John C. Reilly
It confounds and reverberates; The Lobster sings a singularly eccentric tune.
Already considered by many as the worst film of all time, Holmes & Watson is likely to make even the least demanding cinema-goers feel as if they’ve had their intelligence insulted.
Whereas kids might dismiss Ralph Breaks the Internet’s flaws for an uplifting swirl of inconsequential sugary adventure, adults might be hard-pressed in their quest to find nutritional value.
For all its superficiality, there’s a warmth to Coogan and Reilly’s central partnership in Stan & Ollie that – all stiltedness noted – deserves the faint smile it leaves you with.
There is much to admire about The Sisters Brothers; the powerful performances, the beautiful cinematography, and the statement on violence in the Old West.
Holmes & Watson is a humorous take on Sir Arthur Conan Doyle’s classic mysteries starring Will Ferrell and John C. Reilly.
In Stan & Ollie, the world’s most famous comedy duo, Laurel & Hardy, attempt to reignite their film careers as they embark on what becomes their swan song.
In 1850s Oregon, a gold prospector is chased by the infamous duo of assassins, the Sisters brothers.
John C. Reilly has surprised me for years. His range is astounding, and watching him effortlessly go from dramatic roles to silly comedies has been a treat. Yet his talent doesn’t stop with acting.
Comedy is a tricky thing; it’s hyper-subjective and typically draws from dark elements to create laughter. The search for one’s own comedy is thus, in a sense, the result of grappling some of the least desirable aspects of the human experience and wrangling it into something with a punchline. This is why the cliché of the “sad clown” is so prevalent and continues to be perpetuated to this day, such as with Marc Maron’s self-loathing diatribes and the tag posthumously attributed to Robin Williams.