and Channing Tatum. It didn’t make a whole lot of sense why those two would be paired for a buddy-cop action/comedy, but at least it worked. For “22 Jump Street,” Hill and Tatum return as Schmidt and Jenko. We open with them attempting to bust a smuggler known as The Ghost (Peter Stormare). Deputy Chief Hardy (Nick Offerman) doesn’t think anyone likes them busting up smugglers, so he’s sending them back to Jump Street to do more of what they did the first time around. I’m not paraphrasing that; Offerman really says that showing us once again that this is a sequel and it’s going to be exactly like the first time.

On Jump Street, Captain Dickson (Ice Cube) assigns them to a nearby college to investigate a growing drug problem. A young student named Cynthia has recently overdosed on a new drug that’s going around campus and they need to find the supplier and find the dealer – just like the first time. Early evidence leads them to some football players including Zook (Wyatt Russell) who shares a very similar personality to Jenko. Left out of all the fun, Schmidt is left to look into Cynthia’s dorm neighbor Maya (Amber Stevens) and Cynthia’s ex-roommate Mercedes (Jillian Bell). Working apart for one another causes a bit of a rift between Schmidt and Jenko.

And we’re reminded every chance they get that this is the second time around and it’s just like the first time. We’re told they’ve spent more money this time around and expect better results. There’s even a little dig at how Jenko did some Secret Service work since the first time but that didn’t work out too well (a little slam at last summer’s “White House Down”).

Using the same format again for the sequel under the assumption that it worked well the first time never really works (see – or rather don’t see –  “The Hangover Part II”). The formula used for the first film is utilized here too, just like they say numerous times in the movie. As the movie progresses, you start to notice that they’re actually telling a different story and it is – in fact – not like the first film at all. And that’s quite a relief.

There’s nothing worse than a movie sequel that knows its going to be terrible and attempts to make its audience entertained by forcing the same plot line down their throats complete with the same jokes and gags. They think we won’t notice, but we do (see – or rather don’t see – “The Hangover Part II”). One thing I always notice in sequels is that the characters established in the first movie are often turned into caricatures of themselves in the second. The “dumb one” in the first movie is flat out stupid in the second one. The “smart one” keeps the plot moving in the first, but is reduced to telling jokes that don’t fit his personality in the second.

“22 Jump Street” doesn’t do that to its characters. We got to meet Schmidt and Jenko in the first film and got to know who they are. In this sequel, they’re the same people. And since Schmidt and Jenko were what kept “21 Jump Street” from being a total disaster, why would they need to be over embellished in the second? And they’re thankfully not.

Hill and Tatum are a great team. Since they already used the first movie to establish these characters, there’s no need to spend anytime on further development. It’s like seeing friends we haven’t seen in two years and feeling like we haven’t lost any time. Ice Cube gets more screen time too, which is a welcomed addition. He starts out doing the same thing he did in the first film, but as it begins to distance itself from the first, Ice Cube gets more face time.

The character Jillian Bell plays is outstanding and absolutely hilarious as well. Bell is famous for her role on Comedy Central’s “Workaholics” and she nearly steals the show in this movie. A scene with her and Hill is featured in the preview for this film, and its even funnier than what’s shown in the trailer.

Normally I’d pan a blatant cash grab sequel like “22 Jump Street” but it’s so much fun and utterly amusing that I can’t help but praise it. Those who thought “21 Jump Street” was great (and I was not one of them) will love this one even more. The jokes are new and aren’t rehashed from the first. The plot line is different enough to keep us guessing. And the characters aren’t radically different this time around. It’s refreshing to see a sequel do it’s own thing while at the same time acknowledging that its here just to take some more of your hard earned cash. You’ll walk away not feeling cheated by a sequel for once (see – or rather don’t see – “The Hangover Part II”).

Review: The Wolf of Wall Street

by. Joe Moss
★★★★

Much to the chagrin of my great friend Trevor, I must admit to everyone that I am most assuredly NOT a huge Marty Scorsese fan, nor am I a Leonardo DiCarprio fan. With that clarification out of the way I must say "The Wolf of Wall Street" IS THE BEST FILM OF 2013 hands down!! The 180 minute run time flies by as though on a cocaine high with a quaalude kicker. After I watched the film, I contemplated returning to the theater to watch it again just to be sure that I hadn't missed anything--it was THAT kind of SPECTACULAR!

The film encompasses the debauchery and pyramid scheming from the yuppie era of the late 80's that has made many of the Wall Street-based millionaires legends. Jordan Belfort (DiCaprio) gets a job at a renowned Wall Street stock brokering firm working for the legendary Mark Hanna (Matthew McConaughey) from who he learns the "three rules" on how to make it in the stock brokering world that is New York of the 80's. Unfortunately, his timing for his career happens to coincide with the crash of 1987--an auspicious beginning to say the least. But this doesn't slow young Belfort down, he rebounds working at a penny-brokerage firm on Long Island--and the rest is history in the making.

Belfort is hugely successful at the pyramid scheme that is penny stock options and builds his new firm--Stratton Oakmont, Inc.--with his newly found business partner, Donnie Azoff (Jonah Hill). They take their 50% commissions off the backs of the "garbage men and postal workers" and live large. Belfort lives so large, in fact, that his wife Terese (Cristin Milioti) leaves him and his philandering ways behind once she catches him in the throws of foreplay with the nicknamed 'Duchess of Bay Ridge' (Margot Robbie)--wife number 2. They soon become the toast of the Hamptons as well as the highlight of most of the New York social scene.

As all success stories oft do, there must be a down side to all of this wealth. Both the Securities Exchange Commission (SEC) and the FBI take notice of these loud and obnoxious brokers and ride them for 10 years, lead by Agent Patrick Denham (Kyle Chandler). Finally, as the hammer falls, Belfort is looking at 20 years plus fines for fraud, embezzlement, insider trading, money laundering....and the list goes on and on. Do you think that is enough to stop the money machine that is Jordan Belfort? Well, for this point you will need to go watch the movie for yourself to see because I do not want to give too much more away...

I cannot begin to say how incredible Leonardo DiCaprio is in this film, perhaps the performance of his long career. DiCaprio truly immerses himself into this role and BECOMES Jordan Belfort. I found myself liking, despising, rooting for, and disgusted by his behavior throughout the film. Talk about a roller coaster ride of emotions. I am not sure if Leo has done any (or all) of the drugs that are mentioned in this film, but my hats go off to the portrayal of a man on the edge of a binge and in the throws of the neurological meltdown. I was so emotionally involved at one point during the film, I had to shake my head to remind myself it was 'just a film--' but like a great book, the screenplay drew the audience into the fricassee.

To that end, Terance Winter (mostly know for HBO dramas like the Sopranos and Boardwalk Empire), did an absolutely bang-up job on the adaptation of this book (by Jordan Belfort himself) into the screenplay. Coupled with the very capable cinematography by Rodrigo Prieto (Argo, Brokeback Mountain, Babel), the film transcends generations to truly give the audience a small glimpse of the 80's and 90's for the fabulously wealthy socialites in, and around, Manhattan.

I would be completely remise to not mention the incredible job of multi-Oscar winning editor, Thelma Schoonmaker (Aviator, Shutter Island, The Departed) a long-time Scorsese collaborator. I am not sure how she and Marty were able to do it, but they are rumored to have trimmed approximately 45 minutes from this film. I am not sure HOW or WHERE they trimmed from, but you cannot tell. This movie is SEAMLESS in its transitory flow.

Now, please remember this this movie is RATED R, please do not take your three 12-year-old sons to see this film (as did the guy sitting next to me). There is plenty of nudity and drug abuse to scar a person for life--but then again, that was the 80's and early 90's.

Review: This Is the End

by Trevor Kirkendall

★★★

If you’re going to try and survive the apocalypse, who would you want to be with when it all came to an end? In Seth Rogen and Evan Goldberg’s case, you’ll probably want to be spending it with some really close friends. That’s the question “This Is the End” attempts to answer, Rogen and Goldberg’s latest laugh-fest that will probably leave you shaking your head from the stupidity, but will leave you gasping for air in between your laughs.

Jay Baruchel has just arrived in Los Angeles to spend a weekend of getting high with his best friend Seth Rogen. Seth suggests that they attend a housewarming party at James Franco’s new house. Jay is reluctant because he doesn’t really know James Franco. Plus, Jonah Hill will be there and he really doesn’t like him. But he agrees, since he’s here to see Seth.

The party is filled with celebrities you’ve pretty much come to expect to see in movies produced by Seth Rogen: Craig Robinson, Michael Cera, Mindy Kaling, Christopher Mintz-Plasse, Martin Starr and Paul Rudd among others. Rihanna’s even there. So is Emma Watson.

But at one point in the night, all hell breaks loose. A massive earthquake strikes which brings on the beginnings of the apocalypse. Jay even swears he sees people getting sucked up into the sky in bright blue lights, despite no one else believing it. Before long, only Jay, Seth, James, Craig and Jonah are left in the house alone. And, of course, Danny McBride, who they didn’t even know was there.

The rest of the film is spent with them trying to ride out the apocalypse and figure out what’s going on. Food rationing is an issue, along with the shortage of alcohol and drugs. Also, there might be some kind of a monster or demon lurking around James’ house.

Rogen co-wrote the film with his longtime writing and producing partner Evan Goldberg, and both make their directing debuts here as well. “This Is the End” is quite similar in tone to another film they wrote together, 2007’s “Superbad.” Both films are vulgar, raunchy, perverse and at times pretty vial. And it’s really just plain stupid at times, even by their standards. But just like “Superbad,” it’s also a side splitting riot that makes you laugh so long and so often that you might miss the next joke.

One of the most humorous elements is how everyone is portrayed in the screenplay. Everyone is playing a fictionalized version of themselves. Michael Cera, for example, is portrayed as cocaine-using womanizer. Quite the far cry from what we’re used to seeing with him.

Danny McBride steals the show, as he typically does whenever he’s in a movie. The star of HBO’s “Eastbound & Down” plays his part very close to that of his famous Kenny Powers character. He’s loud and abrasive, imposing his will on just about everyone in his path. He serves to antagonize the group more than anyone else. But just like Kenny Powers, he’s fun to watch.

The film is stacked with so many meta moments that it would make the writers of “Arrested Development” jealous. Everyone talks about the work they’ve done in the past, whether it was good or bad. They know they’ve been in the movies for awhile and that they have recognizable faces, yet its who they are, and they’re not afraid to talk about it. Without citing any specific moments, I can’t really go into it anymore than that. Rest assured, all reference are designed to be interjected at the most appropriate – and hilarious – times possible.

At times, the film feels like a thematic continuation of “Superbad.” In “Superbad,” Seth and Even (Hill and Cera) were ready to go off to separate colleges at the end of the summer. They were lifelong best friends who had never been away from each other. The film ends before they head out on the separate ways. In “This Is the End,” we have Jay and Seth who are also lifelong best friends. They’ve been away from each other for a long time. Now they’re back together again. The film explores how their time apart has changed them and whether or not they’re as close to one another as they once were.

Friendships seem to be an underlining theme in Rogen and Goldberg’s screenplays, which also includes “The Pineapple Express.” Both Rogen and Goldberg are lifelong friends and it shows in their writing and in their characters. If Rogen is really as loyal in real life as he portrays himself here (and to some extent in the character Hill portrays in “Superbad”) then he must be a genuinely good guy and not the typical pompous Hollywood elitist that most in that city tend to be.

Despite the fact that the film is littered with stoner and bodily function jokes, “This Is the End” is a genuinely humorous film. It doesn’t have nearly the same sized heart as “Superbad,” but that probably would have been a little out of place here. This is yet another one of those films were you have to ask yourself, “what what were you expecting?” If you can’t stand Seth Rogen, well then why would you pay for it? Otherwise, “This Is the End” probably won’t disappoint.