Jamie Kennedy, D.L. Hughley , Dave Annable - 2016 Winter TCA Tour - NBCUniversal Press Tour at Langham Hotel - Arrivals at Langham Hotel - Pasadena, California, United States - Wednesday 13th January 2016
An improvement on 2006's The Reef, this underwater adventure doesn't hold a candle to big studio animation, but its deeply ridiculous plot is charmingly scruffy. Compared to Pixar or DreamWorks, the animation here is fairly ropey, mainly in the design stage as the artists place human faces on the fish, but the surprisingly deranged humour keeps us smiling.
In the first film, plucky little Pi (voiced by Bell) managed to banish nasty shark Troy (Logue) from the reef. But Troy has now escaped from his human captors, who beefed him up with bulking-up drugs. During low tide, he can't get into the reef, so he sends the tiny shark Ronny (Kennedy) in disguise to prepare for his grand return at high tide in four days. Ronny's main job is to prevent Pi from teaching the other fish how to harness the "power of the sea" to defeat Troy, so Ronny distracts them by staging an elaborate variety show. This disrupts Pi's bootcamp, sparking the hammy performer in his wife Cordelia (Philipps), so Pi turns to his guru, the wise turtle Narissa (Schneider), for help.
Clearly, Ronny's undersea stage show was conceived as a way for the animators to go completely wild with music and colour, and it works. These scenes are hilariously silly, packed with breakdancing prawns and jellyfish choreography. There are also movie references and watery puns (like a reference to "Buoyancé Knowles"), plus a stream of military gags, as everyone prepares for battle. Most of these jokes are funny in a way the imagery can't live up to. Animated in Korea, the direction is often awkward and the imagery sometimes plasticky.
Continue reading: The Reef 2: High Tide Review
Jennifer Love Hewitt is about to become a mother for the first time.
Jennifer Love Hewitt has fallen pregnant with her first child, just 15 months after meeting boyfriend Brian Hallisay. The 34-year-old Client List star confirmed the news to Us Weekly, saying, "We're so thrilled and happy to start a family."
The couple met on the set of their Lifetime shit show and appear to have clicked, pretty quickly. Love Hewitt was previously engaged to the Scottish actor ROSS MCCALL, whom she began dating in 2005. The pair split in late 2008 and Hewitt went on to date her Ghost Whisperer co-star Jamie Kennedy between 2009 to 2010.
The actress has always been pretty vocal about her desire to get married and start a family. "I would love to to have babies. . . one day," Hewitt told Us Weekly in 2010. "I'm obsessed with babies!"
Continue reading: Jennifer Love Hewitt Pregnant To Boyfriend Of 15 Months; Who Is He?
Wesley Deed's life is perfect. He is a fifth generation Ivy League graduate, trained by his father to be a businessman and trained by his mother to be a gentleman. He is engaged to a beautiful woman, Natalie and he has his entire life mapped out for him.
Continue: Good Deeds Trailer
Emily Deschanel, Jamie Kennedy and Jennifer Love Hewitt - Emily Deschanel, Prince Albert II of Monaco, Jennifer Love Hewitt, Jamie Kennedy, Hill Harper Thursday 11th June 2009 at Monte Carlo Television Festival Monte Carlo, Monaco
Jamie Kennedy, Elton John and Academy Awards Sunday 22nd February 2009 17th Annual Elton John AIDS Foundation Academy Awards (Oscars) viewing party, held at the Pacific Design Center West Hollywood, California
The long-delayed sequel to the 1994 Jim Carrey hit is a terrible movie. Let's not mince words. It's an awful, unoriginal, infuriating, and endless mess. The always likeable Jamie Kennedy stars as Tom Avery, a struggling animator whose life is in flux. His wife, Tonya (Traylor Howard from TV's Monk), wants a baby badly, but the immature Tom doesn't want that responsibility. He's content to play with his precocious dog, Otis, draw on his sketch pad, and kid around with his tolerant wife.
Continue reading: Son Of The Mask Review
Even when presented with a reasonably original idea for a kids' movie like "Max Keeble's Big Move," Disney can always find a way to bleed all the color out of it and give the resulting product that Mouse House assembly-line feel.
Max (Alex D. Linz), our hero, is a diminutive, idiosyncratic seventh-grader with a rubbery face and a hurricane hairdo, who starts junior high on the wrong foot, running afoul of two bullies and the conniving school principal on the first day of class. The original idea in here is that just when he's sure he's in for a miserable year, his father announces the family is moving away, and Max realizes he has a golden opportunity to assert himself and wreak some havoc without any consequences.
Max concocts a plan to humiliate the bullies, expose the principal's illicit designs for the school budget, and make time with a ninth-grader (Brooke Anne Smith) so babelicious that she gets Britney Spears' "Hit Me Baby (One More Time)" as her very own theme song.
Continue reading: Max Keeble's Big Move Review
A Generation X cautionary tale about greed and impatience, "Boiler Room" is a sharp-edged, adrenaline-driven movie that takes place in the eat-or-be-eaten world of crooked stock trading.
Populated by 25-year-old, overnight millionaires who wear their testosterone on the sleeves of their tailored Armani suits, this is an imposing, vigorous and pulsating picture that could have been mighty and portentous if writer-director Ben Younger hadn't cribbed half the script from "Wall Street" and "Glengarry Glen Ross."
Giovanni Ribisi ("The Mod Squad") plays an unscrupulous college dropout looking to make a quick buck with an underground casino he runs from his rented row house. But he starts seeing much bigger dollar signs when a newly-rich (and Ferrari-driving) acquaintance recruits him to cold-call moneyed suckers and pitch them investments for his suspicious brokerage startup.
Continue reading: Boiler Room Review
Director Anthony Fuqua doesn't seem terribly interested in the plot of "Bait," a impotent "Enemy of the State" knock-off that reeks of a sloppy re-write designed to accommodate the comedy stylings of Jamie Foxx in the Will Smith-type role.
Fuqua's main focus is turning the picture into a resume-builder and he spends the whole two hours showing off his technique. Dripping with visual flair overkill, the chase scenes, stunts and explosions get the deluxe treatment. A 30-second sex scene is shot from about 20 angles. Even a throwaway speech Foxx gives about missing his father (it's just a line to get his ex-girlfriend in the sack) is filmed with four or five cameras -- one of them restlessly circling him as he mock-emotes -- and edited with slow-motion effects and multiple fade-ins and fade-outs.
"Lookie what I can do!" Fuqua seems to be saying, much as he did in "The Replacement Killers," Chow Yun-Fat's Hong-Kong-style American debut. "Please don't send me back to making music videos!"
Continue reading: Bait Review
Somewhere out there in the cinematic ether there's an elusive line between lewdly moronic raunch comedies like "Tomcats" or "Freddy Got Fingered" and sophomoric, low-brow sex and gross-out romps that can make even intellectual types laugh until $3 concession Coca-Cola comes out of their noses.
I don't know where that line is exactly. All I know is that "Jay & Silent Bob Strike Back" is hilarious.
The latest low-budget, high-dialogue laffer from Kevin Smith -- writer-director of "Clerks," "Mallrats," "Chasing Amy" and "Dogma" -- this film puts his perennial cameo characters front and center for a combination road-trip/ruthless Hollywood satire that is so blanketed with ribald raillery it feels like machine-gun fire hitting your funny bone.
Continue reading: Jay & Silent Bob Strike Back Review
There is a key to good'n'stupid lowbrow comedy that few lowbrow moviemakers understand, and it is this: If you have a thin but serviceable premise upon which to build cheap, vulgar, tasteless, but side-splitting dumb gags, don't slap together some insipid story clogged with clichés to prop it up -- just run with what you've got.
Don't turn your movie into Adam Sandler or Rob Schneider fodder, full of insulting attempts to make audiences genuinely feel for your imbecile heroes and wishy-washy life lessons for your stock characters to learn in the last act. Don't be an "American Pie" and backpedal on your vulgarity at the last minute with a hypocritical-apology "happy" ending.
Instead, be proudly, shamelessly, flippantly stupid, like "Harold and Kumar Go to White Castle," in which two recent-grad, odd-couple roommates don't discover anything about themselves, they never see any "bigger picture," and they don't grow up at all. They just get stoned out of their gourds on a Friday night, develop the munchies for those famous square hamburgers from the titular eastern-U.S. fast food joint, and spend the rest of the picture having preposterous misadventures while driving all over New Jersey hunting for the nearest franchise location.
Continue reading: Harold & Kumar Go To White Castle Review
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