mojojones77 Reviews

The Dark Knight Rises (2012)

A Disappointed Dark Knight Rises review

[6/10 · 31 July 2012]

By Maurice Jones

In The Dark knight Rises T.V. spots, critics describe the movie as 'Monumental' and 'the best Batman film ever'. Thank God these are just ways to sell the movie and in no way to be taken seriously. Now I know they could not have topped The Dark Knight, but……could they have at least taken their time to make sure this movie was well made, which in then it would have had the chance to be better than The Dark Knight? I caught Nolan on T.V. at the MTV Movie Awards introducing the new dark knight rises trailer. In his introduction he sounded nervous, now I know why....

The Dark Knight Rises is in way too much of a hurry to get the story going and in which leaves no room for real emotional presence and expression. The pacing is amateurish as if they didn't have time to edit everything probably especially during the scene back-breaking scene as some parts of the beat down you can't even tell where and if Batman is being hit, what was the point of that?! They really should have taken more time with Batman coming out of hiding. After 8 years of not crime fighting he immediately knows how to look up criminals who have just robbed him like it's nothing?! Come on! Show us what 8 years has done to him mentally not just physically. Otherwise the act just comes off exactly that, an act. Bruce Wayne was WAY too calm for a guy now facing a mass terrorist and for someone who's been in hiding for 8 years. I really wish there was a scene where Bruce Wayne was more obsessed with making model planes or something, instead of becoming Batman, anything that made seem him more mentally unprepared to get back into crime-fighting where the 8 years really show its toll (in which Batman getting his ass kicked by Bane's henchmen would have shown the true toll of the 8 years). Bane should have taken more steps into luring Batman out of hiding so Bruce is forced to become Batman, rather than having Joseph Gordon-Levitt's character display his past and his knowledge that he knows Bruce is Batman in a rather odd and forgettable speech scene leading Bruce into saying 'Okay, I'll fight Bane 'cause I should' which makes Batman coming out of the shadows less rewarding. If there's nothing for us to worry about then nothing matters, and here they had many chances to make us truly feel something with the fall and rise of Batman but dropped the ball, with the most important chapter of the entire trilogy.

Joseph Gordon Levitt character is too poignant to take seriously and seems unreal as a result. He just says the same thing and acts the same way the whole movie playing a tough beat cop character he can't pull off. His character keeps arrogantly interrupting the other characters speaking with repeat dialogue and pointing out the obvious, making it impossible to appreciate his character and just wanting to see him disappear. Now, I get that they wanted the character to be so far from what he becomes at the end, that's why they made Joseph Gordon Levitt put on that voice, but good lord is it distracting.

The fight scenes: So they make Batman's suit more flexible but yet again Batman fights like every other Batman in movie history (except the 60's version and the cartoon version) like he can barely move at all and his elbows are the best bet. This a Batman movie, Batman's fight moves are just as important as the story, so there's no point in making the Batman suit more movable if the choreography doesn't change, ESPECIALLY in the last Batman movie of the trilogy! Also, I know Anne Hathaway can't really fight but camera cuts don't make me believe she can any further.

The speeches: Speeches get handed out like hot cakes to motivate a scene to progress as oppose to figuring out how a scene would progress with creative visual thought. Nolan thought pointless explanatory dialogue would be best, and how exciting that therefore is? Not exciting at all. For example; Alfred delivers his second speech throughout the movie for his hopes for Bruce as that if Bruce continues being Batman he'll leave. We no Alfred doesn't him to do the crime fighting, just have one scene(the bat cave scene) of Alfred's hopes for Bruce and then just have Alfred leave immediately after Batman ignores his pleas, no more Alfred speeches needed their pointless! So, the writing belittles the audience's intelligence and that's why Nolan's Batman movies will never win best writing, not that he cares.

In conclusion every else this movie has to offer is great. The plot, the story, the start of the film and the main actors all do their part. Anne Hathaway pulls off the real hopeless female emotion Catwoman has outside and underneath and works well within the 'realistic' view of Catwoman in Nolan's Batman world, but at times she seemed like Batgirl and she's definitely not THE Catwoman we're looking for. Bane was perfect as expected, the voice was perfect, acting but maybe they should have given him a green or grey tint of some kind but whatever. Now, this is only someone else's version of Batman not THE Batman, which is why people shouldn't be so up-in-arms with The Amazing Spiderman movie.

P.S. Mr. Nolan, I wish you would have stopped putting known actors in roles unknown actors could have played in your Batman films. It really took me out of the movies having to play the 'guess who that is' game especially during a serious scene (like the prison boat scene in The Dark Knight), so if there's ever a next time, please give other actors a chance to work. Thank you.

Sincerely,

Maurice A Jones

Tiny Furniture (2010)

Not amazing, but more real than you think...

[7/10 · 1 May 2012]

By Maurice Jones 'Tiny Furniture' has a 'hipster' creed all over it by the look, which makes most people tray away from it. Myself being one of these people, I none the less decided to check it out as you can never always tell something just by the trailer and I heard Lena Dunham's life is as portrayed in the movie, so it wasn't necessarily a style choice, not that that's important.

'Tiny Furniture' opens as you'd expect it too, down to the music. It unleashes a post 'Juno' independent film vibe that makes you wish more creative thought was put into this opening, however that's not the point to the film and if that is what Lena Dunham wanted to do based on reality, so be it.

Immediately from the start you get an amateurish film making shot after shot, from which you start to feel as I did; how did Lena Durham even get her own T.V. show? The acting itself, is.... well, amateurish to say the least at first and once to get to meet Aura's friends some might not be able to get past the fact that everyone in the film looks dressed straight out of the 'Urban Outfitters' catalogue but this is not unbelievable or relevant. You soon realize that the spark of the film is not the style but the fact that the way the characters react to each other is quite real even to the point that the film allows you to figure out for yourself as to what Aura actually feels for her friends and family. It doesn't beat you over the head as to how to perceive each character but rather truly puts enough out there, and leaves you to put down your own slight possibility of who they are, kind of like figuring people out in real-life, which isn't easy to portray on paper. The film is also very aware of what the audience thinks or what the audience would do in certain situations. So, when you say to yourself, I hope this goes down this way because that's what would happen, it does. And with that I give Lena Dunham credit for being true to her audience self, therefore being a true movie fan and doing something realistic for the sake of logic and not for the sake of relating, which someone might misconstrued the movies point as. A movie like this is around to show that this reality is okay and exists, because as we all know, society imitates art. If you don't relate to this movie, it's probably because you're not in your twenties or you're less neurotic of a person but trust me the setting of the movie couldn't be less of the point. This is a different looking version of a too real reality of today's twenty-somethings.

In the end 'Tiny Furniture' actually respects reality and what it has to offer as entertainment, avoiding emotional clichés, unlike the movie 'Young Adult' which involves many clichés, yet expects us to think it's different after it's all said and done. There are obvious problems with 'Tiny Furniture' but I've still haven't seen many movies like it, that respects the truth so much to allow it to play out as it does, that's why I like it, it's just straight up refreshing. To understand 'Tiny Furniture' you have to sit down and watch it in its entirety and see what happens, like life itself.

We Need to Talk About Kevin (2011)

Kevin is smart but crazy

[8/10 · 9 February 2012]

By Maurice Jones

Tilda Swinton is pushing her best in 'We Need To Talk About Kevin'. A movie about an American couple who give birth to a boy who they name Kevin, who is born straight out of the womb making his mother's life a living hell. The movie goes through flashbacks back and forth, to when the mother (Tilda Swinton) was the most happiest before Kevin, to when she is at her most broken down as Kevin pushes her limits. From when Kevin is born he completely hates his mother, ignoring her, degrading her, tricking her, insulting her and staring her down as if he plans to kill her and to his unaware father (played by John C. Reily) he acts like the perfect son. The mother tries to connect with Kevin in deep conversation during mother/son activities, but only to get rebuttals as to why such normal societal endeavors are pointless, which shows the insight Kevin has but how tragic for it to be surround in apparent evil. What makes the movie especially creepy is that it is never reached to why Kevin is the way he is to his mother. When she thinks things are alright with her relationship with her son, Kevin quickly makes it known that things are the same. With all this, the mother is frustrated and therefore mentally tortured to no end but seems to just accept things the way they are, waiting for the day Kevin will be out of her life for good.

Tilda Swinton gives an interestingly paced, realistic performance. You can always point just when her character is about to break and the depth of the character's confusing with Kevin. And as expected, if one never knew of Tilda Swinton, there is no guess that she is English, definitely one of her best. Ezra Miller deserves enough regards as older Kevin playing him without the slightest inch of remorse and nods to the child actor who played younger Kevin with realistic accuracy. John C. Reily is perfect casting as the clouded father who doesn't see Kevin's bad behavior, but the character it's self lacks realism and in part weighs the movie down.

'We Need To Talk About Kevin' is essentially the most extreme version of a realistic mother and son relationship. It is also a straight-forward telling of how a child can be more socially aware and honest than his parent. Through his dislike for his mother Kevin also seems to be the one in the whole movie that even though he is absolute evil, who just wants people to be who they really are and see things for what they really are instead of seeing things like having a child or partaking in social norms as things that you just do. With this Kevin makes himself a sacrifice of some unknown greater good to counter act society itself but in which it turns out he's human all along.

'We Need To Talk About Kevin' sucks you in with location and content. The bright atmosphere of the movie contrasts with how dark Kevin's personality is and guides you into a ride of uneasiness, and throughout the movie your just constantly asking "Why?" This with Tilda Swinton makes for an interestingly disturbing yet great thought provoking movie.

Taken (I) (2008)

Liam Neeson is The Ultimate Dad

[7/10 · 9 February 2012]

By Maurice Jones

When it comes down to it, I don't have any serious care for a film like this as it's just pure entertainment and Liam Neeson as an action hero is understandably laughable. But based on the enjoyed reaction it got from people around me and not being entirely opposed to mindless contrived mainstream entertainment, I checked out 'Taken'.

In 'Taken' Liam Neeson plays an ex government protector who decides to retired in order to get closer to his teenage daughter who's mother remarried do to the fact of his constant absence in the past do to his job. The ex protector soon finds out that his daughter wants to go away to Paris for the summer, asking his permission the ex protector immediately says no and warns her of the dangers of a teenage going out to Paris as a tourist on a whim, due to his experience being a government officer protecting the president. He eventually lets his daughter go and low and behold something happens and his daughter is taken, just as he predicted. At this point the movie goes straight into a movie sequence that seems set for Liam Neeson to be an action hero, a well narrating action hero which is immediately laughable. As things get into gear, out-right fight scene after out-right fight scene comes and comes as Liam Neeson's character is in search for his daughter in Paris. Although ridiculous, it is interesting and empowering seeing Liam Neeson plow through villain after villain and become this Jean Claude Van-Damme-esque ex protector reusing his past fight techniques. Liam Neeson's character is relentless in any way possible to get his daughter back which keeps the movie exciting but implausible and this lasts to the bitter end. By the end you can't believe he went through all that but are humbled by the quick acting-ness of a father who loves his daughter and will do anything for her.

I liked 'Taken' for the excitement and the ridiculousness of Liam Neeson being an action hero, but realizing in the end why Liam Neeson did this film; as he is soft enough to play a believable caring father but also smart enough and quick enough to be a lean mean unstoppable killing machine.

Rubber (2010)

" ..Why was E.T. brown? .......No reason."

[6/10 · 5 February 2012]

By Maurice Jones 'Rubber' a film that confronts the ignored of movie story lines and therefore caters to the unanswered random questions a movie audience ponders or should ponder.

At first understanding of the movie's title and description, you're given to perceive that 'Rubber' just essentially a horror movie about a killer car tire, but instantly upon viewing 'Rubber' there's a pleasant surprise that goes throughout the whole movie. 'Rubber' follows the traditional mood of standard horror movies having a protagonist female lead that has some sort of a connection with the killer tire, a sheriff trying to stop the killer tire, and the people in between who get killed. The difference with this particular slasher flick is that it's about traditional horror as 'Seinfeld' is about the traditional sitcom.

'Rubber' is a treat for anyone looking for something different, the ending falls short in terms of going nowhere but the main idea is what matters in this movie and that is the celebration of cinematic style that iconic cinema partly stems from, and with that makes for a really cleverly funny movie. With all that I liked 'Rubber' as it's rare to find a movie that focus' on what we don't get to see in a movie and so then wonder about, even if it's deliberate.

Carnage (2011)

The uncomfortable first half leads to a rewarding second half....

[8/10 · 24 January 2012]

By Maurice Jones

Roman Polanski's 'Carnage' starring Jodie Foster, John C. Reilly, Kate Winslet and Christoph Waltz main seem like an unbalanced superficial casting to some for a low-key movie such as this, but what at first is expectedly unfit and useless is later realized and understood.

From the opening of the film Roman Polanski uses the same intensity of 50's-60's suspense film openings such as 'Compulsion' to distract you from what is happening behind the credits to then lead you to the purpose of the film to the then the plot. The back drop of the credits is filmed and placed in a way that looks especially 70's, which entirely gives a delightfully and brilliantly vintage opening of a treat, as something like this is unfortunately rarely seen in a dramedy as this. A starting such as this lets you know that you're in for the creative dramatically playful telling of Mr. Roman Polanski.

The first few lines of the movie give way to the two head strong characters of the movie who battle it out later on, but before then the movie centers on the societal dealing with a schoolyard attack on the son of a seemingly liberal couple; Penelope and Michael (played by Jodie Foster and John C. Reilly) by the son of a seemingly conservative couple; Nancy and Allen (played by Kate Winslet and Christoph Waltz). Penelope is an opinionated, passionate writer who leads the reasoning of the incident. Michael is a friendly yet choosy salesman who tries to make light of the whole situation. Nancy is a pseudo-conservative who like Michael tries to keep the whole situation without argument and Allen is a sly yet focused attorney who would rather be working then deal with the incident as long as the whole thing is dealt with fairly. The first half of the movie displays the tight-rope courtesy of the two couples dealing with this unfortunate situation in Penelope and Michael's New York apartment, as little by little the faults of each parent comes out but is especially looked over for the sake of good re pore, which makes for a realistic look out on the stubborn idiosyncrasies of parents in general. As what one would consider to be poorly written, boring, typical or an off-putting part of the film is really a clever set up of what's to come as the first half realistically exports the pointlessness and exhaustiveness of how this situation is handled. As things seep towards the second half of the film the characters become less and less censored and open to be their real selves in the confinement of Penelope and Michael's apartment which leads to the rewarding and interesting part of the film. Nancy and Michael are the soft, mending parts of their relationships but turn out to be more disturbed and Penelope and Allen are the leaders and rightfully duke it out. As the conservative couple Nancy and Allen are nothing without their accessories and as the liberal couple Penelope and Michael just want to be heard and taken seriously.

What's great technically about 'Carnage' is Roman Polanski's eye and directing as he is aware of the subtleties and exaggerations of film and why they can go hand in hand. With that Kate Winslet is great at acting guarded and then letting her guard down and Jodie Foster pushes herself to points that seem brilliantly worrying (she should probably get an Oscar nom). John C. Reilly naturally does great playing the friendly, caring Michael who as much as he is that, he's as well careless and Christoph Waltz plays his usual cocky self who has an answer to everything, which is accurate as the fierce attorney he portrays.

Also written by Roman Polanski 'Carnage' has a lot of insight biased or not about men and women and society which makes it importantly realistic and in part shows view of the accurate thoughts of Roman Polanski. If you're into or not into films about four people dealing with each other in one location, check out 'Carnage' and if not for Roman Polanski, see it for the rare useful form of the actors involved. I started out not sure whether I was going to like 'Carnage' or not but towards the end I saw the big picture and in that my only regret is, that when it ended I wanted more time with these four people.

Dead Like Me: Life After Death (2009 Video)

Decent premise, crap execution.

[6/10 · 28 July 2010]

Well.... when I heard there was a 'Dead Like Me' movie I was extreme excited but as I saw the below mediocre poster on IMDb, that looks like it was done by a fan and that it was subtitled ':Life After Death' I have to admit, I wasn't too stoked anymore. As I began to watch the film, I began to realize this wasn't going to be the typical 'Dead Like Me' I know and love as I couldn't even recognize what I was watching. Now I know with movies from television series, they like to change things up to put us in the movie realm but with half-ass-ed, cheap looking title fonts and comic-book sequences that have nothing to do with the movie or the show 'Dead Like Me'. Whoever thought this was a necessary, needs to die in a car accident QUICK! Further more whoever thought it was a good idea to have a 'Dead Like Me' movie with a shitty, over-acting, clearly confused replacement for the actress who originally played Daisy(Laura Harris), needs to get eaten by a shark pronto! Sarah Wynter Can't act for the life of her, or she clearly didn't care to watch season 2 of 'Dead Like Me' because she would see Daisy like many of the characters is suppose to be played with ease not theatre acting no matter if that's in the movies story. Playing the character the way Sarah Wynter wanted too was a big mistake this time. Personally I wouldn't have a 'Dead Like Me' movie if I couldn't get the original Daisy, but what the hey.

Now the plot of the movie is the typical plot you'd do for any half-ass-ed sequel or straight to DVD release, but the plot isn't the problem here even if its based on not being able to bring back one of the original actors(Mandy Patinkin: Rube). Once again though, thats not the problem here, the problem is the writing and the acting. This movie could of been saved if Bryan Fuller wasn't in such a hurry to get a 'Dead Like Me' movie finished, like as if it would make a difference when it was released, having a 'Dead Like Me'movie years after its cancelled. While watching the movie you sense the stench of rushed movie, all over place as if the director and the actors just wanted to get it all over with because they knew this was just a pay check and a way to get the lazy minded fans their do. Now the movie has its moments of good touching moments but they get killed quickly with elongated dialogue that's completely toothless, it would have been properly done if it those moments were based on short meaningful sentences that get straight to the point, not chances for over done acting with fuller dialogue.

This is not by any means the 'Dead Like Me' movie and send off we've all been waiting for, and for true fans I'd appreciate the original way it ended even if it didn't give us much closure, because it was cancelled before it could have a last episode, but the way ti episode made sense as it didn't cross pounds the plot of 'Dead Like Me' could never go.

Greenberg (2010)

Greenberg is IT, Noah Baumbach does it again and three cheers to Ben Stiller for letting go of 'kewl'

[10/10 · 18 July 2010]

Noah Baumbach has been known to combined off-putting and painfully real with comedy in the world of the 80's teen, 1960's born, neurotic, indie loving, damaged, scared therefore held back in 'societies eyes' person whom is now in their forties and always seems high because they're so neurotic. Doing this well as based on his own experiences and life on this earth as 'The squid and the whale' and especially 'Margot at the wedding' (One of his best and most original efforts) showed us and with the inspiration of Jon Brion coated movies like 'Punch-drunk love' and 'Eternal Sunshine of the Spotless Mind' Noah Baumbach has made a painfully real and awkward but surprisingly sweet, accessible and most detailed movie about not knowing when it's time to change as time moves unnoticeable fast.

Roger Greenberg essentially reminds me of myself, as when things don't go my way and it's my fault expect others to notice and help me, or I freak out. Roger also wipes his nose with his hand when nervous or intimated Through-out all his movies, Noah knows exactly how to pin-point jealously and insecurities of the neurotic. With this, Ben Stiller strips himself of his normal mainstream straight guy 'Meet The Parents' routine and give us his actual geeky, uncomfortably weird, held back, extremely passive aggressive, frustrated, pretentious inner-self, and for most of 'Greenberg' I forgot you were Ben Stiller, Ben Stiller…… excellent.

Though 'Greenberg' takes a more accessible and familiar, less off-putting approach, not to say 'Greenberg' isn't extremely awkward at times, there are none-the-less, slight glimpses of Noah's other films in 'Greenberg' that obviously give an edge to the other oddball romantic misanthrope movies I munched and maybe fun for Noah experts to notice. Greenberg sometimes comes off as an indie parody, as some may see it like that, but I think that works in a way as Greenberg is essentially a parody of himself, as he sort of believes at times like many, that having an irate opinion and being pretentious has any sort of merit or distinguishing qualities, when really it's just rude. Greenberg is the person who can't find fault in himself, who walks all over people who are too shy to say something, who doesn't realize he's jumping on everyone for nothing and that's why some people don't like him, but at the same time you can't help to but feel sorry for Greenberg because he's trapped in his brain like many of us and like many of us were the ones who are too shy to say something, and if we'd just relax things, would be better.

'Greenberg' successfully flipped the mirror on a generation of two decades (The 90s and 00s) of pretentious, underground loving, mainstream shoving bohemians that just because your seen as unique, doesn't make you any different from anyone who pushes people away and excludes others for not seeing their way.

Walking and Talking (1996)

Nicole Holocenfer's first....is best

[9/10 · 15 June 2010]

Even in her first film back in 1996, Nicole Holocenfer has always been the best at conveying so much feeling, with so little.

'Walking and Talking' is an impressive Nicole Holocenfer starter and possibly her best as it gets everything just right in that Nicole Holofcener way. It doesn't over due with the bonding motives drenched in the appropriate music that Nicole Holocenfer can't see the cheese in and has induced in her more recent films immensely. This first effort also spawns Nicole's signature comedy of finding the hilarity in smug, annoying and odd strangers(who we all loathe), and in the funny but horrible shallowness of her characters in which has made Nicole known for making comedic movies since then. The writing here is more raw and youthful with Nicole's feelings as a girl and a woman, maybe because of the times but this makes for more original, interesting, and entertaining dialogue and performances.'Walking and Talking' unlike Nicole's later films, also doesn't hit you over the head with the acts of one dimensional characters as each character properly goes through a vary of feelings and moods as they each go through various different situations of life, more so like real people. With this, (unfortuantely unlike her other films) she doesn't make the men in the movie side notes and props. They get a say too and convey almost as much emotion as the female characters. Nicole Holofcener's point in her movies maybe to make women the forefront of her movies and to make men the props, but I personally find it insulting and typical to do this, so it was perfect to see her first effort was true to everyone.

Nicole's direction style, especially with this entire, tells us shes not afraid to make things wacky to convey a character's thoughts and emotions even in a story of real-life, and with her camera direction as well, she always makes things feel interesting to watch as characters appear on the screen and as scenes coming along with a simple pan, although things going on in the movie are average life situations. And she never pushes a scene into a more sexually or exciting realm for interest of the viewer, as she keeps scenes in the reality of what it is depicting, which is wonderful because its real. She proves to be a big fan of the fade in and fade out into and out of sequences as its used here and in her later films, but it makes more sense in 'Walking and Talking'and brings certain meaning to certain scenes as appose to 'Friends with Money' but the fade out was interesting in that movie none-the-less. This direction style with the soft, awkward acoustic music to the scenes can be also seen as influential to the indie movie scene of 2000s with it's structure, to movies like 'Juno'.

This is a great 90's time capsule and even unrated as a definitive 90's movie with it's great 90's soundtrack and band references, it's geek-tom fan fair, and laid-back lifestyles of the characters so significant to generation x.

This first effort years ago, shows that Nicole Holofcener gets like no other the awkwardness of relating to ageing family members and ageing in general. The feeling of being lonely, and feeling that time is passing by and being wasted having your own ironic stupid superficial ideals hold you back from being with someone who wants to fill the void and who thinks your the bell-of-the-ball, and that you don't know someone can make you happy until you give them a shot, because you can't wait forever. This is also one of the most accurate films showing the jealously shared between to friends, of one having someone in companionship, and the other having no one in freedom. This is an important,intelligent and accurate film for females but at it's core its also a life study for men and women equally.

May I also add, that no wonder Nicole Holofcener has used Catherine Keener all these years.... Shes a great actress. And This is proof that Kevin Corrigan has always been amazing.

The Vicious Kind (2009)

Adam Scott all the way...

[7/10 · 15 March 2010]

'The Vicious Kind' maybe a harsher title than the movie actually is, but doesn't take away from the excitement that Adam Scott's classic manic anger and ass-hole remarks deliver to the film.

The film goes through Caleb's(Adam Scott)spiralling depression as hes dealing with a heartbreaking break up and having to be reminded of it based on the fact that his younger brothers girlfriend looks so much like his ex.

The problem with this film is its too straight forward, especially for now-a-days. It never really dives into who anyone really is or what they truly feel or does any of the issues in the movie ever get resolved. You never get to find out who Calebs ex really is, or that its wrong for Caleb to feel something for someone just because they remind you of someone you dated. This not explored makes for an unfulfilled movie with wasted ideas, but the performances are really the heart of the movie between Brittany Snow and Adam Scott. Alex Frost is alright here but his performance and character comes on to the stereotypical side making it boring, and J.K. Simmons is in a more tougher and rawer form than usual but basically does his usual shtick. Brittany Snow pushes herself in this role and is well casted. Her vulnerability plays well with Adam Scott's ass-hole attitude, pathetic state of being and sweetness, which varies through the movie making the movie more exciting and showing how good Adam Scott is at exposing the insecurities of a jaded character. Thats the heart of this movie, Adam Scott's good acting being exercised with this sorry S.O.B. of a character. 'TheVicious Kind' is a good movie mainly for the Adam Scott fan or for someone who doesn't mind a straight forward, real yet endearing movie.