There this thing which happen when comedians create autobiographical material and then cast themselves in it. Like, it’s an extension of everything they put up on stage, the way they turn experiences into stories, how their life is deliberately distorted around this stage persona they create. Everything around a comedian has to turn into comedy. Otherwise it never happened. It’s where the power of confession comedians comes from, the most unexpected thing we could possibly see on the stage is life.
Johannes Roberts and Ernest Riera are men. You can tell this by their names. And also by the dialogue they give their two leads in this film. Whatever tension and thrills could have been generated by the later sequences, which I am excited to describe with such glowing terms as ‘capable’ and ‘functional’, are thoroughly skewered by the not even ten minutes spent above water at the lead.
It’s nice to see a studio comedy which is defined by its earnestness. Girls Trip engages full on with every moving cog part of its machinery. From the opening narration by a character who is unironically labelled the new Oprah, or perhaps the modern Oprah, it’s trying to be a film about connection. That old getting the band back together type deal. We’ve seen it in a lot of films recently, the old group of friends struggling to rebuild their connection over the unstable foundation of past slights, what sets Girls Trip apart is how much it cares.
Yay, a properly great week for cinema for once. Honestly I’ve been thinking on it recently and I think I may have been being a bit stingy on my five star reviews, especially on big budget action joints. I did reviews without ratings for a long time, I think i still prefer that style of writing but there sure do be something to be said for attaching a solid quantifiable opinion on there.
This ain’t that great a review. I don’t have much to say here aside from that City of Ghosts is a brilliant, amazing film and you should totally all see it.
Google seems confused about this film’s title. For the sake of convenience I’m gonna go with the one on my ticket: Scribe. Somewhere else there’s someone believes this film goes by a different name, they call it The Eavesdropper. I’m interested in what these two titles mean, how they assign both action and intent. To transcribe is to be proactive but the action itself carries no inherent moral weight. To eavesdrop is the opposite, you’re doing nothing conceptually it’s a dishonest and bad thing to be doing.
If there were any kids’ movie which may as well have a big sign painted on the front that said essentially ‘NO GIRLS ALLOWED’ it would be this one. Like, there’s one woman in the movie, an adult not one of the kids, and even then she’s treated solely as this disposable love interest type character for another male character to pick up. I mean, I read the books, was probably getting too old for them long before I stopped, I don’t remember that there be any girls of note in them, but seriously, could nothing be done? It ain’t just like all the primaries are dudes, there ain’t a single girl in the film who the credits can be bothered to name.