Here we go. Thank you, acid.

Wanderlust

(2012)

Mostly witless commune comedy, that trots out every tired joke about hippy lifestyles you can think of. Just because one of these hasn't been made in a few decades doesn't make it suddenly fresh. There's an endless flow of crap gags about taking a crap in public, free-love, "modern" technology of 20 years ago and lifestyle clashes.

The encouragement to improvise leaves Paul Rudd (has this guy got tax problems like Nic Cage, cos he seems to be in everything?) high and dry in a "hilarious" sex talk scene, while Justin Theroux fails to muster any laughs at all.

What's that? Judd Apatow's a producer? That explains Rudd's presence, and the parade of lame poo-poo wee-wee dick-dick jokes. Even the trip sequence is weak. There are a few compensations; Jennifer Aniston is as likably perky as always, Alan Alda seems to be having fun, and Malin Akerman is the only reason the commune would hold any attraction at all.

*1/2

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Poor Easy Breezy.

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So you made contact with the French operative?

Atomic Blonde (2017)
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Well, it seems our Mr Steed is not such an efficient watchdog after all.

The Avengers 2.7: The Decapod
A title suggesting some variety of monstrous aquatic threat for Steed and Julie Stevens’ Venus Smith. Alas, the reality is much more mundane. The Decapod refers to a Mongo-esque masked wrestler, one who doesn’t even announce “I will destroy you!” at the top of his lungs. Still, there’s always Philip “Solon” Madoc looking very shifty to pass the time.

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The trail leads to wrestling bouts at the public baths, where the Butcher…

He tasks me. He tasks me, and I shall have him.

Star Trek II: The Wrath of Khan
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(SPOILERS) I don’t love Star Trek, but I do love Star Trek II: The Wrath of Khan. That probably isn’t just me, but a common refrain of many a non-devotee of the series. Although, it used to apply to The Voyage Home (the funny one, with the whales, the Star Trek even the target audience for Three Men and a Baby could enjoy). Unfortunately, its high regard has also become the desperate, self-destructive, song-and-verse, be-all-and-end-all of the overlords of the franchise itself, in whichever iteration, it seems. This is understandable to an extent, as Khan is that rare movie sequel made to transcendent effect on almost every level, and one that stands the test of time every bit as well (better, even) as when it was first unveiled.

In a few moments, you will have an experience that will seem completely real. It will be the result of your subconscious fears transformed into your conscious awareness.

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Genuine eccentrics are a dying breed.

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(SPOILERS) Despite the doubts and trepidation from devotees (too blonde, uncouth etc.) that greeted Daniel Craig’s casting as Bond, and the highly cynical and low-inspiration route taken by Eon in looking to Jason Bourne's example to reboot a series that had reached a nadir with Die Another Day, Casino Royale ends up getting an enormous amount right. If anything, its failure is that it doesn’t push far enough, so successful is it in disarming itself of the overblown set pieces and perfunctory plotting that characterise the series (even at its best), elements that would resurge with unabated gusto in subsequent Craig excursions.

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Now In Full Color, with a Happier Ending

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