Kapilarasan
Joined May 2017
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Kapilarasan's rating
"The Ridiculous 6," Adam Sandler's first foray into a Netflix-exclusive film under his Happy Madison Productions banner, lives up to its name in ways likely unintended. Released in 2015, this Western "comedy" is less a coherent film and more a series of loosely connected, often offensive, and rarely funny sketches strung together with a flimsy plot.
The premise itself is paper-thin: White Knife (Sandler), a white man raised by Native Americans, discovers he has five half-brothers, each more cartoonishly stereotypical than the last. When their estranged father is kidnapped, the newfound siblings team up to rescue him. What follows is a meandering journey across the Old West, punctuated by gags that range from juvenile to outright insensitive.
One of the most significant criticisms leveled against "The Ridiculous 6" is its reliance on lazy and offensive stereotypes, particularly in its portrayal of Native American characters. Several Native American actors reportedly walked off the set due to the film's disrespectful depiction of their culture. The humor often resorts to crude jokes based on race, ethnicity, and physical or mental disabilities, demonstrating a shocking lack of awareness and sensitivity.
Beyond the offensive content, the film simply isn't funny. The humor feels forced and relies heavily on Sandler's signature brand of sophomoric gags, which have long worn thin. Running jokes are dragged out far beyond their welcome, and the attempts at physical comedy often fall flat. The script is riddled with clichés and lacks any real wit or cleverness.
Even the impressive cast, featuring the likes of Terry Crews, Jorge Garcia, Taylor Lautner, and even veterans like Harvey Keitel and Steve Buscemi in smaller roles, cannot salvage the material. They seem lost in a sea of unfunny scenarios and underdeveloped characters, often reduced to playing broad caricatures.
Visually, the film is unremarkable. The Western landscapes are generic, and the production design lacks any distinctive flair. The direction is equally uninspired, failing to inject any energy or comedic timing into the sluggish pacing. At nearly two hours, "The Ridiculous 6" feels significantly longer than its meager comedic offerings warrant.
In conclusion, "The Ridiculous 6" is a cinematic misfire on multiple levels. Its reliance on offensive stereotypes, coupled with its consistently unfunny and lazy humor, makes it a painful viewing experience. While some viewers might find a chuckle or two in its sheer absurdity, the film ultimately stands as a low point in Adam Sandler's filmography and a regrettable entry in the Western genre. It's a film that seems content to wallow in its own ridiculousness without ever managing to be genuinely amusing or insightful.
The premise itself is paper-thin: White Knife (Sandler), a white man raised by Native Americans, discovers he has five half-brothers, each more cartoonishly stereotypical than the last. When their estranged father is kidnapped, the newfound siblings team up to rescue him. What follows is a meandering journey across the Old West, punctuated by gags that range from juvenile to outright insensitive.
One of the most significant criticisms leveled against "The Ridiculous 6" is its reliance on lazy and offensive stereotypes, particularly in its portrayal of Native American characters. Several Native American actors reportedly walked off the set due to the film's disrespectful depiction of their culture. The humor often resorts to crude jokes based on race, ethnicity, and physical or mental disabilities, demonstrating a shocking lack of awareness and sensitivity.
Beyond the offensive content, the film simply isn't funny. The humor feels forced and relies heavily on Sandler's signature brand of sophomoric gags, which have long worn thin. Running jokes are dragged out far beyond their welcome, and the attempts at physical comedy often fall flat. The script is riddled with clichés and lacks any real wit or cleverness.
Even the impressive cast, featuring the likes of Terry Crews, Jorge Garcia, Taylor Lautner, and even veterans like Harvey Keitel and Steve Buscemi in smaller roles, cannot salvage the material. They seem lost in a sea of unfunny scenarios and underdeveloped characters, often reduced to playing broad caricatures.
Visually, the film is unremarkable. The Western landscapes are generic, and the production design lacks any distinctive flair. The direction is equally uninspired, failing to inject any energy or comedic timing into the sluggish pacing. At nearly two hours, "The Ridiculous 6" feels significantly longer than its meager comedic offerings warrant.
In conclusion, "The Ridiculous 6" is a cinematic misfire on multiple levels. Its reliance on offensive stereotypes, coupled with its consistently unfunny and lazy humor, makes it a painful viewing experience. While some viewers might find a chuckle or two in its sheer absurdity, the film ultimately stands as a low point in Adam Sandler's filmography and a regrettable entry in the Western genre. It's a film that seems content to wallow in its own ridiculousness without ever managing to be genuinely amusing or insightful.
Sean Baker's The Florida Project is a poignant, vivid, and deeply humanistic film that explores the shadow side of the American Dream through the eyes of a child. Set in the pastel-colored, low-budget motels just outside the gates of Disney World, the film juxtaposes the fantasy of consumer paradise with the harsh realities of poverty.
At the center is Moonee (played with raw authenticity by Brooklynn Prince), a six-year-old girl whose boundless energy and rebellious charm anchor the narrative. She and her friends spend their summer roaming the motel grounds and nearby shops, blissfully unaware of the precarious world their parents inhabit. Her mother Halley (Bria Vinaite, in a startling debut), is a young, unemployed single mom doing what she can-however flawed or morally ambiguous-to keep their fragile existence afloat.
Baker's decision to shoot on 35mm film brings a vibrant, almost magical quality to the mundane surroundings. This contrast reinforces one of the film's central tensions: the beauty and resilience found in dire circumstances. The camera often lingers at child-height, immersing us in Moonee's point of view. To her, the Magic Castle motel is just as enchanted as the Magic Kingdom down the road.
What makes The Florida Project especially powerful is its refusal to moralize. It neither victimizes nor romanticizes its characters. Halley, for instance, is impulsive, immature, and sometimes infuriating-but she's also fiercely loving in her own way. Willem Dafoe, as the motel manager Bobby, delivers a masterful performance. His character becomes an unlikely moral compass, a reluctant guardian angel doing his best in an environment where he's constantly overextended.
The film's final moments, a sudden stylistic shift into fantasy, are both controversial and emotionally resonant. Some may find the ending jarring or ambiguous, but it serves as a fitting coda to a film that thrives on the tension between dream and reality.
In conclusion, The Florida Project is a vital work of American neorealism-empathetic, immersive, and socially conscious. It challenges viewers to see the invisible lives on the margins not with pity, but with compassion and understanding. It's not always an easy watch, but it's one that lingers long after the credits roll.
At the center is Moonee (played with raw authenticity by Brooklynn Prince), a six-year-old girl whose boundless energy and rebellious charm anchor the narrative. She and her friends spend their summer roaming the motel grounds and nearby shops, blissfully unaware of the precarious world their parents inhabit. Her mother Halley (Bria Vinaite, in a startling debut), is a young, unemployed single mom doing what she can-however flawed or morally ambiguous-to keep their fragile existence afloat.
Baker's decision to shoot on 35mm film brings a vibrant, almost magical quality to the mundane surroundings. This contrast reinforces one of the film's central tensions: the beauty and resilience found in dire circumstances. The camera often lingers at child-height, immersing us in Moonee's point of view. To her, the Magic Castle motel is just as enchanted as the Magic Kingdom down the road.
What makes The Florida Project especially powerful is its refusal to moralize. It neither victimizes nor romanticizes its characters. Halley, for instance, is impulsive, immature, and sometimes infuriating-but she's also fiercely loving in her own way. Willem Dafoe, as the motel manager Bobby, delivers a masterful performance. His character becomes an unlikely moral compass, a reluctant guardian angel doing his best in an environment where he's constantly overextended.
The film's final moments, a sudden stylistic shift into fantasy, are both controversial and emotionally resonant. Some may find the ending jarring or ambiguous, but it serves as a fitting coda to a film that thrives on the tension between dream and reality.
In conclusion, The Florida Project is a vital work of American neorealism-empathetic, immersive, and socially conscious. It challenges viewers to see the invisible lives on the margins not with pity, but with compassion and understanding. It's not always an easy watch, but it's one that lingers long after the credits roll.
Novacaine 2025 bursts onto the screen as a high-octane action-comedy with a truly unique premise: a mild-mannered bank employee named Nathan Caine (played with endearing awkwardness by Jack Quaid) suffers from Congenital Insensitivity to Pain with Anhidrosis (CIPA), meaning he can't feel physical pain or sweat. This condition, initially presented as a source of his sheltered and lonely existence, becomes his unexpected "superpower" when his love interest, a fellow employee named Sherry (Amber Midthunder), is kidnapped during a bank robbery.
The film, directed by Lars Jacobson from a script by Dan Berk and Robert Olsen, gleefully embraces its absurd concept. What follows is a relentless and often brutally violent rescue mission, where Nathan endures a cartoonish level of injuries - from gunshot wounds to burns - without so much as flinching. This central gag is undeniably the film's strongest asset, providing ample opportunities for dark humor and inventively staged, if sometimes wince-inducing, action sequences.
Quaid delivers a compelling performance, balancing Nathan's initial timidity with a growing, albeit clumsy, heroism. His wide-eyed reactions to the escalating mayhem around him, completely detached from the physical consequences, are consistently entertaining. The chemistry between Quaid and Ray Nicholson, who plays the volatile and menacing bank robber Simon, is surprisingly electric. Nicholson embodies the wild-eyed psycho with relish, creating a compelling antagonist against Quaid's reluctant hero. Amber Midthunder, while capable, is somewhat relegated to the damsel-in-distress role for a significant portion of the film, though the narrative does offer some unexpected twists regarding her character later on.
However, beyond its intriguing premise and the engaging performances of its leads, Novacaine 2025 treads familiar genre territory. The plot, involving a reluctant hero thrust into a hostage situation and a series of escalating confrontations, offers few genuine surprises. While the execution is undeniably energetic and the pacing brisk, the narrative structure feels somewhat formulaic. The film leans heavily into action-thriller tropes, making it easy to predict the general trajectory of the story.
The humor, while present throughout, is a mixed bag. Some of the darkly comedic moments, particularly those stemming from Nathan's obliviousness to his injuries, land effectively, eliciting genuine laughs. However, other comedic attempts feel forced or rely on over-the-top absurdity that doesn't always connect. The film occasionally sacrifices logic for the sake of a gag, which, while expected given the premise, can sometimes detract from the overall impact.
Technically, Novacaine 2025 is a well-made film. The action sequences are generally well-choreographed, making creative use of Nathan's unique condition. The practical effects for the injuries are impressively gruesome, contributing to both the comedic and visceral aspects of the film. However, the soundtrack occasionally resorts to obvious needle drops that feel uninspired.
In conclusion, Novacaine 2025 is an enjoyable and often gleefully violent action-comedy that successfully leverages its high-concept premise and the charismatic performances of Jack Quaid and Ray Nicholson. While it doesn't reinvent the genre and its narrative is somewhat predictable, the film delivers a potent dose of adrenaline-fueled entertainment with a distinct comedic edge. If you're looking for a movie that isn't afraid to get bloody and embrace the absurd, Novacaine 2025 offers a largely painless, if not entirely groundbreaking, viewing experience. It's a fun ride that knows exactly what it wants to be, even if it doesn't always push its interesting ideas to their full potential.
The film, directed by Lars Jacobson from a script by Dan Berk and Robert Olsen, gleefully embraces its absurd concept. What follows is a relentless and often brutally violent rescue mission, where Nathan endures a cartoonish level of injuries - from gunshot wounds to burns - without so much as flinching. This central gag is undeniably the film's strongest asset, providing ample opportunities for dark humor and inventively staged, if sometimes wince-inducing, action sequences.
Quaid delivers a compelling performance, balancing Nathan's initial timidity with a growing, albeit clumsy, heroism. His wide-eyed reactions to the escalating mayhem around him, completely detached from the physical consequences, are consistently entertaining. The chemistry between Quaid and Ray Nicholson, who plays the volatile and menacing bank robber Simon, is surprisingly electric. Nicholson embodies the wild-eyed psycho with relish, creating a compelling antagonist against Quaid's reluctant hero. Amber Midthunder, while capable, is somewhat relegated to the damsel-in-distress role for a significant portion of the film, though the narrative does offer some unexpected twists regarding her character later on.
However, beyond its intriguing premise and the engaging performances of its leads, Novacaine 2025 treads familiar genre territory. The plot, involving a reluctant hero thrust into a hostage situation and a series of escalating confrontations, offers few genuine surprises. While the execution is undeniably energetic and the pacing brisk, the narrative structure feels somewhat formulaic. The film leans heavily into action-thriller tropes, making it easy to predict the general trajectory of the story.
The humor, while present throughout, is a mixed bag. Some of the darkly comedic moments, particularly those stemming from Nathan's obliviousness to his injuries, land effectively, eliciting genuine laughs. However, other comedic attempts feel forced or rely on over-the-top absurdity that doesn't always connect. The film occasionally sacrifices logic for the sake of a gag, which, while expected given the premise, can sometimes detract from the overall impact.
Technically, Novacaine 2025 is a well-made film. The action sequences are generally well-choreographed, making creative use of Nathan's unique condition. The practical effects for the injuries are impressively gruesome, contributing to both the comedic and visceral aspects of the film. However, the soundtrack occasionally resorts to obvious needle drops that feel uninspired.
In conclusion, Novacaine 2025 is an enjoyable and often gleefully violent action-comedy that successfully leverages its high-concept premise and the charismatic performances of Jack Quaid and Ray Nicholson. While it doesn't reinvent the genre and its narrative is somewhat predictable, the film delivers a potent dose of adrenaline-fueled entertainment with a distinct comedic edge. If you're looking for a movie that isn't afraid to get bloody and embrace the absurd, Novacaine 2025 offers a largely painless, if not entirely groundbreaking, viewing experience. It's a fun ride that knows exactly what it wants to be, even if it doesn't always push its interesting ideas to their full potential.
