BROTHERS: STREAM IT OR SKIP IT?

The Gist: They’ve always been petty. Even when fraternal twins Moke and Jady Munger were kids, they were blowing up the bake-sale cashbox for a fistful of singles. And they learned it by watching you, Moke and Jady’s mom, you, a career felon who ran off with a gutshot boyfriend and a fistful of stolen emeralds, trailing dust and screaming cop cars, and hasn’t been seen in 30 years. Now, as adults, Moke (Brolin) and Jady (Dinklage) are what you might call Coen Bros. Yokels, serial dipshits who make bad decisions and always find themselves outside the law. Five years ago, they were busted and Jady took the fall. But he’s getting out early thanks to a deal he made with a crooked cop, Farfel (Fraser). And now he’s about to disrupt Moke’s life, which is currently in turnaround: He has a job and a pregnant wife (Taylour Paige) and a house, and the in-laws are coming over for Thanksgiving. Livin’ the dream.

Well, Moke used to have a job. He shows up for his paper-hat gig at the fast-food fried chicken hut and gets canned for not disclosing his criminal record. And it only gets worse when Jady turns up on his doorstep with a one-last-heist scheme. It’s easy, Jady promises. It’s a “milk run,” Jady insists. It’s about getting their hands on their long-lost mother’s stolen emeralds, Jady purposefully neglects to tell him. And off they go, hittin’ the road, the reserved and mookish Moke not so sure about all of this, but compliant with his wily brother’s exigencies.

Episodes occur during the brothers’ stupid-ass quest: Tomei turns up as Jady’s dingbat potential love interest – and her CGI pet orangutan, who wants Moke to be his potential love interest. Farfel, who has some serious daddy issues with his corrupt-judge father (Walsh), wants those emeralds, so he keeps tabs on Jady. And sure enough, the twins’ mother Cath (Close) turns up, and nobody’s sure if she truly wants to mend fences and try to be the mother she never was, or if she just wants the booty. Either way, I’m scratching my head wondering how John Cena ended up not being cast in this movie. Seems like he’d’ve been a better Schwarzenegger to Dinklage’s DeVito. So it goes? So it goes.

What Movies Will It Remind You Of?: Twins and Step Brothers seem like clear influences, as well as madcap Coen stuff a la Raising Arizona.

Performance Worth Watching: Fraser lets a bit of raging psycho slip through the cracks of his desperate oaf character, and winds up stealing a few scenes.

Memorable Dialogue: This is the type of movie where you want to hear Dinklage bellow wittier one-liners than “Fill your own hole!”, but here we are.

Sex and Skin: None.

Our Take: Brothers takes all that talent and somehow finds a way to make it less than the sum of its parts. Barbakow keeps the story moving, and brings us home in a concise 89 minutes (as it should be). But the writing is some watery soup, working with a tired premise and mostly failing to wring laughs out of it. It defies expectations by not exploiting the seemingly built-in comedy of two wildly different-sized twins, but in lieu of that it comes up with, well, not much; the subtext might reveal a study about how thin the line is between sibling rivalry and sibling devotion, but that’s an awfully generous reading that the movie frankly doesn’t deserve.

Dinklage is relatively spirited as a catalyst for trouble, and Brolin is mostly buttoned up as the less expressive of the twins, but beyond that, there’s not much to these characters. Tomei gooses the proceedings a bit with a wacky turn, and Fraser gooses it a little bit more, but there’s only so much they can do when the screenplay’s narrative foundation is bog-standard, like a cookie-cutter manufactured home in a subdivision full of the same rectangles covered with the same plastic siding. And Close – well, she’s in Full Flaming Maniac Mode at this stage of her career, OTT-mugging her way through this, The Deliverance and Hillbilly Elegy, and with three cartoonish performances in recent memory, that makes a bona-fide trend.

All these pieces could work together with the right direction, but Brothers is as blandly generic as its title. It’s middle-of-the-road timid, as if Barbakow tried to steer it away from being too crass or too wholesome and wound up in a toneless nowheresville. On paper, the premise and casting looks like a comedy slamdunk, but in execution, it’s an airball.

Our Call: Bottom line: Brothers is across-the-board disappointing. SKIP IT.

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan.

The post Watch or Pass: ‘Brothers’ Comedy Starring Dinklage and Brolin appeared first on Jugo Mobile.

The Gist: Question: Do published authors really get to go to all-expenses-paid Moroccan resorts to hang out and party and maybe almost get some work done, under the guise of it being a “writer’s retreat”? Not sure. I’m trying not to get hung up on it. But we gotta move on as best as we can. We meet Katherine Loewe (Dern) fresh off the plane from NYC, weary, her luggage lost and in need of some peace and quiet. She’s a veteran of these things, and she knows they’re more distracting than productive, and she intends to be as undistracted as possible because her editor’s on her heinie to remove words from her brain and input them into a word processor. She seems to be good at that. She’s a career writer with several successful books in her bibliography (how many and to what extent, I’d like to know, but it’s left vague) and is a veteran of these retreats. This time, socializing isn’t her priority. She wants a quiet room and if people aren’t happy with her skipping the workshops and dinners, well, they’ll have to deal. We get the impression that things at home have eaten into her writing time, because her ex keeps texting her real estate listings. It appears to be time for her to find a new place to live. By herself.

Next to arrive are Lily Kemp (Diana Silvers) and her S.O. Owen Brophy (Hemsworth). Her first novel went kaboom overnight, and now she has to get over her imposter syndrome – “my book is a beach read,” she says as she eyeballs a Nobel winner over yonder. It doesn’t take long. Before you can say Dan Brown sucks cantaloupes through a coffee stirrer she’s whooping it up and boozing it with all the acclaimed authors, and she’s belittling Owen “the bro” Brophy in front of everyone because “all he reads is Sports Illustrated.” It stings. He seems like a nice guy, even though he works “in finance” for a company that acquires real estate then flips it for profit, a job that requires him to be on his phone all the time when he should be, I dunno, standing next to Lily as she makes him feel inferior in front of all the people she’s trying to impress?

Rest assured, Lonely Planet is a movie that has little interest in meet-cutes, and that’s why Owen and Katherine have a meet-totally-normal. A couple of them, to be exact. She wants to GTFO with her laptop, so she hops in a truck that’ll take her to a nearby city (what city? Why do we need to know such things? Specificity is for weebs, bro) and finds herself in the backseat next to Owen. They end up eating together and shopping together and sidelined by car trouble together and hanging out with the driver’s family for a White Foreigners Among Ethnic People submersion-in-the-culture scene together. They end up talking about how travel makes a person feel tiny and humble, and if I recall correctly, she quotes Truffaut (or maybe it was Flaubert? It was definitely a French guy), and he quotes, like, Aaron Rodgers. (That’s a lie. The Rodgers bit. Never happened. But Owen is a former football player.) There’s a bit where Owen says, “I see your face in bed a lot,” and it’s because Lily reads all of Katherine’s books before sleepytime. Will he see her real face in bed before this movie’s over? Well, these are the two most attractive people in the movie, in their Northern African white linen shirts and, eventually, bathing suits by the pool. It’d be a damn shame if those clothes didn’t come off at some point.

What Movies Will It Remind You Of?: Take one of the aforementioned May-Decembers and cross it with the less crappy parts of Eat Pray Love and you’re in the vicinity of Lonely Planet.Â

Performance Worth Watching: As a card-carrying member of the I’d Watch Laura Dern Read the Phone Book club, I’ll take this opportunity to say that Dern brings warmth, depth and complexity to a film that kinda doesn’t deserve it.

Memorable Dialogue: “It’s always bothered me that you don’t read fiction,” Lily says to Owen as we say to the screen, DUMP HER ASS.

Sex and Skin: Ooh. Yeah. There’s some of it. It’s a little clunky and no bits or butts are shown but it’s at least medium-hot.

Our Take: I’m not sure why this movie is titled Lonely Planet – maybe in homage to the travel magazine, but it doesn’t quite fit since our two protags are lonely but are they “planets”? I dunno. At least it’s not the usual generic title that plagues so many Netflix movies; there may already be one called Older Woman Frenches Younger Guy in an Exotic Locale somewhere in the content menus. Anyway, I liked the first hour of this rom-without-the-com, even the corny bits that make you cringe like you just swallowed a thumbtack. I mean, there’s a scene where Katherine tries to guess Owen’s high-school nickname, and not only is it “The Big O,” but she guesses it correctly. Good effing grief. This is the kind of shit that makes reasonable people unreasonably angry if it isn’t being sold to us by a pro like Dern and an amiable chap like Hemsworth, and I therefore did not put my shoe through the screen, and somehow still rooted for them to eventually smoosh genitals.

What works quite well, however, is how Grant eases into the hormonal chemistry of her two leads. She avoids just-add-gorgeous-scenery phony instacharm and allows Katherine and Owen to be realistic humans who work through the awkwardness of circumstance and gettin’-to-know-ya small talk to eventually learn real, substantial things about each other. Neither is particularly happy in this moment in time, until they establish a connection. It’s warm, inviting and intimate. And then we get to a third act that nearly nukes the hard work and goodwill of the previous hour with a series of dramatic contrivances that feel far too committed to mainstream-romance formulas. But that’s OK. I don’t think anyone is here for subtextual commentary on whatever this movie might comment on (the age gap? The healing power of lovely exotic scenery? How helmeted people can ride a motorcycle through the desert and still have absolutely perfect hair upon dismounting?). This slightly flimsy, but just-good-enough romance is all about modest investments and modest returns.

Our Call: Lonely Planet isn’t as engaging as The Idea of You and not as funny as A Family Affair. But it was nice to me and I feel compelled to be nice right back. STREAM IT.

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan.

The post Stream or Skip: Netflix’s ‘Lonely Planet’ Starring Dern & Hemsworth appeared first on Jugo Mobile.

STRESS POSITIONSSTREAM IT OR SKIP IT?

The essence: Terry (John Early) rolls a disco ball down the front steps of a Brooklyn brownstone. It’s huge. Unwieldy. It’s not a stretch to say he’s really struggling with it. Symbolism alert: The giant, glowing orb belonged to his ex-husband, Leo. Leo was the one who threw it away. The porce papers are inside, and Terry hasn’t signed them. The brownstone belongs to Leo, who used it as a “party house.” It’s a ramshackle but habitable hole. And Terry is stuck there. It’s 2020, early in the COVID pandemic. Terry is long unemployed and has the disheveled look — as if the aimless partying has suddenly ended and the hangover hasn’t yet subsided — and the fractured demeanor of someone who thinks he’s unemployed.ableOn top of that, hidden in the basement, in a bed under his care, is his nephew Bahlul (Qaher Harhash), who broke his leg in a scooter accident and had no one but his loser uncle to help him.

Terry’s queer friends all want to go see Bahlul, since he’s 19, a model, and from an exotic background (he’s Muslim; his father is Moroccan) and seems pretty innocently nubile. But of everyone in the film, Terry takes COVID so seriously that he sprays a $20 bill with disinfectant and puts on a chemical warfare gas mask before greeting the Grubhub guy, who starts out as a supporting character, but the frequency of his food deliveries makes him, like, the sixth or seventh protagonist. His name is Ronald (Faheem Ali). So the visitors are ForbiddenSometimes Terry lets his upstairs neighbor, Coco (Rebecca F. Wright), come downstairs to fix the internet and have a cigarette with Bahlul, but Terry insists everyone wear masks. Until the cigarettes come out, of course. Terry has no control in this situation. Let’s face it.

Terry does all the pandemic stuff, like trying his hand at recipes and banging pots and pans in solidarity with first responders and wallowing in existential despair. He drops a piece of raw chicken and slips, hurting his back, and that’s the opportunity for Karla (Hammel) to come see him after weeks of pestering. She’ll give him a massage, she says, but instead steals a bottle of vodka and sets Bahlul up on the picnic table and helps him stretch his hips. It’s literally not overtly sexual — or, come to think of it, maybe it is. The conversations with Karla are wild: everyone says stupid things about Muslims (“Buhlal’s not gay, he’s gay”). religious“) and the Middle East, though no one really knows which countries constitute “the Middle East.” Notably, Bahlul narrates part of this film for a book she’s writing, and it ties into flashbacks to her mother, Terry’s sister. Karla narrates part of it as well, ostensibly because her partner Vanessa (Amy Zimmer) wrote a book about Karla, the trans person, and Karla needs to regain some control of her story. But control is an illusion, and don’t forget that!

What movies will it remind you of?TOStress positions combines the COVIDisms of Blocked With the strange taste of Fire Island and the unconventional indie sensibilities of Baby Shiva.

Performance worth watching: Hammel plays a kind of happy-go-lucky agent of chaos, and his delivery of biting, comedic lines provides the biggest laughs in the film.

Memorable dialogue: Karla succinctly sums up her transition, pointing to her body: “I wanted to kill myself, this helped me a little.”

Sex and skin: Nothing obvious, although there is an off-frame implication of a heavy duty battery tool stuck in a specific body hole, a battery tool that is not designed being stuck in a specific body orifice, you know?

Our opinion: Stress positions It’s a difficult film to appreciate: its characters are inscrutable and often unlikeable, surely by design; Hammel’s script has no use for conventional viewpoints; and its direction can be frenetic, with handheld cameras moving around tight spaces, showing no interest in establishing contextual visual boundaries beyond an overriding sense of uncomfortable claustrophobia. At times, Bahlul narrates over footage of Terry’s futile bustle around the apartment, and Hammel keeps us bewildered with a variety of odd angles and distorted images.

But it doesn’t fade from memory. In fact, it slowly becomes more than the sum of its rather disparate parts. Sure, Hammel satirizes the two extremes of COVID personalities in Terry’s hyperparanoia and mechanical posturing (he really does do things half-assed with the pots and pans) and Karla’s tacit attitude. whatever approach to protocol, as extensions of their various forms of personal desperation. But beyond that, the characters’ inability to forget about themselvesEven for a minute or two, contemplating the rest of the world or considering the ignorance of its widely varying political views puts a key idea into microcosm: This global pandemic did not unite us, did not make us suffer as one. Rather, it was a fragmentation, an exposure of people for what they really were. The crisis was an abstraction for many, and that is the difference between the proliferation of a deadly virus that we cannot see and, say, an earthquake where people are trapped under rubble, inspiring passersby to jump and dig.

Hammel makes sure everyone catches the stray dogs here: his depiction of trans and gay people outweighs their implied social and psychological suffering, insisting that queer people can be self-centered jerks like everyone else. Stress positions It constantly challenges us with its skewed and messy perspectives. It’s a difficult film to love, but one whose methodology and frame of reference are constantly fascinating.

Our calling: Stress positions It’s not for everyone, but it will reward those willing to take on the challenge. So STREAM IT and look forward to Hammel’s future projects.

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan.

The post Stream It or Skip It: ‘Stress Positions’ on Hulu, Theda Hammel’s Highly Unconventional LGBTQ+ COVID Satire Starring John Early appeared first on Jugo Mobile.

STRESS POSITIONSSTREAM IT OR SKIP IT?

The essence: Terry (John Early) rolls a disco ball down the front steps of a Brooklyn brownstone. It’s huge. Unwieldy. It’s not a stretch to say he’s really struggling with it. Symbolism alert: The giant, glowing orb belonged to his ex-husband, Leo. Leo was the one who threw it away. The porce papers are inside, and Terry hasn’t signed them. The brownstone belongs to Leo, who used it as a “party house.” It’s a ramshackle but habitable hole. And Terry is stuck there. It’s 2020, early in the COVID pandemic. Terry is long unemployed and has the disheveled look — as if the aimless partying has suddenly ended and the hangover hasn’t yet subsided — and the fractured demeanor of someone who thinks he’s unemployed.ableOn top of that, hidden in the basement, in a bed under his care, is his nephew Bahlul (Qaher Harhash), who broke his leg in a scooter accident and had no one but his loser uncle to help him.

Terry’s queer friends all want to go see Bahlul, since he’s 19, a model, and from an exotic background (he’s Muslim; his father is Moroccan) and seems pretty innocently nubile. But of everyone in the film, Terry takes COVID so seriously that he sprays a $20 bill with disinfectant and puts on a chemical warfare gas mask before greeting the Grubhub guy, who starts out as a supporting character, but the frequency of his food deliveries makes him, like, the sixth or seventh protagonist. His name is Ronald (Faheem Ali). So the visitors are ForbiddenSometimes Terry lets his upstairs neighbor, Coco (Rebecca F. Wright), come downstairs to fix the internet and have a cigarette with Bahlul, but Terry insists everyone wear masks. Until the cigarettes come out, of course. Terry has no control in this situation. Let’s face it.

Terry does all the pandemic stuff, like trying his hand at recipes and banging pots and pans in solidarity with first responders and wallowing in existential despair. He drops a piece of raw chicken and slips, hurting his back, and that’s the opportunity for Karla (Hammel) to come see him after weeks of pestering. She’ll give him a massage, she says, but instead steals a bottle of vodka and sets Bahlul up on the picnic table and helps him stretch his hips. It’s literally not overtly sexual — or, come to think of it, maybe it is. The conversations with Karla are wild: everyone says stupid things about Muslims (“Buhlal’s not gay, he’s gay”). religious“) and the Middle East, though no one really knows which countries constitute “the Middle East.” Notably, Bahlul narrates part of this film for a book she’s writing, and it ties into flashbacks to her mother, Terry’s sister. Karla narrates part of it as well, ostensibly because her partner Vanessa (Amy Zimmer) wrote a book about Karla, the trans person, and Karla needs to regain some control of her story. But control is an illusion, and don’t forget that!

What movies will it remind you of?TOStress positions combines the COVIDisms of Blocked With the strange taste of Fire Island and the unconventional indie sensibilities of Baby Shiva.

Performance worth watching: Hammel plays a kind of happy-go-lucky agent of chaos, and his delivery of biting, comedic lines provides the biggest laughs in the film.

Memorable dialogue: Karla succinctly sums up her transition, pointing to her body: “I wanted to kill myself, this helped me a little.”

Sex and skin: Nothing obvious, although there is an off-frame implication of a heavy duty battery tool stuck in a specific body hole, a battery tool that is not designed being stuck in a specific body orifice, you know?

Our opinion: Stress positions It’s a difficult film to appreciate: its characters are inscrutable and often unlikeable, surely by design; Hammel’s script has no use for conventional viewpoints; and its direction can be frenetic, with handheld cameras moving around tight spaces, showing no interest in establishing contextual visual boundaries beyond an overriding sense of uncomfortable claustrophobia. At times, Bahlul narrates over footage of Terry’s futile bustle around the apartment, and Hammel keeps us bewildered with a variety of odd angles and distorted images.

But it doesn’t fade from memory. In fact, it slowly becomes more than the sum of its rather disparate parts. Sure, Hammel satirizes the two extremes of COVID personalities in Terry’s hyperparanoia and mechanical posturing (he really does do things half-assed with the pots and pans) and Karla’s tacit attitude. whatever approach to protocol, as extensions of their various forms of personal desperation. But beyond that, the characters’ inability to forget about themselvesEven for a minute or two, contemplating the rest of the world or considering the ignorance of its widely varying political views puts a key idea into microcosm: This global pandemic did not unite us, did not make us suffer as one. Rather, it was a fragmentation, an exposure of people for what they really were. The crisis was an abstraction for many, and that is the difference between the proliferation of a deadly virus that we cannot see and, say, an earthquake where people are trapped under rubble, inspiring passersby to jump and dig.

Hammel makes sure everyone catches the stray dogs here: his depiction of trans and gay people outweighs their implied social and psychological suffering, insisting that queer people can be self-centered jerks like everyone else. Stress positions It constantly challenges us with its skewed and messy perspectives. It’s a difficult film to love, but one whose methodology and frame of reference are constantly fascinating.

Our calling: Stress positions It’s not for everyone, but it will reward those willing to take on the challenge. So STREAM IT and look forward to Hammel’s future projects.

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan.

The post Stream It or Skip It: ‘Stress Positions’ on Hulu, Theda Hammel’s Highly Unconventional LGBTQ+ COVID Satire Starring John Early appeared first on Jugo Mobile.

THE UNIONSTREAM IT OR SKIP IT?

The essence: Mike McKenna (Wahlberg) is a regular guy from New Jersey: a 40-something construction worker who lives with his mother (Lorraine Bracco), hangs out for beers with the boys, has to jump-start his old pickup truck with a screwdriver, has a one-night stand with his old seventh-grade English teacher (Dana Delany!), and so on. His best days seem to be behind him, but is he aware of that? Frankly, he doesn’t seem like a self-reflective guy. Just a party-going, party-loving guy and all that, a Wahlbergian type who’s pretty thin on script and not much thicker on screen. He experienced sibling love in high school with Roxanne Hall (Berry), whom we meet in the cold, room-filling opening: She’s an international spy/agent/operative who finds herself in a shitty world when a mission goes inside-out and ends up upside-down. Her husband/fellow spy is killed by a sniper bullet during the parade of blunders. She barely survives to return home to Jersey and surprise Mike at the bar. Decades have passed. Just like old times, I guess.

Roxanne is all seductive smiles, motorcycles and leather with a mane of platinum blonde hair, just like… helloWho could resist? They pour themselves a few drinks and flirt and then she hits him with a tranquilizer and he wakes up in London. It happens! She needs a new recruit to join The Union. “Half the intelligence community doesn’t know we exist, and the other half is sorry to find out,” is how she describes the organization. They want blue-collar guys like Mike, who happens to have the body of a Masters of the Universe action figure, and he says that’s fine, even if it means disappearing off the grid for an intensive spy training montage and a top-secret mission, and probably missing out on being best man at his friend’s wedding. I think he does it in hopes of rekindling something with Roxanne. Or maybe he realizes he needs to end his aimless life? Sure. Whatever. He just goes along with it, and the movie asks us to do the same, even if we’re like Is this the premise? Indeed. This is the premise.

This is where we should get into the spy plot, not that it matters in the slightest. I mean, this movie is so weak that even the MacGuffin is half-baked: there’s a hard drive full of sensitive information and some bad guys have it and the Union needs to get it back. That’s more than enough summary, believe me. The bad guys are invisible nobodies who are behind a plan to auction off the hard drive to the highest bidder, and I apologize for saying I wouldn’t summarize any further, but I had to do so to illustrate that none of the villains deserve to be mentioned in the sense of a movie review where they are named (and that name is followed by the actor’s name in parentheses). Some of Mike and Roxanne’s companions are played by notable characters: JK Simmons as the no-nonsense boss, Adewale Akinnuoye-Agbaje as another spy, Jackie Earle Haley as a technician. Will they manage to foil the nefarious plan? Boy, I’m getting bored again, because I’m writing about things that already bored me once, while watching it. That doesn’t bode well for this review.

What movies will it remind you of? This watery, ten times stirred Mission: Impossible The applicant can replace Red notice as Netflix’s most memorable and forgettable action comedy to date. It’s not as bad as Ghostan exit to Apple TV+ that was No Forgettable for its utter lack of soul. For what it’s worth.

Performance worth watching: We’re all for Halle Berry as an action star. She’s got the spunk and the screen presence for it, no doubt. But she needs something more. John Wick 3and less The Unionis crossing his desk.

Memorable dialogue: Ugh, I mean, ugh:

Mike: Just call me the James Bond of Jersey!

Roxanne: Fuck you?

Mike: Exactly!

Sex and skin: There’s no time for any of that.

Our opinion: The Union One wonders if it’s enough for a movie to offer us a few halfway decent action sequences, shot mostly with practical effects rather than shoddy computer-generated graphics. Obviously not. Director Julian Farino shows some skill in splicing together chases and fights, but he’s working from a script that’s only marginally better than the last installment of the movie that has nothing to do with the movie. Sniper franchise. And every other damn movie these days is about OPS. Have we had enough of OPS? Yeah. We’ve had enough of OPS. Always the high tech, secret planning, gunplay, earpiece communications, international scenarios, elaborate headquarters, and authoritarian JK Simmonses giving orders inside a command center full of monitors and morons with headsets typing on terminals. All. The. Other. Movies.

It’s worth noting that the film’s attempts at comedy are as bogged down as the romantic chemistry between Berry and Wahlberg. It may be aiming for a bit of comedy. Mr. and Mrs. Smith The film is an action movie, if it shows any courage at all, as it weaves through a gasp-worthy plot with a couple of bland twists and feints, and a third act that devolves into a pass-the-briefcase game that leaves you breathless. I suppose the film moves quickly, and there are a couple of Springsteen songs on the soundtrack, if you’re the kind of person who likes to shout the word Bruuuuuce when “Born in the USA” comes on the AM/FM radio. Clearly, this is a pretty well-paid gig for all parties involved, as Netflix tends to invest a lot of money into star-driven action material that hogs the middle of the road for a couple of weeks in the streaming service’s top 10 before being replaced in one’s memory by a new wave of hedgehog memes. There’s no real creativity here. The Union It is a business deal in movie format, and one of the most boring and cynical acts in Hollywood.

Our calling: Okay, I’m exaggerating. You’ll actually forget this movie before the memes start. SKIP IT!

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan.

The post Stream It Or Skip It: ‘The Union’ On Netflix, An Extremely Bland Action-Comedy Starring Mark Wahlberg And Halle Berry appeared first on Jugo Mobile.

BOAT!: STREAM IT OR SKIP IT?

The essence: The year is 2030. The Great Depression of 2026 inspired the state of California to create a lottery with a gigantic cash prize, but here’s the catch: it’s totally legal to murder the person holding the winning ticket and keep the money. The only rules? No guns allowed and you have to kill them before nightfall. We learn all this in the opening credits, which conclude with this devastating line: “Some people call it dystopian, but those people aren’t funny.” Get it? DON’T HAVE FUN, and if you don’t laugh at this movie’s barrage of jokes, you’re obviously a fucking party pooper!

Now we meet Katie Kim (Awkwafina), who has just moved back to Los Angeles. She’s a former child star hoping to make a comeback in acting—some remember her as the girl from the Spaghetti Squares commercial. Her mother recently passed away, and she has a little money in her pocket, but that’s about it. It’s a nothing-to-lose situation. She rents a dingy room from Shadi (Ayden Mayeri), who, of course, is a lunatic with big, dodgy eyes. Katie wakes up to find her clothes covered in liquid poop, and ends up borrowing from Shadi a head-to-toe gold ensemble that makes Katie look like the mini Oscar statuette her mother gave her as a good luck charm, only a little bigger. Why is this an important detail? I’ll get to that. Patience, please, and you’ll need it, as this movie runs 106 minutes when it should be a mere 89.

Katie goes to a horrifying audition in her mid-2000s rapper outfit and notices that Shadi’s lottery ticket is in the pocket. Of course, it’s the winner and it’s worth a record-breaking $3.6 billion and Katie accidentally activates it with her fingerprint and that’s when the crazy action begins and plot holes start to open up like giant cracks during a 9.0 earthquake on the Richter scale. The population comes at her with butcher knives, axes, and karate chops, and she’s forced to fight her way through a variety of ridiculous settings: a martial arts dojo, a yoga studio, a wax museum, Machine Gun Kelly’s house, etc. She does have some help, though, and this is where John Cena comes in, playing Noel, a hotshot freelance security agent who helps lottery winners live to see the sunset in exchange for a 10 percent cut of the prize.

Now, you’re probably wondering, why doesn’t Noel just kill her and keep the billions for himself? Because he’s a good human being, that’s why. Not everyone in this stupid movie is a selfish, murder-capable jerk! Katie and Noel engage in loads of violence and pranks and wherever the two meet, and just when it all starts to fall apart, Simu Liu pops into the plot as Louis Lewis, a former colleague of Noel’s who runs a huge, lottery-winning corporate security organization. Louis has fleets of muscles at his service, and that’s why he takes 30 percent. It seems like a whole cottage industry has sprung up around this lottery business. America! Capitalism! Now more than ever!

What movies will it remind you of? Boat is The Purge crossed with Idiocracy is located, I don’t know, Lucky numbers? It could happen to you? Jerry and Marge grow up?

Performance worth watching: Awkwafina and Cena are those rare, fun characters who are often the best parts in mediocre or bad movies. Putting them both in the same movie is an inspired idea in theory, but in reality, this material doesn’t do it for them. Boat It won’t limit anyone’s admiration for them, but jokes don’t always land the way they should.

Memorable dialogue: Rather than ruin one of the best lines, here’s one of Awkwafina’s middling comments: “At least the neighborhood is perse, it smells like shit and piss.”

Sex and skin: Just a bit of crude talk.

Our opinion: In BoatAwkwafina and Cena take a backseat to all the chaos. A losing move! Feig has proven capable of cultivating a strong sense of back-and-forth comedic timing and one-liners, but action is his weak point. He seems to be aiming for the manic energy of a Jackie Chan movie or a David Leitch one (see: Deadpool 2, The scapegoat), but its lackluster execution of the action sequences leaves one more impressed than amused. There are foot and wheel chases, knife fights, fisticuffs, Looney Tunes-style slapstick, and a fair amount of stomping, and it’s all incredibly violent. Kudos to Feig for finding a plot loophole that allows him to avoid the clichés of gunfights, but otherwise, none of this is particularly memorable.

Everything else in the film exists in a degree of -assiness: half-baked characters, half-baked concept, half-baked themes. Our beloved lead couple work with three or four broadly defined likeable characteristics between them, making them joke-throwing machines working off a 50/50 hit-miss script. The death lottery idea comes across as sloppy, lazy nonsense, and while we’re not here to evaluate its conceptual soundness, we do are I’m here for a bit of an escape from reality, not a deep pe into the human condition. All these plot holes tend to distract from the barrage of gags. And thematically, Feig and screenwriter Rob Yescombe aren’t sure whether they want to play with movie-world satire, create a perverse parody of capitalism, or explore the ugliest components of human behavior for a black comedy. This movie is a mess. And then it ends with the old bloopers and outtakes over the credits, insisting that what we just saw was funnier than we remember. It wasn’t! Sorry!

Our calling: Boat It inspires more than a few laughs, something that’s impossible when Cena and Awkwafina are front and center. But it’s ultimately disappointing and doesn’t make the most of its talented cast. So DON’T WATCH IT unless you’re really desperate for a few laughs.

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan.

The post Stream It or Skip It: ‘Jackpot!’ on Amazon Prime Video, an R-rated action comedy starring John Cena and Awkwafina (Hey, that rhymes!) appeared first on Jugo Mobile.

A QUICK MOVEMENTSTREAM IT OR SKIP IT?

The essence: PSA: If you’re participating in an illegal motorcycle street race and the police arrest you, don’t try to outrun them. You’ll end up in jail. So why does Wes Neal (Apa) try to do exactly that? Because it would be a very boring start to a movie if he just jumped up and let them handcuff him. Six months later, he’s out of military prison with a dishonorable discharge in his back pocket and all he can say is, “When can I get my bike back?” He LIVES to ride his bike, preferably at high speed. There’s nothing in return. there for him – wherever there Nobody wrote that part of the script, so he goes wherever he is, because nobody bothered to write that part either, to find the father who abandoned him when he was still in the womb. Do you have a problem with this? Boy, do you!

And so we meet Dean (Eric Dane from Euphoria), the hard-partying dad Wes never had. For the past 20 years, Dean’s been going around in circles, literally and metaphorically. Lots of motorcycle races, few wins. And, besides, his back’s fucked up. He still races, but most of the time he works at the speed shop owned by Abel (Olmos) and spends his afternoons drinking and scoring goals with the girls. Funny how Wes is a chip off the old block even though he’s never seen the old block before, right? Wes shows up on Dean’s doorstep all hot and scruffy, and Dean sees a chance to chase some secondhand glory — the kind of glory he never achieved as a third-rate racer. But first, Dean has to accept the clichés of this particular kind of storytelling: Wes is too old to start Jedi training. Wes needs to prove what he’s got. Wes needs to commit to this shit. Wes needs to listen to his dad, who’s been to the track many, many times. And what happens? Wes not only does well in his first race, but he goes out and win Damn! I think he’s got what it takes!

Amidst the manly scenes that include racing and bar drinks, Wes goes to the local restaurant to get Camila (Maia Reficco, pretty Little Liars) can serve him scrambled eggs and look pretty cute while doing it. She seems to like the fact that Wes doesn’t have a shirt without 200 holes in it—I think they’re SPEED holes, or maybe strategically ripped to allow for the free emission of abs-originated pheromones—and they get along just fine. Abel takes a liking to Wes and gives him a job at the store because he could use some help sweeping around here. And everything’s fine until it’s not, as there are daddy issues to address, and when exactly is Wes going to tell Camila he’s an ex-con? Oh my, the tension, the tension! Oh, and there has to be The Big Race at the end of the movie, because a teen comedy without a third-act prom sequence is obviously not worth the bandwidth to air.

What movies will it remind you of? A quick movement shows little interest in deviating from the Rocky formula, as applied to the race track drama formula we saw in Days of thunder and the like.

Performance worth watching: Speaking of RockyYou can’t help but appreciate Olmos as Burgess Meredith here, except that Olmos plays her role gently rather than letting herself get carried away.

Memorable dialogue: Dean speaks in metaphors: “Either you go full throttle or you go full throttle, and everything in between is for cowards.”

Sex and skin: A semi-hot sex scene with a bit of mutual toplessness between man and woman.

Our opinion: Those who insist that there is nothing new under the sun will find affirmation in A quick movementthat sticks tenaciously to the genre’s credos and mores. Something I’ve learned as a fan of professional sports is that they require a degree of precision and attention to detail that sports movies often choose not to explore. They’re often bland and toothless like this one, which barely glances at the inherent danger of motorcycle racing and shows little interest in earning its emotional catharsis.

Think about it. Wes is doing treacherous things here: He straddles a machine going 200 miles per hour and puts nothing between his body and the pavement. He confronts the father who never wanted him. And he opens up emotionally to a woman who might reject him for his rough, uncontrolled ways. This is decent enough dramatic material, but the movie doesn’t define its characters beyond the trivial patterns of sports movie formulas, and the result is a frustratingly shallow experience. The opportunity is ripe for high-stakes drama, but the movie is content to quickly gloss over this kind of stuff like road scenery, and relies on Apa and Reficco’s appeal to fuel their romantic chemistry rather than, you know, actually writing characters with distinctive qualities.

The plot sets up Dean as something of a villain, a selfish opportunist and a bad-advice-giving father with a massive ego, set against Wes’s angst and heartbreak, but both are generic, undercooked arcs, showing little interest in challenging clichés. You won’t be surprised to learn that Abel and Camila are positive forces in Wes’ life, but they can’t offer the adrenaline, excitement, and potential for motorcycle-based glory that toxic Dean can, so Wes follows the trail of psychotherapeutic breadcrumbs straight into the mouth of despair. Until he doesn’t, of course. The underlying theme here is that Wes needs to get the feel to race a professional motorcycle on a professional track, and he can’t do that until he sheds his many burdens: the weight of his bad-boy past, the burdens Dean places on him, his tendency to think too much while racing rather than just racing. Admittedly, this is a rather generous reading of the text; in truth, the film doesn’t get any further than a quarter-inch puddle in the oil pan.

Our calling: SKIP IT. A quick movement It circles around the same old sports movie track, over and over, over and over again.

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan.

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TROPPO – SEASON 2STREAM IT OR SKIP IT?

Opening shot: A coiled snake, an angry ostrich and two lovers smooching in a hollow in the sweltering Queensland bush. Suddenly, a burning body falls from the darkness.

The essence: The first season of Too much We established the prickly and funny relationship between disgraced former police detective Ted Conkaffey and resourceful private investigator Amanda Pharrell (Chamoun), while also catching up on what made them unlikely private detective partners in the first place. Ted, once on the force in Sydney, was falsely accused of kidnapping and assaulting a teenage girl. False charges, but he still split up with Kelly (Mitchell), who remained in Sydney with her daughter while he landed in the small town of Crimson Lake in North Queensland. And that’s where he’s hired by Amanda, who chose a solitary life in her hometown after serving a 12-year sentence there for murder. They solved a murder together. They agreed to be partners in a private investigation team operating out of the back of a seedy tattoo parlour/bar. And here we are in Season 2 of Too much starts.

Of course, there’s another murder. That whole burning body thing. And Pharrell-Konkaffey Investigations is quickly conducting its own investigation, even as Pip Sweeney (Okeyno), Crimson Lake’s new police investigator, warns them to stay away. The dead man ran a family retreat center near a wilderness area known as Redemption Point. He left behind his troubled son Raph (Ethan Lwin) and Raph’s girlfriend Tylah (Miah Madden), who might be hiding something. There’s another body in the mix, one with tattoos that Amanda recognizes. And soon there are more clues to investigate, such as the activities of a violent “bikie” gang operating in the region and resistance to Sweeney’s methods by Val (McGregor), the town’s medical examiner.

As much as Ted and Amanda have become intuitive partners (regardless of what the townspeople think of them, they’re actually pretty good at problem-solving), what they don’t know is that their respective pasts are pushing hard into the present, and it may not be what they’re ready for.

What shows will it remind you of? In Australia, Too much share a network with In limboa funny and touching comedy that recently arrived in the US via Hulu. But it’s the well-trodden path of murder procedurals set in interesting locations that Too much Other examples include: Black snowalso filmed in Australia, and Caughtwith its Nordic noir and biker vibes.

Our opinion: We’ve all seen a million murder shows and we’ll all see a million more. What breaks the silence Too much Outside of its formal framework is the unpredictability of Ted and Amanda’s relationship. They’ve learned to enjoy working together, even if it’s still argumentative at times, and their personalities mesh best when they’re improvising for clues or scrambling to help each other out of a bind. And maybe that’s because Too much It is based on a series of books, but the writing always manages to add an extra twist, an extra line or two that gives inpiduality and ease of observation to the events. As it did with Strung up and The expansionJane demonstrates her ability to fully express her character without any big fanfare or loud noises. And Nicole Chamoun keeps the impulses that drive Amanda half-hidden, raising our expectations for how she will continue to handle (and perhaps even overcome) her personal traumas.

Filmed in Queensland, Australia, Too much They also make great use of the circumstances of their surroundings. Whether it’s the geese wandering around Ted’s house, the bumpy two-lane trails winding between overgrown bunya-bunya trees, or the constant fact that the weather is sticky like that of a rainforest, the environment is always a main character in this series. Sure, they’re solving murders. Lots of shows do! But there’s a distinctive randomness to Too much that allows us to see and learn new things along the way.

Sex and skin: Nothing in the first episode, anyway.

Parting shot: Amanda and Ted are expert snoopers and separately uncover another piece of the evolving puzzle that is their two-person agency’s latest murder case.

Sleeping Star: We are intrigued by Tylah’s character in Too muchwho appears to have a hidden agenda besides a lot of money to pay Pharell-Konkaffey Investigations. And here’s a quick fact: Tylah is played by Miah Madden, whose half-sister Madeline Madden co-stars as Egwene in the Prime Video fantasy series. The wheel of time.

Pilot’s most typical phrase: “The cops here have a habit of screwing things up,” Amanda tells some potential new clients in town. “I’m a private investigator. If you’re worried about your father, I’d be happy to look into it.”

Our calling: STREAM IT. Based on the chemistry between Nicole Chamoun and Thomas Jane as the unlikely private detective duo Amanda Pharrell and Ted Conkaffey, Too much Find murders to solve in the most remote locations, with the scenery, wildlife and eccentric characters of Australia’s northern regions always on offer.

Johnny Loftus (@glennganges) is a freelance writer and editor based in Chicago. His work has appeared in The Village Voice, All Music Guide, Pitchfork Media, and Nicki Swift.

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KNOX IS LEAVINGSTREAM IT OR SKIP IT?

The essence: “It’s okay, Doctor. Even if I hated you for telling me, I’d forget it soon enough.” It’s Knox (Keaton) speaking. He’s just been diagnosed with Creutzfeldt-Jakob disease, a rapidly progressing form of dementia. He’s got a few more weeks of lucidity left. That means it’s time for him to get his affairs in order, after finishing one last job. He and his partner Muncie (Ray McKinnon) break into a scoundrel’s apartment, and Knox puts one in the target, one in his girlfriend, and one in Muncie. That last one wasn’t supposed to happen. He got confused. It’s lasted this He’s gone a long time without being caught (he’s a cunning, shrewd hitman with PhDs and a past working in military reconnaissance behind enemy lines), so it must be his brain rebelling against him. He organizes the bodies and weapons as best he can and leaves. He’s not entirely foolproof, but he might buy himself some time.

Things always come in threes, don’t they? We have his diagnosis and his screw-up, and suddenly there’s a knock on his door. His long-estranged son Miles (James Marsden) is hyperventilating and covered in blood. “I killed someone,” Miles gasps. “Did he deserve to be killed?” Knox retorts. That’s debatable — the guy was a 32-year-old pervert who impregnated the 16-year-old granddaughter Knox has never met. Luckily for Miles, his dad is an expert at dealing with these kinds of situations. He tells Miles to take it easy, then shows up at the crime scene and gets to work.

Thirty-seven minutes into the film, we see Al Pacino. He plays Xavier, Knox’s boss and closest confidant. Knox has written a plan to fix Miles’ situation and shares it with Xavier, who will help him. Check on him. Make sure Knox disables the password on his phone so he doesn’t forget it and then can’t use it. See if each step of Knox’s plan is going as planned. Meanwhile, Detective Ikari (Suzy Nakamura) snoops around Knox’s crime scene. and Miles snoops around the crime scene, because Los Angeles is a very small town and there’s only one homicide detective on the force. There’s a subplot involving Annie (Joanna Kulig), Knox’s Thursday companion; he also visits his ex (Marcia Gay Harden) to let her know he’s “leaving,” which stirs up all sorts of complex feelings. Now, I don’t know if there’s any doubt about Knox successfully sorting everything out before he loses his mind; it seems inevitable. It could be the simple matter of as he does.

What movies will it remind you of? Memory (2022) had a very similar premise: Liam Neeson playing a hitman with Alzheimer’s.

Performance worth watching: It almost goes without saying that Keaton is excellent at this: he’s a seasoned pro who’s still willing to take on challenging roles like this late in his career.

Memorable dialogue: Xavier comforts Knox after sharing the news of his diagnosis: “Jesus Knox, I can’t think of anything worse except maybe your penis stopping working.”

Sex and skin: None.

Our opinion: I recently saw Sleeping dogsin which Russell Crowe plays a retired cop battling Alzheimer’s to solve an old case; that exploitative effort crudely used the disease as a plot device. Knox is leaving It handles memory loss in a more sensitive way: Cruetzfeldt-Jakob is a harsh reality that the character has to deal with, which motivates some significant character exploration on Keaton’s part. Sure, the disease is essentially a silent countdown to Knox’s total mental incapacitation, so it’s a device to amp up dramatic tension. But that’s secondary to Keaton’s efforts; grant Knox enough introspection, and you’ll start to wonder if the guy deserves a redemptive arc.

The tortured morality at the heart of the film makes it both thorny and fascinating. As decent, upright human beings, we want to hope for the best for Knox. But should we? Keaton underscores the drama with subtle bits of dark comedy, which draw us away from the feelings of the film. also Bad for a professional sociopath-killer who always justified his work by insisting that everyone he killed was a bad person; he’s smart, but maybe not smart enough to recognize the irony of his own redemptive arc when he took away similar opportunities from many other people. But hey, at least he’s haunted by the two innocents he accidentally killed.

This is complicated by another irony: the apple may not fall too far from the tree. Miles deliberately distanced himself from Knox after learning of his father’s unsavory profession; now Miles needs Knox’s expertise to get him out of a sticky situation — a sticky situation that raises some plausibility issues, but never distracts from the entertainment value of the convoluted plot. More to the point, didn’t that statutory rapist (who, you might have noticed, is covered in white supremacist tattoos) do it? deserve Kill? Goodness, I can’t answer that. As decent, upright human beings, we should believe in rehabilitation, and now Miles might need a little of that himself, having taken on the role of judge, jury, and executioner in a fit of rage that may be justified, right up to the point where he stabs the guy, of course. It’s this kind of ethical darkness and cynicism that defines Knox is leaving like a fascinating and tension-filled noir.

Our calling: WATCH IT STREAMING. Keaton is 73 and still working hard. You can’t help but admire him.

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan.

The post Stream It Or Skip It: ‘Knox Goes Away’ On Max And Hulu, An Excellent Noir Film Directed By And Starring Michael Keaton appeared first on Jugo Mobile.

KNOX IS LEAVINGSTREAM IT OR SKIP IT?

The essence: “It’s okay, Doctor. Even if I hated you for telling me, I’d forget it soon enough.” It’s Knox (Keaton) speaking. He’s just been diagnosed with Creutzfeldt-Jakob disease, a rapidly progressing form of dementia. He’s got a few more weeks of lucidity left. That means it’s time for him to get his affairs in order, after finishing one last job. He and his partner Muncie (Ray McKinnon) break into a scoundrel’s apartment, and Knox puts one in the target, one in his girlfriend, and one in Muncie. That last one wasn’t supposed to happen. He got confused. It’s lasted this He’s gone a long time without being caught (he’s a cunning, shrewd hitman with PhDs and a past working in military reconnaissance behind enemy lines), so it must be his brain rebelling against him. He organizes the bodies and weapons as best he can and leaves. He’s not entirely foolproof, but he might buy himself some time.

Things always come in threes, don’t they? We have his diagnosis and his screw-up, and suddenly there’s a knock on his door. His long-estranged son Miles (James Marsden) is hyperventilating and covered in blood. “I killed someone,” Miles gasps. “Did he deserve to be killed?” Knox retorts. That’s debatable — the guy was a 32-year-old pervert who impregnated the 16-year-old granddaughter Knox has never met. Luckily for Miles, his dad is an expert at dealing with these kinds of situations. He tells Miles to take it easy, then shows up at the crime scene and gets to work.

Thirty-seven minutes into the film, we see Al Pacino. He plays Xavier, Knox’s boss and closest confidant. Knox has written a plan to fix Miles’ situation and shares it with Xavier, who will help him. Check on him. Make sure Knox disables the password on his phone so he doesn’t forget it and then can’t use it. See if each step of Knox’s plan is going as planned. Meanwhile, Detective Ikari (Suzy Nakamura) snoops around Knox’s crime scene. and Miles snoops around the crime scene, because Los Angeles is a very small town and there’s only one homicide detective on the force. There’s a subplot involving Annie (Joanna Kulig), Knox’s Thursday companion; he also visits his ex (Marcia Gay Harden) to let her know he’s “leaving,” which stirs up all sorts of complex feelings. Now, I don’t know if there’s any doubt about Knox successfully sorting everything out before he loses his mind; it seems inevitable. It could be the simple matter of as he does.

What movies will it remind you of? Memory (2022) had a very similar premise: Liam Neeson playing a hitman with Alzheimer’s.

Performance worth watching: It almost goes without saying that Keaton is excellent at this: he’s a seasoned pro who’s still willing to take on challenging roles like this late in his career.

Memorable dialogue: Xavier comforts Knox after sharing the news of his diagnosis: “Jesus Knox, I can’t think of anything worse except maybe your penis stopping working.”

Sex and skin: None.

Our opinion: I recently saw Sleeping dogsin which Russell Crowe plays a retired cop battling Alzheimer’s to solve an old case; that exploitative effort crudely used the disease as a plot device. Knox is leaving It handles memory loss in a more sensitive way: Cruetzfeldt-Jakob is a harsh reality that the character has to deal with, which motivates some significant character exploration on Keaton’s part. Sure, the disease is essentially a silent countdown to Knox’s total mental incapacitation, so it’s a device to amp up dramatic tension. But that’s secondary to Keaton’s efforts; grant Knox enough introspection, and you’ll start to wonder if the guy deserves a redemptive arc.

The tortured morality at the heart of the film makes it both thorny and fascinating. As decent, upright human beings, we want to hope for the best for Knox. But should we? Keaton underscores the drama with subtle bits of dark comedy, which draw us away from the feelings of the film. also Bad for a professional sociopath-killer who always justified his work by insisting that everyone he killed was a bad person; he’s smart, but maybe not smart enough to recognize the irony of his own redemptive arc when he took away similar opportunities from many other people. But hey, at least he’s haunted by the two innocents he accidentally killed.

This is complicated by another irony: the apple may not fall too far from the tree. Miles deliberately distanced himself from Knox after learning of his father’s unsavory profession; now Miles needs Knox’s expertise to get him out of a sticky situation — a sticky situation that raises some plausibility issues, but never distracts from the entertainment value of the convoluted plot. More to the point, didn’t that statutory rapist (who, you might have noticed, is covered in white supremacist tattoos) do it? deserve Kill? Goodness, I can’t answer that. As decent, upright human beings, we should believe in rehabilitation, and now Miles might need a little of that himself, having taken on the role of judge, jury, and executioner in a fit of rage that may be justified, right up to the point where he stabs the guy, of course. It’s this kind of ethical darkness and cynicism that defines Knox is leaving like a fascinating and tension-filled noir.

Our calling: WATCH IT STREAMING. Keaton is 73 and still working hard. You can’t help but admire him.

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan.

The post Stream It Or Skip It: ‘Knox Goes Away’ On Max And Hulu, An Excellent Noir Film Directed By And Starring Michael Keaton appeared first on Jugo Mobile.