There's a sense of disappointment in watching "Irresistible," for what's depicted in the film, but mainly because so many of us expect so much more from Jon Stewart. For years, Stewart became a beacon of common sense and truth as the host of The Daily Show, and his voice is one that is sorely missed in today's polarizing and often confusing political landscape. So while his newest film does include several shards of sharp wit and satire, it doesn't quite hit as hard as we may have wanted, or expected it to.
If you're American, it is very possible you have never heard of Eurovision. I admittedly never had until seeing this film. But to those in Europe, this would be a fascinating detail to discover, as Eurovision is every bit a part of Europe's pop culture as, say, NASCAR is in America. You may not watch NASCAR or be a fan of it, but you know it's there. Having been around for DECADES in Europe, Eurovision is a televised international song contest (think "American Idol" or "The Voice" only bigger) that averages roughly 200 million viewers per year.
Knowing that Eurovision is something that really exists may in turn be a fun fact for Americans to discover, however this inherent disconnect with an American audience makes the new Netflix comedy "Eurovision Song Contest: The Story of Fire Saga" ("ESC:TSOFS") hard to grasp.
Expectations were high while reviewing my first film since the beginning of the stay-at-home quarantine, and even though "The Lovebirds" is a mindless diversion, it still doesn't quite sing.
After successfully teaming up for "Patriots Day," "Deepwater Horizon" and "Lone Survivor" (we'll forget about "Mile 22" for now), actor/producer Mark Wahlberg and director Peter Berg finally release a dud with the Netflix action-comedy, "Spenser Confidential."
This satire about the uber-wealthy is one odd film, a movie that doesn't quite add up to the sum of its parts.
The name alone - PIXAR - exudes a certain level of high-quality, creativity and innovation that few other brands have ever achieved. But with high expectations come greater risk of letdown, and while "Onward" sure looks pretty, it feels more like a side-step than a leap forward for the high-powered animation studio.
If you go into "Downhill" expecting laugh-out-loud comedy, the likes of which both Will Ferrell and Julia Louis-Dreyfus have built careers with, you may wind up disappointed. Some movies are better seen knowing nothing about them, but in this case, it's probably best to have some fore-warning and to know what you're stepping into.
Take my film critic credentials and throw them in the ocean. "Dolittle" is not good...it's quite bad in fact. Still, there's worse ways to spend a weekend afternoon with the kiddies. A glowing endorsement, right?
Will Smith and Martin Lawrence re-team as "bad boys" in this third - and final? - installment that started way back in 1995.
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