In perhaps not so surprising revelation the plot horrible bosses are not really the point, but even if he actually holds, as wonderful as it is by looking twists and turns, which border on sophistication. Jason Bateman is Nick, I think our entry point into the story. He works in his ass, putting in double-digit hours a day, and most of the weekend, trying to please the man in charge, Harken (Kevin Spacey), and power back enthusiast who hints that all the hard work Nick will manage the situation. I think anyone who has seen the legendary turn Spacey in a pool of sharks detect a pattern for Harken, but I did not mind that he knocked on some familiar territory.
Kurt (SNL, Jason Sudeikis, recently out of the hall Pass) actually has a big boss (Donald Sutherland), who promptly dies, leaving the company to his son Bobby corrupt pig (almost unrecognizable Colin Farrell), who intends to destroy the company . Nick and Kurt have a tough time seeing the troubles of their dental assistant friend Dale (Charlie Day from "It's Always Sunny in Philadelphia" and who showed great chemistry with each Sudeikis in last year's Going underestimate the distance), whose sexy boss (Jennifer Aniston) comes on strengths and between them while cleaning your teeth. It would not be such a terrible thing if Dale was recently engaged.
After a night of drunken discussions, they decided to go for a bad part of town and hire a killer. Instead, they are "killing consultant" in the ex-con (good supporting turn, Jamie Foxx), who advises them to do the work yourself, but in a manner that leaves no connective tissue between the employee and the employer's murder.
Except for his terrible Four Christmases, Seth Gordon, director of solid comedy, including a documentary King of Kong (yes, the document may be a comedy), as well as episodes of "Parks and Recreation," "community," "The Office" and "Modern Family ". But the terrible bosses raises him in the comedy landscape. After the murder, "plan" is in place, the story (from screenwriters Michael Markowitz, John Francis Daley and Jonathan M. Goldstei) actually gets a little complicated, and Gordon does a good job of walking, while building up anticipation as dirty deeds prepared to do.
C Bateman, Sudeikis and Day (let's throw out there too Spacey) is essentially playing versions of the characters we've seen them do before, the real standouts are Farrell and Aniston, both of which are immersed in their vulgar behavior with wild abandon. I carefully lovers of romantic comedies Aniston (I believe there are three of you out there) that your head will explode in the next language in the mouth terrible bosses. As for Farrell, sporting sexy wardrobe combover and shameless polyester, his genius can not be understated. I love when he takes risks like this, and I love him more when he does humor in such films as the bottom in Bruges (and, I suspect the upcoming remake of Night of Fright).
I do not want to give away any of the fun turns back half of the terrible bosses, but there is a death, some people go to jail, and almost nothing in the scheme of the gang goes to plan. The film becomes darker and goes into some bad places, and every time it was, I liked it a little more. History or no history, the three works so well together that I really hope they find a way to make another movie like this or different characters (as it's going to make a difference). Banter between Sudeikis and Day is particularly worth repeating. Only in the last couple of days, I've read some critics terrible bosses, who say that it is not as strong as the bridesmaids. To which I reply: "No shit." Why these two films do not even compare? That does not make terrible bosses a little less funny. Consider it a strong second place in the category of comedy this summer, and go check it out. Better Life
I have seen a small handful of appearances this year, which I consider worthy of reward, if awards season hit in mid-year point. But seeing the great Mexican actor Demian Bichir inhabit the character of Carlos better life made me realize that if this man was not nominated for several awards at the end of ten years, I might actually get angry. Better life does not necessarily tell us a story that we have not seen before, but he said so that he opens our eyes to some truths about human behavior and dignity, which so often sacrificed in the name of trying to improve their position in life. This is as emotionally stirring film as you'll probably see this year, and if you have not wept openly at the end of the movie, you have lived all their lives without a soul.
Carlos gardener East Los Angeles and a single father, who was living illegally in the U.S., probably a couple of decades. His son, a teenager Louis (Jose Julian) is a good kid who is friends with some of the local children's gang, but resist the gang life so far, although it is dating the sister of one of the most prominent leaders in the neighborhood. Clearly, Luis does not want to follow in the footsteps of his father, and it seems all right with Carlos. When the boss Carlos announced that he was leaving the state to return to Mexico quite a wealthy man, he offers to sell Carlos truck of money that Carlos is clearly not. But after borrowing a substantial amount of his holy sister, Carlos was still able to get a van, tools and clients. With the prospect of being his own boss and make a lot more money, Carlos does see time in the near future, where he and his son can be a terrible movie out of the neighborhood somewhere far away from the daily dangers and the struggle they endure.
For those of you who have never seen Bichir work before (he played Fidel Castro in Steven Soderbergh's Che and the "mayor of Tijuana" in "Weeds" Showtime), you're in something quite extraordinary, as he downplays his classically handsome looks to play a man who is desperately trying to blend in. I remember reading a description of the nature of the butler played by Anthony Hopkins in Remains of the Day, and he said that when the perfect butler walks in the room, the room should feel more empty. Here is how Carlos lives his life as a member of the invisible people of Los Angeles, living in the U.S. illegally, but so vital to day-to-day functioning of the city. Directed by Chris Weitz (about a boy, Moon), working on the script by Eric Eason (from a story by Roger L. Simon) perfectly captures not only the grueling Carlos from day to day life, but also so that life as something less than the accepted member of society chip away at the soul bit by bit.
About halfway, Carlos takes an employee of a group of day laborers standing outside of stores for home goods. But while Carlos shows his new employee how to climb a palm tree to cut it, his pickup truck with all their instruments stolen it, and the rest of the film includes the following keys Luis Carlos in search of the car. And it is this part of the way that we get an overview of some of the more unique neighborhoods in Los Angeles and citizens, as if it were different but equally great movie.
I do not want to spoil the film's final act, but during his short time span, she embodies the often devastating sacrifice associated with this kind of life. This leads to an emotional climax that is nothing more than a conversation between Carlos and Luis Carlos, which is perhaps the first time that this son, why he lived to his personality and his spirit must be subjugated for so long. This monologue, which will haunt you and floor for a long time after seeing it.
As much as I love big movies that come out at this time of year, I am a supporter of looking for special effects, car chases, and other worlds, in the summer months. When people tell me that they were disappointed by the lack of quality films out of Hollywood, I point to such films as better life as an example of the film, which is also fascinating, informative as it is (with a dash of a powerful emotional punch.) The film opens today at Landmark Century Centre Cinema. Go. See. It.
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