Double Bill Mini Reviews: Bosses and Fighters...

Horrible Bosses 2:
What's it about?
Nick, Kurt, and Dale - the bumbling trio of boss-hating worker drones from the first movie - have all quit their jobs and set out on their own, establishing a business making 'Shower Buddys'. Naturally, they get screwed over by a horrible boss and things quickly spiral out of control as they seek to get their own back.
Who would I recognise in it?
Jason Bateman, Charlie Day, Jason Sudeikis, Jennifer Aniston, Chris Pine, Christoph Waltz, Jamie Foxx, Kevin Spacey, Jonathan Banks, Keegan-Michael Key.
Great/Good/Alright/Shite?
Fairly solid plotting (relatively speaking) is left swinging in the wind thanks to a lack of jokes. After a slow start a few chuckles creep in, but all-too-often they rely on the 'bumbling and shouty trio' schtick that worked well in a lesser dose in the first movie. Here the same buffoonery takes centre stage at the expense of more interesting gags and starts to become grating at worst, and at best the dim-witted actions of Dale and Kurt in particular display chronic stupidity that's too stupid even for this movie's sense of logic. Jason Bateman was refreshingly candid about the film on a recent appearance on Marc Maron's WTF Podcast - everybody got paid, they had a good time, and they tried to improve upon a dodgy script. It's not a total disaster - there is an amount of fun to be had - but after the enjoyable silliness of the first movie, this sequel comes as a general disappointment. Alright.

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Quadruple Bill Mini Musings: Booze, Bots, Aliens, and Body-swapping...

The Lost Weekend:
What's it about?
Billy Wilder's Oscar-snatching drama about a writer who is hopelessly addicted to alcohol, and finds himself alone with just his inner-turmoil and his bottle.
Who would I recognise in it?
It depends how well you know your 1940s cinema, but Ray Milland and Jane Wyman.
Great/Good/Alright/Shite?
While not as deliciously dark as Wilder's previous film Double Indemnity, nor as blackly comic as his iconic Sunset Boulevard, Wilder brings his trademark touch of class and incisive directorial skill to one writer's alcoholism. Naturally, the subject is dealt with to 1940s standards (although I'd wager it took away a few breaths upon its initial release), you might draw some parallels with the hopeless alcoholic in Leaving Las Vegas (a relatively more modern telling of a similar depressive tale of the battle with the bottle). It might split the audience - one man's seemingly cosy ending, is another man's rather more ambiguous fade out that uncomfortably comes full circle. Great, with a few softened edges.

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