2008: The Year in Review

I didn't think Kaufman could top his past successes, but this man should not be doubted. He continually takes his familiar quirks and complexities in new directions, never more sprawlingly ambitious than here. The film is truly indescribable, but I will say this: it's very abstract, and it can be easy to get tangled up in the details, but if you can follow its ideas it's the best and most rewarding film of 2008. Caden's play is life, and the film is about each of us. Achingly funny and incredibly tragic.

Nolan's sequel is more Heat than Comic Book, taking itself just seriously enough to feel real and dangerous without forgetting its origins. Ledger is incendiary; his Joker dominates every scene he's in. Eckhart is another stand-out in a studded cast, and this is simply a Great movie. The score is excellent, and a few minor holes aside, the script is too. The IMAX stuff is eye-popping. Easily the best comic book film ever made, this is one of the movies that will define this decade in film.

Stanton's follow-up to Finding Nemo is not just Pixar's best effort, but perhaps the best animated film I've ever seen. A lot of the film is dialog-free, which puts a lot of the storytelling duties onto P.T. Newman's score (which is splendid), and the expressiveness of a mouthless robot who only speaks his own name. Surprisingly, the result is an overwhelming success; WALL·E dazzles. It's cute, it's funny, it's touching, sweet, beautifully animated, and packs a smart message. A rare film-going treat.

Aronofsky heads in the opposite direction from The Fountain, telling one simple stripped-down story that looks and feels real. The result is his best film yet. Rourke and Tomei are both fantastic as bottom-rung performers leading messy lives, and the parallels and differences between them are drawn beautifully. Rourke gives a mammoth performance, hitting every note on the emotional scale. The film is surprisingly funny, and the WWE-style behind-the-back tracking camera documenting the mundane is a masterful touch.

Tragic. There are few scenes in this film that run longer than 45 seconds (if that), but Green peppers them all with essential details before hopping to another character with another pivotal detail. It's a brisk, tense and depressing film loaded with exceptional acting -- Beckinsale and Rockwell give the best work of their careers. Angarano and Thirlby give the film its few fleeting moments of warmth -- a healthy young relationship surrounded by fucked-up adult nightmares. This one's excellent.

A surprisingly powerful film. After a few experimental efforts (some more successful than others), Van Sant returns to make a movie in the more traditional sense and scores huge. It helps that Penn is phenomenal in the lead -- perhaps the best performance he's yet given -- but the movie holds up well around him. It's incredibly well-edited, and Franco and Brolin are quite strong as well. Sadly, with Prop 8 fresh in our minds, this message is as relevant now as ever. Inspring, but bittersweet.

I went in expecting an uproarious comedy, and while the film certainly is hilarious, it was the dramatic underside that resonated with me most. For a debut film, it's remarkable. The performances are all fantastic, especially Farrell, who finally takes a leading role and knocks it out of the park. They are all aided by McDonagh's sharp, witty script, which elicits laughter and sadness simultaneously like few films are able to. The visual style is impressive, and Bruges itself is a scene-stealer.

After brief stops in sci-fi and zombie territory, Danny Boyle tackles Bollywood and proves that he can do anything. The back-and-forth chronology is tough to get into initially, but in the end, the narrative framing is what elevates the story above its straight-forward underdog trappings. I would never have guessed I would see an emotionally affecting, up-lifting film about 'Who Wants To Be a Millionaire?', but again: Danny Boyle can do anything. A great film, with equal doses of grit and glitz.

Charles perfects the provocative doc-comedy style that he previously played with on Borat, as this one isn't burdened by scripted bits like its predecessor. Maher isn't at all subversive with his questions, but the answers he gets are just as shocking. It's extremely well-edited: the movie clips and songs are perfect, and it uses subtitles to great effect. A very funny film. Religious people, prepare to be offended. Everyone else, prepare to be frightened. The Vatican reps are awesome.

A pretty good movie lifted to comedic excellence by a truly inspired performance from Downey Jr. This is the sharpest satire to hit cinema in years, and not just on Vietnam War movies, but on actors and the entire Hollywood system. Beyond Stiller, who's just passable, the cast is excellent: Nolte and Baruchel are especially funny, and Jack Black, though underused, is being very underrated here. Very quotable and very funny, with exciting action sequences. The best thing Stiller's ever done.

Perhaps the best directed film of 2008, the film's glossy classical aesthetic just might be its top quality (yes, even better than the very impressive age make-up). Pitt has never looked like more of a movie star, nor Blanchett more strikingly beautiful. There is a surprising amount of humour in the film ("struck by lightning"), and though the premise is interesting, a slew of strong characters make it captivating (Harris, Henson and Swinton above all). An affecting film, I liked it quite a bit.

Marvel's best origin film. Favreau's direction nails the comic tone beautifully, and Downey owns the screen every time he's on it. The acting is sharp across the board, and Favreau has the good sense to shoot his action at a distance, so we can actually see what's happening. An endlessly entertaining flick that lays the franchise groundwork well. The special effects are excellent -- Stan Winston went out on top. Now bring on The Avengers!

A loving tribute to both marijuana and 80s action films. Hot Fuzz this ain't, but I'll be damned if it doesn't come close. It's a step away from the comfort zone for Green, and he brings an artful direction sorely lacking from most Apatow pictures -- the forest montage is an exquisitely crafted piece of sloppy fun. The dialog is endlessly quotable ("Pandora only comes out of the box, he can't go back in!"), and Franco gives a truly inspired performance, on par with Pitt (Burn After Reading) and Downey Jr. (Tropic Thunder) for the comedy performance of the year. This has Cult Classic written all over it.

Segel goes from funny Apatow bit-player to writing his own star vehicle, and has the unenviable task of following up Seth Rogen in doing so. The result doesn't score as huge as Knocked Up, but it does come close. The four leads are all great: Kunis adorably puts 'That 70s' behind her, and Bell and Brand bring a surprising amount of sympathy to their characters. Segel turns in star-making work, and the rock opera finale gives me hope for his Muppet movie. He's got a long career ahead of him.

Falls just behind Knocked Up as my favourite Apatow Co. feature.

The Wachowskis have built Speed Racer for children of all ages, endearing itself to the part of your soul that will always be 10 years old. It has the sharp, bright technicolours of a Saturday morning cartoon, and the over-the-top comedy and action to match. Seeing it in IMAX is an experience. The editing style is fresh, the races are thrilling, the plot is engaging enough, and the visuals are overly stimulating. I loved every second of it.

For it sets out to be (a literal translate of a Japanese anime from the 60s), it's absolutely perfect. A vivid visual experience that has had me staring bored at the out-of-focus backgrounds in every movie I've seen since. Cool beans.

The blackest of black comedies. This spy-based tragicomedy packs the bleakness of No Country, wrapped in laughs to make it more palatable. Everyone in the cast is on point -- Pitt especially gets a laugh with every line. I could watch a whole movie of him saying "Osbourne Cox." Only the Coens can make movies about 'nothing' so damn watchable. This one hangs onto its scenes longer than most would, mining them for more awkward humour. It's lonely and claustrophobic, and yet hilarious. "Memwah."

In IMAX, it was exquisitely beautiful. Black and Hoffman bring so much to their roles through just their vocal work, and give Dreamworks their first legitimately strong effort (sorry, but Shrek ain't a hit with me). The fights are thrilling, and the opening sequence has a Samurai Jack-like quality that's mesmerizing. The message is a little run-of-the-mill, but the film goes through its motions with such grace and style that it spins it into something new. A strong film, on par with Pixar.

A rollicking good time that cribs heavily from a number of films -- the plot structure is a straight remake of Escape From NY, with elements of Aliens, 28 Weeks Later, The Road Warrior, and even a little bit of Fellowship and Excalibur thrown in. The good news is it feels more like a loving homage than just blatantly derivative, and all the influences come together to form something new entirely: a pure adrenaline adventure that's a heck of a lot of fun.

What can I say, I love Neil Marshall. It's ludicrous, but I laughed a lot and it was a blast the whole way through. I am this close to giving the movie 4.5 stars, but alas, no.

It's not without flaws, but its strengths are so overwhelmingly positive that I can look past them. Del Toro has crafted a beautiful and imaginative adventure film that has the feel of a fantasy Indiana Jones. The story jumps around a bit, but the characters make it worthwhile, and their interplay is always entertaining. The creature design is divine, and Del Toro breathes them to life with prosthetics more than FX. It works, and the film looks incredible. A big step up on the original.

Starts rough, as the movie is a little too desperate to open with a bang. Forster's action has little clarity of vision, and like Nolan in Begins, he uses shaky-cam to mask the fact that he's out of his element. It doesn't work. The film is still very exciting, but it's the quiet moments where it shines: Craig is terrific as Renegade Bond, and Amalric matches him step for step. It doesn't hold up as a stand-alone film, but it's a fine character study, and a solid entry in this franchise reboot. The Opera House sequence is glorious.

A huge surprise, so funny that I have to see it again to enjoy the other half of jokes I was laughing too hard to hear. It's a formula movie, but it's backed by a strong (and unabashedly R-rated) script, and great chemistry between Rudd and Scott. I'd liken it to Wedding Crashers in that regard, but this one never overstays its welcome. It's like what Daddy Day Care could have been if Eddie Murphy still had balls. Jane Lynch is hysterical. A must-see for anyone who appreciates a good KISS joke.

Lived up to the hype in theatres, but loses value on subsequent viewings. If you think the concept sounds cool (a monster movie docudrama, like Godzilla captured live from the street), you'll dig the movie, as it's executed as well as it possibly could be. It's a thrilling flick with a straight-forward message, and an awesome original monster. There's lots to like (our POV cameraman is literally named HUD), but it's missing something. Despite the bigger budget and effects, I prefer [REC].

A very funny movie, and Rogen is a perfect outlet for the Kevin Smith voice. The Smith crew and the Apatow crew mix well, but the biggest laughs come from unlikely places (Justin Long, namely). Robinson is the standout of the cast though, effortlessly drawing laughs with nearly every line. Banks and Rogen have solid chemistry, the former doing a lot to prove herself as comedic leading lady. The script takes a few cliche turns, but comes together nicely. Good soundtrack. STAY THROUGH THE CREDITS.

Top-notch chick flick, with a smart, funny script and charming lead performances. Kline is a treat (and gets all the best lines), but Reynolds is surprisingly likeable here after a series of empty and down-right mean-spirited "comedies". It can be a bit schmaltzy, but the premise/narrative structure is original enough to keep things interesting. After years and years worth of stale rom-coms, it's refreshing to see they can still be effective when they're well-made. For what it is, it is quite good.

Watch this if you want to be infuriated. It's shameful that Al Gore was made out to be a sniveling baby for pushing the issue on Florida, because this was high robbery, and the Republican arrogance here is sickening. Roach does a good job of showing both sides of the story, but it's clear where his loyalties lie. The acting really lifts the film, and Laura Dern stands out in a cast full of great actors. She's terrifically horrifc. The Supreme Court should be ashamed of themselves.

A solid summer actioner, even if it is a bit mindless. This movie has more in common with the TV show than anything, and fixes a lot of Lee's version's problems, but unfortunately removes too much of its brain (or perhaps leaves it on the cutting room floor). Roth steals the show as Blonsky, and Norton is solid in the lead. Tyler is utterly forgettable, and Hurt can't match Sam Elliott's intensity. But when Hulk smash, Hulk really smash. The action is great and the movie is fine entertainment.

It just feels authentic. The core relationship is funny in a natural way, aided largely by the fact that Cera and Dennings have great chemistry together, and a script that plays them off each other marvelously. Even Ari Graynor's drunken best friend character, easily the most cartoonish of the lot, feels like a real person.

Devo's Mark Mothersbaugh provides a light and bouncy score in between snippets of the best indie soundtrack this side of Garden State. Some good laughs, and there's always a nice cameo to tide it through its lulls (a silent Kevin Corrigan; Devendra Banhart!). A sweet little romance.

Why the hate? Yes the movie is flawed -- on a plot level probably deeply so -- but it has such an infectious spirit about the joy of film and the magic of movie-making that I can't help but have a good time with it. Gondry's low-tech effects work is great, even outside the movie "swedes". Speaking of which, the way they re-shoot 2001 is pure genius. Gondry brings such a lovable visual wit to the film that if you don't go in looking for groundbreaking story, you'll surely be entertained. Like Science of Sleep before it, this one plays more to your emotional heart than your logical brain, and does a damn fine job of it. Good film.

Tightly wound little heist flick where the cause and effect of the robbery is more important than the heist itself. This was a much different film than I had come in expecting, and the story continually raises the stakes with some very dark turns. One torture scene is particularly brutal. The acting is solid (yes, even from Statham) and Saffron Burrows is even sexier today than she was circa Deep Blue Sea. A better movie could likely be made from this story, but this one's still quite good.

It's a formula film, sure, but it's also a very good one. While there's nothing about Gervais' lead debut that you haven't seen before, it's rare that we get to see it with such high quality execution. All three leads have great chemistry together, and bring a perfect balance of comedy and human gravitas to their roles -- as much as the movie made me laugh, what separates it from the pack is the way it made me cry. It sticks to its characters and doesn't make them change to suit the screenplay, and that honesty just might be its best quality.

Ahh, 2008 -- the year Stifler proved he can really act. This isn't as laugh-out-loud funny as Role Models, but they're also completely different comedies. There isn't a lot of obvious humour here, it's almost entirely character-based, as Conrad's script depends more on the strength of its dialog than any zany competitive hi-jinx. There are a few moments of inspired hilarity, and on the whole the movie is quite charming and well done. The cast is fantastic.

Dale Doback: "Boats n' Hoes!!!"

Doesn't live up to its potential -- mostly because it feels like every single good bit was used in the trailers. Maybe I was hoping for too much from another Ferrell/Reilly outing (I am unashamed to list Talladega Nights among my all-time favourite comedies), but this just isn't up to par. That said, it still has more than enough laughs to sustain itself, and it seems I laugh more and more retrospectively than I did while watching it. It's fun, but it could have been so much more.

07/28/09 UPDATE: The movie improves the more I watch it. While I found it slightly disappointing on first viewing (mostly because Talladega Nights set such a lofty standard for this pairing), perhaps I was too harsh. Or maybe now knowing what to expect, I can take in the movie for what it is, which is stupid as hell, but also, hilarious. This time out I couldn't stop giggling, and caught several great one-liners I'd missed before. A consistently funny film. Reilly is simply a brilliant comedian. BEST DVD COMMENTARY EVER!

Crystal Skull shifts the franchise from the '30s to the '50s, and takes its cues more from '50s culture than the religious history elements the series is known for. But it still has the heart of an adventure serial, and makes for great fun. The puzzles lack creativity (most are solved just by holding the skull in front of something), but the action sequences are a blast and the characters are as enjoyable as ever. Easily as good as Temple of Doom, if not better.

Fun. Not great, but fun. What really lifts the movie, other than a slew of great cameos, is that most all of the principal casting is excellent (Stamp phones it in a bit). The cast and characters are strong enough to carry the movie through its straight-forward plot -- Arkin steals the show, but all four leads are quite good. It feels a lot like one of the Naked Gun movies, except a bit less hilarious, and with serious action sequences. Better than I expected, this is solid summer entertainment.

Stone goes back inside the Oval Office with a film that juxtaposes Bush's early exploits with the defining moment of his presidency: the lead-in to the Iraq War. The result is a movie that shows how unqualified he is for the presidency while at the same time making him more of a tragic figure than a buffoon.

Famous for his wild conspiracies, Stone dials it down and serves up the facts* as Shakespearean tragedy (*with one scene of major conjecture, but it's plausible, and I forgive it for being the movie's best scene). The cast is excellent, Brolin and Dreyfuss especially. It feels too long in spots, but is still fascinating and very funny.

Is it too soon to make this film? Perhaps. Perhaps not. For audiences, however, it may be too soon to appreciate it.

A fine compliment to the Nolanverse, this Batmanime shows us what became of the Narrows, introduces us to Gordon's MCU, and is a far more cohesive whole than the scattered stories that made up the Animatrix. Having said that, though, the Animatrix is better. Certain segments here don't work as well as others, and it feels a bit short. Always a treat to hear Kevin Conroy voice Batman, however. It's must-watch stuff for fans, but probably not of much interest to everyone else. The Deadshot and Killer Croc segments, however, are excellent, and should entertain just about any viewer.

I really hope this "anime companion" sort of thing that hits DVD as the big show hits theatres. More franchises should be looking to add depth to their universes in this way, and as ARGs become a bigger and bigger part of film marketing, I have to think the DVD companion will too, as studios are trying to make their franchises as immersive as possible. Hope so anyway, I love watchin' em.

Very funny film, but also very uneven. I enjoyed the movie's brain, but it keeps trying to pander to a broader audience with forced, unfunny slapstick. Granted the first couple times Coogan falls over on rollerskates it is funny but it just keeps happening over and over. I quite like Melonie Diaz as an actress, but of the young cast only Phoebe Strole delivers laughs consistently. Poehler and Shue are both very funny, as is Coogan's narration and of course the play itself. Elements of the film shine, but it's lacking as a whole.

This would have been infinitely better had Fey actually written the script herself. Unfortunately McCullers' script leaves plenty to be desired and the movie is carried largely by the appeal of its cast. Fey and Poehler are mostly great together here, and a great movie could (and will) be made to star this pair, but Baby Mama isn't it. Fey has set a high standard for herself through her own projects, and, barring a few good bits here and there, this falls way short. Still, the cast makes it worthwhile.

What a treat it is to see Guy Pearce act in anything, even if it is rather middling. I don't know if the guy is just picky with his scripts, but you don't see enough of him these days. Anyway. This movie is exactly what you think it is, and packs no real surprises. I'm sure I'll have forgotten most of it within a month but I enjoyed it while I was watching it. Cheadle is a total badass here and makes several intelligent moves along the way. The movie is smart, but could have been more impactful.

Funny, this feels like the type of holiday blockbuster Will Smith would star in. He's graduated to holiday Oscar bait, so he sent his son instead.

Keanu escaping interrogation is worth the ticket alone. It's early in the movie, and after a pretty solid set-up to the film it's a badass sequence. Then things go off the rails a bit -- not so badly as to make the movie an unenjoyable mess, but most of the action is listless and the effects are subpar. BRIGHT LIGHT AND FOG, OH MY! ...it's just not enough. The message, which will no doubt be written off as too preachy, is handled well and redeems the movie. Weak ending though. The acting is good from most everyone, but Kathy Bates is woefully miscast, and Jon Hamm may as well not be here. James Hong steals the movie with one impactful scene. Needs more Cleese.

I should note that I have never seen the original, and therefore harbour no ill will to this film for simply existing. It updates the moral to fit with a more prevalent threat to mankind's well-being, and doubtlessly loses some of the original's integrity to a low-grade special effects extravaganza. Still, there are a handful of excellent scenes in this movie that absolutely make it worth watching.....on DVD.

A young man in post-war Germany becomes romantically involved with a mysterious woman several years his senior. When she vanishes without so much as goodbye, the relationship leaves a lasting effect on his life...until he finds her again in law school, on trial for Holocaust war crimes. Yawn.

This is about as low as I can rate a movie that's this well-acted, but it's ultimately an empty viewing experience. The movie opens numerous story possibilities for itself along the way, but goes nowhere with most of them. Winslet is tremendous as per usual (and very naked for much of it), and Kross is surprisingly strong as well, but...ugh. It's just flagrant Oscar bait that serves no real purpose. Countless films were robbed of proper recognition because of the nominations this received. Congrats, Harvey.

The best part of this movie is that it makes the Kate Winslet episode of Ricky Gervais' Extras strangely prophetic.

Even an average rating like this is probably more than the movie really deserves. Yet for all its flaws, I'd be lying if I said I wasn't charmed by it. Schwimmer is surprisingly deft in the director's chair, and his direction, coupled with great chemistry in the cast, redeems this rather predictable script. Pegg and Moran are an indelible pairing, and are the only reason that Pegg's loser can be seen as a sympathetic character. It's incredibly tough to root for a guy who left his pregnant fiancee at altar, but Pegg is just so likeable, and his reason for running out, though cowardly, is understandable. Unfortunately the script goes out of its way to make Azaria unbelievably villainous just in case you had any trouble rooting for Pegg, which is just lazy storytelling.

The movie's nothing special, but its heart is in the right place. I enjoyed it.

Pretty good TV, and a breath of fresh air after season six. Despite how ridiculous the show can be, I missed it last year when the season was scrapped due to the writers' strike. Say what you will about the show's ridiculous plotlines, it's always entertaining. The cast for this (which to an extent was the cast for S7) is pretty loaded, and Carlyle especially is a nice addition, however briefly. The action is pretty awesome, too. For TV anyway. Make no mistake, this is no movie, just a long episode to lead in the new season.

Bateman is good and Smith is up to his usual mid-summer thang, but it all feels rather cobbled together after failed test screenings, honestly. I can't shake the feeling that this was a much smarter, politically-loaded script at one point, but there are only trace elements of that left (Hancock as a EAGLES presidential EAGLES metaphor EAGLES, and a strange Hilary/Obama dynamic in some places). The sequel-teasing finale misses what made the character (and movie) unique in the first place.

"I like eagles."

It nails the look and feel of the Punisher MAX series, and in terms of pure action, the movie delivers an aggressively over-the-top display of merciless killings. Still, it leaves much to be desired -- the acting especially, though I quite enjoyed Dominic West's ridiculous performance. Stevenson looks the part but he never really embodies it the way Tom Jane did. That said, I had a lot more fun with this film incarnation than the last. Goes a bit too far at times, but it was otherwise enjoyable.

It's predictable, it goes for easy laughs, its romantic subplot feels ripped straight out of Wedding Crashers and it's a total disappointment when put next to its predecessor. And yet, it's still enjoyable fun. For the most part, its heart is in the right place, and its lead characters are always likable (especially in flash-backs). Corddry's plot is mostly tired, but he manages to milk it for a few laughs, while NPH manages to steal the movie again (his 'exit' is the best scene in the flick).

Condenses a season's worth of character arcs into one long movie. At two and a half hours it seems to go on forever, which really hurts the fact that it can be genuinely entertaining at times. Other times it's just an extended fashion show (sometimes literally). It also has a core conflict that could be solved in five minutes if anyone would actually talk about it. Still, I was expecting worse. It's not as good as the show could be, and there aren't enough laughs, but it passes the time.

Channing Tatum displays all the emotional range of a bad Mark Wahlberg impression. The acting isn't all bad, but the weak performances sink the movie like a stone. Well, that and poorly produced music video interludes that are just tonally bizarre. The combat scenes are mostly well-handled, but there aren't enough of them for that to justify watching the movie. The actual moral outrage of this story is let down by the film's poor quality and weak direction. It's a shame, this had potential to be far better.

The movie is at its best when Zohan is in full-on Action Hero mode, because the action goes way over the top and it's hilariously absurd like the worst (best?) 80s actioners. Unfortunately this just isn't often enough. Chriqui is painfully awful, and the script can't balance good Apatow wit with weak physical comedy. While it starts as a light and funny dialog on the the Israel/Palestine conflict, it lays it on too thick in the end. Sandler goes too close to Borat at times, but cameos make it fun.

The 3D elements manage to turn this otherwise dumb movie into passable entertainment, and I have to admire Fraser's unflappable enthusiasm in the face of such weak material. I guess there isn't a better way to adapt the story to modern times than what they did, but you just have to laugh any time they mention 'Vernians'. Without 3D, this movie would just be bizarre (especially the intro), so if you miss it in the theatre, just skip it completely. Then again, you should probably do that anyway.

It has a few solid laughs (most of which are provided by Danny McBride), but much of the film is dry. The kids aren't particularly likeable, and the story isn't particularly good. Like I said though, it's written by Rogen and features McBride, so there are patches of good comedy here. But ultimately the movie is just a total failure, and marks Apatow Co.'s first real miss. No wonder Owen Wilson tried to kill himself after this. I don't blame him.

Unlike the Judd Apatow remake of Fun With Dick and Jane, this film doesn't satirize the current economic situation, or really even critique it. If anything it seems to shameless endorse it, especially when it expects us to get behind these characters who are successfully swindling the banks. "YEAH, TAKE THAT BANKS!" Except...no. The money in banks belongs to the people of that bank. That cash could be anyone's. Yours, mine. And they take it and expect us to cheer. I'm not sure if that makes sense, or if I can articulate it properly, but this movie left me feeling very angry. Diane Keaton, what happened to you.

As of my writing this, it's been nearly 6 months since we were last subjected to the unimiginative drivel of Friedberg and Seltzer. Could it be?!? Are we finally free of their wicked clutches?!? Perhaps there is a god after all... I know no one has a gun to my head forcing me to watch this crap, but their suicide-enducing ad campaigns are inescapable. Honestly I haven't even seen this film, just a YouTube "highlight" video. If those are your highlights, you're fucked.

Have I seen it? No. Do I need to? I just read this: http://contest.disastermovie.org/?page_id=182

...it was more frightening than I could ever imagine. If they can get paid to spoof movies without seeing them, then surely I can review this movie without watching it. This is truly the bottom of the barrel.