Rewind Review: Cop Out

Cop Out is the kind of film that shows you the proof is in the pudding, meaning all the pre-release news, trailers and other miscellanea don’t give you a true insight into the quality of a film. Examples here are plentiful. There is of course the title controversy – Kevin Smith, the director (this was the first film he directed that he did not write), wanted to name the film A Couple of Dicks after a line in the film and using the archaic slang for detective as a double entendre. That was shot down for advertising reasons as the title would limit their TV ads to late night. Then the trailer looked funny in parts and in others not so much. Anyway, I digress.

Cop Out is one hell of a movie that proves that Kevin Smith knows how to make a funny movie, whether he penned it or not, but it also does much more than that. It also ends up being a pretty good action crime movie at the same time, and what’s more neither of the two is ever struggling with the other. They balance perfectly together right from the first viewing. It’s in the neighborhood of the Edgar Wright/Simon Pegg “Blood and Ice Cream Trilogy” (Shaun of the Dead and Hot Fuzz, third film yet to be) in terms of being a spoof, an homage and a film of the genre at the same time.

The film benefits tremendously from the unlikely pairing of Bruce Willis and Tracy Morgan. They’re not the first two you’d think of when trying to pick foils but man did it ever work here. However, a comedy can only be a true success when it also has memorable turns from the supporting cast. This film also has the benefit of that in many areas. First there’s Seann William Scott, who it may be safe to say has never been better, as the wild Parkour-practicing criminal the partners frequently run into. Then there’s Susie Essman in a very memorable one scene appearance as a woman who is being robbed and who takes no crap. And most importantly amongst the supporting stars is Ana de la Reguera as Gabriela, the Spanish-speaking kidnapping victim they happen upon.


The soundtrack to this film is noticeably good and does have a few toe-tappers that complement the score, which was somewhat reminiscent of action films of the 1980s, quite nicely.

The film starts with a very funny scene illustrating Paul’s (Tracy Morgan) odd interrogation techniques, which not only set the film up as an homage but also gets him the information he was after. The scene that follows that will kick the film off and send them on their mission as rogue cops. It’s a really well-structured beginning. Also, there is some character-building in as much as Jimmy (Bruce Willis) has a personal stake in retrieving something stolen from him which he planned to sell in order to pay for his daughter’s wedding. While Paul is haunted by the thought of his wife cheating on him and that paranoia is played on through suppositional flashes in which he imagines their exaggerated courtship to tremendous humorous effect.

The dialogue also needs to be cited for its excellence, while that should seem obvious it’s not always necessarily true. Take Dave, (Seann William Scott) the confrontational thief, he is constantly pestering Paul with games of shadow, knock-knock jokes and other nonsense but the film is somewhat conscious of this silliness and even plays up that for more comedy when they have an exchange of “Duck season!” “Rabbit season!”


Cop Out is an uproariously funny film that doesn’t throw plot completely out the window as has you engaged in all elements of the tale.


Review: Bloody Knuckles

Bloody Knuckles is the kind of movie where pulling together a coherent review from the seamless insanity it is will prove quite difficult. However, I will do my best to convey to you all just how fantastic this film is.

Firstly, I try to avoid like the plague hyperbolic superlatives upon first viewing a film that I may lament later. Yet there are two such thoughts that came to mind with regards to this one that with further reflection seem to prove to be more and more true. Firstly, it is the best satirical horror/comedy since The Stuff (1985), and in a more unique feat it’s the best film featuring an anthropomorphic severed hand I’ve ever seen.

Bloody Knuckles tells the story of an underground comic book artist, Travis (Adam Boys), who believes no one deserves to be untouched if they’re fit for satirizing. After lampooning a local crime boss, Leonard Fong (Kasey Ryne Mazak). He is then targeted, and has his right hand amputated forcibly. Depressed he thinks he will never draw again until he gets an unexpected visit from his hand!

Bloody Knuckles (2014, Artsploitation Films_

The teaser of the film sets it up beautifully and my word the song choice for the opening title sequence is inspired (I will not spoil it). It’s a song that works twice as well if you know it but still fits regardless.

Next there is through the course of this film one friend who cam to mind who I would recommend it to (and did), and one person I would want to screen it for (and I hope to).

In terms of humor it is quite funny. It’s Silly, vulgar, and with a message not unlike Kevin Smith’s films. I nearly laughed through the last scene based on one joke alone.

Bloody Knuckles (2014, Artsploitation Films)

Yet even with all the irreverence to be found in the title it is also a tautly structured gem. The horror and superhero elements on point; circles closing, left, right, and center. Not only that but with silly gags the temptation to go off on a tangent can be huge. This film does not do that instead it features well thought out, useful, illuminating subplots.

Bloody Knuckles has to be considered among the best of the year, and it likely to make quite a bit of noise at the annual BAM Awards. It’s a brisk rollicking good time that doesn’t play it safe and is all the more hilarious, thought-provoking, and intriguing because of it.


Mini-Review Round-Up #5

This is something I’m going to do periodically. Basically, I will employ many means to qualify films for the BAM Awards be it either seeing the film theatrically acquiring a DVD either through purchase or on Netflix. This could lead to an influx of several new titles being seen in a short span of time which would be difficult to write full reviews for. At least this way the film gets some of its deserved attention and you get some notion of my thoughts on them.

If you have questions or comments feel free to respond. I always get back.

As always please refer to My Rating Scale for an indication of what the scores mean and if you’re curious where these films might make a dent in my personal awards please check my BAM Considerations.

The Beaver

Riley Thomas Stewart and Mel Gibson in The Beaver (Summit)

One of the quirkiest films I’ve seen this year. It’s a bit inconsistent towards the latter half of the second act but overall it’s effective and all the laughs about the situation are intended. Mel Gibson does a fantastic job in this film. It’s perhaps Foster’s best directorial turn but not her strongest story. The tightness of the cast, few ancillary characters, helps this film connect.



Ellen Paige and Rainn Wilson in Super (IFC Midnight)

A truly odd little film that can’t escape comparisons to Kick-Ass. While it never does metamorphose fully into a superhero film (and that’s fine) its quirk never really clicks as well as it should and the resolution (meaning the denouement not the climax) is a bit unsatisfying. A very good performance by Rainn Wilson but the film could’ve been much better.


Tucker & Dale vs. Evil

Alan Tudyk and Tyler Labine in Tucker & Dale vs. Evil (Magnet)

This is one of the few true horror/comedy films because of the very simple and ingenious use of perception and knowledge. We know everything that’s going on therefore we can laugh despite how horrific it is that Tucker and Dale and the college kids never understand one another. It also works like horror film with a classic and funny backstory. It’s truly a treat that ought to be seen by fans of both genres.


Red State

James Parks in Red State (SModcast Pictures)

I’m sorry but I just do not understand all the vitriol about Kevin Smith. You can say what you like about his P.T. Barnum act with taking this film on the road and the rest of it but I think this is solid stuff and very different than all his prior works. It has a horror aspect, occasional laughs, political overtones and some darn solid acting from James Parks, Kyle Gallner and Michael Angarano. Most of them being involved plus hockey makes Hit Somebody something to look forward to indeed.



Brett Rickaby in Bereavement (Crimson Films/Anchor Bay)

It’s hard to know where to start (or to stop) talking about Bereavement. It is quite simply a symphony of horror. Though I take back nothing I said about Insidious or Hatchet on Twitter this is the most blown away by a horror film that I’ve been since I first saw Frailty. Spencer List’s dialogueless but significant role in this film is strong enough to make me reconsider my Creepiest Kids in Supporting Roles list. For Stevan Mena as an auteur this is a true tour-de-force as he directs, writes and scores this film brilliantly. It’s one of the deepest casts in a horror film I’ve seen in a long time and one of the few I’ve seen after reaching my Age of Cynicism regarding horror were nothing feels safe or sacred.