muratmihcioglu

I must have seen it in its day but I couldn't be sure if I had when watching it this time, because this definitely is far from the level of There's Something About Mary or Dodgeball.

Much as I appreciate almost everything by Ben Stiller, and Vince Vaughn teams up well with him this time, too, and Jonah Hill does deliver as expected, and Richard Ayoade carries his IT Crowd persone into this one prefectly well... I have issues with how they have literally WASTED the opportunity to do something much better and more notable.

I just don't get it why they keep filling those BROMANCE movies with disgusting stuff that serves no other purpose than filler material. In certain scenes, the sexual references and total disregard of the ick factor made me think they were even drifting away from the supposed randomness of such male characters. Goo, cum, piss, etc... Was the SF/comedy ascpect of this story really so uninvestable that they spent dozens of minutes on such low hanging fruits?

I could have been on board with the choice if any of those worked like Stiller's amazing hair jel scene from There's Something About Mary, but no, there was nothing cinematically cool about all that banter.

And I refuse to join in on any excitement whatsoever over the destruction of an innocent cow. It doesn't matter if it's CGI, planting such stuff into movies counts as animal cruelty to me as it becomes part of our accepted reality for the purposes of watching a movie.

The premise wasn't bad at all. They could have refined this and that and make this work like Ghostbusters (the original) had in its day.

They just haven't decided to move in such a direction, to end up with a forgettable-but-fun movie.

Erin Moriarty in her prime is nice to see, though. (Now, this was something the characters in this movie would say!)

Deathtrap, which came exactly a decade later, was following this one's footsteps as it placed Caine opposite Reeve, I guess.

Though both movies are centered around queer or queer-ish men in games of power, smartness and authority, this one operates on a more free interpretation of reality and social relations. Early on, I was not convinced at all that Milo could have fallen into such a trap. Then, as the movie began to present itself as more of a satire, a play in and of itself, with good use of costumes, toys, decoration whatnot, I met the story on its own terms, freeing my mind of how actual men in such positions would have handled the situation.

And, well, that actually made the experience more enjoyable. A few songs in the soundtrack were top notch, too.

As theater-ish movies go, this one is quite notable. Though there were moments of disturbance and dissatisfaction for me, it'd be hard to say the script was insufficient, given it allowed the whole thing to keep moving with just two actors.

I was merely glimpsling at RTV San Marino and I said "Waitaminnit is that Miriam Leone?" and I literally got captured by the spirit of the movie as she seduced the guy!

Some movies have that particular spark which signals the creators were really onto something, and have managed to convey an emotion, maybe without tapping every precious potential. This is one. Use this as a first draft and you can build up a top notch work of cinema.

The mail fault line with this execution is that the story drifts away from the spirit of "love under house arrest" to a dime novel crime story, reminiscing Betty Blue or Jackie Brown at times, resulting in losing the plot.

Another problem is, the production cannot live up to the premise of a house arrest via smart use of frames, decoration and other visual elements.

Had they taken a different path, the whole thing could have been boosted.