The Last Boy Scout (Retro)

THE LAST BOY SCOUT (1991) R 105 Minutes Director: Tony Scott Writer: Shane Black Bruce Willis, Damon Wayans, Chelsea Field CAST Bruce Willis...Joe Hallenbeck Damon Wayans...Jimmy Dix Chelsea Field...Sarah Hallenbeck Noble Willingham...Sheldon Marcone Taylor Negron...Milo Danielle Harris...Darian Hallenbeck Billy Blanks...Billy Cole

Friday night's a great night for football
You can feel it in the air like lightning on the edge of the night
You can feel it everywhere, but it's party time in Cleveland tonight
Friday night's a great night for football
Catching as tight ends, ready to do it
—THE LAST BOY SCOUT

The Last Boy Scout opens with Billy Blanks—yes, the Tae Bo guy—playing an NFL running back who's about to have the worst game of his life. He's Billy Cole, strung out on pills and pressure. Blackmailed mid-game, he's told to rush for 150 yards or lose everything—his spot, his fix, his life. He pops a handful, eyes go blank in the locker room, then hits the rainy field running on pure instinct.

Ball's snapped. Pitch-out. He tucks and runs. Defensive back barrels in—Cole pulls a gun from under his jersey, pumps three shots through the guy's helmet. Blood and fiberglass everywhere. Keeps going. Another DB dives—Cole blows out his knee. Pandemonium. Players running, cops sprinting, the goalpost collapsing. Cole crosses the line, drops the ball, turns, smiles, and says, "I'm going to Disneyland..." Puts the gun to his helmet. Bang.

It's brutal and absurd—and we're barely past the kickoff. Football's just another racket—players get chewed up, the dream dies on camera, and nobody stops the broadcast. The NFL wanted nothing to do with this movie, so the teams are the Stallions and the Cats instead of actual franchises. The only time you should see the word "stallion" is on the back of a license plate frame about Italians.

Cut to Joe Hallenbeck, the last boy scout—disgraced ex-Secret Service turned PI, sleeping off a bender in his car under the freeway. Dead squirrel lands on his chest courtesy of neighborhood kids. He wakes, stuffs a .38 in a kid's face ("Hey, motherfucker"), then realizes and lets go. Vomit on the lawn, Camel lit, Seagrams rescued. Jimmy Dix gets his own version: ex-QB, coke spoon in the mirror, flashing back to glory days on the field—seventy thousand screaming, perfect spiral, feeling alive—now this.

From there, it's the same pattern: rigged games, senators taking bribes, painkillers handed out like Tic Tacs so players can grind through the damage. Villains like Milo exude slick, dramatic, prissy menace. The bad guys monologue with campy flair while the heroes trade insults through gunfire. It gets so excessive, the darkness starts feeling ridiculous instead of scary.

Hallenbeck's a mess—marriage wrecked, daughter hates him—but he still operates by some code: protect family, team up with Dix (even if they just insult each other). Dix talks about his wife getting killed during his best game, their kid lived 17 minutes. That lands harder than Dix getting thrown from an overpass. The banter's sharp ("Smile, you fuck"—Hallenbeck to his own reflection). But the two of them keep showing up anyway—protecting family, refusing to quit. In a world this rotten, being the last boy scout isn't naive—it's just what's left.

The Last Boy Scout works. It's unapologetically '90s, made for people who want their action movies bitter and loud. The original script had Joe donate the money to charity—they kept it. That's the whole movie: when everything's broken, the only honest move is to stop pretending otherwise.

Final Verdict: 85 out of 100

The Wrecking Crew

THE WRECKING CREW R 122 Minutes Director: Ángel Manuel Soto Writer: Jonathan Tropper Jason Momoa, Dave Bautista, Morena Baccarin CAST Jason Momoa…Jonny Hale Dave Bautista…James Hale Temuera Morrison…Governor Peter Mahoe Claes Bang…Marcus Robichaux Jacob Batalon…Pika Frankie Adams…Haunani “Nani” Palakiko Miyavi…Nakamura Morena Baccarin…Valentina Roimata Fox…Leila Hale Stephen Root…Detective Rennert / Sergeant Karl Rennert Maia Kealoha…Lani Lydia Peckham…Monica Robichaux David Hekili Kenui Bell…Alekai Mark R. Black…Monty Josua Tuivaralagi…Kai Stephen Oyoung…Akihiko

THE WRECKING CREW needed to do exactly one thing: let Momoa and Bautista be themselves in a buddy action comedy. That’s it. That’s the whole ask.

For about twenty minutes, it almost works. The opening has a loose, easygoing rhythm—clichés included—like the movie briefly knows what it is. Then something shifts. Simple setups get tangled. Key information gets withheld until the third act, not for suspense but because the script can't figure out when to say it. The early momentum disappears. What replaces it: scenes where characters tell each other things they already know purely so the audience can catch up. It’s storytelling that arrives breathless and scrambling, like trying to finish an assignment ten minutes before class starts.

That scramble becomes unavoidable near the end, when the movie stops pretending and just dumps the entire plot in one rushed conversation. Marcus Robichaux wants to build a casino resort in Hawaii—on Hawaiian Home Lands, no less. Gambling needs legalizing first. The governor's been bought for twelve million. Yakuza muscle gets imported for enforcement. The father dug up financial records through Robichaux's wife. A kid downloaded the dirty transactions. Torture happened. Murder followed. It's delivered at auction speed, frantic and graceless, as if someone suddenly remembered this information was supposed to matter.

The characters operate on the same convenience. James is positioned as hyper-competent—former SEAL, always three steps ahead, the kind of guy who reads a room before he enters it. Except he walks into a house where someone's missing and his kids are hiding, and doesn't register that anything's wrong until a phone call explains it to him. He also keeps an unlocked weapons stash in a house with children, not because it reflects who he is, but because the next scene needs firepower. His competence flickers on and off depending on what the plot requires in that exact moment.

The tone never settles on what kind of movie it wants to be. There's a scene where they infiltrate a party in Hawaiian shirts, played for pure cartoon logic—total farce. But everything around it insists on being taken seriously. People are dying, lives are unraveling, and yet we're supposed to accept both the goofy disguise routine and the weight of their murdered father. It wants HOBBS & SHAW’s irreverence one minute and genuine stakes the next, but keeps hedging between them instead of choosing.

What makes this more frustrating is how much raw material is sitting right there, unused. Jason Momoa has the kind of natural charisma where you’ll watch him do anything—here, he's playing Jonny like the fun brother who never quite grew up—but the movie barely lets him breathe. Dave Bautista is locked into restrained, responsible dad mode as James, and that could be a smart contrast, but their dynamic never gets enough space to build.

Meanwhile, their father—whose death is supposed to motivate everything—was apparently a terrible dad. Jonny even says something like “he wasn’t a father to anyone.” The movie still expects us to care about avenging him anyway, as if that detail doesn’t complicate things.

The ending plays out with that oddly detached FAST & FURIOUS casualness, where the movie just sort of stops. Big stakes dissolve in seconds, consequences vanish offscreen, and everyone wanders away like they’ve got other plans. After all the plot scrambling and the tonal mess, the finish feels indifferent—like even the movie ran out of patience for itself.

I watched THE WRECKING CREW twice, which is once more than necessary. The second viewing doesn't add clarity—it just makes the shortcuts sharper and more irritating. It's not a disaster. It's something more deflating: a movie that takes two actors who should have made this easy and turns it into a chore.

Final Verdict: 43 out of 100

Playdate

PLAYDATE PG-13 93 Minutes Director: Luke Greenfield Writer: Neil Goldman Kevin James, Alan Ritchson, Sarah Chalke CAST Kevin James...Brian Jennings Alan Ritchson...Jeff Eamon Sarah Chalke...Emily Alan Tudyk...Simon Maddox Stephen Root...Gordon Isla Fisher...Leslie Benjamin Pajak...Lucas Banks Pierce...CJ Hiro Kanagawa...Colonel Kurtz Paul Walter Hauser...“Zach Galifianak-ish”

For those of you who think I can’t review two Kevin James movies in a row—like I’m going to run out of jokes, or it’ll start sounding redundant—challenge accepted.

“Do I look like a child predator?” Kevin James asks early in PLAYDATE, standing in a park in a windbreaker that’s practically begging for a restraining order. Honestly? I bought it. I can believe him as the awkward stepfather everyone assumes is a creep. What I don’t buy—not for a single second—is Kevin James as a forensic accountant.

The suit looks like it’s on him for the first time in his life. He doesn’t even bother to wear glasses. Oh, don’t get confused—he keeps them perched on top of his head, because in Hollywood, glasses are shorthand for “this is a smart guy doing smart things.” But actually crunching numbers? Please. I could see him as a zookeeper, an IPS driver, or maybe a high school biology teacher who does mixed martial arts to save the music program.

Anyway, Brian gets fired and slips into stay-at-home dad mode, which means he ends up in that weird daytime purgatory of parks, small talk, and pretending you’re not desperate for adult conversation. That’s where Alan Ritchson shows up as Jeff, and he’s the funnier of the two. Jeff has this infectious, manic energy—like he just chugged three energy drinks and decided friendship is a contact sport. I can see why Brian ends up in his orbit, even if Jeff gives off a “this guy has seen some shit” vibe.

Is Ritchson playing the same character as Reacher? It’s hinted. I think he missed the fine print on his Amazon contract: “If you want to get renewed for another season, you have to do a movie with Kevin James.”

Sarah Chalke plays the wife, Emily—you may know her as the other Becky Conner—and yes, she seems a little too attractive for him. The movie knows it too and says it out loud. That kind of self-awareness goes a long way here, and it’s part of why PLAYDATE ends up better than you’d expect.

Then the movie remembers it needs a plot. Jeff kidnaps CJ, and the story never quite gives you an airtight reason. We find out the kid is his—or so it seems—until the villain shows up and snatches him back, because we need movement, not clarity. The pacing stays brisk. It never turns into a slog, which is more than I can say for a lot of these algorithm-built streaming movies. It all builds to a bizarre final standoff involving Maddox, Colonel Kurtz, and an entire army of CJs.

We also get an appearance by the doofus from COBRA KAI (Paul Walter Hauser), and he’s cast perfectly in this. Jeff refers to him as “Zach Galifianak-ish,” and that’s about right. He leans into the weirdness enough to be memorable. The movie could’ve used more of that energy.

PLAYDATE is a solid C. Not an “I didn’t deserve it” C like I got in high school—a real C. Some of the jokes are dumb, but not all of them. Yes, this is a movie you can watch with your family. If I were grading on a curve, I might bump it up—because contemporary family movies are god-awful. But I’m not grading on a curve. If you need something harmless in the background, this’ll do.

Final Verdict: 72 out of 100

Guns Up

GUNS UP
R
91 Minutes
Director: Edward Drake
Writer: Edward Drake
Kevin James, Christina Ricci, Luis Guzmán

CAST
Kevin James...Ray Hayes
Christina Ricci...Alice Hayes
Maximilian Osinski...Antonio Castigan
Luis Guzmán...Ignatius Locke
Melissa Leo...Michael Temple
Leo Easton Kelly...Henry Hayes
Keana Marie...Siobhán Hayes
Timothy V. Murphy...Lonny Castigan
Joey Diaz...Charlie Brooks
Francis Cronin...Danny Clogan
Solomon Hughes...Ford Holden
Miroslav Barnyashev...Harry the Hammer

Here Comes The Boom

In case you missed it the first time—and you probably did—GUNS UP is on Paramount Plus.

GUNS UP is the kind of movie that starts with a bad sign and never really recovers: our hero is named Ray Hayes. Even his name is kind of lazy. Ray Hayes. No parent gives their kid a first name that rhymes with their last. That’s like naming your child “Ben Denn,” then being shocked when he grows up to make questionable decisions.

Ray begins the film making a life-changing decision. He can either keep his police job—where he’s probably making six figures and gets great benefits—or work as an enforcer for some shady criminal enterprise where he can maybe make a few more dollars. Naturally, Ray goes the Doug Heffernan route—dumb, stubborn, and convinced it’ll all work out. He takes the enforcer job, and he’s still there five years later, like this was always part of the plan.

We find Ray embedded in a strange, multi-ethnic gang, the kind you only see in bad ’80s movies. He and his wife, Alice, are saving up for a diner. As soon as he has enough, he’s out. Now that he finally has the money to quit, things get complicated—because that’s how these movies work. You know something will pull him back.

That “something” is Lonny Castigan, and the minute he takes over, Ray’s exit plan is dead.

We’re also supposed to believe Ray’s kids don’t know what he does for a living. I could see the young boy not figuring it out, but he has an 18-year-old daughter. Even Meadow Soprano was hip to what her father was up to.

To get out, Ray agrees to kill Antonio—but he can’t bring himself to do it. He just wants to scare him and run him out of town. Then a third guy barges in, there’s a scramble for the gun, it goes off, and Antonio takes it in the head by accident. Messy, loud, and it sets the rest of the film in motion.

I like many of the character actors here. Luis Guzmán. Christina Ricci. Joey Diaz. Unfortunately, they’re underutilized. You spend the whole time waiting for them to do something interesting, and the script doesn’t let them. They show up, they deliver their lines, and the movie hustles past them to the next burst of violence.

Instead, everything becomes completely preposterous. We find out the wife has her own criminal past. She apparently took Lonny’s eye after his gang killed her parents. Sure. The dialogue doesn’t help much either, relying on generic tough-guy lines like: “We finish what we start.” “No more running, we finish this.”

By the end, it’s less a crime thriller than a conveyor belt of gunfire.

Who is this for? Families looking for a wholesome night in… plus an orgy of violence?

I’ve enjoyed Kevin James’s work and defended him plenty of times, but there’s absolutely no excuse for this movie.

Final Verdict: 48 out of 100

Bad Neighbors

BAD NEIGHBORS R 96 Minutes Director: Nicholas Stoller Writers: Andrew J. Cohen, Brendan O'Brien

CAST Seth Rogen...Mac Radner Rose Byrne...Kelly Radner Ike Barinholtz...Jimmy Zac Efron...Teddy Sanders Dave Franco...Pete

Mr. And Mrs. Buzz Kill Would Like To Welcome You To Our Neighborhood

Okay, let me set the scene for you. An obnoxious fraternity, Delta Psi, moves next to a young family. But wait, you're not going to believe what happens next. The frat and the family start out as friends. But tensions soon rise after the fraternity starts acting like a fraternity. Before long, there is an all out war: good guys versus bad guys. And just like with POLTERGEIST, moving to another home isn't going to destroy the beings that haunt them at night.

Movies featuring Seth Rogen have been funny. But I don't know if he can make a film funny on his own. Just take a look at THE GUILT TRIP. This is the first time Seth Rogen doesn't smoke pot in a movie. No I'm kidding, but it was the first time he got high on shrooms and pot in the same scene. Somehow, pot smoking gets worked into all Seth's movies. Even in 50/50, the film about a guy with terminal cancer.

If I'm watching a Seth Rogen movie, I know James Franco will probably show up somewhere. But he didn't. Don't fret though, we did get a guy who looks like James Franco, named Dave Franco.

Zac Efron's character is the party-animal president of Delta Psi, whose fraternity is on probation. The real Zac (without an h) did party too much, but it was only to prepare for his role on DR. DREW'S CELEBRITY REHAB...I mean BAD NEIGHBORS. As a method actor, not showing up hung over to the movie set would be unprofessional.

Would You Keep It Down Some Of Us Squares Are Trying To Sleep

I'm not saying you should avoid this film. There were funny moments, sparsely scattered throughout the film. It has enough solid laughs to get a B-Grade, but BAD NEIGHBORS doesn't quite make the dean's list. If you want to see a better movie starting with the word BAD, I recommend BAD SANTA or BAD GRANDPA.

Final Verdict: 80 out 100

A Madea Christmas

A MADEA CHRISTMAS
PG-13
100 Minutes
Director: Tyler Perry
Writer: Tyler Perry
Tyler Perry, Chad Michael Murray, Tika Sumpter

Cast
Tyler Perry...Madea
Anna Maria Horsford...Eileen
Tika Sumpter...Lacey

GOTCHA!

ANCHORMAN II
PG-13
119 Minutes
Director: Adam McKay
Writers: Will Ferrell, Adam McKay
Will Ferrell, Paul Rudd, Christina Applegate

Cast
Will Ferrell...Ron Burgundy
Christina Applegate...Veronica Corningstone
David Koechner..Champ Kind
Steven Carell...Brick Tamland
Paul Rudd...Brian Fantana
James Marsden...Jack Lime

'She said it! Summer just showed up out of nowhere! It's like a visit from you, Cass - unannounced and uncomfortable.'-SNL, MORNING LATTE (S25E19)

I hope everyone enjoys my Christmas present. What is it? I'm not reviewing Tyler Perry's A MADEA CHRISTMAS. Is not getting something a gift. Yes, a lack of presence can be the greatest present you never received. It's like having a degenerate, alcoholic uncle, who ruins Christmas every year. But let's say, he doesn't show up this year: if that's not a present, then by golly, it's a full-on, Christmas miracle. So Merry Christmas everyone, I'm reviewing ANCHOR MAN II.

This ANCHORMAN was about as good as the first one. Both films follow a similar formula. But that's not really an issue here, because it's funny. About three-quarters the way in, this film dragged a bit. This is the only flaw. But the moment you became bored, things picked up a bit. Like a Judd Apatow comedy, ANCHORMAN II was just a little too long.

This movie finished strong. Will Smith always said he didn't do cameos, only starring roles...with his children co-starring. But I'm glad he made an exception here. In this movie, Will dressed like he did in that episode of FRESH PRINCE, where he pretended to be Ashley's father in a parent-teacher conference. I don't remember what character he'd played here. Maybe a golf caddy. All kidding aside, Smith's presence was most fresh indeed.

Jim Carrey, it's good to have you back. I mean that. I hope this means an end to that long stretch of bad movies you've been in for the past eight years.

The best character in this whole movie is played by John C Reilly, he doesn't say much. If I told you his part, it would just ruin it.

Steve Carell's character was even funnier this time around. He finds love with Kristen Whiig, an equally dumb character. The same way Michael Scott found love on THE OFFICE.

Generally, I've always believed that the more a movie is promoted, the worse it is. But it's not true with ANCHORMAN II. This film is good enough, where a word of mouth campaign would have sufficed. As opposed to the overwhelming marketing campaign going on. Those Dodge Durango commercials are a bit much.

Merry Christmas readers, stay classy.

Final Verdict: 80 out of 100

Bad Grandpa

BAD GRANDPA
R
92 Minutes
Director: Jeff Tremaine
Writers: Fax Bahr , Spike Jonze, Adam Small, Jeff Tremaine, Johnny Knoxville,
Johnny Knoxville, Jackson Nicoll, Greg Harris

Cast
Johnny Knoxville...Irving Zisman
Jackson Nicoll...Billy
Greg Harris...Chuc

'Whoever you are, I have always depended on the kindness of strangers.' -Tennessee Williams, A STREET CAR NAMED DESIRE

BAD GRANDPA expands on a sketch from JACKASS NUMBER 2. Hmmm, interesting, I’m just noticing the joke in that title.

This film is JACKASS, with a fictional story. Which amounts to an Andy Kauffman-esque social experiment. It's fascinating knowing what human beings are capable of in bizarre situations. If I kill someone, I now know that a stranger just might help me dispose of the dead body, no questions asked.

I’m not a comedy snob. I laugh at homeless people all the time. Still though, I've always deemed JACKASS as bad, lowbrow humor. But when I take a second look at those films, I realize they aren't all that bad. And now, I no longer have a problem with Johnny Knoxville, unless he’s in real..ish movies.

We revere, and respect old people, at least publicly. Older folks have more of a reason to act out. I look forward to growing old and senile. Because I can blurt out inappropriate comments, and people think that all is excusable because I'm going to die soon.

Irving is the 'bad' grandpa. It's best to think of him as a thin Wilford Brimley. He has an 8-year-old grandson. The kid is a composite of MAN SHOW Boy, and the kid from BAD SANTA. These two are forced into a cross-country road trip. And wouldn't you know, hilarious hijinks ensue.

This movie's main flaw is it's not consistently funny. The first half was difficult to watch. Because it was just an old guy acting like an asshole. And that type of behavior can't sustain a movie, unless it stars Clint Eastwood. This film became passable in the second half, once Irving actually turned into a human being. By the end of the movie, BAD GRANDPA felt like an obscene, John Hughes film. And I don't mean that in a bad way.

Most people will notice much of the story arc is borrowed from other films. But it doesn't bother me so much. In this context, those borrowed scenes are markedly different; because everything is done with real life in the backdrop. No one was 'in on' any of the gags. And people thought tragic events were unfolding right in front of them. That makes this movie both funny and interesting.

Imagine watching an episode of AMERICA’S FUNNIEST HOME VIDEOS...and actually laughing. BAD GRANDPA is kind of like that.

Final Verdict: 76 out of 100

Clear History

CLEAR HISTORY
NR
Director: Greg Mottola
Writers: Larry David, Alec Berg, David Mandel, Jeff Schaffe
Jon Hamm, Michael Keaton, Larry David

Cast
Jon Hamm...Will Haney
Kate Hudson...Rhonda
Larry David... Raleigh/Nathan Flahm

Today I'm  reviewing CLEAR HISTORY. It's not what it sounds like. This isn't about a pedophile that unsuccessfully deletes his browser history, during his sixth grade English class.

Will Haney and Nathan Flahm  start out as business partners in the early days of an electric car company. Nathan sells his 10 percent share of the company back to Will, because he thought 'Howard' was a bad name for a car. Unable to deal with being ostracized and humiliated for being that guy that blew a billion dollars. Nathan loses his hair, and gains a new identity, 'Raleigh'.

What follows is an epic revenge on a former business partner. We already know nothing will work out for him. But how bad will things get? If you want a hint, watch the REVENGE episode of SEINFELD. Where George puts a Mickey in his old boss's cocktail.

In case you were wondering, the electric car is named 'Howard', after the college featured in Bill Cosby's show, A DIFFERENT WORLD, and not after William Howard Taft.

'I must right this wrong.'

Jon Hamm was the best part. I thought that was true of SUCKER PUNCH as well. I can't help but notice how he brings a little Don Draper to all his roles. The way John Wayne brings alcoholism to all of his titles.

Michael Keaton, wow, he always was a comedian, it's easy to forget sometimes. It took awhile, but I think he's finally moved past BATMAN and a whole host of other bad films.

Is there enough content for a movie?

Comedically, Larry David is beyond talented. But being funny doesn't make you a good film maker.  They rarely coexist, just look at Martin Lawrence.

CLEAR HISTORY felt like an overly long CURB YOUR ENTHUSIASM EPISODE. While it was funny, it just didn't feel like a movie. Ultimately, I have to judge made for TV movies by a lower standard.  Seeing this at a theater would have disappointed me. Additionally, I must doc points for the CHICAGO soundtrack. For clarification, I'm not talking about the soundtrack to the film, CHICAGO, but rather the musical stylings of THE CHICAGO TRANSIT AUTHORITY.

But on a Saturday night, sitting on a couch, with nothing to do, but write a movie review, I would be pleasantly surprised with what I saw.

Final Verdict: 80 out of 100