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Posts Tagged ‘Vince Vaughn’

Vince Vaughn

“BAD MONKEY” (Apple +)

Vince Vaughn has been waiting more than 20 years for a role that would perfectly mesh with his droll, super-dry persona.  In “Bad Monkey” he finds it.

As disgraced Key West police detective Andrew Yancy, Vaughn seduces us with virtually every line of dialogue and deadpan expression.  He’s like a beach bum with a badge.

He’s surrounded by a cast of entertaining eccentrics  courtesy of novelist Carl Hiaasen, a former Miami Herald writer whose novels provide a wickedly jaundiced view of Florida’s human fauna.

Created by the great Bill Lawrence (“Scrubs,” “Ted Lasso”), this series opens with the discovery of a severed human arm snagged on a fishing line. The sets in motion Yancy’s quest to track down a missing con man and his scheming trophy wife. His search will take him from Key West to Miami to the Bahamas.

Satisfying from a mystery/comedy aspect, “Bad Monkey” also captures the captivating weirdness of the Sunshine State, that blend of redneck bohemia and big-money crassness mined so well in Hiaasen’s novels. 

Fleshed out with first-rate supporting players — among them Michelle Monaghan, Rob Delaney, Alex Moffat and Scott Glenn, just for starters — and you’ve got a show so good you don’t care if they ever solve the mystery.

Liev Schreiber, Nicole Kidman

“THE PERFECT COUPLE”(Netflix)

Okay, I get it.  Rich people are assholes.

 I’m just not sure I needed six hours of immersion in said asshole-ism .

“The Perfect Couple” is a murder mystery set on Nantucket Island during an obscenely expensive  wedding celebration.  At the end of the first episode, after a night of partying, one of the guests washes up dead on the beach.

The local police chief (Michel Beach) and a chijp-on-her-shoulder  detective (Donna Lynne Champlin) have plenty of suspects to suss out, and each of the ensuing five episodes centers on one  or two of the potential killers. 

The groom’s parents are the perfect couple of the title, though that’s a carefully curated illusion. The haughty/brittle Greer (Nicole Kidman) writes popular mystery novels, while hubby Tag (Liev Schreiber) smokes pot, lobs golf balls into the sea and spends wifey’s money on other women.

Their son the groom (Billy Howie) is actually a pretty decent guy; his bride-to-be  (Eve Hewson) is a middle-class girl uncomfortable with the ostentation in which she finds herself drowning.

The groom’s older brother (Jack Reynor) is a spoiled jerk and financial disaster; his preggers wife (Dakota Fanning)  is a social climber who puts up with her husband’s philandering because, well, he’s rich.

The maid of honor (Meghann Fahy) is a party girl; the best man (Ishaan Knatter) appears to be a surf bum but is actually a millionaire. And there’s a predatory and witheringly ironic French lady (Isabelle Adjani) who seems to have bedded most of the men in the wedding party.

There’s amusing interplay between the working-stiff cops and the nose-in-the-air suspects. But there are way too many superfluous subplots, digressions, red herrings and narrative dead ends. For much of the series I felt I was treading water…getting in my exercise but going nowhere.

Still, the performances are good (I especially dug Schreiber’s laid-back kept man) and the faces and figures attractive.

Aasif Mandi, Mike Colter, Katja Herbers

“EVIL” (Paramount +)

After three hugely satisfying seasons of “Evil” I’d like to hang out with series creators Michelle and Robert King. I mean, people who can effortlessly mix demonic possession and insouciant humor are bound to be fine dinner companions.

The series’s premise is simple yet deeply nuanced.  Three investigators are hired by the Roman Catholic Archdiocese of New  York to investigate reports of the supernatural.

They are seminarian David Acosta (Mike Colter), clinical psychologist and agnostic Kristen Bouchard (Katja Herbers) and lapsed Muslim and hardcore scientific rationalist Ben Shakir (Aasif Mandi).

There’s huge fun in watching the three play off each other…lots of good-natured banter as their conflicting world views collide (think Scully and Mulder plus one). And every week, of course, they have a new mystery to unravel, whether it’s a ghostly apparition, a fierce mutant pig or an ancient relic housing a malevolent spirit.

Creepy special effects and skin-crawling atmosphere aside, it’s the personal stories that really fuel the show.  Foremost is the simmering intensity between Colton’s priest-in-training and Herbers’ mother of four (or is it five?) that will have audiences simultaneously rooting for them to hit the hay together and dreading the repercussions.

There are numerous amusing supporting characters, especially Andrea Martin as a no-nonsense nun with the ability to see demons, Christine Lahti as Kristen’s cougar-ish mother and Michael Emerson as her boyfriend, a slimy psychiatrist heading a secret cabal of Satanists preparing for the birth of the antichrist.

And there are a whole mess of demons who’ll leave you torn between shuddering and giggling…who knew that Satan’s minions were disgruntled  working stiffs like the rest of us?

| Robert W. Butler

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Mel Gibson, Vince Vaughn

“DRAGGED ACROSS CONCRETE” My rating: B+

159 minutes | MPAA rating: R

With its loquacious cops and crooks and pages of dialogue devoted to the amusingly mundane (Quarter Pounders with cheese, egg salad sandwiches), “Dragged Across Concrete” will remind many of a Quentin Tarantino film, especially “Pulp Fiction.”

But it also bears comparison to Michael Mann’s “Heat,” for this curiously affecting crime epic (nearly three hours) is less about black and white than shades of gray.

Add to the mix Mel Gibson chewing on his best role in ages, and the latest from writer/director S. Craig Zahler (“Bone Tomahawk”) shapes up as an unexpected treat that digs into the viewer’s head and hangs around long after the lights come up.

At the center of this sprawling tale are a couple of police detectives — Ridgeman and Lurasetti (Gibson and Vince Vaughn) — who’ve drawn long unpaid suspensions for brutalizing a suspect.  Desperate for money, Ridgeman talks his reluctant partner into tailing a suave  criminal (Thomas Kretschmann); the hope is that he will lead the pair to some sort of drug deal or robbery that they can interrupt, making off with the cash and contraband.

Ultimately the two cops find themselves wading through the aftermath of a bloody bank heist. Few are left standing.

But around this dramatic core Zahler has introduced a big cast of characters — lawmen, criminals and common citizens caught in the crossfire — and given each enough backstory that we begin to identify with them on a much deeper level.

Gibson’s Ridgeman, for instance, is a tough street cop bitter that his refusal to schmooze has left his career in the dust. Now he’s coping with an ailing wife (Laurie Holden) and a teenage daughter terrified of the only neighborhood they can afford to live in. On the job Ridgeman may seem like semi-racist thug; at home we see a different side of the man.

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Andrew Garfield

Andrew Garfield as Desmond Doss

“HACKSAW RIDGE” My rating: B+

131 minutes | MPAA rating: R

“Old fashioned” in the best possible sense, “Hacksaw Ridge” is a real-life World War II combat drama that has it both ways.

It may be the most violent film ever released by a major studio, being horrifyingly realistic in its depiction of combat in the South Pacific.

At the same time it is soul-shakingly inspiring.

Brutality and spirituality are unlikely bedfellows, which makes the ultimate triumph of “Hacksaw Ridge” all the more remarkable.

In fact, the film instantly elevates director Mel Gibson back to his one-time status as a major filmmaker. Say what you will about Gibson’s misbehavior and misplaced beliefs, the guy has got the stuff.

Like “Sergeant York,” the reality-inspired classic about the World War I hero, “Hacksaw Ridge” centers on a conscientious objector who ends up winning the Congressional Medal of Honor. It even follows that earlier film’s basic narrative, dividing its running time between our hero’s life Stateside and his grueling combat experiences.

The difference is that unlike Sgt. Alvin York — who finally put aside his C.O. status and became a one-man juggernaut, killing at least 28 German soldiers and capturing 132 others — Desmond Doss practiced non-violence even in the midst of the most ghastly carnage imaginable.

With bullets whizzing around him — quite literally up to his knees in blood and guts — this Army medic singlemindedly went about his business of saving his fellow soldiers.

We meet young Desmond (Andrew Garfield) in the Blue Ridge Mountains of Virginia. Dad (Hugo Weaving) is an unshaved alcoholic still tormented by the sight of his friends being blown to bits during the Great War. Mom (Rachel Griffiths) is often on the fist end of her husband’s anguish.

As a boy Desmond is traumatized after losing his temper and striking his brother  with a rock. Swearing to never again harm another human, he joins the the Seventh-day Adventist Church, whose pacifist doctrines prohibit its members from carrying weapons.

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