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How can you beat that? I pretty much like anything Christian Bale appears in. This is a violent movie, but a powerful one. People tend to change when they go through war. Remember MGM Studios? Big, beautiful lion logo? Powerful roar? Well MGM just put out maybe their one movie so far this year. Hot Tub Time Machine is it.
The big mystery is how they got Jodi Foster and Jeff Goldblum to sign up for the flick. I liked this thriller a lot but there is a complaint. It's based on a real tragedy and the art director treats this tragedy like a thriller. I found that a little unsettling even though it works really well.
Talented actors, funny ones too. So why did they make hopefully the worst comedy of the summer? A horror tale that at least isn't a carbon copy of what film students think works against the audience. Not great, but watchable. I expected to like it a lot more than I did. Reese Witherspoon does a nice job, but there's not much chemistry between her and Owen Wilson or Paul Rudd.
I suspect the script was a big part of the problem. Worth seeing, but keep your expectations at a modest level. If you're years old, like me, you'll probably like this. Very good storytelling, terrific animation, and plenty of helpful hints for dealing with the dragons at your house. Not everyone will agree, of course, but for me this is Martin Scorsese's greatest film—his masterpiece, possible the best movie of the year.
The book on which it was based was very good, but the movie's even better, much more coherent. I liked the books but I liked the first movie even more. The storytelling is tight, tense, and Jennifer Lawrence is perfect in the role of Katniss. The only quibble I have with the Hunger Games series is this: I'm constantly hearing about "the gatekeepers" of children's literature.
Now here's a trilogy of novels about kids killing kids—so where are the gatekeepers? Terrific storytelling, but the film got me wondering—where are all these infamous gatekeepers? Catching Fire is basically a spectacle featuring bread and circuses. I know, I know, the heartless fascists are responsible—but does that argument really hold water?
As I said, though—a fine story. Most people aren't really good at ending things. You know, like, "I really care about you, and this is all my fault, not yours, but I never want to see you again. Like I said, we aren't good at ending things. Unusual flick about a strange uncle and a stranger year-old nephew who get lost in the Australian bush.
Good performances, good dialogue. Could've, should've been minutes shorter. A movie about soldiers who dismantle bombs in Iraq pretty much guarantees suspense, and Hurt Locker delivers that—plus fine acting and nice pacing. Still, I wonder who besides me, some critics, and maybe Stephen King will go to see this flick? The Hustle isn't terrible, but it's not great. A better bet would be to watch Dirty Rotten Scoundrels again. The origin of the vibrator—I'm in!
Hail, Caesar! Hall Pass This line has probably been used before, but definitely take a pass on this one. Hancock I continue, like most people, to enjoy everything that Will Smith is in. The Hangover The trailer for this flick is brilliant. Hanna The first third or so is absolutely terrific—the rest is only okay. Hannah Montana The Movie Cute and watchable—if you're a complete airhead like me. Hardcore Henry Speaking of blowing everything up—Heeeeeeeere's Henry!
Harry Potter and the Half-Blood Prince This movie is beautifully photographed and richly imagined but it leaves me with a nagging question: have the Harry Potter movies outgrown the children they were originally created for? Harry Potter and the Deathly Hallows: Part 2 This could be the end of our beautiful relationship, but I have to tell you, I found the first half of the new Potter movie disjointed and a big expensive bore.
The Hateful Eight Quentin Tarantino has a formula something I've been accused of and it mostly works here. Haywire The first half hour or so is pretty dreadful but it does get pretty involving. Henry Poole Is Here Is a modestly inspirational, modestly emotional, modest film. Here Comes the Boom Kevin James is a very likeable screen presence but this isn't one of his best.
High School Musical 3: Senior Year Is peppy and cute, but what's most interesting—to me—is that it's as innocent and corny as anything I saw when I was a kid growing up in Middle America, and, it's a huge hit with teenagers today. Hit and Run Very, very erratic. Hitman: Agent 47 Unwatchable. At least for me. Horrible Bosses 2 F. Hotel Mumbai I liked this thriller a lot but there is a complaint. The House Talented actors, funny ones too.
House at the End of the Street A horror tale that at least isn't a carbon copy of what film students think works against the audience. From the sublime to the ridiculous. House Bunny—not funny. How to Train Your Dragon If you're years old, like me, you'll probably like this. The Hunger Games: Catching Fire Terrific storytelling, but the film got me wondering—where are all these infamous gatekeepers?
Hunt for the Wilderpeople Unusual flick about a strange uncle and a stranger year-old nephew who get lost in the Australian bush. Hysteria The origin of the vibrator—I'm in! The time-travel gimmick is always front and center but the humor is not always derived from mere time-tourism. For instance, when Lou Rob Corddry suckers a bar full of gamblers into taking bets on the famous Broncos-Browns playoff game in , it could have been any game.
On this level the film is a wild success. Writers Scott Heald, Sean Anders, and John Morris, presumably with lots of ad-libbing from the excellent cast, got a lot of mileage out of the time travel conceit, treating it as if it were a loose idea for a series of sketches. Robinson is the coolest cat of the four. The sight of him crying during sex with a hot groupie is one of the saddest scenes ever committed to celluloid.
Here, again, Pink struck the right comic balance. Almost any number of detours could have been taken to mine the jarring contrivance of a contemporary teenager adrift in the 80s. Thankfully, Pink limits the contrast to a few excellent scenes, such as Jacob meeting a girl and not knowing how to contact her without email or Facebook. Duke was essentially handed the Michael Cera role and he played it just about perfectly—an unobtrusive kid allowed a spot on the varsity bench.
The styles and mores of the 80s, whenever the decade crops up as a focal point, are firmly disparaged. The villain in the piece is the standard snotty rich kid named Blane. Blane is a rabid right-winger and, one gathers, a stalwart Young Republican in the Alex P. Keaton mold.
I also got burned by Hamburger…The Motion Picture. But still, I saw where Matt was coming from. A ski comedy. But how to do it in a not-lame fashion? I wanted to write a movie that would allow real characters to live within the reality that only exists at a s ski resort. The other question was what decade to set it in. I was at a crossroads. If only there was a way to set it in both times. Some sort of time machine. A Hot Tub Time Machine. So far, I had a title that made me laugh and not a hell of a lot more.
Throughout the beginning of , I would occasionally break out the title among friends and explain to them this loose concept I was working on. I knew I was onto something. Over the next few months, I honed in on the characters and the story.
This could be a real adventure. With real stakes. That became the key to unlocking the earliest iterations of the story — allow the hot tub time machine to be ridiculous. Surprisingly, a lot more than I thought. I wish there was blackmail or other nefarious business practices involved.
It was actually a very normal meeting. It was May I had an extremely detailed outline for the screenplay, a lot of which is represented on screen. It was early in the week when I met with MGM, who completely understood the potential for this movie. They snapped it up and told me to get to work on the script.
Twelve weeks later, I handed them the first draft — and at that point, the project moved into overdrive. And a killer cast. And a green light. Taking into account how difficult it is to get a movie made in the studio system, I cherish all the things that went so right with this project. From the first moment, the tone and intent was embraced and supported and even elevated. I can throw multiple quotes at you from all of their classics. He was lost and had a need, and Kreese kind of filled it in.
The great thing about Kreese is he's not just all bad. He believes what he says. His intentions are good, but he's so misdirected. He's not evil. He comes from a different cloth, a different time, a different experience with Vietnam in the '60s and where he came from. He's bringing that forward. It polluted the kids of the '80s, and now the '80s are doing the same to these kids. It's a little bit of a look into the generations entangled and the good and the bad that can come from that, because a lot of good does come from that, too, in the show.
I think it kind of goes all ways, because the energy these kids bring to the set—and I call them kids, but they're growing up before my eyes—I think that they look to me and Ralph as the original characters, and we're the older guys, so I don't know how they look at us as mentors. I suppose it happens subliminally by osmosis more. It's a two-way street with these actors. They're really talented actors, and we're actors, and we're given some great material, so as much as we feed and mentor them, their energy feeds these scenes and feeds us back.
It's like real kids in real life. If you have kids, they give you back. I love working with Xolo and with Jacob and all the Cobra Kais and all the kids. They energize me as an actor and the character. They make me rise to the occasion, and I hope the same is said back. It's told in a way, longform, where we can really do a deep dive in these characters and get to see it's not just ending after two hours.
It's longform storytelling, so we can really kind of dive in and get to see what makes them tick. I think the things that Johnny has that makes him tick are things that you would want to root for. I'm rooting for the character. I love his work ethic. I love his badassery. I love his style. I love that he's uninformed, that he's a little bit out of touch.
He's trying to still make it work. I think that there's something in all of us that are trying to make it work, and maybe that Johnny gives people a little something, a little inspiration. It's a little brazen, but also his intentions are all good. So I have a good reference point to when this all started, as opposed to kids today who are born into that world. I was there at the origins of it. I went from having a dial-up phone to a cell phone, and now we have a computer and all that.
I also lived in the time in my youth when there was no internet and the world wasn't so close, and it wasn't this big consciousness that's all in one place, and everybody had their own thing. There's something fresh about that, for better or worse. Johnny's a lot like I love "Send it to the internet," that he's so disconnected from that.
There's something, I think, refreshing about that, because we're all so sucked into the moments in the phone, the news cycles and the feeds, and everybody's thoughts coming at us at the same time from every angle, and you just can't process it.
There's something refreshing about somebody that has nothing to do with that and is just about helping a kid, opening a dojo, fixing a pipe, just trying to make things work. It's old school. It's cool. It's like a little throwback, and I think somehow it's refreshing to play and fun to play and challenging to play, but I think it's translating well and somehow giving people a good laugh.
Also, you don't judge him, because he doesn't know better. He's kind of got a blind ambition. Yeah, totally. We rolled it out for her. I mean, the storyline, she was such a big part of I think she kind of instigated everything between Johnny and Daniel. She's kind of the, almost, cause of it all. If there was no Ali, maybe this never would have happened. But I love working with Lisa. I loved that when Johnny got crane kicked in the face, he lost his title, he lost his sensei, he lost his girl, and that was the one thing that was going good for him before all this came down, so the fact that we kind of played on that in the first two seasons up to Elisabeth coming in was awesome.
I love working with her. It was like seeing an old friend from high school, and in between scenes, we're talking about our real families and our real life, and then they say, "Action," and we're doing these characters that were just like right there. She's super fun. She's a great actress, and the Golf N Stuff date, we just laughed the whole time. I don't think we stopped laughing, and when she won the little stuffed animal, and she shoved it at me, you can't really see it, but she kind of hits it into me really hard.
Super competitive. Playing air hockey, she wanted to beat me all the time. She's competitive and fun, and it was lovely to have her. I think they did a great job writing her into the show so it makes sense and works and pushes the show forward and serves her well as an actress too. Yeah, caution. I wouldn't say doubt, but that was my first question when they pitched me this show.
Knowing where they were going with it and hearing how it was going to be comedic and this and that, I said, "What's the tone? The Karate Kid is a family movie, and you guys are these kind of comedy writers and all that," but they are such big fans of the Karate Kid universe and all the movies, from one, two, three, and four, that it's very reverent for them, and they are super fans of the franchise. At their core, they're all mensches. They're just great, great guys—big hearts. I love those guys.
I had worked with Josh. I knew Jon and Hayden. I had always felt like there was something for the three of us at some point, and when they brought this to me, it was just like the right guys, the right time, and they got it right, and we all did our part on it, the whole cast. It's working. That's a great question. Well, the karate is sort of second nature, and I love the fighting.
I get into that mode, but I love the levels and the different stuff that they throw at me. Just watching Iron Eagle on the television, and throwing a bottle through it or laying on the floor, just some of the lines that I get to say and all that.
I love the comedy of it, but it's not just comedy. It's drama, too.
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