Tag Archives: Jeremy Renner

2022 Films, Angela Lansbury, Crime Thriller, Daniel Craig, Dave Bautista, Edward Norton, Ethan Hawke, Hugh Grant, Jake Tapper, Janelle Monáe, Jared Leto, Jeremy Renner, Joseph Gordon-Levitt, Kareem Abdul-Jabbar, Kate Hudson, Kathryn Hahn, Leslie Odom Jr., Madelyn Cline, Natasha Lyonne, Rian Johnson, Serena Williams, Stephen Sondheim, Thriller, Yo-Yo Ma

Glass Onion: A Knives Out Mystery-2022

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Glass Onion: A Knives Out Mystery-2022

Director Rian Johnson

Starring Daniel Craig, Edward Norton, Janelle Monáe

Scott’s Review #1,331

Reviewed January 5, 2023

Grade: B

I teetered over grading Glass Onion: A Knives Out Mystery (2022), referred to as Glass Onion, a B+ or a B, but the hardline critic in me won out on this day.

If I hadn’t compared it so much to the deliciously witty and inventive Knives Out from 2019, I might have given it a generous B+ rating. Still, it’s also impossible not to compare the two, since the setups and similarities are too apparent.

Rian Johnson, who returns to the fold as director, writer, and co-producer, pays tribute to the fabulous Agatha Christie murder mystery whodunits and the Hercule Poirot detective inclusion with the delightful Daniel Craig as the lead, reprising his role as master detective Benoit Blanc, as he takes on an exciting new case.

A Greek island owned by ultra-billionaire Miles Bron (Edward Norton) serves as the setting for the Southern detective’s latest adventure, which unfolds as a group of the tech giant’s friends gather for a murder mystery party that quickly turns deadly.

I couldn’t watch Miles without thinking of Elon Musk, the current controversial social media Twitter chief executive officer, in all his juvenile buffoonery.

Appearances by top stars Janelle Monáe, Kate Hudson, Kathryn Hahn, and Leslie Odom Jr., and a surprise cameo by Hugh Grant round out the cast. Along with Craig and Norton, this brings enough star power to create buzz.

It’s also appealing that Benoit, a clear ode to Poirot, is the only character who is the same from the first Knives Out story. His character is immediately developed when we see him soaking in a bathtub in his Manhattan apartment, conversing with a male voice offscreen.

He refuses to leave the tub during the very topical COVID pandemic, making the entire film feel incredibly timely and relevant.

Let’s see what happens when the film ages ten years.

We later learn that his husband, Phillip (Hugh Grant), lives with him, and Blanc is gay. How wonderful to incorporate an LGBTQ+ presence into a main character, and icing on the cake is that the studly James Bond actor is all in.

With Blanc’s vague sexuality revealed, the exciting mystery commences with many twists and turns among the characters, led by a fantastic dual performance by Monáe. She plays sophisticated New Yorker Andi and her southern sister Helen Brand.

The other characters are a mixed bag with Hudson and Hahn playing ridiculous, over-the-top roles as a washed-up fashion designer and an aspiring governor, respectively.

But the cartoon character award goes to former WWE professional wrestler David Bautista as the weird, buff guy, Duke Cody, who barely keeps his clothes on.

Still, the characters are a hoot, and the anticipation of how they all connect, who has screwed over whom, and why, is slowly revealed in fun form.

Not to be outdone, there are even revelations of who is screwing whom in the bedroom.

The story isn’t as interesting as the one in Knives Out. The ingenious script is lost, and by the end, it’s a case of who cares? All we want to know is who’s dead and who’s alive, and what does the Mona Lisa have to do with anything?

The cast undoubtedly had a ball making Glass Onion, and the sunny Greek Island locale is a great choice. As the players bask in the sun and saunter around in bikinis, sipping a cocktail or three amid peril, it is great fun for the cast and viewers alike.

It’s unclear if Johnson will create another installment of the Knives Out collection, but I’m on board if he does. I’ve been fascinated by the whodunit genre for as long as I can remember.

Glass Onion: A Knives Out Mystery (2022) isn’t quite as riveting or satisfying as Knives Out (2019), but the film is still enjoyable, thanks to its superior, glossy production values and a great cast.

Oscar Nominations: Best Adapted Screenplay

2018 Films, Annabelle Wallis, Brian Dennehy, Comedy, Ed Helms, Hannibal Buress, Isla Fisher, Jake Johnson, Jeff Tomsic, Jeremy Renner, Jon Hamm, Lowest Rated Films, Rashida Jones, Sebastian Maniscalco

Tag-2018

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Tag-2018

Director Jeff Tomsic

Starring Ed Helms, Jeremy Renner, Jon Hamm

Scott’s Review #1,010

Reviewed April 10, 2020

Grade: D

Tag (2018), starring Ed Helms, weakly attempts to re-create some semblance of magic that The Hangover trilogy (2009-2013) initially had, in which the actor starred.

The result is an over-the-top and self-indulgent mess that incorporates the standard gags that raunchy comedies always do and a little more.

The characters are caricatures, and the film provides no character development or anything fresh to stay with the viewer after the credits roll at the end.

The most interesting part is post-credits, where the real-life figures the film is based upon appear.

The film gets off to a dumb start as Hogan Malloy (Helms), an established physician, inexplicably gets a job as a janitor at an esteemed corporation to go undercover and “tag” Bob Callahan (Hamm).

The childhood friends, along with “Chilli” Cilliano (Jake Johnson), and Kevin Sable (Hannibal Buress) attempt to pursue and “tag” their other buddy Jerry Pierce (Jeremy Renner), who has alluded to the “loser award” for the past thirty years, given to the member last tagged during May, when their annual contest is held.

The rest of the film piggybacks on this premise as the group pursues Jerry in tired form as adventures ensue. The specifics are running through other people’s apartments, tumbling down fire escapes, impersonating older women, and continued use of backflips, stop-motion editing, and nutty situations.

You get the idea.

The least appealing quality of Tag is that it feels forced and too derivative of similar films. The filmmakers try to create a “buddy film” and a camaraderie between the characters that never amounts to much. The reason for this is that they embed each character with specific qualities that define them instead of making them fresh or creative in any way.

We meet Chilli as he smokes pot with his father, revealing that he is divorced, unemployed, and a pothead. Bob is uptight, business-like, and the ladies’ man. A token black character (Kevin) is the comic relief.

The characters are one-note and uninspired.

Other weak points from a character standpoint are prevalent. Hogan is written as the “straight man,” meaning the most sensible of the group. He is the main character and has a competitive streak that his wife, Anna (Isla Fisher), shares.

Her character is most irritating as she has fits of rage and then turns sweet. Fisher has been cast in raunchy comedies for most of her career, so it would be nice to see her branch out to better roles.

Finally, Hogan’s mother, the local bartender, and a fitness worker are written poorly.

As a bonus, the film adds a homophobic sequence to offend audiences. Meant for laughs, as are most offensives, the male fitness worker is lightly interrogated as the men attempt to locate Jerry.

A back-and-forth involving presumptive oral sex is written as a joke, and in addition to being unnecessary, the sequence goes on and on.

Wishful thinking is for genre comedies to finally create something fresh and stereotype-free or make mockeries of groups of people.

Predictably, the conclusion is silly and trite. The film culminates in a hokey wedding scene when the friends are tricked by Jerry’s fiance, who fakes a pregnancy and miscarriage in a gag-worthy effort. A moment of feigned sincerity is followed by a juvenile rapid-fire torrent of “You’re It!” that would make a ten-year-old boy roll his eyes in disbelief.

Tag is not a complete disaster. If one sticks to the entire watch, a couple of tidbits of pleasure emerge. Familiar classic rock songs like Danzig’s “Mother,” Ozzy Osbourne’s “Crazy Train,” and “Mmm Mmm Mmm Mmm” by Crash Test Dummies are interspersed throughout the running time.

An added romantic triangle between Bob, Cheryl (Rashida Jones), and Chilli has potential if it were not relegated to a subplot with no resolution. Both men have chemistry with Cheryl and possess some likeability.

A film that will certainly wind up in the $1.99 (or less) bargain bin, Tag (2018) might have been a relaxed effort by the cast of actors to shoot, but they must have had more fun than anyone watching it will have.

With big-name stars and an interesting premise on paper anyway, the film fails to deliver the goods, embellishes based on a true story to the max, and results in a complete waste of time.

2016 Films, Amy Adams, Denis Villeneuve, Drama, Forest Whitaker, Jeremy Renner, Mark O'Brien, Michael Stuhlbarg, Science Fiction, Shawn Levy, Tzi Ma

Arrival-2016

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Arrival-2016

Director Denis Villeneuve

Starring Amy Adams, Jeremy Renner, Forest Whitaker

Scott’s Review #642

Reviewed May 9, 2017

Grade: B-

Arrival (2016) is the latest in a recent trend of science fiction-themed films garnering Academy Award praise, either for technical achievements or, in the case of Arrival, a surprising Best Picture nomination in addition to the more traditional awards notice for categories like sound effects and editing.

Traditionally, science fiction gets little or no recognition in significant categories; this makes the inclusion of films in the under-the-radar style with the big guns all the more surprising.

Similar in style to recent films such as Interstellar (2014) and Gravity (2013), Arrival ultimately proves a disappointment as a complete film, succeeding only in specific avenues like its musical score and a sort of surprise twist ending that the film presents, but at times is downright to say nothing of its tedious moments.

Needless to say, I wholeheartedly disagree with its Best Picture nomination.

I am not claiming to be the world’s greatest science fiction fan. At times, Arrival does have glimmers of success (mainly in the first act) and some high points in the vein of 2001: A Space Odyssey (1968), the greatest of the greats in the genre. However, the good moments ultimately fade as the story lumbers on, only to show a brief resurgence in the final act.

Sadly, the rest of the film is rather middling.

In a role seemingly written just for her, Amy Adams stars as Louise Banks, a linguist professor living and teaching in Massachusetts.

One day, a series of twelve extraterrestrial aircraft appeared across the world. Louise is summoned by an Army Colonel (Forest Whitaker) to travel to a remote area of Montana where one aircraft has taken up residence and assist a physicist, Ian Donnelly (Jeremy Renner), in communicating with the aliens.

Their goal is to determine why they have come to planet Earth.

Interspersed with the main story are strange flashbacks of a life Louise briefly spent with her daughter, who appears to have died of cancer as a teenager.

The film’s premise is reminiscent of another film named Contact, made in 1997, starring Jodie Foster.

The film seems to borrow aspects from several other famous science fiction films, such as the creepy, ominous score that harkens back to 2001: A Space Odyssey in its mysteriousness to the oddity of The Day the Earth Stood Still (1951).

So much so that the film reminds me too much of other films, it, therefore, has little identity, especially throughout the film’s mid-section.

Other than Louise’s character, there is no character development, and this is glaring among the male cast of top talents like Whitaker and Renner. The roles are glorified throwaway roles.

Except for Renner’s limited involvement in the film’s climactic “twist,” which admittedly barely raises the movie above mediocrity, neither character serves many purposes and could be played by any actor.

Whitaker’s G.T. Weber has little motivation other than convincing Louise to participate in the mission. The film also seems unsure whether to fully explore a romantic entanglement between Louise and Renner’s Ian.

Indeed, a flirtation exists on the surface, but the film never hits a home run with it. Couldn’t a meatier story be created for these two storied actors?

The unique extraterrestrial, a hybrid of tentacles, fingers, and funny eyes appearing as a pair humorously nicknamed Abbott and Costello, is impressive from an artistic perspective, and this does help the film.

The characters’ unsureness about whether Abbott and Costello are friends or foes is also slightly intriguing. However, the film’s main negative is that nothing much happens other than Louise’s repeated attempts to communicate, whimsically staring into the camera in wonderment and ultimately figuring out the alien’s messages and purpose.

Worthy of mention is a fantastic and ominous musical score that gives the film some climactic and dark elements that feel like its highlights. It adds chilling, practical elements, bringing the movie up a notch from complete blandness.

The film’s best part is its ending, which sent a chill down my spine. The unique and inspired big reveal made me a bit shiver.

This way, Arrival saves itself from being completely lackluster, but too little, too late. I would have preferred the film to balance the emotions, surprises, and thrills more rather than exist mainly as a tedious, uninteresting film.

Overall, the outcome of Arrival (2016) is more of a retread than anything new or original.

Oscar Nominations: 1 win-Best Picture, Best Director-Denis Villeneuve, Best Adapted Screenplay, Best Sound Editing (won), Best Sound Mixing, Best Production Design, Best Cinematography, Best Film Editing

2007 Films, Alex Garland, Danny Boyle, Emily Beecham, Harold Perrineau, Horror, Horror Zombie, Idris Elba, Imogen Poots, Jeremy Renner, Rose Byrne

28 Weeks Later-2007

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28 Weeks Later-2007

Director Juan Carlos Fresnadillo

Starring Rose Byrne, Jeremy Renner

Scott’s Review #513

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Reviewed November 6, 2016

Grade: B-

At the time of its release, I remember 28 Weeks Later (2007) to be a successful follow-up to the original 28 Days Later (2002), a clever play on the title and picking up events some seven months after the original.

Watching the film now, however, I see flaws, mostly in the lack of a character-driven story and the resulting traditional action-type film.

Still, the film is far from all bad.

The action begins as the audience meets a “family”, barricaded in a homey residence, attempting to resume normalcy in life by preparing and serving a delicious family dinner- almost reminiscent of Thanksgiving.

The scene is tranquil and rich in familiarity.

When a little boy pounds on the door to be let in, the terror begins and the Rage virus is proven to still be alive and well.

The story was written for 28 Weeks Later has nothing to do with the original and contains none of the original characters. Rather, a father, mother, and young boy and girl are the family that we follow throughout the film.

Rose Byrne stars as a doctor- laughingly named Scarlet- and Jeremy Renner as a U.S. military presence, NATO having been sent in to keep order as best they can.

The opening sequence is fantastic as peacefulness turns deadly rather quickly and the characters are in immediate peril. In another scene, when the father and mother are alone in a laboratory and events go awry, the sequence is gory, shocking, and quite heartfelt.

These are merely moments, however, and are not quite enough to carry the film into a successful sequel.

Another positive to note, even more, prevalent than in the original, are the wonderful location shots of London. From the London Eye to Big Ben to street shots of downtown London and the surrounding streets, are capably done and I loved seeing the ariel views of said city.

The conclusion at Wembley Stadium was also great. This was a treat for any fan of London and gave the film a clear sense of location.

Conversely, I was not a fan of the characters in 28 Weeks Later.

Whereas, in 28 Days Later, the characters were well-drawn and compelling, rich with beauty and emotion, the same cannot be said for the sequel. I am unclear what the purpose of Renner’s tough, no-nonsense military type was for, or Byrne’s sympathetic, but pointless turn as a scientist/doctor.

Both held little appeal and gave snore-worthy performances. Or perhaps the roles were just not written well. Regardless, neither worked.

The dynamic between the father and mother did work, but the kids were not the best actors and I found their additions pointless as well.

The last scene, a frenetic trip through a tunnel by the infected and arriving in gorgeous Paris- a shot of the Eifel tower as proof, is a nice touch.

With a few nice touches, cool location shots, and intense peril in a few sequences, but with limited compelling characters, 28 Weeks Later (2007) is okay, but hardly an upgrade to the original or even close to the character-driven film.

No follow-up film, while initially planned, was ever completed.

2013 Films, Dagmara Domińczyk, Drama, James Gray, Jeremy Renner, Joaquin Phoenix, Marion Cotillard, Period Drama, Romantic Drama

The Immigrant-2013

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The Immigrant-2013

Director James Gray

Starring Marion Cotillard, Joaquin Phoenix

Scott’s Review #293

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Reviewed December 5, 2015

Grade: A-

The Immigrant (2013) is a lovely, classic, old-style Hollywood film set in early 1920’s New York City.

The film is a classic tale of a poor Polish immigrant who travels to America in hopes of a better life, only to be met with hardship, manipulation, and conflict.

However, The Immigrant is not a downer. Rather, a powerful and intriguing story of life and the clichéd pursuit of happiness with a compelling love story mixed in.

Nominated for Best Actress for Two Days, One Night, eligible the same year as The Immigrant, this is a good example of how the Academy got it wrong as Marion Cotillard should have been nominated for this performance instead of the other.

The actress was, however, recognized with an Independent Spirit Award nomination for Best Actress for this role. A true talent, she gives a wonderful performance.

Little is known about Ewa’s (Cotillard) life before she arrives on Ellis Island with her sister Magda in tow. We meet them as they disembark a ship and wait in line on the immigration line, weary from their escape from war-torn Poland.

They have escaped their native country in hopes of a better life in the United States.

Unfortunately, Magda is ill and cannot hide a cough and is sent to the infirmary most likely before being sent back to Poland. Ewa desperately needs money and is told that her Aunt and Uncle have not shown up to collect her as she had originally thought.

Ewa is now on her own and desperate in a land where she knows not a soul.

As the plot unfolds, Ewa encounters two men who enter her life- Bruno (Joaquin Phoenix) and Emil (Jeremy Renner)- brothers with a rivalry, both professionally and in regards to Ewa. They both fall in love with her- she is gorgeous and innocent after all.

But can the men be trusted? Are their feelings true? We begin to get to know the men better and all may not be exactly as it seems or originally appeared to be.

The Immigrant perfectly captures the 1920s era cinematically with gorgeous cinematography and camera work.

Directed by James Gray, a director with a tendency to direct films set in New York City and feature a romantic element (Two Lovers comes to mind- also starring Joaquin Phoenix as a Jew pursuing a blonde girl).

In The Immigrant, I felt like I was transported to the 1920s with Bruno’s dark coat and bowler and the character’s costumes in general.

The Lower East Side, from the automobiles to the theaters, seems like that’s how it was back then- charming, artistic, and yet combustible too.

Marion Cotillard gives a soft yet tough performance as the long-suffering, heart-of-gold Ewa. The character’s yearning to keep her traditional catholic values while transported into a new and dangerous world filled with corruption and the need to survive is heartbreaking and Cotillard wears her heart on her sleeve.

She is also tougher and more stubborn than we first think she is- she will not be taken advantage of and these aspects give the character complexity.

I did not see her as a victim.

Let’s not forget the men in the film and while it borders on turning into a “woman’s movie” towards the climax, and Cotillard is front and center, Phoenix and Renner are flawless.

Phoenix, with the larger role, is extremely complex and it takes the audience until the final scene to entirely figure Bruno out.

I wish The Immigrant (2013) would have found a wider audience, but for fans of a traditional, classic, romantic Hollywood experience, this film is a treat.

It will take you back to an earlier time in the world- in a completely authentic way.

Independent Spirit Award Nominations: Best Female Lead-Marion Cotillard

2013 Films, Alessandro Nivola, Amy Adams, Bradley Cooper, Christian Bale, Colleen Camp, Comedy, Crime Drama, Dark Comedy, David O. Russell, Drama, Jennifer Lawrence, Jeremy Renner, Louis C.K., Michael Pena, Robert De Niro

American Hustle-2013

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American Hustle-2013

Director David O. Russell

Starring Christian Bale, Bradley Cooper, Jennifer Lawrence

Scott’s Review #39

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Reviewed June 18, 2014

Grade: A

Having seen American Hustle (2013) a month ago and finally getting around to reviewing it, it’s a perfect time as a slew of Oscar nominations has been reaped upon it, thus, undoubtedly more people will be seeing it in the weeks ahead.

I loved this film.

Some were underwhelmed, but I found it quite authentic and stylish.

I loved the 1970’s period and felt the hairstyles, clothes, and props were spot on.

I also felt the film had great acting and, though I’m not a fan, Jennifer Lawrence enraptured me. The same with Cooper, Bale, and Adams, who all deserve their Oscar nods.

I found it similar in style to Boogie Nights, a 1997 masterpiece directed by Paul Thomas Anderson.

The 1970s musical rock score was perfect. The subject matter of political corruption and cat-and-mouse intrigue was effective and resounding.

Oscar Nominations: Best Picture, Best Director-David O. Russell, Best Actor-Christian Bale, Best Actress-Amy Adams, Best Supporting Actor-Bradley Cooper, Best Supporting Actress-Jennifer Lawrence, Best Original Screenplay, Best Production Design, Best Costume Design, Best Film Editing