Waiting for Intermission: Review of “Horns”

A dark fantasy of questioning what is fair and right in the world, “Horns” makes you squirm in your seat. When Ig Perrish’s (Daniel Radcliffe) girlfriend Merrin (Juno Temple), is raped and murdered, Ig is the prime suspect.

In the small town of their childhood, Ig, who was already rejected by a good portion of the community, is suddenly shunned by those he once considered friends. When the law fails to defend his innocence, Ig wakes up with a killer hangover as well as a set of horns.

As he continues his day by trying to get rid of them, he discovers that everyone he comes in contact with wants to tell him their darkest secrets. Upon discovering his new paranormal abilities as well as everyone’s guilty conscious, Ig sets out to discover Merrin’s true killer.

Angels fall into the devil’s hands, friends turn to monsters, “Horns” brings your worst kept secret into the blinding light.

Growing up with Daniel Radcliffe as Harry Potter, I have always been familiar with Radcliffe having a magical touch on the big screen. However, seeing his performance of the outcasted, moral questioning Ig Perrish made me erase Harry Potter from my mind.

Save for the fact that he kisses his beautiful English accent goodbye for his accurate grammar-insulting American accent, Radcliffe had me question my own morals throughout the film.

How do we fight for justice if we cannot tell who is pure and who is the devil? How do we search for the truth when everyone is guilty? Not a big believer in religion myself, I thought that I wouldn’t enjoy the film’s plot as much, but I couldn’t help but sit at the edge of my seat to see Ig get closer to the real story of how his girlfriend was killed.

Director Alexandre Aja managed to manipulate my emotions by keeping the significance of Ig and Merrin’s relationship in the dark. Usually we can guess the importance of the relationships of the characters in the very beginning of the film because the value of the relationship needs to be established so the characters and the audience can get to the plot of the story. Yet because the love in their relationship wasn’t expressed until the end of the film, I felt a much more powerful sense of sadness for his loss when the true killer was revealed.

Another twist that I loved about this film was that even when the killer was revealed, the climax of the film didn’t end. My adrenaline fueled mind had me guessing if there was true justice in the world until the film had sadly come to the end. I waited until the screen went black to see if there was more to the story. A truly dark and real look, “Horns” makes the audience uncomfortable with the truth.

Rating: 5/5

Waiting for Intermission: Review of “In a World…”

To be a part of the film industry means that the biggest part of your job description will be anxious uncertainty. You are never certain if you will be hired, and even if you land a job, you might not get another one.

Carol Solomon (Lake Bell), an underachieving vocal coach, remains in a constant state of anxious uncertainty. Under the constant dismissal of her famous voice artist father, Sam Sotto (Fred Melamed), Carol struggles with her work because of his arrogant shadow.

He and his protégé, Gustav Warner (Ken Marino), an uprising and equally arrogant voice artist, try out to be the voiceover for the trailer of an upcoming film series, “The Amazon Games.” Carol throws herself in deep water as she competes with her father and Gustav to be the first voice artist to re-emerge the famous Don Lafontaine voice over, “In a World…”

Written, directed, and produced by its lead actress Lake Bell, “In a World…” won 2013 Sundance Film Festival “Best Screenplay” as well as 2013 Dublin Film Critics Circle Awards “Breakthrough Movie of the Year.” I account this to Lake Bell’s abilty to write a realistic perspective of the hardship of searching for a voiceover job as a woman.

It’s true that the film industry makes it hard for anyone who chooses to pursue a career in it. However, for a woman, to seek out a film industry occupation also means to be taken seriously in that profession. Whether it’s because of our supposedly ‘soft’ or (dare I say it) ‘feminine’ nature, it becomes a test of strength for women to compete for the same role as a man.

Curious about the voice artist side of the industry, I tried looking up trailers with woman voiceovers. Most of the deemed ‘popular’ woman voice-over trailers were for movies categorized with two words that every woman of film industry cringes at: Chick Flick. It was the Romantic Comedy films which were considered too ‘soft’ for a deep, masculine, male voice to advertise on the big screen.

In this portrayal, Lake Bell manages not only to focus on the societal issues for the independent woman, but also on an occupation that the public tends to overlook in general.

“That’s not sexist, it’s just the truth…” says Fred Melamed’s character Sam Sotto. What happens when someone you care about says that to you? A person’s ideals and goals should never depend on their gender, race, or ethnicity.

Not only does Lake Bell focus on the public’s attention of a woman’s struggle of professional identity, she also sheds light onto a normally disregarded occupation. Most of the time, all the attention is focused onto the actors and actresses who star in the films, but what about the people behind the scenes? The individuals who polish the footage until it’s ready for the big screen?

Being the Director, as well as the writer, Lake Bell manages to bring a new perspective to the audience by showing what it truly means to be a woman in an equally important occupation in the film industry.

Waiting for Intermission: Review of “13 Score” and “House of Oddities: The Story of the Atrocity Exhibition”

Monday night became movie night for many of Chatham’s film students and faculty as they gathered in Eddy Theatre to watch independent films from their colleagues. The first film reviewed by the Chatham Community was “13 Score,” directed by Don Gabany and Chatham faculty member Max Walters.

A classical horror movie that didn’t disappoint on the blood and gore, “13 Score” was able to mark itself in classic horror of the film world. From an awkward first date, undercover police, and professional wrestlers affiliated with the mob, no one was safe from the cursed anniversary at Conley Lake.

Sacrifice and love, literal heart snatching, and zombie fighting make this film stay at a fast pace. For setting, traditional western Pennsylvanian hills create an ominous feeling in the crisp air of a fateful Halloween night. With a little investigation into the paranormal, the viewers find themselves asking if we truly need to know what is in the beyond.

I was never much for gore or horror growing up, but the story and plot of “13 Score” intrigued me enough to keep me watching through the blood. The idea of a lingering curse of cannibalism with an unknown origin could keep any classic horror fan entertained. With an added bonus of the 1753 curse turning unsuspecting carnival lovers into flesh-eating zombies, “13 Score” kept it classy.

The second film of the night, “House of Oddities: The Story of the Atrocity Exhibition,” was from another of Chatham’s faculty members, Brian Cottington. Where “13 Score” was strictly blood and gore narrative film, “House of Oddities” is a wonderfully unique documentary film.

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As the story of the Atrocity Exhibition from its first year to its fifth and current year, it is a living art collection of the fantastically strange and bizarre–located right in our fair city of Pittsburgh.

This particular year had been inspired by Steampunk Industrial and the film give an in depth look into the performances and the lives of these beautiful individuals.

Talking with Cottington before and after watching the film, there was a personal feel to the documentary. What audiences often forget within films are the individuals behind the masks of the characters they play.

However, when the viewers are given a rare opportunity to see the mask removed, there is a moment for real life empathy. Audiences can usually experience empathy when the film’s realm of imagination is replaced with the concept of realism.

Most documentary films can achieve concepts of realism easily, but “House of Oddities” maintains the concept of realism while letting artistic imagination run freely. These individuals become more than performers on a heavily lit stage and are able to redefine the meaning of family.

“13 Score” : 2.5/5

“House of Oddities: The story of the Atrocity Exhibition” : 4/5

Waiting for Intermission: Review of “The Judge”

Small towns seem to be the theme for this year’s film releases in the box office. Typically, the main character comes back to a life they wish to forget because there’s a problem at home that he or she chooses to forget by remembering all the problems they have at home, only to realize that they aren’t solving anything by running away from the past. It gives the impression that filmmakers want to have the audience remember where their roots are, even if the memories are too painful for them to bring up.

Hank Palmer, a successful lawyer of Chicago–and therefore one of the most despised men in the game, gets pulled back into his hometown because of the death of his mother. All of his problems that he drove away from one fateful night, 20 years ago, come crashing on him like a beat-up pick up truck. Including his father, Judge Joseph Palmer.

His old life and his old room make Hank regret what good memories he has with his father. After one more argument and insult, Hank finds himself on the plane back home when he gets a call from his oldest brother. His father, a judge for 42 years, is being tried for murder of the first degree.

Swallowing what little pride he has left, Hank returns to the rolling corn fields of his childhood to watch as his father gets bullied by the law for a crime he doesn’t remember committing. Hank, a charismatic lawyer of the Windy City, willingly goes down the dismal road of memory lane to be on the trial of his life.

Robert Duvall (best known for his work in classical movies such as The Godfather, The Godfather II, Apocalypse Now, and Deep Impact) portrays the character Judge Joseph Palmer, who reins his house and his boys just like his courtroom.

His sons (portrayed by Robert Downey, Jr., Vincent D’Onofrio, and Jeremy Strong) all had different views of how the house should run. Rules are what run the country; rules are what ran the house during Hank’s childhood.

While watching the film, I was waiting to see which character would tell the other the giant, “I’m sorry”–the apology that the audience waits for in the conclusion.

Who gets the most sympathy from the audience? The law bound judge, the mentally challenged younger brother, the delinquent turned lawyer, or the brother with the stolen dream? Family issues arise, as the past never seems to be forgotten when unwanted, while the truth remains a distant memory. When the plot slowly begins to unravel and the questions are soon answered, I noticed the impeccable similarities between Hank Palmer and Joseph Palmer. It is ironic that Hank became the man from which he tried to run away.

Rating: 4/5

Waiting for Intermission: Review of “A Royal Affair”

There’s a theme of dishonest love that attracts people to side with it, for what we can’t have, we find the most attractive. The film, “A Royal Affair” is no different.

Set in eighteenth century Denmark, the film focuses on the scandalous affair of Johann Friedrich (Mads Mikkelsen) and Caroline Matilda of Great Britain (Alicia Vikander). For Caroline, this secret tenderness is deeper than an escape from a neglected, abusive marriage; it is a chance to be free. The film is based on the erotic novel, “Prinsesse af blodet” written by Bodil Steensen-Leth.

Upon an arranged marriage to the mentally ill King Christian VII of Denmark (Mikkel Folsgaard), Caroline’s dream of an adventurous life is disregarded, starting with the removal of her prized books which were banned by state law.

King Christian begins to torment Caroline, even from the first night of her arrival in Denmark. He fires her lady-in-waiting but not without smashing snow in her face, calling her ‘a useless fat cow.’ Why? The Queen kept wishing him away from her chambers while she was pregnant with their first son.

Caroline begins to accept her dismal fate, losing hope for the life of freedom she visualized. However, when Christian hires a German royal physician, Johann Friedrich, her life begins a new hopeful chapter.

When I began watching, I didn’t expect more than a scandalous love affair of the rich and powerful. Yet, as the film continued, I noticed the camera began to focus on the corrupt politics of the court in eighteenth century Denmark under King Christian’s rule.

With no background in History or in Political Science, I began to play detective on the events during his reign. The in-depth detective work meaning I googled King Christian VII of Denmark. King Christian VII did have a mental illness that had an effect on government decisions.

The film portrayed his mental illness as if the King were a small, rambunctious child whom adults put up with but never took seriously.  But in the terms of his real life history Christian had an illness that would lead him into hysterics and hallucinations that made him physically ill, as well as mentally unstable. He would physically abuse his advisers as well as his grief-stricken 15-year-old Queen, Caroline. He took pleasure in the misery of others and loved to torment the members of his court for his own personal amusement.

Normally, my opinion of romantic films, such as “A Royal Affair,” is that there is more of a emphasis of exploiting the gossip about the rich and powerful of the time. But the history of these three historical figures kept me interested to find out what happened next with each scene.

‘An English princess married to an insane King,’ director Nikolaj Arcel’s film captures your attention to see if a mind, once insane, can be made sane, or if healing hands will be corrupted by power and influence, all in the name of love.

3/5

Waiting for Intermission: Review of “This is Where I Leave You”

The feeling that you have achieved everything you wanted, that you have accomplished the perfect plan, can be attractive to anyone. However, for Judd Altman, (Jason Bateman), everything came to a screeching halt when his perfect wife cheated on him with his boss.

Going through an emotionally draining divorce, Judd gets a call from his oldest sister, Wendy (Tina Fey), who informs him the terrible news of their father’s passing. Judd then finds himself moving his life back home to connect with his grieving family for the next seven days.

Traveling to a showing in Monroeville at midnight with my roommate and friend in tow, I thought I would fall asleep due to the warm setting and soft music of the film. Yet, I became wide-awake just to witness for myself how the film was going to end.

The Altman family captured my attention with their realism, drastic measures, and their over-the-top, no-boundaries honesty. But in the end, they were still a family that cared so deeply for one another.

The Altman family would accept just about anything that would be cast in their path: the mother, whose fame came by writing about the development of her children (much to the embarrassment and resentment of her children); the oldest son, who stays to become the ‘perfect son’ but fails to impregnate his wife; the overbearing sister, who regrets leaving the love of her life behind; and the youngest brother, who destroys any responsibility and accountability for his actions.

Judd welcomes his old life like an old ally, if only to escape the reality of the betrayal of his wife. This band of socially difficult misfits come together to mourn the loss of the father–the only sane person in the family.

Sometimes you have to go home, to find out where you got lost.

The film encourages the audience to follow Judd as he reconnects with his old home to realize just how much he was missing from his life. But instead of trying to solve himself, to come to the next step for his ‘perfect life’ plan, he realizes that it’s alright not to be okay. No life can be worth living without imperfection. Life is crazy and unfocused, not filled with intricate faultlessness. The characters of this family aren’t portrayed with problems to be later fixed in the end. A person’s flaws are meant to be accepted.

4.5/5

Waiting for Intermission: Review of “The Giver”

We all know how it feels when the film industry takes one of our favorite books from childhood and tries to turn it into a profit. Films can never compete with the imaginations we, as children, create for the impossible. With that being said, the film, “The Giver” managed to give us as much imagination as it possibly could, had we been born in a world of dystopia. From the mind of Lois Lowry, we are able to imagine a community where there is no color, no emotion, no memory, and as a result, no pain.

The Community, created after “The War”, controls everything, even the climate and time by using the latest technology to signify night and day. Drones fly high in the sky and record every detail in the Community.
Since birth, every individual is watched by order of the Council. People are divided and assigned everything based on calculations taken from the Community’s records. Everything is artificial, right down to the trees surrounding them.

Each person must apologize before they speak while the other must acknowledge their apology. “Precision of language” is taught in each year of school to prevent emotional confusion. Where there is no love, there is no hate. Where there is no happiness, there is no despair. To be content means that the Community will run strong.

Unfortunately for our main character, Jonas, he was born to be dangerously curious about everything. Graduation day arrives and all groups of the Community advance to the next section.

Throughout his training, Jonas learns pain, sadness, war, and self-destruction. However, in return for all these fateful truths of the “real” world, Jonas discovers beauty, joy, thrill, and love.

Confronted with these harsh realities, Jonas quickly uncovers that the Community is fake. He is faced with difficult choices about his own life and the lives of the Community, affecting the calculations of his future.

While watching the film, I couldn’t help but imagine how life would be if our own form of a Community were to form. The Community was designed to disregard hate, misery, greed, and all other terrible emotions.

To be given the chance to forget every horrible memory you and the entire world have ever had seemed perfect. However all the colors in the world would disappear.

We would forget love, joy, and happiness. No one would have individuality; everyone would be exactly the same. We would never be able to dream. In order for the world to forget how to hate, we would also forget how to hope.

The film showed a world where people accepted what life was, but they forgot how to live. Jonas began to see colors throughout the film in very subtle changes, from the color of an apple to his friend’s hair.

However, his moment of revelation didn’t happen until The Giver shared a memory of a sunrise in full color. In that moment, it teaches us that life shouldn’t be lived by avoiding any pain we might experience, but how courage can shape our world into something wondrous.

Rating List: 3.5 out of 5 stars

Waiting for Intermission: Review of “Captain America: Winter Soldier”

In the purgatorial void between “The Avengers” and the upcoming sequel, Marvel fans have been treated to sequels portraying the heroes in the next stage of their narratives. Without forcing exposition, sequels can take the time to flesh out characters and adapt them for the modern age.

No hero is better suited for evolution than Captain America, who questions his role in the latest Marvel release “Captain America: Winter Soldier”. In this film, Captain America (Chris Evans) searches for his role in an increasingly militarized United States and S.H.E.I.L.D. operated by the mysterious Nick Fury (Samuel L. Jackson). When an assassin known only as the Winter Soldier starts hunting down members of S.H.E.I.L.D., Cap and Black Widow (Scarlett Johansson) work to uncover of the greatest historical conspiracy in world history. While an action-packed two and a half hours, the film neglects essential responsibilities in recreating the American hero.

Like all post-“Avengers” films, “Winter Soldier” possesses the advantage of character development. One could argue Captain America as a frontier hero, existing on the outer edge of society while vying for inclusion through updating himself on movies, music, and history. The film presents an interesting opportunity to redefine the characteristics of Captain America, a fact the character of Phil Coulson alluded to in “The Avengers”. Those knowledgeable in the history of the Vietnam War recognize connotations of ‘Winter Soldier,’ referring to a speech delivered by Secretary of State John Kerry, detailing the horrors faced by soldiers coming home from Vietnam.

This speech gained public attention, fueling criticism of the American presence in the Asian theater. Captain America, a relic of post-WWII optimism, must deal with the growing domestic feelings of isolation through philosophical discussions with Nick Fury. The film advances these themes by subtly introducing issues of American foreign policy: militarization, rise of numerous actors of foreign policy, and their battle for influence. This interpretation appears as over-analysis, but considering the importance of comics to convey societal context, the film establishes political literacy for an isolated public.

Of course, this film offers more than analysis for history and political science nerds. It continues the strong slew of sequels leading out of “The Avengers.” Chris Evans commands—so to speak—his return to the role of Captain America while maintaining remarkable chemistry with Scarlett Johansson as the Black Widow. Marvel fans will also enjoy the connection with the cannon and fill some of the holes the first film left behind. With that being said, some problems remain.

The film could have ended a have ended a half hour earlier, removing some unnecessary battle scenes and repetitive dialogue. While Black Widow did not receive the full Marvel film treatment of becoming overtly sexualized, moments of flirting generated false suspension. The real tension laid with Captain America searching for his role in modern society. The film presents this opportunity for transformation but it fails to materialize.

Cap perpetrates traditional notions of the American identity, lacking in representation. Removal of this tension weakens the film’s complexity, making “Winter Soldier” the weakest of the post-“Avengers” Marvel sequels.

Barring cultural analysis, see the film to prepare yourself for “The Avengers: Age of Voltron” coming out next summer. Or to watch the trailer for “Guardians of the Galaxy”, despite having already watched it on repeat since it was released.

Rating: 2.5 out of 5.

AUTHOR’S NOTE: This is my last movie review after a wonderful three-year career at The Communique. I would like to thank newspaper staff and a community of supporters who believed in my work and made my reviews more intriguing with their scintillating discussion. I am ridiculously proud of the work I accomplished here. To quote from War Kong-Wai’s “In the Mood for Love”: “I didn’t mean to fall in love with you. Feelings just creep up on you like that.”

Waiting for Intermission: Review of “Mud”

Let’s face it: sometimes as college students we do not have the money to see every movie. Most times, our only chances of going to the movies require a surprise gift card from family members. Instead, we rely on the newest releases from Netflix Instant as our opening weekend. Last week, Netflix released the Jeff Nichols film “Mud”, a film that some argue begins the so-called ‘McConaissance.’

The film stars Matthew McConaughey as Mud, a drifter wanted for killing the abusive ex-lover of his girlfriend Juniper (Reese Witherspoon). As he hides away in an island located near a boating town, young boys Ellis and Neckbone (Tye Sheridan and Jacob Lofland) discover him and attempt to reunite him with Juniper. The film relies on expositional tension, which can appear to drag its pacing, but ultimately becomes a powerful coming-of-age tale with an excellent commentary on space. It only makes sense, then, that this film marks McConaughey’s transition into more serious roles.

Water plays an important role in terms of setting and character. It provides one of the first establishing shots as audiences are introduced to Ellis and Neckbone, two young boys on the verge of puberty. Coupling these images are tight shots of the shacks and tiny docks making up the boating town, heightening a sense of claustrophobia.

As the boys take to the river, the quiet solitude of the river becomes a metaphor for the town itself. While gathering at a water source as means of economic opportunity entails a collective experience, the isolated nature of the river echoes the hushed lives of the citizens of the boating town, such as with the divorce of Ellis’ parents or the secretive neighbor Tom (Sam Shepard).

As the film centers on Mud, Ellis, and Neckbone, it is also about the society of the boating town. Water represents the fluid nature of characters. For Ellis and Neckbone, the fluidity comes from their status as being on the verge of puberty. For Mud, the fluidity calls attention to his status as a drifter and his mysterious composition history.

Lastly, water acts as a border, cutting off the boating town from the mainland society. This border intensifies the mystical element of the film. However, little moments acclimate audiences to the realistic setting, such as with Mud’s shirt warding off snakebites or Juniper portrayed as the princess for his St. George. Helping Mud save Juniper allows the boys to escape from the reality of growing up, paralleling Mud’s inability to move beyond his own past. Symbolism of the water adds rich complexity to the coming-of-age film, while reminding audiences that we never stop growing up, as there is always something to learn.

Fans of constant action might find the pacing slow as exposition builds tension throughout the film. However, unraveling tension more powerfully delivers the film’s message of growing up and the constraint of personal history. As a group of assassins converge on Mud to avenge the death of Juniper’s lover, they shatter Mud’s conception of reality. Since Ellis views the love between Mud and Juniper as ‘true love,’ the invasive force of the assassins shatter his illusion of escape, ultimately preparing him to accept his parents’ divorce.

If tension fails to capture audiences, the amazing performance of Matthew McConaughey will turn heads. Though audiences remember his recent Best Actor Award for his role in “Dallas Buyer’s Club”, they forget that “Mud” marked his separation from an established career of romantic comedies, showcasing remarkable variety. Any fans of the cheesy cop films of the seventies will take pleasure in the return of Joe Don Baker as he plays King, leader of the assassins.

If financial limitations keep you in your dorm and you are looking for a movie to watch on Netflix Instant, this one should top your queue.

Rating: 4 out of 5.

Waiting for Intermission: Review of “Muppets Most Wanted”

After a long year of papers and presentations, sometimes the best film is one that brings us back to our childhood. Specifically, our childhood devoted to Jim Henson. Recently the Jim Henson Company released a triumphant return of everyone’s favorite felt characters. Director James Bobbin comes off the success of this last film and brings it for the new sequel “Muppets Most Wanted”.

This film follows the Muppet crew on their first international tour following their reunion. At the same time, the most dangerous frog in the world–Constantine (voiced by Matt Vogel)–has escaped from Russian prison to steal the English crown jewels. Aided by his ‘number two’ Dominic Badguy (Ricky Gervais), Constantine switches identities with Kermit (voiced by Matt Vogel) and joins the tour with the Muppets. Hilarity then ensues in the form of stalled weddings, international police partnerships, and a Russian prison variety show. Complete with fantastic jokes, wonderful cameos, and sharp dialogue, the film reminds audiences why they tuned into the “Muppet Show”.

One of the characteristics so captivating about the Muppets is their self-awareness. Right away, the film breaks the fourth wall by picking up right when the cameras cut at the end of the previous film. The Muppets spend the film’s first minutes discussing possible plots before deciding on going on an international tour. And no opening segment would be complete without a musical number, aptly poking fun at how sequels never compare to the original.

Mixing the self-aware with the self-deprecating provides the backbone for Muppet humor, adding another level of hilarity in addition to situational zaniness. These moments of self-awareness continue throughout the film, with wonderfully snide comments remarking on the disappearance of side characters or how this is actually the seventh Muppets film, making “Most Wanted” not an original sequel. This lower layer of humor not only cuts across generational divides, but also brings in a new army of Muppets fans in general, making it entertaining for all audiences.

The fire for the film’s humor no doubt comes from its over-the-top ridiculousness. From ‘badge-comparing’ contests between the French detective Jean Pierre Napoleon (Ty Burrell) and Sam the Eagle (voiced by Eric Jacobson) to a “Chorus Line” composed of Russian prisoners, the film is unapologetic in its own zaniness. The film escalates the ridiculous factor in a way that does not feel contrite or slow down the overall pacing. Audiences will find themselves laughing from their own disbelief.

As with any Muppets film, searching out for cameos comprises half the fun. This ninety-minute film is a veritable “Where’s Waldo” of celebrities and singers, including Tom Hiddleston, Frank Langella, and Celine Dion. While the first Muppets film since their hiatus was similarly entertaining, “Most Wanted” brings more in terms of chemistry between the Muppets themselves. Now that audiences spent the first time watching the Muppets come back together, we can finally see them doing what they do best: putting on a show everyone will love.

The movie does have some minor hiccups. A few of the jokes become stale quickly and some of the plot devices lose any sort of logic, even for a Muppet film. Thankfully, these hiccups did not become so that the Muppets turn into a caricature of themselves. The film maintains the balance between hilarity and sensible grounding. If you need a laugh in the light of final exams, then I suggest you take the next bus down to the Waterfront and see this movie.

Rating: 3.5 out of 5.