Category Archives: Zac Efron

The Iron Claw-2023

The Iron Claw-2023

Director Sean Durkin

Starring Zac Efron, Jeremy Allen White, Harris Dickinson

Scott’s Review #1,416

Reviewed January 15, 2024

Grade: A

I was pleasantly surprised by how compelling and character-driven The Iron Claw (2023) is. Being a sports drama there is always a risk of cliches and little in the way of surprises but director Sean Durkin who also wrote the screenplay, delivers the goods.

Powerfully acted by all of the actors involved The Iron Claw is also profoundly sad and very hard-hitting emotionally which caught me off guard.

The trials and tribulations of the Von Erich family are explored in a fact-based story that honors the family ties with compassion and heart making the audience fall in love with and understand the feelings of the family.

There are triumphs but also much heartbreak with some outstanding acting in support of a very sad real-life story.

Efron who plays Kevin Von Erich gives the best performance of his career as a reasonable, stable young man living in a world of chaos.

It is perplexing, especially given the December release why the film received no awards mention especially for Efron.

One miss, most notable with Kevin, is the inclusion of a ridiculous wig and jacked-up body making him look more like a cartoonish Incredible Hulk than the clean-cut all-American young man that the real Kevin looked like.

Being a huge fan of professional wrestling as a youngster in junior high school the Von Erich family was somewhat familiar to me. However, I had to search my memory for long-forgotten specifics.

The family, led by former wrestler Fritz (Holt McCallany) was well-known throughout the 1970s-1990s in local Texas circles and then nationally as professional wrestling gained popularity. His sons Kevin (Efron), Kerry (Jeremy Allen White), David (Harris Dickinson), and Mike (Stanley Simons) are the focal points.

The true story of the inseparable brothers, who made history in the intensely competitive world of professional wrestling is recounted. Through tragedy and triumph, under the shadow of their domineering father and coach, the brothers seek larger-than-life immortality on the biggest stage in sports.

The family, similar perhaps to the Kennedys, were known for a widespread myth about a family curse, called the ‘Von Erich curse’.

The film has some narration from Kevin who immediately informs the audience of this curse which sets the tone for the chain of events the film explores.

Durkin is careful to present the film so masterfully as a cautionary tale about parental influence, sibling rivalry, and the various dangers of the professional wrestling business.

The Iron Claw begins with a black-and-white sequence from probably the 1950s when Fritz was a struggling local wrestler. His famous ‘finishing maneuver’ was called the ‘iron claw’ meant to make his opponent submit to the wrestling match.

From there the story is largely told from the point of view of Kevin wonderfully played by Efron. Kevin, now the oldest sibling following the tragic death of his older brother at age five, serves as the brother’s leader.

While he yearns for a title belt largely to satisfy the demands of his father, he is usurped by brothers Kerry and David in different ways. He meets a local girl, Pam (Lily James), who is an intellectual and supports him emotionally.

They make a fabulous couple because they are equals. Conversely, the Von Erich mother is a traditional housewife and the entire family is taught to show no emotion.

In a wonderful scene late in the film, Kevin’s son teaches him that it’s okay to cry and show love through emotion. Kevin sobs with relief and it’s a beautiful and pivotal lesson the film teaches.

The other actors are outstanding, especially kudos to Jeremy Allen White (Kerry), and the parents (Maura Tierney and McCallany) but there is not a weak performance to be found.

It is unnecessary to be a professional wrestling fan though it is a treat to see long-ago stars like Ric Flair, Harley Race, and Bruiser Brody represented.

The Iron Claw (2023) like Boogie Nights (1997) did for the porn industry shows the flaws, the hopes and dreams, and the pain of a category of people (professional wrestlers) too often dismissed and discarded.

As Durkin examines wonderfully, these people also have a story to tell.

Hairspray-2007

Hairspray-2007

Director Adam Shankman

Starring Nikki Blonsky, John Travolta, Christopher Walken

Scott’s Review #1,095

Reviewed December 28, 2020

Grade: B+

Hairspray (2007) is a fun film, without being superfluous. The third incarnation of the musical treat doesn’t disappoint, offering a brighter production.

A safer affair than the 1988 escapade directed by naughty filmmaker John Waters, it’s nonetheless not a “watered” version either. It loses none of the charm that the original had and includes plenty of big-name stars.

In short, it’s a solid summer popcorn flick with sing-along tunes and a cool vibe.

The important message of racial relations is not lost nor dismissed.

The setting is early 1960s Baltimore, Maryland, a city rife with racial problems representing the entire United States during that decade.

Our star, Tracy Turnblad (Nikki Blonsky) is a chubby, bubbly, sixteen-year-old, who wants nothing more than to trudge through the school day and come home and indulge in her favorite television show, The Corny Collins Show, a popular local dance competition.

Tracy auditions for a spot on the show, and wins. She became an overnight celebrity, a trendsetter in dance, fun, and fashion. She and her fans hope that her new status as a teen sensation is enough to topple Corny’s reigning dance queen, Amber von Tussle (Brittany Snow), and bring racial integration to the show.

Amber’s racist mother, Velma (Michelle Pfeiffer) manages the television station and thwarts Tracy’s efforts, leading to tension and a dance competition between Tracy and Amber.

The casting is a big part of the success. Blonsky, making her film debut, carries the film flawlessly. Both energetic and empathetic, she is the perfect girl next door and relatable for any young girl who is not a stick figure.

More broadly, she represents anybody who feels like a misfit or is put upon for not being classified as perfect. Her joy and sincerity as she sings and dances to “Good Morning, Baltimore” and “I Can Hear the Bells” is infectious and makes her a perfect protagonist.

The supporting cast is delightful and laden with A-list Hollywood stars having a ball with their over-the-top roles.

My favorite is John Travolta as Tracy’s mother and compadre, Edna. Fans of Hairspray know that Edna is always cast with a male actor in drag and Travolta is fantastic. His mannish body and movements only make the character more fun and fabulous.

And with his beehive hairdo and pink ribbon he is so darn cute!

Tracy’s father, Wilbur, is played by Christopher Walken. His love for his wife and daughter is sweet. Pfeiffer fuels her one-note character with venom as the racist woman gets her just due.

Director, Adam Shankman, puts the focus on the musical numbers, and that’s just fine. For added pleasure, he includes both John Waters and Rikki Lake (the original Tracy) in cameo roles, which is a treat for anyone who has seen the original.

The best numbers occur when the entire company joins in, especially the wonderful finale, “You Can’t Stop the Beat”. Besides being musically contagious, the song sends an important message of progression and embracing change.

Despite the fluffy trimmings, the important message of racial inequality is not overlooked, nor does it feel dated in the year 2007.

Racism is still an issue. Justifiably so, the racist characters like Velma and Prudence Pingleton (Allison Janney) look ridiculous with outrageous fear for anyone different than themselves.

Tracy and her friends champion causes like racism, integration, and being true to oneself, which are themes at the heart of the film, along with the merry songs.

While I still prefer the 1988 version of Hairspray for more seediness and a colder vibe, Hairspray (2007) is a colorful rendition that exposes a new generation to the chirpy and danceable tunes while maintaining the important themes.

It’s a family-friendly affair and a very funny experience without sacrificing any credibility.

The Disaster Artist-2017

The Disaster Artist-2017

Director-James Franco

Starring-James Franco, Dave Franco

Scott’s Review #781

Reviewed July 2, 2018

Grade: B

The Disaster Artist (2017) is a biography-comedy that I found to be middle of the road to mostly good if I’m judging in overall terms- most I liked with a little criticism.

Due to the many accolades, I confess to having anticipated a bit more from the finished product and hardly found it any sort of masterpiece.

Still, I was both impressed and unimpressed by the performance of James Franco in the lead role, awed at the emergence of the actor as a director, and the Los Angeles setting is great.

At times the film teeters almost into bad slapstick or shtick, and a bit silly, and as much as I respect his performance, this criticism is directed at Franco. Nobody can deny his acting talent if he chooses the right films.

His attempt at making his character peculiar is noticeable within seconds so it seems Franco also makes him a bit of a goof and I was not able to take the character seriously all of the time.

And the weird accent threw me.

This film is based on the non-fiction book called The Disaster Artist. The work chronicles the making of 2003’s The Room, not to be confused with the 2015 film, Room. The Room was considered amateurish and one of the worst movies to ever have been made.

Told repeatedly that his acting stinks, oddball Tommie Wiseau (James Franco), a European-American aspiring actor decide to screw Hollywood and produce, direct, and star in his own film.

Mysteriously, Wiseau has an endless amount of bank funds, which he uses towards the film. Roommate and friend, Greg Sestero (Dave Franco), stars in the film and thus gets his big break. The duo, and various others, pitch in to create the project, which suffers from a level of ineptness on the part of Wiseau.

The Los Angeles setting really resonates with me as did the recurring theme of struggle within the Hollywood scene. These are major pluses to the film as a whole.

Los Angeles can appear to be a sunny and glamorous town but always contains a gloomy dark underbelly beneath the shiny exterior.

The film realistically depicts struggle and success- from the central characters to the supporting players making the film resemble an ensemble.

Thousands struggle daily for a break with no respect or appreciation given and The Disaster Artist scores a win focusing on this.

When Tommie brazenly approaches a powerful producer in a restaurant, he is unceremoniously dismissed for having no talent and told he will never get anywhere. In addition to Tommie, several actors associated with the film struggle.

In a wonderful scene, an older actress states that being on a bad movie set beats any other job by miles. The message here is that people in Hollywood are there because they truly love it.

The sweet, empowering theme of friendship and empowerment are also to be celebrated, nice especially given the cut-throat backdrop. Tommie and Greg are best friends and have each other’s backs through thick and thin. Neither gives up on the other, even during the tortuous initial audience reaction to The Room premiere.

Could the film have been slightly darker? Yes, certainly, as very few scenes of drug destruction or the porn that many hopeful talents turn to are mentioned. But the film is not really about that, it’s an enchanting tale of hope and fun.

Interesting to note and not evident to me while watching the film is that brothers James and Dave Franco play opposite one another. While there is somewhat of a physical resemblance, the chemistry works between the two actors as best friends.

James delivers a worthy portrayal of an unusual character with a strange dialect and long, stringy brown hair, and seemingly cross-eyed. The role is comedic and perfectly suited for an unusual actor such as Franco- he must have had a ball with the part.

Movies about movie-making always fascinate me. What goes on behind the scenes?

The Disaster Artist (2017) provides enough good film meat to make it an overall good experience. Staying true to some fine Hollywood history- the famous James Dean is referenced and the spot where he died even visited- nice touch! Franco is both good and disappointing in the main role.

All-in-all, for those who enjoy film making, Hollywood, or L.A. set films, give this one a chance.

Oscar Nominations: Best Adapted Screenplay

Independent Spirit Award Nominations: Best Male Lead-James Franco

The Greatest Showman-2017

The Greatest Showman-2017

Director-Michael Gracey

Starring-Hugh Jackman, Michelle Williams, Zac Efron

Scott’s Review #707

Reviewed December 26, 2017

Grade: A-

A pure musical, escapist film, The Greatest Showman holds a dear and relevant message and elicits hope for outcasts everywhere by leading a story of acceptance and perseverance in the feel-good film of 2017.

Hugh Jackman leads the pack, starring as P.T. Barnum, a man struggling to create an entertainment show with live and unusual performers- deemed “freaks” in those days- the 1800’s in New York.

The film is quite joyful and light with many cheery musical numbers sure to leave audience members humming along for hours after the conclusion of the film. The Greatest Showman is a rag to riches story and a thoroughly enjoyable film.

Jackman is charismatic and likable as the entrepreneur and showman, Barnum, who we meet as a young boy, the son of a poor tailor. He becomes enamored with wealthy young  Charity (Michelle Williams) and the two eventually marry, much to the chagrin of her pompous parents.

Barnum and Charity at first struggle to make ends meet as they begin to raise a family, but eventually, find success and wealth when the show succeeds.

The film chronicles Barnum’s rise to fame and the trials and tribulations (romantic, business) for several years, mainly through musical numbers. Zac Efron is wonderful as Barnum’s eventual business partner, Phillip Carlyle.

The supporting characters that director Michael Gracey offers up are creative, if not typical mainstays of carnivals and circuses everywhere- the bearded lady, the fat man, and a man covered in tattoos are featured prominently.

Unclear to me is whether these characters actually existed or are created simply for plot purposes, but rumor has it that The Greatest Showman has taken great liberties with the factual accuracy of the real P.T. Barnum and his escapades.

This would be bothersome if not for the wonderful message this film contains- acceptance and celebrating diversity.

Certainly, in today’s chaotic world this is of prominent importance for young people everywhere.

Those expecting anything of more substance than a cheery and bright holiday slice of enjoyment may be disappointed- some mainstream critics were not too high on this film, but I am okay with a little escapist adventure on occasion.

The message throughout The Greatest Showman is quite good.

The best musical number is the show-stopping and anthemic “This Is Me”, and Keala Settle is fabulous as the bearded lady, who leads this important song. The number is empowering and energetic.

The chemistry between Jackman and Williams is not remarkable, but not altogether vacant either. Rather, it is simply decent, and not the film’s strongest point. I sense better chemistry between Jackman and Rebecca Ferguson as grand Swedish singer, Jenny Lind.

Their “romance” is unfulfilled however and we will just need to imagine the possibilities of that one.

I adore seeing Efron in quality roles (think 2012’s exceptional The Paperboy) and his performance as Phillip is great. Sharing a good bond with Barnum, he has his romance with acrobat, (and of mixed race) Anne Wheeler.

His values and earnestness make the character very appealing as he is torn between riches and standing on principle.

The Greatest Showman may not go down in history as the ultimate tops in filmmaking or even one of the best musicals, but the film does succeed in dazzling the audience and providing a couple of hours worth of fun and entertainment- similar to the way P.T. Barnum energized the crowds with a slice of make-believe, this is more than appropriate.

Oscar Nominations: Best Original Song-“This Is Me”

Dirty Grandpa-2016

Dirty Grandpa-2016

Director Dan Mazer

Starring Robert De Niro, Zac Efron

Scott’s Review #432

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Reviewed June 29, 2016

Grade: D-

It’s a sad day when the only interesting aspect of a film is the gratuitous nudity of one of its stars, but that is precisely the case with Dirty Grandpa (2016).

Zac Efron bravely bares all for the sake of art….or a big paycheck, whichever the case may be.

Otherwise, Dirty Grandpa is complete drivel.

It is crass, rude, mean-spirited, and blatant in its raunch. It also aspires (successfully) to be politically incorrect, quite surprising in these times of fairness and equality for all.

If the film intends to be outrageous, it succeeds in spades.

Unfortunately, there is not much comedy, and the film is quite bad, even where dumb comedies are concerned.

Starring one of the film’s most extraordinary talents of all time, Robert DeNiro, one wonders why he would sign on to appear in this film. Perhaps it has to do with playing a role he has yet to do. We will probably never know unless we ask him.

DeNiro plays Dick Kelly, a retired Army veteran, recently widowed after forty years of marriage. Faithful for decades, he embarks on a road trip to Daytona Beach, Florida, with his grandson, Jason (Efron).

Dick’s goal is to conquer a slutty college girl he and Jason meet while they are eating at a roadside diner.

Lenore (Aubrey Plaza) is a college girl with her friend Shadia (Zoey Deutch). Shadia knows Jason from school. To complicate matters, Jason is engaged to self-absorbed Meredith. This sets off a chain of circumstances in which each pair falls in love while arguing various trivial issues.

Thrown in are scenes of partying, acting silly, and outrageous crude remarks and behavior. The standard bathroom humor is not spared.

Dirty Grandpa’s subject matter is not uncharted territory; the “road trip/buddy movie” has been done many times in film history.

My gripe is not so much with the film’s raunchiness, but it is not funny. Over the top in raunch comedy, it has worked many times- think Pink Flamingos (1972) and other John Waters films.

But those films had characters to root for and who were interesting.

DeNiro’s character is the pits; Efron’s not so bad. The motivation of Dick Kelly is to have sex- almost like the guys in American Pie (1999), but with them, it was cute.

DeNiro plays a man in his 70s.

That is fine, but he is so blunt about his need for sex and whines about not having sex for fifteen years because of his wife’s cancer. So, the audience is to think of him as a nice guy because he waits for his wife to die to score on spring break.

Lame.

Efron is my favorite character. As mentioned above, he has a lot of skin, which is the most appealing aspect of this sorry film.

The chemistry between Efron and DeNiro is not terrible, and I bought them as a grandfather and grandson.

Efron is unafraid to poke fun at his beefcake image and deserves praise. He has a fantastic, chiseled body, and showing it off is good for him.

Efron has the talent. Does anyone recall The Paperboy (2012)? He was superlative in that underrated independent gem. In Dirty Grandpa, he plays the straight man and is the only “normal” character.

He is the voice of reason, if you will.

The supporting characters are as stereotypical as possible.

It is almost as if the film intends to offend but with no good reason. Dirty Grandpa has the dumb jocks, the horny teen girl, the weak, effeminate gay character, the Hispanic drug dealer, and so forth.

Danny Glover’s brief cameo appearance as a horny wheelchair-bound nursing home resident (and old buddy of Dick) is as much laughable (not in a good way) as forgettable.

Most characters are thinly written.

Dirty Grandpa (2016) appeals to unsophisticated moviegoers who find crude, mean-spirited characters funny and deem stock characters acceptable. Every other sensible person will dislike this film.

Neighbors-2014

Neighbors-2014

Director Nicholas Stoller

Starring Zac Efron, Seth Rogan

Scott’s Review #229

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Reviewed March 15, 2015

Grade: F

By far one of the worst movies I have seen, Neighbors (2014) is a silly, redundant, nonsensical, and plain old bad film. Whoever thought this film was a good idea and green-lit it should be examined.

Successful comedies- even raunchy, slapstick comedy, contain perfect comic timing and likable characters that the audience roots for, and at least a shred of creativity and originality.

Neighbors has none of these qualities.

Bridesmaids (2011) is an example of a modern raunchy comedy that works and is hysterical, sadly, Neighbors is a far cry from Bridesmaids.

Neighbors stars Seth Rogan, a familiar face in the slapstick comedy genre, and Rose Byrne as Mac and Kelly Radner, a married couple in their thirties with a newborn baby named Stella.

Former party animals in their college days, the two live in a college town and attempt to raise their daughter.

One day, Delta Psi Beta, a fraternity known as one of the rowdiest of frats, moves into the house next door to the Radners and begins causing chaos with their never-ending parties.

The frat is led by Teddy (Zac Efron).

Initially striking up mutual respect, the Radner’s relationship with Teddy is ruined due to a misunderstanding involving the police being called one night.

The remainder of the film focuses on Mac and Kelly’s attempts at getting the fraternity out of their house by sabotaging parties and pitting various frat brothers against each other, causing hijinks and war between parents and college kids.

If Neighbors is an attempt to harken back to the days of delicious college comedies such as Animal House (1978) or American Pie (1999), the film fails on every level.

It is simply not funny.

It contains a plot that is so unoriginal and the jokes featured to death in similar films (bathroom humor, frat jokes, drug jokes, male and female anatomy jokes) by this point, if you have seen one Seth Rogan film you have seen them all.

He is a one-trick pony and has become what Adam Sandler became- tired and dull.

Rose Byrne’s annoying character had me believing the actress was using a poor Australian accent only to realize that the actress is Australian. This is not a testament to Ms. Byrne’s acting ability.

The protagonists are quite irritating and not likable at all. What is the rooting value? Mac and Kelly are irresponsible parents.

They presumably leave Stella at home to visit the frat house and wind up getting drunk and high, stay out late, and wake up early the next day when Kelly attempts to feed Stella using tainted breast milk, which leads us to an unfunny scene between Mac and Kelly focusing on Kelly’s vein-popping breasts, which makes no sense anyway.

Other suspensions of disbelief and logic pop up left and right. Why would the police reveal to the fraternity the names of those who had called to complain about them and after catching the Radner’s in a lie, tell them never to call the police again?

How unrealistic.

Mac and Kelly live in a college town, and the risk of a fraternity or sorority being close never occurred to them. They acted surprised that college students existed at all.

The wonderful Lisa Kudrow is cast in a ridiculous role as the college Dean but is completely wasted in a hysterical, bubble-headed, dumb role.

If I had to give a positive to Neighbors (2014), it would be that Zac Efron does a halfway decent job portraying his character Teddy and Efron does possess a good deal of acting talent (think The Paperboy from 2012).

I am being quite generous and looking for a bright side to a train wreck.

The film is poor.