Thursday, October 23, 2014

Marvel debuts spectacular trailer for 'Avengers: Age of Ultron'

Marvel has pretty much entirely taken over the entire cinematic world over the course of the three years since The Avengers destroyed at the box office. Iron Man 3 made over $1 billion, Captain America: The Winter Soldier and Thor: The Dark World grossed more than their predecessors at the box office and Guardians of the Galaxy, Marvel's biggest gamble yet, became the highest grossing film of 2014. So it is certain that Avengers: Age of Ultron will come with highly inflated expectations and insane anticipation. The first trailer was supposed to debut on October 28 with Marvel's ABC show Agents of SHIELD. However, the trailer leaked online last night and Marvel decided to bite the bullet and release the trailer. Check it out below:


Avengers: Age of Ultron looks pretty freaking awesome. The trailer hints at more of the grounded action that we saw in Captain America: The Winter Soldier, and less of the comedy that we saw in some of the earlier Marvel flicks. Ultron also appears to be a formidable and creepy antagonist and the special effects look terrific as usual. I'm very excited for this movie and I can't wait to see what Marvel has in store for us. Avengers: Age of Ultron stars Robert Downey Jr., Chris Evans, Chris Hemsworth, Scarlett Johannson, Jeremy Renner, Mark Ruffalo, Paul Bettany, James Spader, Aaron Taylor-Johnson, Elizabeth Olsen, Samuel L. Jackson, Andy Serkis, Cobie Smulders, Hayley Altwell, Stellan Skarsgard and Don Cheadle. It hits theaters on May 1, 2015.


Image Credit: Marvel

Fury review

The last time Brad Pitt did a World War II movie, it was Inglorious Basterds. The last time David Ayer did a film about brothers in intense combat, it was End of Watch. Naturally, people were excited for Fury, Ayer's gritty, violent war drama set during the final months of World War II. With a cast led by Pitt, Shia LaBeouf, Michael Pena, Logan Lerman and Jon Bernthal, Fury is a highly entertaining drama with great performances and some of the most exhilarating battle scenes of the year. It does wander in the middle a little bit, but the pure filmmaking on display in Fury is worth the price of admission and more.


A man rides on a horse through a battleground littered with bodies. The white horse stands out among the dead bodies and shattered tanks. Suddenly, a man jumps off a tank and the man straight through the eye. The man with the knife is Sgt. Don "Wardaddy" Collier (Pitt), one of the last members of a five-man Sherman tank crew. Wardaddy, Bible (LaBeouf), Gordo (Pena) and Coon-Ass (Bernthal) manage to get the tank moving and head back to a war camp. A fresh young rookie named Norman Ellison (Lerman) is then assigned to their crew. Norman has strong ideals and is highly opposed to killing. Of course the team immediately dislikes him. However, through many lethal experiences and dangerous missions behind enemy lines, the crew bonds together before facing their most dangerous threat yet.

Fury might not quite be as viscerally graphic as Steven Spielberg's masterpiece Saving Private Ryan, but it is certainly up there with that gruesome film. This is a viciously intense film filled with indescribably perfect moments and strong performances from its lead crew. They all have strong chemistry with each other and manage to make you care about the characters. Not to mention the absolutely astounding battle scenes. Fury has a few problems, yet still manages to impress because of its outstanding filmmaking qualities.

The opening scene of Fury is something worth talking about because it wowed me immediately. Ayer's camera appears to be looking at a mountain range, but it's actually a patch of dirt littered with bodies. The way that it so perfectly captures the horror and oddity of war is mesmerizing. The simple beauty is then interrupted by the shocking outburst of violence I mentioned earlier. After that, we're then introduced to the entire tank crew. It's the perfect way to open this movie and simply one of the best opening scenes I've ever witnessed.

Fury's opening represents the best of this film and the pinnacle of what Ayer was trying to do with this movie. It's not to say that it's all downhill from there, but the opening perfectly expresses Ayer's themes and the power of this film. War is quiet dialogue and simple, unusual conversations with surprisingly disturbing violence intermixed every once in a while. Despite the fact that Fury is not a completely perfect film, it's an exceedingly well made one and a film that inspires thought even days after the initial viewing.

Five strong performances also highlight this thematically and emotionally involving war film. Brad Pitt doesn't quite have the same brash gusto that he does in Inglourious Basterds, yet he still manages to give a quietly thoughtful performance. Shia LaBeouf is also impressive as Bible, the most philosophical member of the group. Despite the fact Jon Bernthal and Michael Pena have less to do, both manage to chew the scenery at different times. In the end, Logan Lerman surprised me the most. Granted, he's the only one with a dynamic character to work with, but it's still strong work.

The sheer adrenaline rush of the battle scenes is terrific as well, managing to find the proper balance between horror and excitement. The crew's final stand inside the broken tank is an amazing war scene, a perfect mix of blood, atmospheric cinematography and brilliant sound design. And throughout the early parts of the film, there are other impressive battles, especially the one between a German Panzer tank and the Sherman. It is purely awesome.

On the technical side of things, this is a perfect film. The sound design was insanely good, and even if this film gets shut out in the major categories at the Oscars, it will surely be nominated for a lot of the technical stuff. The sound makes you feel as if you're really there and it is spectacular. The cinematography is perfect, capturing every single detail of the World War II atmosphere. It's especially impressive during the final battle of the film.

Fury runs into its only problem around the middle of the film. It's a movie without much of a narrative, which has worked in many previous war films, but in the case of Fury, it makes the film feel a little aimless after a while. The second act is also dreadfully slow. The crew heads into the house of a German family and then proceeds to stay there for over twenty minutes. It's a long scene without much purpose and it doesn't really impact anything for the rest of the film. I remember hearing that some scenes were added to Fury to strengthen the bond between the characters, and if I had to guess, that was the scene that was added.

In the end, this is great filmmaking from director David Ayer in a very solid flick. It's a movie filled with extraordinary battle scenes and strong acting. Fury lost me a little bit in the second act, but managed to come back stronger than ever with an intense and emotional third act highlighted by an awesome and intense battle scene. In all likelihood, Fury is a movie that will last in your memory for quite some time after you watching it. That, along with the strong direction and sense of atmosphere, makes Fury worth watching.

THE FINAL GRADE:  B+                                             (7.6/10)


Image Credits: Red Carpet Refs, Shock Ya, Geek Tyrant, Film School Rejects, Fat Movie Guy

Tuesday, October 21, 2014

'The Conjuring 2' moves to 2016; new horror film from New Line to hit theaters on October 23, 2015 instead

After the massive success of The Conjuring last year, Warner Bros. and New Line immediately realized that they had a new franchise on their hands. They greenlit a spin-off movie titled Annabelle, which would star the creepy doll that appeared in the first few minutes of The Conjuring. That movie was released earlier this month and has made $166 million worldwide so far on a paltry $6.5 million budget. All of the signs were pointing to The Conjuring 2 being one of the biggest horror movies of all time. However, that is most certainly not going to happen now. 


Deadline is reporting that Warner Bros. and New Line have pushed The Conjuring 2 back to an unspecified 2016 release date. The studios will now release a different horror movie on October 23, 2015, which was when The Conjuring 2 was scheduled to debut. The rumor over at Deadline is that the October 23 date will be occupied by either Crawlspace or Superstition. Crawlspace stars Michael Vartan and is about a widower who moves into his new house with his new wife and daughter. Superstition is about a family who moves into a house where a witch was executed. Neither one sounds all that interesting to me. There is currently no word on when The Conjuring 2 will be released, but I'm betting on a summer 2016 release. 



Image Credits: USA Today, Screen Crush

DC announces several new films set for release between 2016 and 2020; 'Aquaman', 'Justice League' included

After the shocking bit of news that revealed Marvel's plan to pit Captain America against Iron Man in Captain America 3, which would effectively bring the Civil War storyline to life, Warner Bros. responded by announcing their plans for several DC comics films over the next few years. While most people knew that DC and Warner had these plans all along, this was the first time that we officially knew what was going down with the DC universe.


Unsurprisingly, director Zack Snyder's Batman v Superman: Dawn of Justice will kick things off on March 25, 2016. The mega-blockbuster will star Ben Affleck as the Caped Crusader, Gal Gadot as Wonder Woman and Henry Cavill and Amy Adams will reprise their roles as Superman and Lois Lane, respectively. Dawn of Justice will obviously be the set up film for this whole universe and will be an important experiment for Warner Bros.

Dawn of Justice will be followed by Suicide Squad, which will hit theaters on August 5, 2016. The first screen adaptation of these characters will be directed by David Ayer, whose previous credits include End of Watch and Fury, which just hit theaters this weekend. Ayer is a talented director (Fury is a gritty, violent and engrossing war film) and I'm very interested in this film. I'm betting on a hard R rating at this point because of Ayer, but I wouldn't be too surprised to see this film get slapped with a studio-mandated PG-13.

Suicide Squad is a film without any well known characters, so DC is going to have to rely on big-name actors to fill these roles. And according to Collider, DC is going to be bringing some stars to the table. Per Collider, Warner Bros. is looking at casting Will Smith, Margot Robbie, Tom Hardy, and Ryan Gosling. Those are some big names and I truly believe that Warner will be able to snag some of those actors. Smith and Robbie just did work for the studio in their new romantic drama Focus, and they seem to really enjoy working with each other. There's also a decent chance that Gosling could appear. The only actor I have a problem with is Tom Hardy. He's a brilliant actor, but he's already rumored to be playing the lead villain in X-Men: Apocalypse. Therefore, he might not have time to do Suicide Squad. All in all, Warner Bros. is going to go all out when it comes to making this obscure superhero flick and I bet that they'll knock it out of the park.

But the news doesn't stop there. Warner Bros. also announced that Wonder Woman is getting a standalone movie as well, set for release on June 23, 2017. Gal Gadot will star and it will be the first major superhero movie starring a female. A very impressive step forward for the studio.

After that, DC will unveil Justice League Part 1, with Henry Cavill, Ben Affleck, and Amy Adams with Zack Snyder in the director's chair. The film will debut on November 17, 2017. I would be more excited for this movie if Snyder wasn't directing, but I guess I'm still interested. If there's a good story and a good screenplay, it'll be fine. But right now, it's a question mark.

2018 will see the release of two more standalone DC movies. The first one hitting theaters that year is The Flash, which will hit theaters on March 23, 2018. The Perks of Being A Wallflower star Ezra Miller will be playing the character. That has sparked debate among fans who had hoped for the star of The Flash TV show (Grant Gustin) to appear as Barry Allen in the movie as well. However, Ezra Miller is a supremely talented actor and I'm very happy to hear that he is going to be in this movie. DC's second 2018 flick will be Aquaman, with Jason Momoa. The film will debut on July 27, 2018. I'm actually really excited for this one. I just love the idea of an Aquaman movie.

Two more films will hit theaters in 2019: one standalone film and one major sequel. Shazam will premiere first on April 5, 2019, with Dwayne Johnson starring as Black Adam. Shazam is another movie that I'm excited for, but I'm honestly surprised that Shazam is coming out in 2019. I would have thought that this movie was much farther along than Wonder Woman or Suicide Squad. However, Johnson is often busy so maybe he can only fit the movie in near the end of the decade. Finally, DC will close out their 2019 with Justice League Part 2 on June 14, 2019 with Snyder directing again.

After that, DC will release two more standalone origin films in 2020. Cyborg, starring unknown actor Ray Fisher, will hit theaters first on April 3, 2020. Last time I checked, Fisher will also be appearing in Batman v Superman: Dawn of Justice and Justice League, so I'm surprised that they're waiting so long to give him his origin story. And finally, DC will release a Green Lantern reboot on June 19, 2020. No real news on that one so far.

There's no question that this news was revealed in response to the surprise announcement that Marvel was finally moving forward on the Civil War storyline. I'm optimistic about a few of these movies, but I really hope that DC isn't planning too far out. In 2008, Marvel might have had plans for more films, but they surely didn't announce all of them. In the end, I'm excited to see how the DC Cinematic Universe plays out, but I'm undoubtedly more excited for Marvel's next movies. Marvel still has the upper hand right now.

That's all the DC news that I have at this moment, but I'm positive that we will be hearing much more about the DC Cinematic Universe in the near future.



Source: Collider, The Hollywood Reporter
Image Credits: Variety, DC Comics, Screen Rant, Grant Land

Sunday, October 19, 2014

The Judge review

During each and every Oscar season, most pundits and critics find it necessary to separate the real-deal Oscar contenders from the awards bait that studios dish out every year. Pretty much as soon as Robert Downey Jr.'s latest film, The Judge, premiered at the Toronto Film Festival, it was lambasted as a mediocre Oscar grab by Downey that pretty much falls flat. So with those low expectations set, The Judge entered theaters with little to no fanfare. Despite a massive marketing campaign that must have cost millions, The Judge has made very little cash so far. And I can't honestly say that I'm surprised. This is a very mediocre film with moments of greatness, but also an excessive amount of storylines and a tone that shifts every five minutes. Downey is great and Robert Duvall is solid as well, yet they just can't save this movie from being completely forgettable.


Hank Palmer (Downey) is an arrogant and selfish Chicago lawyer who is able to pretty much find any way to save his guilty clients from jail time. When his mom passes away, Hank is forced to return home to Carlinville, Indiana, where the rest of his family lives. He reunites with his two brothers (Vincent D'Onofrio and Jeremy Strong) and sees his ex-girlfriend Sam (Vera Farmiga), but Hank runs into trouble when it comes to seeing his dad again. Hank and his father, Judge Joseph Palmer (Duvall), have never gotten along and their rocky relationship becomes troublesome again as soon as Hank returns to Carlinville. Hank and the Judge get into a fight after the funeral, and Hank decides to head back home.

However, Hank is forced to return after his father is arrested for the murder of an ex-convict, who was recently released from prison. At first, Judge hires an incompetent small time lawyer (Dax Shepard) to defend him, but eventually, he realizes that Hank has to be his attorney. Hank and Judge unite to fight against a smug prosecutor (Billy Bob Thornton), who's ready to nail Judge on a first degree murder charge.

The Judge isn't a bad film. It isn't a good one either. It is just exceedingly mediocre. Downey Jr. and Duvall own their roles, and D'Onofrio and Strong round out the cast with strong supporting performances, yet I couldn't help but feel that some of the talent had been wasted. Some of the dialogue is realistic and entertaining, but some of it is cliched and completely ridiculous. Director David Dobkin struggles to shift the tone between overly sentimental family drama and intense legal thriller and it makes for a choppy and uneasy watch. There are good things about this film, but it's such a bumpy movie that feels like a hodgepodge of tones and plots that just doesn't completely work.

The best thing that this movie has going for it is Robert Downey Jr. He's a charismatic actor and he gives an emotional and raw performance in this movie. Robert Duvall also manages to carry some scenes as well, but his character is just such a jerk. Granted, Downey's Hank Palmer isn't exactly the best person either. However, Duvall's Judge is so unlikable. You understand his motives, yet I can't see anyone liking him. I liked Hank. I didn't like Judge. Therefore, I believe that Downey gave the better performance since you're really supposed to like and understand both characters.

This movie also has a stacked supporting cast. They really managed to get a lot of great people in this movie. Too bad the screenplay by Nick Schenk and Bill Dubuque wastes the talents of half of the actors. Vincent D'Onofrio and Jeremy Strong have meaty roles as Hank's brothers and both characters are ones that I managed to relate to. However, the rest of the cast doesn't have it as good. Vera Farmiga's subplot just adds to the lengthy 142 minute runtime, and Leighton Meester has even less to do as her daughter. Dax Shepard and David Krumholtz also have pretty tiny roles, but the biggest crime committed by Dobkin and the screenwriters is that they waste Billy Bob Thornton. He's an actor who can be absolutely magnetic when given something to work with, and in this film, he has nothing to work with. That was sad to me.

The Judge has major flow issues, which is a real problem. It's one of the choppiest movies I've seen all year and that hinders the movie quite frequently. The pacing is really good and I was always engaged, but I couldn't help but think that this movie needed a much better editor to get it put together the way it needed to be.

Somebody also should have cut down the screenplay and edited out some of the subplots. Each character seems to have their own individual story and it's all kind of revolving around the central story about the relationship between Hank and Judge. However, some of the stories are just plain unnecessary. In addition to that, the biggest problem this movie runs into is that it has no clue what it wants to be. It changes tone seemingly every other minute and is drowning in cliched sentiment quite often.

Bad movies are never good. I hate a movie that is so horrible and so painful that I want to leave. However, it can often be just as terrible if a movie is so incredibly mediocre that it just doesn't even really warrant a reaction at all. The Judge is one of those movies. It isn't aggressively awful. It's just there. You can watch it and be mildly entertained, but I dare you to feel anything passionate about this movie one way or another.

The Judge is a generic, mildly enjoyable movie that feels like a rough cut of a much stronger product. There are some great performances and terrific moments in this overly relaxed film with no real sense of tone or flow. In a season filled with terrific and audacious films, that's just not enough for a recommendation.

THE FINAL GRADE:  C+                                            (6.5/10)


Image Credits: Hitfix, The Wire, Indiewire, The Hollywood Reporter, Flickering Myth

'Fury' leads with $23.5 million, 'Gone Girl' holds well and 'Birdman' stuns in limited release at weekend box office

After two weekends that saw David Fincher's topical drama Gone Girl top the box office, the Brad Pitt-starred war flick Fury finally overtook the mystery thriller. The war epic snagged $23.5 million this weekend. Not a spectacular opening, but solid for such a violent and intense film. That opening is the fifth highest ever for a World War II film and director David Ayer's highest opening as well. Fury also received an "A-" Cinemascore, which will help the word of mouth over the next few weekends. With a budget of only $68 million, this film should have no problem recouping its investment. It's a very solid movie with some really spectacular action scenes and great performances. My review will be coming soon.


Gone Girl fell to second place, but it didn't fall too far. The film dropped only 33% and grossed $17.8 million this weekend. Gone Girl has now made $107 million and will likely pass $150 million. This film has created a conversation and with the Oscar buzz thrown in as well, I'm betting that this becomes David Fincher's highest grossing film by next weekend (that title currently belongs to The Curious Case of Benjamin Button). 

Fox's The Book of Life finished in third place with $17 million. That's not a terrific opening, but solid enough for a modestly budgeted animated flick ($50 million). The film will likely connect more with international audiences. However, the "A-" Cinemascore will help word of mouth until Big Hero 6 hits theaters and destroys the competition. But for now, I'm calling this a victory for Fox and director Jorge R. Gutierrez.

Alexander and the Terrible, Horrible, No Good, Very Bad Day fell only 34% this weekend to fourth place and snagged $12 million. The $28 million family comedy has now made $36.8 million and is already profitable for Disney. The film will probably cross $50 million and could end up with as much as $60 million. The new Nicholas Sparks adaptation, The Best of Me, was close behind in fifth place with $10.2 million. Shockingly, that's the lowest opening for a Nicholas Sparks film in history. However, considering the 7% score on Rotten Tomatoes, it's not all that shocking. The "B+" Cinemascore is solid, but also unspectacular. In the end, this is a minor misfire since the film only cost $26 million. 

Universal's Dracula Untold plummeted 58% to sixth place and grossed $9.8 million. The poorly reviewed monster flick has now made $40.7 million in the US, which isn't great considering that the film cost $70 million. However, the film has already grossed $95.7 million overseas and will definitely recoup its investment. It's a good start for Universal's new monster franchise. 

Warner Bros.' The Judge held rather well this weekend and grabbed $7.9 million. That's only a 39.5% drop for the legal family drama. The film has now made $26.8 million, which is not good because the film cost $50 million (I have no idea where that money went). It's an okay film, but there are so many better movies in theaters right now, so I'm not truly surprised by its performance. 

Annabelle finished in eighth place with $7.9 million. The horror flick has now grossed $74.1 million. That's incredibly impressive. The film will probably close with $90 million, but I wouldn't be surprised to see it make less since it faces direct competition from Ouija next weekend. In ninth place was Sony's The Equalizer, which grossed $5.4 million this weekend. The Denzel Washington-starred action pic has now made $89.1 million and will crawl its way to $100 million. And finally, The Maze Runner rounded out the top ten with $4.5 million. Fox's YA actioner has now grossed $90.8 million and could possibly finish above $100 million. 

In the limited release world, Fox Searchlight's Birdman blew away the competition with $415,000 in 4 theaters. That adds up to a $103,750 per theater average, which is the second highest of the year. Birdman expands to more theaters next weekend before a nationwide expansion on October 31. Dear White People also had an impressive showing this weekend, snagging $344,000 in eleven theaters. That's a per theater average of $31,273, which is pretty strong. We'll see how the film does in a wide release next weekend. And finally, Jason Reitman's Men, Women and Children tanked in 608 theaters, grossing a paltry $320,000. That's one of the worst wide release openings of all time. Pretty horrible. 

Next weekend sees the release of Ouija and John Wick, along with the nationwide expansions of Dear White People and St. Vincent. Birdman is also expanding. Here are my predictions:

1. Ouija- $36 million
2. John Wick- $17.5 million
3. Fury- $13.4 million
4. Gone Girl- $13 million
5. The Book of Life- $10.5 million
6. Alexander and the Terrible, Horrible, No Good, Very Bad Day- $6.9 million
7. St. Vincent- $6.5 million
8. The Best of Me- $4.8 million
9. Dracula Untold- $4.7 million
10. The Judge- $4.5 million


Image Credits: Shock Ya (Image 1), Screen Rant (Image 2), Fat Movie Guy (Image 4)

Saturday, October 18, 2014

Stretch review

Sometimes Hollywood works in ways that nobody can quite understand. Joe Carnahan's latest film, Stretch, was originally scheduled for a theatrical release in April and Universal was signed on as a distributor. But in the end, Universal ended up pulling the film off of their release slate and decided to unceremoniously dump it into the VOD market in early October. The film, a satirical comedy about a limo driver set in Los Angeles, stars Patrick Wilson, Brooklyn Decker, Jessica Alba, James Badge Dale and Chris Pine and is a high-energy action comedy with charm and wit to spare. Why was this possibly sent straight to VOD? We'll never truly know, but Stretch is still a film that you really need to see. It might not have the tightest story, but its characters and mood are infinitely appealing. This is an entertaining film from start to finish.


Stretch (Patrick Wilson) is a limo driver with little to no motivation in life anymore. He's a recovering alcoholic who was also addicted to cocaine and gambling for a long time. He eventually cleaned up, but his bombshell girlfriend (Brooklyn Decker) dumped him for an NFL quarterback. Now, he's depressed and stressed and constantly seeing the ghost of the greatest limousine driver of all time, Karl (Ed Helms). One day, gang leaders inform Stretch that he has until midnight to deliver $6,000 of his gambling debts or he will be killed. To gain the necessary money, Stretch decides to drive a crazed billionaire client (Chris Pine). Throughout the night, Stretch experiences all sorts of wacky adventures involving FBI agents, secret clubs and wannabe rappers.

Stretch is a weird and bizarre movie, but it's a good kind of weird. The absurdity of the humor was quite endearing to me and the characters in this movie are funny and entertaining as well. Mix that in with great performances from Patrick Wilson and Chris Pine, along with a great soundtrack and just a terrific vibe in general, and you've got a movie that is just plain fun. The story gets a little messy and wild at times, but this is a movie that is nuts and crazy and never slows down at all.

Patrick Wilson is an actor who's done good work in the past, but this is the first movie where I've been truly impressed by his acting. He manages to be manic, likable and crazy- often at the same time. Wilson's Stretch also narrates the film and is constantly providing funny insight. I don't typically like overbearing voiceover, but it worked in this case. In addition to Wilson's great central performance, Chris Pine does brilliantly unhinged work as Roger Karos, eccentric and possibly insane billionaire/criminal. Whether it's skydiving nude or dressing up like a samurai for a sexually charged party, Pine is down for anything and completely owns the role.

Stretch also doubles as a wicked Hollywood satire, so it's not surprising that there are numerous cameos and small bit parts for famous actors. Ed Helms is awesome as the ghost as a depressed limousine driver legend who haunts Stretch during the day. Jessica Alba and Brooklyn Decker manage to have really good moments with their limited screentime. James Badge Dale lights up the screen whenever he shows up, which really isn't shocking anymore (he's a very strong actor). Finally, we get cameos from Ray Liotta, Shaun White and an especially memorable appearance from David Hasselhoff. Great cast all around.

Director/screenwriter Joe Carnahan is really the reason this movie works. I've praised the cast like crazy, but without Carnahan's deranged and hilariously vulgar script and his terrific direction and pacing, this movie wouldn't work at all. The story isn't the strongest, so Carnahan really had to create a bunch of creative and audacious misadventures for Stretch and company to experience. And that he does. This movie has a lot of outrageous material and it easily could have gone completely off the rails, but for the most part, Carnahan manages to keep the movie focused.

Stretch's pacing and sense of style work to its advantage as well. With bright colors and a strong Hollywood atmosphere, Carnahan manages to create a terrific sense of place. And the pacing is pitch-perfect. This movie just never slows down. It's funny and entertaining from the first scene and it just keeps going. It's also a compact film at 94 minutes, which is a nice runtime for a film like this.

In the end, Stretch isn't a masterpiece, but it's a movie that I can imagine watching a few more times and being entertained each time. The wacky situations and strong performances are quite memorable and Carnahan's dialogue is deliciously hilarious and vulgar. I'm disappointed that this film isn't getting more exposure, but I'm also glad that Universal let it see the light of day. It's extremely enjoyable and a movie that a lot of people should be seeking out.

THE FINAL GRADE:  B+                                           (7.7/10) 


Image Credits: Screen Crush, Geek Tyrant, I Watch Stuff, Very Aware