Category: Comedy

Guardians Of The Galaxy Vol. 2

Rated: MGuardians Of The Galaxy Vol. 2

Director: James Gunn

Producer: Kevin Feige

Executive Producers: Victoria Alonso and Louis D’Esposito

Written by: James Gunn

Based on: Guardians of the Galaxy by Dan Abnett and Andy Lanning

Starring: Chris Pratt, Zoe Saldana, Dave Bautista, Vin Diesel, Bradley Cooper, Michael Rooker, Karen Gillan, Elizabeth Debicki

If you enjoyed the original Guardians of the Galaxy (2014), the chances are you will also enjoy this joyful follow-up, imaginatively titled ‘Vol. 2’. A fast paced, playfully psychedelic scene early on re-introduces the five main characters from the first film in what appears to be an entertaining yet largely irrelevant action sequence that serves no real purpose other than to dazzle.

This sequence does end up having some plot relevance later, but more than that, it helps re-familiarise viewers with the main characters or introduce them to those people who might not have seen the previous outing. Peter ‘Star-Lord’ Quill (Chris Pratt), part human/part something else and his gang of frenemies have lent themselves out for hire as mercenaries in the months since the events of the previous film ended.

Peter’s encounter with someone claiming to be his father helps drive the central storyline but there are plenty of sub-plots to keep the action zinging along.

Twiglet Groot has grown into an adorable toddler version (huge merchandising opportunities abound!) who loves music. The cuteness quotient threatens to overtake the film’s edgier moments but luckily, baby Groot hasn’t lost its ruthless killer instinct which helps balance things out.

Where the first film focussed on introducing the characters of this offshoot of the Marvel Cinematic Universe and how they came to be a kind of connected group, the second film takes time to explore themes of family, growing up, belonging and searching for something that sometimes turns out to be much closer than originally thought. Family dynamics, parent-child and sibling relationships are all explored or experienced by the main characters, and there is more ‘quiet’ time for revealing most of their histories, which helps explain a lot of their behaviour or motivations.

Drax the Destroyer (Dave Bautista) still gets most of the best lines, delivered in his deadpan way, where his honest desire to be helpful often comes across as hurtful. Rocket (voiced with gravelly menace by Bradley Cooper) demonstrates his deadly fighting skills while confronting his own ghosts, assisted by blue Ravager Yondu Udonto (Michael Rooker) whose lethal arrow causes entertaining carnage and mayhem in one memorable sequence.

As with the first movie, music is important in establishing mood. Whether it’s ELO’s ‘Mr Blue Sky’ in an early, super-playful scene, or travelling with the Guardians to a paradise accompanied by George Harrison’s classic, ‘My Sweet Lord’, or getting reflective with Cat Stevens’ ‘Father and Son’, the choice of songs overall work incredibly well.

The costumes range from gorgeous, especially those of the Sovereign Queen (Elizabeth Debnicki) and her people, to highly unusual, and many of the sets, planets and ship interiors are so incredibly imaginative and beautifully realised that it’s like being inside an enormous kaleidoscopic theme park ride.

The novelty factor of the first film is obviously no longer there, but the situations, humour, character development and multiple plots of this second outing coalesce by the end into a joyful explosion of colour, movement and resolution (of sorts). Under no circumstances should you leave before the very last credit has finished because there are some additional scenes that hint at the promise of continuing adventures. Bring them on!

Going In Style

Rated: MGoing In Style

** Spoiler Alert

Director: Zack Braff

Producers: Marc Bienstock

Written By: Theodore Melfi

Based on the 1979 story by: Edward Cannon

Starring: Morgan Freeman, Michael Caine, Alan Arkin

Going in Style is a happy-ending remake of an earlier 1979 film of the same name with an Oscar winner cast where three lifelong friends Willie, Joe and Al decide to rob the bank that has taken over their pensions.

Films are made for the same reason that stories are told, to tackle themes that the audience has absolutely no control over in their daily lives. The pension-cut theme in the US and the timing of this release may be purely coincidental but it sent a chill down my spine to discover that to this day, in 2017, it is still an ongoing issue as it was in the late 70s.

If you are happy to watch a funny, entertaining film with great actors, please do so and please stop reading because spoilers are coming your way.

Stephen King, one of my favourite authors once said that ‘fiction is the truth inside the lie’. But as I left this theatre I felt as if I had been spoon-fed a bunch of lies. There, I said it. It’s out in the open now.

I am afraid that the screenwriter’s attempt to change the original ending to something ‘more upbeat’ to keep up with the times provides the audience with an impossible tale that plants a troubling seed in this day and age: that robbing a bank can be done successfully without any consequences whatsoever.

My favourite quote by Joe (Michael Caine) in the film sums up the story and, ironically enough, provides a hint of what could have been. ‘These banks practically destroyed this country. They crushed a lot of people’s dreams, and nothing ever happened to them. We three old guys, we hit a bank. We get away with it, we retire in dignity. Worst comes to the worst, we get caught, we get a bed, three meals a day, and better health care than we got now.’

Going in Style is a feel-good film with laughs all the way through that warms the cockles of your heart but could have been so much more than that.

The LEGO Batman Movie

Rated: PGThe LEGO Batman Movie

Director: Chris McKay

Producers: Will Allegra, Matthew Ashton

Written By: Seth Grahame-Smith (screenplay), Chris McKenna (screenplay)

Starring: Will Arnett, Michael Cera, Rosario Dawson

As a writer, I have learnt to provide feedback with a soft-spoken, gentle delivery. But, as a Spanish national, I have been born with blood that boils easily when, what little patience I have, runs out. My face goes red, steam comes out of my ears and my filters disappear in the process.

I had one such a meltdown watching The LEGO Batman Movie.

And I knew what I was getting myself into because the scars left by The Lego Movie were still tender.

The main qualities of this spin off, following its predecessor steps, are obvious: a great trailer that raises your expectations up to the sky, a great animation team and an incredible soundtrack. Period. But, as the movie went on, one wondered… why would the same creative team make the same mistakes twice? Have they stopped caring about their audience?

I love animation, I really do, because animation delivers full-on entertainment for all audiences and comedy that is flawlessly delivered. It is the sacred place where adults enjoy themselves as their children scream with excitement. But sadly, the creative team at The Lego Movies missed that memo. The comedy walked the fine line between annoying and funny and even the youngest members of the audience could see the story coming. There was no guessing, no reason to care.

As a nerd and Batman fan, I enjoyed the references to the Batman TV series from the 1960s, the pew-pew noises every time a gun fired and how great songs, such as Motley Crue’s ‘Kickstart My Heart’ or Cutting Crew’s ‘(I Just) Died In Your Arms Tonight’, blasted in the theatre speakers for my ears delight.

I would lie if I tell you that I recommend this movie whole-heartedly. But I am not a parent, so if your dream afternoon involves to sit two hours in a dark room full of children and to pay for the pleasure of their squeaking company. Please be my guest and knock yourself out!

As for me, I have made a conscious decision, for my mental health sake and the safety of those around me, to put future Lego movies in the too-hard basket. Until the next movie review, over and out!

CHiPS

Rated: MA15+CHIPS

Director: Dax Shepard

Producers: Ravi D. Mehta, Dax Shepard, Andrew Panay, Rick Rosner

Written by: Dax Shepard

Based on: CHiPs TV series created by Rick Rosner

Starring: Dax Shepard, Michael Peña, Rosa Salazar, Adam Brody, Vincent D’Onofrio, Jessica McNamee, Kristen Bell, with Jane Kaczmarek, Maya Rudolph, Ed Begley Jr, and Josh Duhamel

The original television series of CHiPs (1977-1983), was an action ‘dramedy’ dealing with the daily crime fighting of the California Highway Patrol officers on their motor cycles. Two of its main characters were played by Erik Estrada (macho, trouble-pronue probationary Officer Frank “Ponch” Poncherello), and Larry Wilcox (strait-laced field training Officer Jonathan “Jon” Andrew Baker).

My memories of this TV show are vague as I only ever saw a few episodes, so I had little idea of how this updated cinema version would compare to its predecessor.

I will happily admit that I found the film to be a guilty pleasure. It was rude, profanity-laden, sexist and with an over-reliance on visual gags and nudity, and it will never win any awards for subtlety. But it was also quite funny and engaging, and in some strange way had its heart in the right place, especially with the depiction of the relationship between its lead characters.

In a reversal of the original TV premise, Officer Jon Baker (Dax Shepard) is now the probationer. A beaten-up former pro motor biker, he is trying to put his life and marriage (to Kristen Bell’s character) back together. Baker is touchingly loyal to his ex-wife and desperately keen to make something of himself. His honesty and odd personality quirks, as well as a running gag based on his unusual reaction to household smells, makes him very appealing. He reminded me of Zach Braff’s character in the TV comedy Scrubs, with both actors sharing a goofy, endearingly naïve charm.

Castillo (Michael Peña) is now a cocky undercover Federal agent masquerading as Officer Francis “Frank” Llewellyn “Ponch” Poncherello, assigned to investigate a multi-million dollar heist that may be an inside job, inside the California Highway Patrol. Ponch is a bit sleazy yet still has some of the boyish charm on show in his earlier comic roles in Ant Man and The Martian.

It doesn’t give the plot away, such as it is, to know that Ponch doesn’t always obey the rules, and has little patience with his naïve rookie partner as he tries to uncover the criminal element within the CHiPs organisation. The plot of this film is not particularly strong or original, and the audience is kept entertained enjoying the visual and verbal humour on display between the two leads.

There were many opportunities to showcase a range of stunts, and by enlisting renowned stunt performer Steve De Castro, plus pros and the best stunt riders for the trickiest and most spectacular manoeuvres, director Shepard ensured these aspects of the film were executed effectively. When Shepard’s character speeds along Californian highways and we get his point of view, the scenes are breathtaking, visceral and convincing, almost making me wish I could ride at all.

Cinematographer Mitchell Amundsen (The Bourne Legacy, Mission Impossible 3 and Transformers 1 and 2) made every action sequence zing, while Los Angeles was impressively utilised in the location scenes.

There were some humorous cameos from comic actors including Jane Kaczmarek and Maya Rudolph as senior police officers, and a brief stint from Josh Duhamel, but the movie belongs to Ponch and Jon and their budding bro-mance.

Power Rangers

Rated: MPower Rangers

Director: Dean Israelite (Project Almanac)

Producers: Haim Saban (Power Rangers creator), Brian Casentini (Power Rangers TV series), Wyck Godfrey, and Marty Bowen (The Twilight Saga, The Fault in Our Stars, The Maze Runner franchise)

Executive Producers: Allison Shearmur, Brent O’Connor, John Gatins, Joel Andryc, Takeyuki Suzuki

Screenplay: John Gatins (Kong: Skull Island)

Story by: Matt Sazama & Burk Sharpless (Dracula Untold) and Michele Mulroney & Kieran Mulroney (based upon Power Rangers created by Haim Saban)

Starring: Dacre Montgomery (Jason Red Ranger), Naomi Scott (Kimberly Pink Ranger), RJ Cyler (Billy Blue Ranger), Becky G (Trini Yellow Ranger), Ludi Lin (Zack Black Ranger), featuring Bill Hader (Alpha 5 cyborg), with Bryan Cranston (Zordon) and Elizabeth Banks.

Having never seen an episode of the original Mighty Morphin Power Rangers TV series (1993), loosely based on the Japanese 1970s Super Sentai TV series, I had no preconceptions or even expectations about the latest incarnation, Saban’s Power Rangers.

From the brief snippets I had seen, I knew there were energetic people who dressed in colour-coded costumes and leapt about doing heroic things, but that was the extent of my knowledge. So I was pleasantly surprised to find the new Power Rangers film entertaining, humorous, with effective use of the latest in spfx technology, and awesome Ranger suits designed by Weta Workshop.

The action is set in the small American fishing town of Angel Grove, and focuses on five teenagers, each with their own particular problems, who stumble upon an ancient, alien spacecraft and five coloured “coins” which bestow upon each of them extraordinary power and the ability to morph into Power Rangers, as they face a world-wide threat from an evil alien.

Television producer Haim Saban, who produced the original Mighty Morphin Power Rangers TV series, wanted the updated cinematic version to retain the original’s idea of five teens with attitude who must battle evil whilst also dealing with “today’s issues of cyber-bullying, peer or family pressure and the uncertain future.”

I appreciated that sufficient time was spent to develop each Ranger’s backstory so that they all emerged as clearly defined individuals rather than anonymous teenagers, one with a “spectrum” disorder, another dealing with their sexuality and another with a sick parent.

For established fans of the series, the carefully plotted introductions of each teenager may drag, but I appreciated how their trust issues and self-imposed isolation made it difficult for them to quickly achieve the required togetherness necessary to become a team of Power Rangers.

The fact that they trained, fought and had their own individual problems to overcome before they could become a united fighting team made their eventual transformation feel more “earned” than if it had occurred within a shorter time frame.

Other supernatural hero films often lavish huge chunks of screen time on drawn-out action sequences where entire cities get obliterated in mind-numbing CGI effects extravaganzas, and

I find those types of films to be boring and non-engaging.

The battle sequences in Power Rangers still occur, but because they don’t happen until the last section of the film they seem more effective.

There is one rather large plot loop-hole involving the Power Rangers and their evil opponent Rita Repulsa (played with relish by The Hunger Games’ Elizabeth Banks in a gorgeously over-the-top green and gold costume), which would have ended the battle very quickly and with far less destruction, but aside from this, the story line and character arcs were all well written and believable within this specific world.

The fact that there was no swearing was a big plus in this age of profanities, which makes this a great family-friendly film, which won’t disappoint anyone seeking an entertaining and well-made diversion. (The version of the song “Stand by me” used during one scene made me want to dash out and buy the soundtrack.)

Kong: Skull Island

Rated: MKong: Skull Island

Director: Jordan Vogt-Roberts

Produced By: Thomas Tull, Mary Parent, Jon Jashni and Alex Garcia

Executive Producers: Eric McLeod and Edward Cheng

Screenplay: Dan Gilroy, Max Borenstein and Derek Connolly

Story By: John Gatins

Visual Effects Supervisor: Stephen Rosenbaum, Jeff White

Starring: Tom Hiddleston, Samuel L. Jackson, Brie Larson, John Goodman, John C. Reily, Tian Jing, Corey Hawkins, Jason Mitchell, John Ortiz, Thomas Mann, Shea Whigham, Tody Kebbell, Eugene Cordero, Terry Notary.

A prequel to the story of King Kong (who first appeared on film in 1933) Kong: Skull Island is about the origins of Kong; hinting at a past battle on an island hidden from the world by a never-ending storm.

Set in the ‘70s just as the Vietnam War is ending, scientist Bill Randa (John Goodman) takes a team to Skull Island to explore the possibility of MUTOs (Massive Unidentified Terrestrial Organisms).Enlisting a military escort headed by Preston Packard (Samuel L. Jackson), this group of humans have no idea about the bizarre creatures they’re about to meet… or get eaten by…

The production team who created the 2014 film Godzilla have reunited here and some of the creatures on Skull Island reminded me of the Godzilla film, particularly those scary skull lizard creatures AKA Skull Crawlers. But there’s a better story here. Skull Island is more than the creatures and special effects although it was sometimes a close thing with the dialogue falling flat at times.

There’s a touch of fun with the 70s soundtrack and humour in the script but some of the jokes didn’t quite come off. The times when the film took itself too seriously were worse. Where the sincerity was just too much to swallow, losing that suspension and ruining the fantasy. But really, this was rare in the film which is a minor miracle when dealing with a MonsterVerse.

Samuel L. Jackson with those grouchy looks plays the villain well. And Tom Hiddleston as James Conrad, the hero, was believable as the British solider turned mercenary tracker – there’s a fantastic cast here. The highlight for me was John C. Reilly as the stranded WWII solider Hank Marlow. Now this guy was funny.And a great way to get the audience on side.

The Visual Effects team have given Kong some magic that make it seem there’s thought and emotion behind those eyes. And to really give the film that authentic flavour, director Jordan Vogt-Roberts (Kong being his second feature film) and the team film those beautiful tropical landscapes at real locations around the world: Oahu, Hawaii, the Gold Coast in Australia and Ha Long Bay (amongst others) in Vietnam.

There was some good action here and some tense moments with a conflict set up between those for Kong and those against. The script gives a bit of meat (ha, ha) to the story and there’s some good blood and guts with a setting that lives and breathes as an undiscovered world to frame Kong’s origins.

Great film to see on the big screen.

Fist Fight

 Rated: MA 15+Fist Fight

Director: Richie Keen

Producers: Shawn Levy, Max Greenfield, John Rickard, and Dan Cohen

Executive Producers: Toby Emmerich, Richard Brener, Samuel J. Brown, Dave Neustadter, Charlie Day, Ice Cube, Marty P. Ewing, Billy Rosenberg, and Bruce Berman

Screenplay: Van Robichaux & Evan Susser

Story by: Van Robichaux & Evan Susser and Max Greenfield

Starring: Ice Cube, Charlie Day, Tracy Morgan, Jillian Bell, Dean Norris, Christina Hendricks, Dennis Haysbert

The last day of high school, referred to as ‘Muck Up Day’ in Australia, but ‘Senior Prank Day’ in America, is the backdrop for the new comedy film ‘Fist Fight’ from director Richie Keen, whose first foray into feature films bears a strong resemblance to a bland television movie, with unflattering lighting, poor pacing and pedestrian scene set-ups.

Ice Cube (‘Straight Outta Compton’) plays the strict, by-the-rules history teacher Ron Strickland (get it?) and Charlie Day (‘Horrible Bosses’) is the younger, popularity-seeking, wimpy English teacher Andy Campbell. Following a major meltdown by Strickland during a class, Andy Campbell is forced into exposing his colleague’s behaviour in order to protect his own employment at the school, leading to Strickland being fired. Frankly, after watching Strickland’s appalling behaviour, I would not only have dismissed him, but also imprisoned him for attempted assault.

This wafer-thin premise sets up the rest of the film’s action, such as it is, which consists of Strickland’s irrational challenge to Campbell for an after school fist fight, and Campbell’s escalating panic and extreme counter measures to avoid being beaten up.

Charlie Day (from TV’s “It’s Always Sunny in Philadelphia”, also directed by Richie Keen), relied on high-pitched or whiny yelling in place of acting, which wore thin very quickly, while his sneaky way of avoiding trouble didn’t endear him either.

Ice Cube fared better, with his inscrutable, intimidating manner well suited to the role of an old fashioned teacher fighting a losing battle to educate his students and instil authority.

Ice Cube featured in one of only two scenes I found genuinely amusing, where students and staff at the school speculate about his past before he was a history teacher, and a montage shows him as possibly a solider in Iraq, a rogue ex-cop, an assassin, or even a world-class pianist. Nobody ever discovers the truth, which makes this the only touch of wry sophistication in the film.

For the most part this wasn’t a style of comedy that I find appealing, as it lacked wit or originality, relying instead on excessive swearing, juvenile sight gags and offensive language for its laughs. Director Richie Keen and the writers had apparently heard about the kind of pranks that are unleashed on long suffering teachers at American schools, including parking a car in the main hallway, or letting a drug-affected horse roam the school corridors (not funny), so included these in this film (although I did find the recurring Mariachi band was an amusing touch).

Tracy Morgan (‘30 Rock’) successfully plays a not very bright coach; Jillian Bell (’22 Jump Street’) was frankly unfunny bordering on repellent as a guidance councillor with drug and sex issues; while it’s a mystery why Christina Hendricks (‘Mad Men’) or Dennis Haysbert (‘24’) lowered themselves to be in this frat-boy outing.

According to interviews, the cast and crew had a lot of fun making this film, but little of that hilarity appears to have ended up on the screen.

Toni Erdmann

Rated: MToni Erdmann

Director: Maren Ade

Producers: Maren Ade, Janine Jackowski

Written By: Maren Ade

Starring: Sandra Hüller, Peter Simonischek, Michael Wittenborn

Family is one of the few things we do not choose in life.

We can change jobs, we can move to another country. But family is the one thing we cannot get rid off. No matter how hard we try.

The talented Maren Ade masterfully delivers an emotional story while criticising the corporate world in Europe and the ruthless German approach to ‘assist’ countries much less favoured economically, such as Romania.

But I am not into politics myself. As a European, I’ve had enough of that.

Watching Toni Erdmann took me back to a few months ago when my father came to stay with us. To me, he was relentless, embarrassing and short-sighted.

I could see myself in Ines. I could feel her struggle as she deals with her father.

The constant façade that she builds to prove that she can do better.

Her father’s transformation, an invasion of privacy at first, slowly becomes a fierce fight to recover his daughter by taking over a new persona. Toni and Ines’ story is a plea for coming clean, to reconnect with our family despite our differences.

Toni Erdmann is much more than a film made for entertainment sake.

I laughed, I cried and it made me think. And that is as much as you can ask for.

Maren Ade is a resourceful writer, director and producer. She founded the production company Komplizen Film with producer Janine Jackowski.

In 2015, Komplizen Film was honoured with the Award for Outstanding Accomplishments in German Film by the DEFA Foundation.

Red Dog: True Blue

 

Director: Kriv Stenders

Producer: Nelson Woss

Starring: Levi Miller, Bryan Brown, Jason Isaacs, Hanna Manga Lawrence, Calen Tassone, Thomas Cocquerel, Kelton Pell and John Jarratt.

Sweet and funny, set on the backdrop of red desert, burnt skies and a story about a red dog named Blue.

Red Dog: True Blue is the prequel to the well-know Red Dog, that received world wide acclaim back in 2011.  A neat compliment that made me want to watch the original again.

Shown as a flash-back to the 1960s, True Blue is about young Mick (Levi Miller) who finds himself at a cattle station out in the middle of no where living with his grandpa (Bryan Brown).

Mick is surrounded by all sorts of characters from Jimmy Umbrella (Kee Chan), the Chinese-Australian cook who hates the sun, Bill (Thomas Cocquerel) the larrikin helicopter pilot, Big John and Little John (Syd Brisdane and Steve Le Marquand) who are always fighting, Taylor Pete (Calen Tassone) the budding activist and Durack (Kelton Pell) the Aboriginal stockman who just knows Blue (Phoenix, the dog) is a tricksta spirit.

Blue wasn’t the feature in this film, but he was certainly the main source of humour.  Very clever of director Kriv Stenders (also director of the original Red Dog), as Blue always remained blameless.  And the addition of Willy, the crazy, blind-in-one-eye horse who thinks he’s a bull, made the film even funnier.

Aside from the humour, there are themes here to give the story more depth, such as the politics of equal pay for Aboriginal workers, of free love, landrights, punishment of boys who’ve been bad…  But what really stood out was the beauty of the landscape and those never ending skies.

Geoffrey Hall has returned as Director of Photography, this time making a conscious effort to keep the colour palette of the landscape authentic.  And an anamorphic approach was used for filming giving a narrow depth of field.  The result being beautiful, picture card moments with the weather and landscape becoming another character of the story.

At the end of the year when you drag your feet and wonder when summer is actually ever going to begin, it’s great to see a film that has it’s own brand of humour; that evokes laughter bubbling up from the belly; where the story is sweet (without being too sweet) and uplifting.

Yeah, the kid Mick, annoyed me a bit at the start – all private school and precious.  But I think that was the point.  And the character grew on me through-out the film which may have something to do with the mateship that develops between a lost kid and a cheeky dog named Blue (AKA Marlunghu the tricksta spirit).

And I’m thankful the film didn’t tear my heart out as some of these animal films tend to do.  I was left smiling about a story that relates to life while also giving a positive twist making me really, really want to get a pet dog!

The Edge of Seventeen

Rated: MThe Edge of Seventeen

Written and Directed by: Kelly Fremon Craig

Produced by: James L. Brooks, Richard Sakai, Julie Ansell

Executive Producer: Donald Tang

Music by: Atli Örvarsson

Starring: Hailee Steinfeld, Woody Harrelson, Kyra Sedgwick, Haley Lu Richardson, Blake Jenner and Hayden Szeto.

The Edge of Seventeen is a coming-of-age drama with a few laughs thrown in, because teenage angst is funny when looking back.  Not at the time of course.  Being 17 is all about wanting to die at the embarrassment of it all: pimples, older siblings who seem to have it so together and bestie-best friends who are supposed to be there forever (but never are because they’re human too).

Even though it feels like you’re the only one who feels anything at 17, you (hopefully) come to realise that others feel too.

Nadine (new comer, Hailee Stinfeld) is a girl who’s always felt different.  A loner, living in the shadow of her perfect brother, Darian (Blake Jenner, think, Everybody Wants Some!! (2016)).  Until she meets Krista (Haley Lu Richardson), who becomes her bestest buddy.

Life is good.  She has her mate and her Dad, the only two people in the whole world who understand her.  But when Krista hooks up with her brother, Nadine’s bubble bursts.  And she’s left in a world where people are fake and nice and she’s the only one who knows it.

It’s teenage angst baby, where you just love that guy and he doesn’t know you exist and you just know that mum’s mad and favours your brother more than you and you just, want, to, DIE.

And just like that self-obsession, the film revolves around Nadine. Thankfully the film was well cast and that annoying whine didn’t grate too much.

Woody Harrelson cast as Mr. Bruner, the ever-tolerant teacher, diluted the hormone fuelled rants of Nadine.

And there were some laugh-out-loud moments.

In retaliation to Nadine’s mum (Kyra Sedgwick) Nadine yells – ‘I’ll do something just as bad!  I’ll post on Facebook that you pluck the hairs around your nipples!’

There’s a raw honesty in the script (written by Kelly Fremon Craig; the second draft 4 years in the making) that is genuinely funny and at other times gives a jolt as the secrets of girl-teenhood are revealed.

First time director, Fremon Craig, has given free rein to the protagonist here which cuts both ways.

The audience is given insight and authenticity that only freedom can give.  And I praise this honesty.  On the other hand, there’s a little too much girl craziness – a fine line between funny insight and the urge to reach for the mute button.

The soundtrack helped to smooth over the emotion.  And the deadpan humour of Woody as the history teacher not only balanced the character of Nadine but was a release of pressure for the audience.

Overall the film was entertaining with a great script giving a different feel to a storyline that’s been done many times before.  I kept thinking back to Ghost World (2001) but The Edge of Seventeen is more drama/comedy than art house.

So, relatable and honest, but also a film about teen angst, which I’m happy to admit is time past.

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