Tag: films (page 6 of 26)

IT CAME FROM NETFLIX! Law Abiding Citizen

Logo courtesy Netflix. No logos were harmed in the creation of this banner.

[audio:http://www.blueinkalchemy.com/uploads/law_abiding_citizen.mp3]

As a generally enlightened culture, we are fascinated by the concepts and procedures of justice. We debate what is in society’s best interest, study those who act against that interest and determine ways in which those parties can be dealt with. It’s the reason Law & Order is one of the longest-running shows on television. However, the lament of many an individual with a mind geared towards justice and perhaps even honor is that the system established by our culture is fraught with loopholes, caveats and legal prestedigitation that allows criminals to escape what might be considered their just rewards. Enter righteously motivated and occasionally unhinged vigilantes, from Batman to the Punisher, from Paul Benjamin to the Boondock Saints. While most of these heroes operate outside of the system, Law Abiding Citizen goes a step further by taking on the system itself.

Courtesy Overture Entertainment & Doctor Popcorn

Clyde Shelton is a tinkerer. He’s making a quiet living with a few inventions with his wife and daughter when his home is invaded. Stabbed and forced to watch his family murdered, Clyde then sees months of time and millions of dollars trickle away as his lawyer, hotshot Nick Rice, brokers a deal with more vicious of the two attackers, Doyle, that sends the partner to Death Row while Doyle himself gets a slap on the wrist. Clyde is a little upset about this turn of events. Ten years later, a series of gruesome but highly coordinated events begin to take place, and it soon becomes clear that Clyde has a bone to pick with not just his attackers, but the system that let one of them walk away. It slowly becomes apparent just how dangerous Clyde really is, and Nick is the only person capable of figuring out Clyde’s next move, provided Clyde isn’t actually three moves ahead.

From the standpoint of composition and flow of story, there’s really nothing objectionable about Law Abiding Citizen with one noteable exception. Kurt Wimmer, creator of the exceptional Equilibrium, is good at this sort of intelligent, vengeance-minded scripting. F Gary Gray’s got good directing chops that give us clean scenes and realistic framing. None of the actors seemed to be phoning it in or gnawing overmuch on the scenery. There’s nothing earth-shattering in any of these elements, but neither are any of them bad enough to warrant a mention. It’s a character-driven movie, rather than being fueled by explosions and cleavage, so it was already winning points on that basis alone as it ran.

Courtesy Overture Entertainment & Poptower
A little something for the ladies.

One thing of note, and a big part of the appeal of the story, is just how insanely prepared Clyde seems to be for most of the movie. Take this as your obligatory spoiler warning before I actually get to discussing the end, but from the start of the film up until about the 90th minute, Clyde comes off as a diabolical mix of Hannibal Lecter and Hannibal Smith. He’s intelligent, well-spoken, resourceful and very angry, yet he’s polite when he needs to be and is careful to never tip his hand. It’s like in handing the unrepentant Doyle a plea bargain, Nick Rice accidentally created a supervillain that Lex Luthor would love to have on his payroll if he wasn’t worried about Clyde taking over the business. The extent and execution of his actions reaches that level of impressive deviousness.

The other thing that stood out from the very beginning is this movie’s setting. Call me sentimental but I’m kind of in love with Philadelphia. Considering most of the tension comes from in and around City Hall, which is an exquisite stone building in the heart of a bustling modern metropolis, it was all sorts of eye candy for me. In addition, the prison scenes were shot in the old Eastern State Penitentary, commonly noted as a haunted attraction in these parts. Though I have to wonder what William Penn, the Quaker atop City Hall’s clock tower looking down at most of the city’s buildings, would make of all the explosions in his town.

Courtesy 49th Parallel
“Damn kids these days…”

Okay, last call for those wishing a spoiler-free experience to get out. I’m going to talk about the ending, now, and in retrospect it’s kind of pissing me off. So for most of the movie, Clyde is the sort frighteningly prepared and thorough villain that you can’t help but admire because the guy’s thought of everything. Then he seems to forget things. Like for example, when he sets the bomb for the mayor and Philly’s other top brass, why did he not include a motion sensor at the bottom of the case, activated after he leaves, so that it’d go off if it was moved? And why was his lair unprotected? When Nick and Chief O’Brien (yes, he had another name, and no, I don’t feel like looking it up) break into the place, they flick switches, pull covers off of equipment, so on and so forth. There isn’t one mine, no traps, not a single remote security measure, not even a tripwire! I was throwing up my hands in disgust! I mean, it’s one thing for the villain protagonist to be so smug he gets hoisted by his own pitard, but this was just downright stupid!

In the end, Law Abiding Citizen kind of let me down. I was along for the ride and enjoying it, wondering who was going to die next and how. The realism of its setting and execution pulled me in, but when the ending took a turn for the idiotic it hurled me back out again. What started out as an interesting and entertaining introduction to the origins of a truly menacing and intelligent character became a major disappointment. I’m inclined to say queue it up but shut it off after the first hour and a half. You may be saying, “But I won’t know how it ends!” My response is: Badly. Very, very, very badly. I don’t mean in terms of what happens to the characters, I mean in terms of the last dozen pages of the script getting fed to an angry badger before the scenes get shot. It’s mangled, abused, completely out of sync with the rest of the movie, kind of damp from drool and boy does it smell funny.

Josh Loomis can’t always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it’s unclear if this week’s film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain… IT CAME FROM NETFLIX.

Movie Review: True Grit

I grew up with Westerns. The big music and booming voice of John Wayne is something I’m quite familiar with. Unfortunately some of my childhood memories are a bit spotty, and the only thing I really remember from the 1968 version of True Grit is the famous scene of The Duke riding towards four men with the reigns in his mouth, a rifle in one hand and a six-shooter in the other. So I walked into the 2010 version of the film with an open mind as a fan of both the frontier genre and one Jeff Bridges. I knew it was a story of a headstrong teenage girl, Mattie Ross, hunting down the man who killed her father with the enlistment of the aging, overweight, one-eyed drunkard Marshall Rooster Cogburn. Other than that basic premise and the knowledge that this is a straight adaptation of Charles Portis’ novel rather than a remake of Wayne’s Oscar-winner, when the lights went out I went into this one cold.

Courtesy Paramount Pictures

The Coen Brothers, filmmakers known for quirkiness and scenery, seem to have taken all of their quirks out of the equation and focused on the authenticness of this Western experience. In addition to capturing the breathtaking landscapes that made up the untamed territory into which the protagonists ride, they also encapsulate some of the finer details of that period of American history. Houses, courtrooms and shops look lived in, hand-built, rough and tumble like the people within them. Guns sound off and kick realistically. Nobody uses contractions. It sucks you in very quickly and you can almost feel and taste the dust of the road.

Every bit as authentic are the performances. In general, nobody here can be accused of phoning in a performance, or telegraphing if you will. What shows this off are some of the briefest performances managing to stick out. Barry Pepper and especially Josh Brolin are very effective frontier villains for the short time they’re on screen, and Dakin Matthews as the blustering shopkeeper with whom Mattie must haggle in the film’s opening cement the tone and timbre of the piece. Most of our time, however, is spent with three disparate yet inextricably bound individuals, and every performance here is solid gold.

Courtesy Paramount Pictures
Don’t let the pigtails fool you. She’s not to be trifled with.

Hailee Steinfeld is in the mix with some heavy Hollywood hitters and yet comes out as just about the best performer in the movie. Her portrayal of a fourteen-year-old girl doggedly pursuing frontier justice breaks down all kinds of barriers that some would find insurmountable. She’s brave without being fearless and it’s clear that she’s grown up fast and hard in a world that would have her staying at home, crochetting and waiting to get married off to some landowner. Intelligent, well-spoken and tenacious above all, Mattie’s an immediately memorable character. Hailee’s work is Oscar-caliber, and while I haven’t seen The Fighter yet and can’t say for certain she got snubbed, it’s difficult for me to reserve judgement.

For all the fun that gets poked at him, Matt Damon really earns his spurs as Texas Ranger LaBeouf (boy, am I straining the Western puns or what?) who’s looking for the same man as Mattie for different reasons. He comes off as an arrogant, city-clicker dandy, but that might be a smokescreen to obfuscate just how dangerous he really is. Faced with the inplacable Mattie and the slovenly Cogburn, LeBeouf has to demonstrate patience was well as tenacity in the pursuit of his own goals. Damon does a great job with this, elevating a character that could have ended up as Cogburn’s sidekick as someone that stands entirely on his own.

As for Jeff Bridges… what can I say, that man can act. As if playing both ‘the Dude’ and Obediah Stane hadn’t demonstrated his range in recent years, his inhabiting of Rooster Cogburn once again shows just the kind of performance he can bring to the table. When you look at Rooster in this film, you’re not seeing Bridges in any of his other roles, you’re seeing a one-eyed lawman who isn’t afraid to bust a few rules to do his job, loves his liquor almost as much as running down the bad guys and demonstrates a hilarious tendency for understatement. As far as I can tell, John Wayne was playing the role as Rooster, while Bridges is Rooster, at least for this film’s run-time.

Courtesy Paramount Pictures
Just about every time he opened his mouth, I was grinning.

If I have any complaints about True Grit, it’d be linearity. There aren’t many diversions in the story and no major twists to speak of. As much as a straightforward storytelling exercise is not necessarily a bad thing, there are those who have come to expect a level of complexity in the narrative that this movie lacks. However, the characters have more than enough depth and nuance to make up for this, and the acting and scenery are so captivating that you’ll want the film to continue, not because there’s more story to tell but because these characters are such a delight to watch.

Stuff I Liked: Realism and authenticness in this Western go a long way. No actor turns in a bad or lackluster performance.
Stuff I Didn’t Like: A little more development of Ned Pepper and his gang would have been cool, but really wasn’t necessary for the story so I understand why we didn’t have it.
Stuff I Loved: The scenery is absolutely breathtaking, the three principles are quite stellar and the movie as a whole stands on its own as everything a good Western yarn should be.

Bottom line: FILL YOUR SEAT YOU SON-OF-A-BITCH!

IT CAME FROM NETFLIX! Predators

Logo courtesy Netflix. No logos were harmed in the creation of this banner.

{No audio this week. We apologize for the inconvenience.}

The nice thing about not being an official or professional movie critic is I can be surprised by things. I’ll read, watch and listen to other reviews and keep an eye and ear on the upcoming stuff hitting cinemas, but for the most part when I fire up the DVD player or pick an Instant selection, I can do so free of outside influences and deadlines, other than the polls. I’ve been trying to do that more since a couple people seem to think I need to have more thoughts of my own. In any event, I’m happy to say Predators surprised me. And it surprised me by being more than halfway decent in a really cool way.

Courtesy Troublemaker Studios

A guy in military kit with a wicked automatic shotgun gets dropped – literally – into a rainforest he doesn’t recognize. He soon encounters other folk with similar gear and just as much memory as him regarding how they got here, which is to say none. It soon becomes apparent that this ragtag group of strangers have been plucked from wherever they happened to be and have been brought to an alien world for a purpose. Like stocking a fishing pond with trout, these unfortunate folks have been put into this place just so they can be hunted by the eponymous Predators. Not all is what it seems, however, and the longer some of them survive, the more they learn about this world and the nature of their captors. Other than their wickedly advanced technology and that whole spine-ripping thing.

There’s always been something of an undercurrent of disappointment with sequels to the original Predator up until this point. Instead of increasing the scale of the action in what seems logical to those of us familiar with the success of Aliens as compared to Alien, the immediate sequel to Predator simply changed the setting to a humid LA landscape just slightly reminiscent of Robocop‘s privatized Detroit. From there the Predators got coupled with the aforementioned xenomorphs in some lackluster AVP entries that were nowhere near as awesome as the original graphic novel cross-over. They vanished from movies for a bit to appear in a couple video games, until one of those half-mad genius visionaries decided to give them one more chance at kicking some ass: Robert Rodriguez.

Courtesy Troublemaker Studios
From left: Heavy Weapons Guy, Surprise I Don’t Die First, That’s Mister Brody To You, Totally Not Ziva From NCIS, Badass Silent Yakuza Hitman

I covered his exploits as a director extensively last week, one or two factual hiccups aside, but this guy is actually to the production side of movies what “triple-threats” like Gene Kelly and Justin Timberlake are to the acting side. Not only is he a visionary director and a bold if somewhat tongue-in-cheek screenwriter, he’s also a no-nonsense producer. He’s backed almost as many films as he’s directed, and while some of them have been his own work, Predators is a project he’s thrown himself behind with obvious positive results. Nimród Antal had shown his directoral chops with small entries like Vacancy and Armored, and here Rodriguez has pointed his aesthetic sense directly at this long-awaited ‘genuine’ follow-up to that much-beloved if somewhat flaming 80s action classic.

Now, this isn’t exactly the next Inception, here. Don’t misunderstand. As much as I was having fun watching a genre-saavy Adrien Brody and several other notable character actors tromp through the jungle and wondering when and how the Predators were going to start picking them off, I couldn’t quite shake the feeling that half the reason this movie got made was almost as an apology to long-suffering Predator fans who’d felt cheated out of a proper sequel for decades. It’s a B-movie, and makes no apologies about being a B-movie, so viewers interested in keeping their eyeballs unsullied by B-movies will want to give this one a pass. Finally, Predators tries to stand on its own to the degree of more than a few expository scenes filling time with back-and-forth with the characters about where they are and what’s going on as opposed to who they are.

Courtesy Troublemaker Studios
“Go ahead. Make fun of The Pianist again. Did you forget I’m an Oscar-winner, bitch?”

Then again, that might be part of the appeal of this sort of movie. The composition of the protagonist team is just diverse enough in personality as well as nationality to give us a snapshot of the kind of people the Predators feel ‘worthy’ of their attentions, and as much as this is not exactly a script that makes the ancient farts at the Academy salivate into their porridge, none of the actors seem to be phoning it in. There’s just enough sincerity to make the audience generally interested in what happens to these people, and just enough tongue-in-cheek callbacks to the original, reaching back over years of lackluster abuse of the IP, to give it a much-needed injection of awesomeness.

Fans of Predator, your years of disappointment are at an end. Fans of science-fiction action, this one’s right up your alley. Fans of Adrien Brody… well, he looks pretty cut and he’s actually got some decent one-liners, so yeah, give it a shot, but it’s not for the squeamish. It’s waiting for you on Netflix, but minor spoiler alert, folks: there are no helicopters in Predators. So, if you were hoping Adrien or perhaps Danny Trejo would have the opportunity to yell “GET TO DA CHOPPAH!!!”… sorry to disappoint.

Josh Loomis can’t always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it’s unclear if this week’s film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain… IT CAME FROM NETFLIX.

Guest Post: Movie Review: Dreamcatcher

As you read this I am driving up towards the Great White North. While I deal with traffic, border shenanigans and the quest for a cup of Tim Horton’s, enjoy this review of Dreamcatcher, courtesy of Monica Flink. Please check out her blog, at Poached Prose.

When I find something true, or originally mind-blowing enough to leave an impression on me, I like to pay homage in a sincere show of flattery that does not evolve into all-out ass kissing. As such, I knew when I was going to review Stephen King’s Dreamcatcher, I could only pay homage to one man. That is right, I’m going to give a huge nod to the Nostalgia Critic, and we’re going to play The Stephen King Drinking Game. Because that is the only way we are all going to get through this movie. Warning: The Stephen King Drinking Game is only for those with the iron liver of a Depression-Era Irish bootlegger.

Courtesy Castle Rock

Dreamcatcher is the story of five friends who are going on a hunting trip just outside of Derry, Maine. If you recognized that every Stephen King story takes place in Derry, go ahead and take your shot. On their hunting trip the four friends realize that something is going on when animals begin fleeing the forest in droves, and a military presence is keeping people from leaving the area.

Courtesy Castle Rock
The animals always recognize evil first. I think the presence of Damian Lewis tipped them off.

The four childhood friends, Henry (Thomas Jane), Beaver (Jason Lee), Jonesy (Damian Lewis), and Pete (Timothy Olyphant), find themselves in the middle of an alien invasion, the infected human beings characterized by a red rash across their skin that is colloquially called the Ripley, after “…the broad in the Alien movies.” What’s that, a group of friends that have been together since childhood? Take another shot. Infection of the Ripley means flatulence, illness symptoms, and eventually an alien creature emerges from one of the holes we all have, the rectum.

These creatures, called “shit-weasels” by the government (Really? Shit-weasels was the best they could come up with? You know what, take a shot. You’re going to need it.) eventually grow and lay eggs to make more of their kind. The four friends discover this in different ways, Jonesy and Beaver get stuck with one in the cabin, while Henry and Pete discover a woman with the Ripley when they have a car accident in the snow.

Courtesy Castle Rock
It looks like a sperm with teeth. So basically anything that would come from Mel Gibson’s shriveled sack.

In flashbacks, it is revealed that the four friends made a fifth friend who does not visit the cabin with them named Douglas, a mentally disabled boy they rescue from bullies one day, who proudly declares himself “I Duddits!” and talks about someone named Mr. Gray all the time. What is this, half a Stephen King story told in flashbacks, and one-dimensional, completely irredeemable bullies put there to make the heroes draw closer? You just took two shots, didn’t you?

Henry figures out somehow that this alien problem is something that Duddits, now a mentally disabled adult dying of leukemia played by Donnie Wahlberg, needs to help fix. You are slowly and menially led through two stories, the story of Henry trying to get to Duddits to help stop the head alien, Mr. Gray, against the overpowering military efforts of Colonel Abraham Curtis (Morgan Freeman), and of Jonesy, who has Mr. Gray’s incorporeal spirit stuck in his head, attempting to poison the water source with alien eggs.

Hey, did you forget to take a shot when an overbearing authority figure was mentioned? Shame on you. Make it up now.

Where are Beaver and Pete during all this, you might ask? Well they were conveniently killed off so that there would be no inconvenient need to develop them past the smart-mouthed and womanizing stages their characters were in, respectively. The story is dull, when something about aliens that ravage your innards and take over your brain should be exploding with excellence, and the actors, the big name actors in this movie which include Tom Sizemore, Morgan Freeman, Thomas Jane, Timothy Olyphant, and Jason Lee, are phoning in their performances. The only one not half-assing it is Donnie Walhberg, and he has to play someone mentally deficient the entire time.

Courtesy Castle Rock
Think they’d notice if we just flagged someone down and went to go make better movies?

The director, Lawrence Kasdan, is better than this. The man has movies to his credit like The Empire Strikes Back and Raiders of the Lost Ark. Dreamcatcher just looks cheaply made for something that had nearly 70 million dollars poured into it, and the end is as anti-climactic as you can get with alien-on -alien action. It’s clear it wanted to be something more, and tried so hard that it popped like an over-ripe tomato on a hot kitchen counter.

If there is anything redeemable in this movie, it would be the child actors in the flashbacks. From the pop culture references that only someone King’s age would understand (take a shot) to the insurmountable courage that they all have which seems to disappear as neurotic adults (take another shot), the kids are the best actors in the whole damn movie. Except maybe for the shit-weasels. Those computer generated little bastards do some good by killing folk off for us.

If you are going to watch a movie based on a Stephen King novel, I suggest one of the ones that are either from his earlier years, such as Carrie or have nothing mystical or paranormal about them at all, like The Shawshank Redemption. These films will be far more entertaining, and will not get you nearly as drunk. Now call your DD and thank the Nostalgia Critic for sharing the whiskey-soaked love.

Courtesy Castle Rock
I think we both know this is just my paycheck movie. Those penguins didn’t pay crap.

IT CAME FROM NETFLIX! The A-Team

Logo courtesy Netflix. No logos were harmed in the creation of this banner.

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10 years ago a crack commando unit was sent to prison by a military court for a crime they didn’t commit. These men promptly escaped from maximum security stockades. Today, still wanted by the government, they survive as soldiers of fortune. If you have a problem, if no one else can help, and if you can find them, maybe you can hire… The A-Team.

‘Keep it simple’. It’s a cardinal rule of most creative productions, and the 2009 big-screen adaptation of this 80s television staple is no exception. The basis, stated plainly in the show’s opening narration, remains completely intact. You have four paramilitary guys who are very, very good at what they do, using brains as well as brawn to pull off daring plans and always ending up on the wrong side of the establishment. However, the TV show never really went in-depth as to how these men met and learned to trust one another so completely, hence Joe Carnahan’s take on the A-Team.

Courtesy 20th Century Fox

Liam Neeson steps into the role of Colonel Hannibal Smith. We’ve seen him play both a mentor and a badass, and this role has him undertaking elements of both, but it also shows him truly enjoying what he does. Hannibal’s a guy who loves getting one over on the competition, being at least three steps ahead of his enemy, always having a plan and when they come together? Man. He LOVES that. Every smile Liam cracks is infectious, and every cigar a reminder of just how iconic both the character and the actor have become.

Fresh from encounters with Mike Tyson, tigers and midget gangsters, Bradley Cooper brings us a rendition of Lt. ‘Faceman’ Peck, the team’s infiltration specialist. He doesn’t hesitate to use his looks to gain a better position with the ladies (insert waggling of eyebrows here) and he loves a good time just as much as he loves his fellow Rangers. Something touched on here is, as someone considered to be Hannibal’s number 2, he’s learning all he can from the Colonel and seeks his approval perhaps more than the others do. It’s an interesting nuance to the character that keeps him fresh.

Courtesy 20th Century Fox
Believe it or not, even the mohawk has a story.

While he’s no Miser T, Quinton “Rampage’ Jackson steps out of the Octagon and directly into the mohawk and fists of Corporal B.A. Baracus. Gearhead, bruiser and sucker for a coconut curry tapenade, B.A. is also fleshed out beyond ‘pitying da foo”. Oh, he kicks quite a bit of ass, but he also inhabits what could have been a straightforward driving brick of a character with some legitimate pathos. While his neuroses are played for laughs more often than not, it’s nice to see a burly young man express emotions other than anger, lechery and/or stoic emotional distance in a modern action flick.

Last but by no means least, ascended fanboy Sharlto Copley of District 9 fame reminds us why Captain Murdock is called “Howling Mad.” Of course, the ‘howling’ might also describe the audience reaction to some of his antics. A daring, brilliant and fearless pilot, H.M. is also completely batshit insane. Or is he? There are moments in the movie when he shows an almost frightening amount of clarity and lucidity. While his bonkers behavior’s a riot, we also see a man who just might be pulling a fast one on everybody around him, even those he considers brothers. He rounds out the ensemble excellently and the team as a whole is a delight to see in action.

Courtesy 20th Century Fox
“Ladies and gentlemen, this is your captain speaking, your nuclear steaks will be delivered just as soon as they’re done on the wing, which by the way is kind of on fire right now.

You might have noticed I haven’t said much about the plot of the A-Team. Well, other than updating the origins of the team to Iraq and involving shady CIA agents and Blackwater-style PMCs, there’s not a whole lot here in terms of plot. The A-Team isn’t interested in weaving deeply intricate strains of narrative into a broader message about brotherhood, military interventionism or anything like that. It is, however, looking to take both its cast and its audience on a wild ride. It also maintains that a wild ride need not be a stupid one.

In reality, we know that even the lowest-tier police officer needs to fill out mountains of paperwork when he or she discharges a firearm while on duty. On the other end of the extreme, some action movies have the heroes blazing away at the bad guys without a second thought regarding the cost of their firepower, in collateral damage or loss of innocent life. The A-Team places itself firmly between the two extremes. Our heroes do make use of assault rifles, rocket launchers, vehicles and even construction cranes to pull off their gambits, but their goal is almost never the direct death of a foe. The TV show was almost completely bloodless, and while the movie doesn’t quite take things that far, it also doesn’t perpetuate violence for its own sake. To a man, these Rangers are trained in the judicious and intelligent use of firepower, and it’s refreshing to see this portrayal of canny and clever men of action.

Courtesy 20th Century Fox
Acting or not, isn’t it nice to see Liam smile like that?

In the execution of that action, the portrayal of just about all of its characters and updating a beloved 80s franchise into a viable 21st-century storytelling framework, The A-Team delivers in a very smart, very fun way. As I said, there’s not a great deal of narrative nuance here and most savvy watchers will see the big plot twist coming, but it’s forgivable in this case because these are smart, real characters thinking their way out of things just as much as they shoot their way out. It’s all wrapped up very nearly and presented with the professional aplomb and slightly crazed abandon that made Carnahan’s Smokin’ Aces such a delight. There are plenty of action flicks out there. But if you want your action delivered with brains as well as bullets, if you’re a fan of any member of this excellent cast, and if you can find it on your Netflix queue, maybe you should watch… The A-Team.

Josh Loomis can’t always make it to the local megaplex, and thus must turn to alternative forms of cinematic entertainment. There might not be overpriced soda pop & over-buttered popcorn, and it’s unclear if this week’s film came in the mail or was delivered via the dark & mysterious tubes of the Internet. Only one thing is certain… IT CAME FROM NETFLIX.

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