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Wrong Cops, Barefoot, The Formula 

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Wrong Cops (NR)

IFC Midnight

Hipster film-fans flock to French director Quentin Dupieux and his surreal "comedies" in such droves that you'd think there was a half-off sale on size-small Lacoste shirts. But the truth of that matter is that his films, no matter how weird and unique they are, are boring, pretentious and from the School of Trying Way Too Hard to Get People to Look at You. His latest, Wrong Cops, is like a standard Police Academy movie if directed by Tim and Eric. Now I know that sounds intriguing, but in the hands of Dupieux, it just becomes a monotonous deluge of shock value, forced offensiveness and lame absurdism that will put many a mainstream viewer to bed. Hipsters, however, will enjoy it for the too-cool-for-school aura that it desperately wants everyone to gawk at, open-mouthed. Wrong Cops is insincere, insignificant and imbecilic in its portrayed humanity or lack thereof. — Louis Fowler

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Barefoot (PG-13)

Lionsgate

The first act of Barefoot sets us up for a disturbing comedy of errors, then detours into dark romantic territory that pays surprising dividends — only to wrap up far too tidily. It's really the best-case scenario for a dud of a script that was reacquired by the writer as part of a lawsuit settlement, and was already made in the mid-2000s as the German film Barfuss. Veteran director Andrew Fleming (The Craft) and leads Scott Speedman and Evan Rachel Wood manage to craft a lovely indie romp in the face of a logic-crippled premise. Speedman's wealthy, brooding skirt-chaser, Jay, desperate for a date to his brother's wedding, abducts newly checked-in mental patient Daisy (Wood) and makes her pose as a nurse. The problem? Daisy's so "crazy," she's never even conceived of things like strippers, airplane bathrooms or high-speed police chases. Get past that bit of offensiveness and a reasonably powerful character study emerges, however faintly. — Justin Strout

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The Formula (NR)

Level 33 Entertainment

Since the first nerdy caveman noticed the first hot cave-girl and immediately felt pangs of hurt knowing she was out of his league, mankind has been trying to figure out the scientific method to scoring babes. Sure, many of us emotionally mature and decide to find love within our reaches, but for those who lack self-awareness, The Formula is tailor-made. Two dorks create a mathematic formula to wrangle the ladies into their bedroom and, of course, find themselves in the process. Using a screenplay that I'm sure was based on a 12-year-old's wet dream. The Formula is an innocuous enough comedy that really doesn't have too many laughs, employing a sub-Kevin Smith flair for overly pithy dialogue in an attempt to compensate for no budget. Good for them, but it doesn't really help matters; if this film was a math problem, its answer would be zero. — Louis Fowler

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