What I’m watching: dog days of September filmsDate: 9/12/2023 The summer movie season has come and gone. Nearly 40 wide releases graced the screen as Hollywood erupted into pandemonium following the Screen Actors Guild and Writers Guild strikes.
Personally, I find it challenging to engage with the media landscape after these strikes. Analyzing a film’s content and qualities is frankly irrelevant if callous conglomerates in charge marginalize the talents on and behind the screen.
Streaming services remain the worst perpetrators of these inequities. The Netflix model studios continue to copy is frankly deplorable; it cuts out crucial residual checks that industry talents have relied upon for decades. I am not wasting my time watching or reviewing any straight-to-streaming releases until there is an equitable solution for the problems created by this lopsided economy. I could rant all day, but I am sure most readers agree that change is needed. I implore any fan of movies or television programs to continue monitoring the strike and be as informed as possible about the content you engage with.
Enough complaining from me. With the summer coming to a close, I am taking this week to spotlight two mediocre releases that are populating theaters. The early September period is an infamously dry one, and while a few diamonds in the rough rise from the cracks (I’ll get to that next time), most releases range from passable fluff to monotonous mediocrity. Here are two signature examples:
New to Theaters: “Retribution”
Liam Neeson keeps his machismo action movie locomotive rolling with “Retribution.” As a fan of goofy action movie throwbacks, I appreciate the second-act renaissance Neeson has embarked on. He’s endured fist fights with wolves (the supremely underrated “The Grey”), chased killers across planes, trains and 18-wheel automobiles (“Non-Stop,” “The Commuter” and “The Ice Road”) and even cemented himself in action movie lore with his menacing presence in 2009’s “Taken.”
Unfortunately for Neeson and action movie fans, the actor’s once-fruitful well is starting to dry up. Neeson has endured a remarkable losing streak of late, with “The Marksman,” “The Honest Thief,” “Blacklight” and “Marlowe” bearing closer resemblance to straight-to-Red-Box filler than the inspired action romps from his 2010s glory days.
“Retribution” marks a welcomed improvement in some facets. Following a family man stuck driving a car armed with a bomb that could detonate at a second’s notice, this film displays more reverence for the type of B-movie shlock Neeson used to excel in. There is fun to be had in the chaos and calamity that ensues from the film’s high-concept premise, especially when the narrative leans into its inherently preposterous undertones.
Director Nimród Antal’s presence plays a substantial role in extracting amusement from the film’s antics. His fast-and-furious pulse and stylistic verve behind the camera instill a welcomed sense of freneticism into the proceedings. I cannot stress enough how refreshing this is after the previous Neeson vehicles adopted the visual profile one would expect from an anemic student film.
Still, “Retribution” represents a far cry from Neeson’s illustrious, action-hero glory days. Where the actor continues to go astray is his de-emphasis of worthwhile material. Previous works from his ilk showcased admittedly far-fetched concepts transformed through clever narrative twists or surprisingly affectionate emotional undertones.
Here, everything feels remarkably unremarkable. “Retribution” seems comfortable swimming in tepid waters, hitting the basic action movie notes one would expect with little fanfare. Even Neeson seems bored to tears by the film he is staring in. His once-pronounced gravitas and transfixing command of the screen feel long gone in “Retribution.” The actor’s half-hearted performance emanates the lackadaisical energy of a performer who is merely there to clock in for another tedious work shift.
As far as Liam Neeson’s action films go, “Retribution” exists in a murky middle ground. Its fate will likely be serving as a forgettable cog in those generic action movie collections buried in your local bargain bin.
Also in Theaters: “Strays”
Doug, a misfit dog abandoned by his owner, undergoes an odyssey of self-discovery after befriending a few eccentric K-9s in “Strays.” Most reading this premise likely imagine a whimsical family film bursting with wholesomeness and warm sentiments.
“Strays” could not stroll further from that reality. Director Josh Greenbaum and screenwriter Dan Perrault contort their admittedly familiar premise into a raunchy, hard-R comedy that packs a ferocious bark. It’s certainly a risk, and while the final product is slapdash and inconsistent, “Strays” conjures enough uproarious laughs to compensate for its shortcomings.
Readers be warned – “Strays” ranks as one of the most amoral and gleefully immature comedies in recent memory. The film dispenses one crass pratfall after another, ranging from the titular dogs getting drunk and running wild in the streets to several gross-out body humor gags. Those who grew up with the spontaneity and out-of-the-box vulgarity of Robot Chicken or Family Guy will feel at home with “Strays.” This comedic style lacks consistency, although the film makes up for it through its sheer volume of jokes.
For me, this approach works more than it falters. Seeing an adorable dog troupe swear like sailors and engage in reckless activities has a built-in comedic impact. The talented voice-over cast also leaves their mark. Will Ferrell displays affable naivety as Doug, Jaime Foxx exudes his movie star magnetism as Bug and Randall Park and Isla Fisher steal several scenes playing an unlikely dog couple. Despite the voice-over confines of these roles, the ensemble develops strong chemistry with one another throughout their misadventures.
Greenbaum, the director behind 2021’s underrated “Barb and Star Go to Vista Del Mar,” is adept at drawing chaotic humor from unlikely places. He and Perrault still craft a feature that lands in the standard-issue studio comedy mold, including the usual forced emotional beats and generic plot rhythms. However, the film still radiates enough personality to mask its generic shell.
Reviewing comedies breaks down into a simplistic metric – either I laughed or I did not. Fortunately, “Strays” lands in the former category for me. It is a divisive yet spirited film that succeeds due to its distinct comedic spark.
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