Director: Paco Cabezas
Writer: Max Landis
Stars: Sam Rockwell, Anna Kendrick, Tim Roth, RZA
Release date: April 8th, 2016
Distributor: Focus World
Running time: 92 minutes
Release date: April 8th, 2016
Distributor: Focus World
Running time: 92 minutes
Release date: June 9th, 2016
Distributor: Paramount Pictures
Running time: 112 minutes
Teenage Mutant Ninja Turtles: Out of the Shadows encapsulates everything cheap and monotonous about modern Hollywood. It is not simply that it’s rote, or confused, tiresome etc., it’s that there is just nothing special about it. Despite the aim to please the core franchise audience, it fails on the basis of completely ignoring everyone else. This instalment is a poorly-handled and forgettable waste of significant filmmaking resources.
Despite the harsh words, Out of the Shadows is nowhere near as obnoxious and amateurish as the 2014 original/reboot. The original threw together focus-group logic and studio-executive desire into a soulless melting pot. The sequel sees our four reptilian warriors – Leonardo (Pete Ploszek), Raphael (Alan Ritchson), Donatello (Jeremy Howard), and Michelangelo (Noel Fisher) – wary of the humans around them. Afraid of exposure, the troupe – with Master Splinter(Tony Shalhoub)’s help – carefully choose opportunities to explore the outside world. Meanwhile, plucky journalist April O’Neil (Megan Fox) investigates renowned scientist Dr. Baxter Stockman (Tyler Perry)’s dealings with Shredder (Brian Tee). Shredder, escaping custody with the Foot Clan’s help, hires fellow escaped convicts Bebop (Gary Anthony Williams) and Rocksteady (Stephen ‘Sheamus’ Farrelly) to execute a world-destroying plan.
Out of the Shadows cherry picks characters, plot-lines, iconography, and imagery from the TMNT movies, cartoons, comic books, merchandise, and video games. This instalment is strictly for die-hard fans, spending most of its 112-minute run-time on fan service and selling toys. Alongside the turtles and April’s antics, sub-plots including Vern Fenwick(Will Arnett)’s newfound fame, cop-turned-vigilante Casey Jones(Stephen Amell)’s revenge mission, and alien baddie Krang(Brad Garrett)’s assault on Earth rear their ugly heads. The movie never allows its sub-plots or characters to develop beyond one or two dimensions. Its tone is almost unbearable, throwing in too many wacky elements at once. Intriguing ideas, including the turtles’ desire to become human, are overshadowed by bright lights and bubblegum.
Like with most blockbusters, Out of the Shadows‘ screenplay – written by TWO so-called ‘professionals’ – is overstuffed and weightless simultaneously. However, this movie is not for the critics. Developed and marketed for children, the target audience won’t mind the gaping plot-holes or lack of originality. The action is enjoyable, combining state-of-the-art motion-capture performance and technical wizardry. The cargo plane sequence adds several layers to this otherwise lifeless affair. The direction, special effects and humour combine effectively for this all-too-brief rollercoaster ride. The humans are more lifeless and irritating than their CGI counterparts. Fox, once again, delivers a flat performance guided by pure sex appeal. Amell provides a charmless Chris Pratt impression and toothy grin for the female viewers.
Out of the Shadows mines this once-popular franchise to the brink of collapse. For all the bright colours and flashing lights, this sequel proves only one thing – popularity and quality are not the same. The installment embarrasses the redeemable cast, hard-working production crew, and studios.
Release date: March 24th, 2016
Distributor: 20th Century Fox
Countries: USA, China
Running time: 95 minutes
Release date: March 17th, 2016
Distributor: Walt Disney Studios Motion Pictures
Running time: 108 minutes
Release date: January 30th, 2015
Distributor: Paramount Pictures
Running time: 106 minutes
Release date: December 26th, 2014
Distributor: Columbia Pictures
Running time: 112 minutes
Oh boy, wasn’t 2014 a big year for entertainment?! As music, art, and fashion become universally applicable talking points, cinema almost dropped off the map of public appeal and critical interest. Suffering the lowest cinema attendance numbers in 20 years, Hollywood was taken down a peg. Most importantly, The Interview revealed more than any parody, satire, or documentary could ever hope to. This comedy, offending everyone in North Korea, forced hacking set-up Guardians of Peace’s hand. Seriously, we’re threatening to go to war over this movie?!
Don’t get me wrong, The Interview is a decent product. Its light-hearted, fluffy allure makes it a worthwhile 2-hour distraction. Despite the controversy and commercial losses, it doesn’t deserve this much hatred. More-offensive comedies The Great Dictator and Team America: World Police previously took aim at the world’s biggest dick-tators. In a parallel dimension, this would have been crushed under a wave of birdmen, imitation games, and theories of everything. Its formulaic plot and typical casting choices sink any chance of true greatness. We meet Jimmy Fallon-esque talk show host Dave Skylark (James Franco) and his producer Aaron Rapoport (Seth Rogen) celebrating their 1000th episode of tabloid pap Skylark Tonight. After a profound realisation, Aaron’s affection for the show wears thin. Dave – accustomed to pulling dark secrets out of Tinseltown’s brightest stars – promises Aaron he’ll deliver more legit news bulletins and features. Their wishes are granted by way of a peculiar long-time fan. North Korean Leader Kim Jong-un (Randall Park) requests a live interview with Skylark. The CIA, led by Agent Lacey (Lizzy Caplan), tasks the celebrity-destroying duo with assassinating the ruthless dictator.
Besides the string of mind-blowing behind-the-scenes events, there is little difference between The Interview and anything else Rogen and co. have delivered over the past decade. Rogen, directing and crafting the story alongside partner Evan Goldberg, were simply reaching for previous effort This is the End‘s critical and commercial success. The dynamic duo certainly meddle with intriguing concepts. They, refusing to bow down to studio pressures, have much to confess about the studio system. The balance between by-the-numbers plot and bonkers satirical commentary works throughout The Interview‘s opening third. Skylark’s show is a silver lining-free dark cloud over Hollywood. These skits – mimicking the same shallow flash and pizazz as Entertainment Tonight or TMZ – deliver the biggest laughs. Certain set pieces – featuring big-names Eminem, Rob Lowe, and Joseph Gordon-Levitt – let Rogen and co. off the leash. The standard straight man/kooky guy dynamic clicks immediately. The second third, however, crawls slower than United States/North Korea negotiations. The Rogen/Franco formula is pushed aside as Jong-un comes into the picture. Predictably, the central conflict (take a guess what happens here!) stalls this otherwise enjoyable and thought-provoking action-comedy. Despite the second-act flaws, Jong-un nearly steals the show. The baby-faced dictator even gets a convincing and well-rounded character arc. Here, instead of Team America‘s petulant-toddler image, the North Korean leadership is filled with misunderstood nobodies.
“Haters gonna hate, and ain’ters gonna ain’t!” (Dave Skylark (James Franco), The Interview)
Once again, however, Rogen and co. appear to have more fun making these movies than we do watching them. Though drifting above the Grown Ups series’ stench of laziness, it comes off like a million-dollar get-together. The performances elevate The Interview above Rogen’s recent efforts. Franco’s non-stop charisma and whacky timing bolster several well-thought-out zingers. Rogen’s reserved demeanour balances out Franco’s manic persona. Park’s nubile performance saves several lackluster second-act moments. It ticks all the common-theme boxes. Its anti-celebrity agenda is worth several ironic chuckles. The second-two thirds sharply commentate on US/NK relations. Tearing both countries down, Rogen and co. illuminate several relevant and idealistic viewpoints. For once, the stoner has the right idea! Who Knew, huh? Thankfully, the final third kicks this tiresome comedy into overdrive. The interview sequence, though hammering its pro-freedom/anti-bullying message into the ground, is chock-a-block with hysterical gross-out gags, over-the-top gore, and cute one-liners. Rogen and Goldberg experiment with action, scale, and practical effects. The tank chases, shootouts, and high-flying stunts show off some of the budget. However, despite the chaos and hilarity, its near-two-hour run-time severely dampens the allure.
The controversy surrounding The Interview, including the intense criticism over its subject matter, has little to do with the movie itself. Certainly, it’s not worth the world-destroying hoopla. However, it’s still an enjoyable silly and hysterical ode to Mel Brooks, Abbott and Costello and every bumbling comedic icon in between. Rogen and Goldberg’s raucous sense of humour, solid political messages, and fun action beats are worth the online download price. However, Rogen’s hands-on control is suffocating everything he touches. That beard and belly laugh only get him so far with us Western devils!
Release Date: August 27th, 2014
Distributor: 20th Century Fox
Running time: 104 minutes
Over a short period, TV has surpassed film as the go-to form of entertainment. With A-listers including Kevin Spacey and Matthew McConaughey jumping ship, the small screen is developing increasingly more ambitious projects featuring our favourite performers. So, who are the actors jumping from TV to film? Nowadays, this responsibility rests with sitcom stars of varying ages and talents. With Let’s Be Cops, two New Girl leads hurriedly leaped formats. Despite the movie’s flaws, their involvement saves it from being wholly mediocre.
Obviously, Director Luke Greenfield (The Girl Next Door) didn’t have to do much to win over New Girl fans or buddy-cop aficionados. Sadly, despite the cast and crew’s hard work, Let’s Be Cops might be overshadowed by recent real-life atrocities. With the Ferguson, Missouri issue concerning the US Government, varying authoritative bodies, and the country’s citizens, this movie’s outlandish premise comes off as tasteless and desperate. With news media calling America’s police practices into question, this action-comedy’s tactless approach may rub some groups the wrong way. So, should we blame this production for trying to have fun? The cast and crew, completing everything before this atrocity took place, deserve a fair assessment. So, with that in mind, does this buddy-cop farce stand up to scrutiny? Definitive answer: yes and no. Unsurprisingly, the story never delves past the title. Former football hopeful Ryan O’Malley (Jake Johnson) and submissive video game designer Justin Miller (Damon Wayans, Jr.) are unsuccessful, thirty-something man-children struggling to face reality. Bafflingly, after an embarrassing college reunion mishap, their elaborate police costumes are far more convincing than expected. Strutting through LA, the immediate acclaim gives them a blissful adrenaline rush. Convinced of this newfound ‘life purpose’, Ryan, ignoring Justin’s concerns, becomes addicted to the gun and badge. Buying a patrol vehicle off eBay, Ryan continually pulls Justin into trouble.
From the first patrol scene onward, several disturbing plot elements distort Let’s Be Cops’ light-hearted narrative. Obviously, Ryan and Justin’s actions serve to abuse police power. In fact, impersonating a police officer offers up significant prison time and fines. Therefore, with said penalties on the line, the narrative needed to be interesting enough to distract the average filmgoer from reality. Sadly, despite being an enjoyable buddy-actioner, these plot gripes hover above the audience throughout its 102-minute run-time. The story relies on two opposing viewpoints to keep the comedy and drama in line. From the get-go, the odd-couple relationship is hammered across our heads. With Ryan’s oppressive attitude clashing with Justin’s do-gooder personality, this central relationship brings up major questions. In addition, as it transitions from intriguing dramedy to goofy buddy-cop flick, their back-and-fourths become tiresome and dumbfounding. Though Johnson’s character is given suitable, albeit disastrously idiotic, motivations, Wayans, Jr.’s role becomes a series of alliance switches and reluctant decisions. Despite Justin’s desire to become a stronger person, the movie makes him the butt of almost every joke. Failing to get his video game idea, ‘Patrolman’, off the ground, the movie’s mean-streak occasionally weights down this breezy, laugh-fuelled romp. Despite this inconsistent bromance, Johnson and Wayans, jr.’s snappy New Girl dynamic boosts this simplistic venture.
“I feel like Danny Glover before he got too old for this sh*t.” (Justin Miller (Damon Wayans, Jr.), Let’s Be Cops).
Despite the exhaustive improv. sequences, Johnson and Wayans, jr. enliven their stock-standard characters. In this and Safety Not Guaranteed, Johnson proves himself an adventurous and efficient leading man. Conquering the slacker archetype, his likeable presence rescues his conventional character arc. In addition, Wayans, Jr. – stepping out of his family’s shadow – delivers enough charisma and levity when required. Along the way, his comic timing and slapstick gags deliver several laugh-out-loud moments. Meanwhile, Rob Riggle delivers some worthwhile jabs as an enthusiastic yet gullible lawman. Undoubtedly, Let’s Be Cops was designed specifically for our two sitcom-bred stars. Sadly, thanks to hit-and-miss humour, the movie becomes a 21/22 Jump Street rip-off. Despite the potential, its gross-out gags merely degrade certain action beats. The underlying cop-mobster storyline – revolving around Russian mob boss Massi Kasic(James D’Arcy)’s threats against cute waitress Josie (Nina Dobrev) – never sparks any excitement. In fact, this sub-plot exists simply to deliver action, Andy Garcia in another villain role, and D’Arcy’s convincing Ethan Hawke impersonation. Shifting around this sub-plot, the movie’s half-processed skits reek of desperation. Some scenes – featuring our leads strutting into nightclubs, flirting with drunk chicks, and forcing innocent people into uncomfortable situations – add nothing to the story.
Let’s Be Cops – despite the lazy premise and production’s laid-back attitude – overcame several obstacles before hitting the box office. Hindered by a major socio-political scandal, a poor release date, and a derivative marketing campaign (seriously, the image of police partners screaming has been used a million times!), it’s a miracle this buddy-cop flick is even watchable. In addition, Johnson and Wayans, jr. deliver more big laughs than expected. Thanks to their flawless dynamic, these two pull off the uniforms with ease.
Release date: August 1st, 2014
Distributors: Walt Disney Studios Motion Pictures, Marvel Studios
Running time: 121 minutes
All-powerful mega-conglomerate Marvel Studios has, for the past few years, been keeping everything close to the chest. Its mission, to build an intricate cinematic universe whilst entertaining the masses, is worthy of immense critical and commercial acclaim. Unlike most blockbusters, the Iron Man, Thor, Incredible Hulk, Captain America, and Avengers tentpoles work as stand-alone adventures and vital instalments. Marvel’s latest effort, Guardians of the Galaxy, fits into this gutsy and entertaining franchise.
Hitting and sticking, this sci-fi epic puts the pedal to the metal from the get-go and refuses to listen to the studio big-wigs. As Marvel’s craziest venture yet, Guardians of the Galaxy is ballsy enough to stick to its overarching plan. Unlike Marvel’s preceding efforts, this movie refuses to stay Earth bound. Here, the narrative and characters reach for the stars and soar into the sky to achieve the nigh-impossible. Thanks to the alluring marketing campaign, its premise is significantly more bizarre and questionable than expected. Shortly after his mother’s death, a young Peter Quill escapes his family’s grasp before being abducted by an unknown entity. The movie then jumps several years, and thirty-something Quill (Chris Pratt), going by “Starlord”, is a lowlife criminal working for himself. Dodging bounty hunters and murderers across the galaxy, his immediate future consists of treasure and loose alien babes. Unsurprisingly, his latest prize, a sphere-like artefact, places him atop the universe’s Most Wanted list. After a tussle between Quill, assassin Gamora (Zoe Saldana), Racoon-like badass Rocket (Bradley Cooper), and tree-like creature Groot (Vin Diesel), our brawlers are thrown into a vicious floating jail.
After a daring escape, aided by Drax the Destroyer (Dave Bautista), these abrasive warriors come together to tackle villainous figures including Ronan the Accuser (Lee Pace), Nebula (Karen Gillan), and Korath (Djimon Hounsou). Predictably so, comic-book aficionados and giddy cinema-goers define Guardians of the Galaxy‘s set fan-base. Pushing its kooky and intriguing narrative into warp speed, this sci-fi actioner delivers on everything it promises. Director/co-writer James Gunn (Slither, Super) injects his off-kilter style into each scene. From the emotionally resonant prologue (placed in front of Marvel’s logo) onward, the movie delivers a balance of charm and poignancy. Mixing sci-fi, action, and comedy tropes, Marvel latest is even more boisterous and hearty than preceding efforts. Scouring the universe, the movie examines the comic-book series and Marvel’s Cinematic Universe simultaneously. As varying factions and figureheads fight for control, the story etches in several cartoonish heroes and villains. Despite the sequel baiting and distracting contrivances, the goodies (led by the Nova Corps) and the baddies (led by high-ruler Thanos (Josh Brolin)) never distort the narrative. Instead, the pacing and tone establish a Star Wars vibe with hints of Serenity and Indiana Jones. Bolstered by a 70s/80s soundtrack, its nostalgic glow pushes everything along with style and gusto. Venturing into the vast reaches of space, this Star Trek-like space opera connects aliens, humans, and animals together organically.
“I am Groot.” (Groot (Vin Diesel), Guardians of the Galaxy).
Indeed, Guardians of the Galaxy‘s universe-building techniques inject gravitas and awe into its simple-yet-effective plot. With our five leads at each other’s throats, their zany actions and reactions are worth the admission cost. Drifting between expansive star systems and planets, the movie’s production design eclipses that of both Thor instalments. The Knowhere, a mining district built inside a gigantic skull, is a sight to behold. Handling magic and mystery deftly, Marvel’s latest achieves everything Green Lantern failed at. Despite the confusing space-opera/source material jargon, its story beats and character motivations mature naturally throughout. Without becoming a slapstick farce, the comedic jabs craft memorable and applause-worthy moments. Pulling people from different realms together, our five leads’ camaraderie bolsters this inspired instalment. Outshining its set pieces and genre cliches, the quieter moments make for significant strides. Whenever our characters sit and talk to one another, the movie’s negatives hurriedly dissipate. Graciously, its unique performers elevate certain set pieces and dialogue moments. Pratt, coming off Parks and Recreation and The Lego Movie, excels in his run-and-gun lead role. As the group’s Han Solo, Quill has the attitude, and dance moves, to match Marvel’s other anti-heroes. Surprisingly, Bautista, Cooper, and Diesel steal the show from one another as the team’s wackiest members. Their foul-mouthed, vengeful characters solidify this sarcastic yet determined ensemble.
From Quill opening credits dance number to the third act’s spaceship showdown, Guardians of the Galaxy takes to shooting first and taking names second. Fuelled by its retro visuals and puffed-up swagger, this sci-fi actioner signifies the start of Marvel’s immense evolution. With Phase 2 coming to a close, this mega-studio is heading in the right direction. The pressure now rests on Avengers: Age of Ultron‘s God of Thunder-sized shoulders. I anticipate a Rocket/Groot/Iron Man team-up flick by 2019.
Release date: August 8th, 2013
Distributor: Paramount Pictures
Running time: 129 minutes
Remember the 1990s? It was a far more peaceful time – back when boy bands ruled the airwaves, The Fresh Prince of Bel Air skyrocketed to mega-popularity, and Internet Explorer was still relevant. As a 90s kid, I look fondly back on this time and continually find more glaring similarities and differences between then and now. In the 90s, Miami, Florida was home to one of the most shocking crimes in US history. Action-comedy Pain & Gain is the ‘Michael Bay-directed’ account of this tragic event.
I used quotation marks in the previous sentence to make a specific point about this movie. Bay (Armageddon, the Transformers trilogy) is one of the most controversial directors in tinsel-town history. Many blame him for the death of modern cinema (Pearl Harbour was undoubtedly a huge misstep!) and continually criticise his ear-and-eyeball-shatteringly-brash style. However, his bombastic popcorn flicks have supported many careers and studios (dammed with faint praise). Since his filmography is a mixed bag (to say the least), Pain & Gain may just be his magnum opus. This hauntingly vile yet exciting and visceral action-comedy repeatedly states that it’s ‘based on a true story’. In the first three minutes, we see body-builder Daniel Lugo (Mark Wahlberg) impressively performing sit ups shortly before running from a barrage of policemen. The movie then steps back a few months, and Lugo is working for the man. Lugo, an over-worked yet optimistic personal trainer at Miami’s Sun Gym, is forced to work with high-paying client Victor Kershaw (Tony Shalhoub). Inspired by self-help guru Johnny Wu (Ken Jeong), Lugo asks work-mate Adrian Doorbal (Anthony Mackie) and ex-con Paul Doyle (Dwayne Johnson) to help him kidnap Kershaw and steal all his worldly possessions. However, their incompetent plan is met with hostility from Kershaw, former detective Ed Du Bois III (Ed Harris) and Miami’s steamy criminal underbelly.
What follows is a tale of violence, tyranny, anguish, emotional turmoil, and dream chasing. Yes, this movie is a stew filled with chases, enviable settings, disturbing violence, and A-list actors (you know, the ‘typical’ Hollywood movie ingredients). However, Pain & Gain startlingly deviates from what a standard run-of-the-mill action-comedy would do. Turning this horrific yet though-provoking true story into a relentless farce is a bizarre premise in itself. Here, Bay throws preconceptions of all kinds out the window. His idea of the ‘American Dream’ is clichéd and shallow, but it makes for a topical, discomforting, and enthralling movie-going experience. Pain & Gain clearly suggests that life is not worth living unless you have reasonable goals, a can-do attitude…and enviable possessions. In keeping with these pessimistic messages (such as they are), Bay’s superficial world (seen in all of his movies) is depicted here as a lugubrious, slimy, and morally weak black hole. Bay’s mean-spirited and chauvinistic creation knowingly points out the dangers that come of economic turmoil and unadulterated obsession. Thankfully, the familiar yet refreshing crime-thriller aspects keep this controversial movie in check. Throughout Pain & Gain, Bay alerts us to that split second when the lead characters go from laughably bumbling morons to villainous, delusional, and selfish delinquents. Despite the aforementioned abrupt tonal shifts, Bay makes sure the audience can ably laugh at, but never with, the three anti-heroes.
Ultimately, Bay proves with Pain & Gain that he has the potential to create gleefully satirical, dark, and multi-layered action flicks (and who on Earth saw that coming?!) Despite Pain & Gain’s glowing positives, Bay’s sexist, racist, homophobic, manic, and atmospheric directorial ticks are on display once again. His crass/frat-boy-like filmmaking style/sense of humour overshadows everything he touches. Bay’s repetitive and abrasive approach may test well with audiences, but he needs to branch out if he wants to be treated like an adult. If Hollywood were a high school, The Coen Brothers would be the popular, talented kids whilst Bay would be the nerdy youngster with a creepy yet obvious crush. In fact, Pain & Gain, conceptually and narratively, draws major comparisons to Burn After Reading and Fargo. However, whereas those crime-dramas are consistent, intelligent, and punchy, this movie fails to come up a clever, original or subtle stylistic choice. Bay delivers yet another blood, sweat, and expletive-filled universe. The 90s, by this movie’s standards, glistens with jaw-droppingly gorgeous bodies, bright lights, bold colours, and stereotypical comic reliefs. For some reason, many shots zoom through bullet holes and around characters. I’ve also never understood his obsession with low angles, explosions, and gratuitous slo-mo. Unequivocally, It’s the Bay-isms that distract from what the movie is trying to say about wealth, masculinity, power, and friendship.
“Jesus Christ Himself has blessed me with many gifts! One of them is knocking someone the f*uck out!” (Paul Doyle (Dwayne Johnson), Pain & Gain).
If you find True Romance/Out of Sight-esque crime-capers annoying and pretentious, you should probably check out Now You See Me instead. Like Now You See Me, the A-list cast elevates the mediocre material. Unlike that movie, however, Pain & Gain isn’t entirely brainless. Aided by the enjoyably silly yet unique narration, this movie highlights the aesthetic and magnetic qualities of its performers. Wahlberg’s enigmatic and captivating screen presence elevates his strange yet fascinating role. Used to playing hard-nosed cops and criminals, Wahlberg could’ve done this in his sleep. However, his wacky character is a steroid-filled shot to this movie’s heart. Emulating such masculine figures as Tony Montana, Rocky Balboa and Michael Corleone (“I watched a lot of movies Paul, I know what I’m doing!”), Lugo believes his muscle-fuelled lifestyle will bolster his ridiculous and disgusting get-rich-quick scheme. Despite his dim-wittedness, Lugo’s blissful ignorance and persistence are, at points, hilariously charming traits (similarly to his Boogie Nights character). The Stand out performer here is Johnson. Coming off G.I. Joe: Retaliation and Fast and Furious 6, Johnson has established himself in 2013 as the next Arnold Schwarzenegger/Sylvester Stallone-type action hero. Able to inject charisma, physicality, and grit into any role, Johnson in Pain & Gain balances wit, magnetism, and an inhumanly muscular frame to turn in a nuanced performance. His hysterically zany character, obsessed with Jesus and Cocaine (what a combination!), is a truly affecting and disturbing creation. I hope we see more of Mackie after his enjoyable performance here. Shalhoub, Jeong, and Harris deliver charismatic turns in small roles. On the other end of the spectrum, a little of Rebel Wilson’s ‘comedy’ goes a long way!
Turning this impactful true story into a pulsating action-comedy would’ve been an ambitious and incomprehensible task. However, Bay has done a remarkable job with allowing us to laugh at these absurdly dumb characters. Pain & Gain is an outlandish, insane, and lurid movie about the American Dream.
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