Defendor [REVIEW]

Woody Harrelson comes fresh off his career-reviving role in Zombieland with the dark comedy/super hero drama, Defendor. Defendor got its first trailer not long after Kick Ass, another satrical look at super heroes, got its first; however, Defendor was far less hyped, had a much smaller budget, and got pushed in and out of theaters far quick February of this year. Having not seen Kick Ass yet, I can't compare the two films, and despite the fact that both involve regular people portraying realistic vigilantes in a comedic light, I've been told they're both far different films.

Defendor, at its core, is an homage of sorts to two DC classics, most obviously Batman, although, also the Watchmen, notably Rorschach. Woody Harrelson's Defendor is an innocent, albeit moderately slow grown men who never had anyone to idolize in his life other than our modern legends, that of comic book super heroes. Not to give away any spoilers, but he never knew his father, his mother was taken from him at a young age, and he was raised by his stubborn, bitter old grandfather. Taking both elements of Batman and Rorschach's histories, Arthur Poppington (Harrelson's true idenity) is a combination of both those character if they were less batshit crazy, and had more childlike innocence.

Defendor is looking for his arch-enemy, Captain Industry, which is nothing more than an industry for the drug game. He goes around beating the shit out of lowly criminals, before one night saving a crackwhore (well, she is) from a corrupt cop/dopeboy. This starts off the film's main story, and also establishes our heroes' kinda love interest, in a creepy "I'm old enough to be her father, so we'll never genuinely embrace" way. Also, the crackwhore is played by the lovely Kat Dennings, of Nick and Norah fame.

oh, those ashy lips.

Regardless, Defendor finds his Captain Industry, and hunts him till the bitter end. Honestly, this film is just fucking great. Woody Harrelson's career has been rejuvenated, and thank God for that. The man is just an amazing comedic/action star, and he's just so capable of making the audience feel sympathy for his character. Between this and Tallahasse, Harrelson is back in prime-form, and needs to keep getting these great starring roles to further enforce his standing. Woody's proven himself to be Ron Perlman levels of bad-ass, and deserves that same attention and respect.

The writing/directing, handled by Peter Stebbings, a first time director, is genuinely excellent. Very atmospheric, and moody when it needs to be, while the comedic timing is still precise. The supporting cast is great at keeping the film rooted in reality, when Defendor's antics can get intentionally campy. It's hard to pick out any flaws with Defendor; it runs a perfect length, and tells a fantastic original story, something we hardly ever get in the superhero genre.

From the wildly hilarious beginning to the downer, yet mildly uplifting climax, Defendor never loses its focus. It's a great movie that takes the conventions of modern super hero films, and throws them out the window. I'd definitely recommending buying the DVD to any fan of comedy or super heroes, as this is a film you'll want to watch again and again.

Date Night [REVIEW]

The king and queen of NBC's primetime Thursday TV schedule hook up for their first movie together, and it's about as great as you'd expect. Date Night is a rom-com/crime thriller that goes above and beyond most Hollywood comedies in terms of quality, and genuine hilarity. And honestly, after looking at the credits for this film, and considering the plot, it's rather surprising how well this film turned out in the end.

With the director of such horrible comedic failures such as the Night at the Museum movies, Cheaper By The Dozen, and the Pink Panther, and a writer whose only other contributions have been to Shrek The Third, this film looks like it's built for disaster on paper. And honestly, is the directing or the writing top notch? Although the plot is never genuinely overlooked, it's many twists and turns are elementary at best, and some of the scenes would be generely worthless if they weren't readily available for comedic purposes. The directing is nothing ground-breaking, but it holds up well, and all of the scenes are shot with the same flair that was used in the Night at the Museum movies, just in a far more reasonable and rational film.

What really sets this film apart is the all-star cast it sports; Steve Carell (of the Office and The 40 Year Old Virgin) and Tina Fey (of 30 Rock and Saturday Night Live) star in this film, and their supporting cast is absolutely crammed. Ray Liotta, Mark Wahlberg, James Franco, Mila Kunis, and Taraji P. Henson are some of the most noteworthy of this ensemble cast, and all of them hand in first-class performances even when they're not given the the greatest of characters. All of them add another dimension to their characters that make them take off of the screen, and everyone else in the film is equally good.

This is virtually a two-man show though at heart, and you'd think that Fey and Carell have been working together for years with the undeniable chemistry they have in this film. They play the role of a couple lacking excitement in their lives to perfection in the beginning of the film, although their characters aren't too much of a departure from their starring NBC roles. Later in the film, when it comes time for the two to provide more of a connection, they deliver two of the best performances of their career.

Although this film relies heavily on sight gags, the jokes are still sharp, and that's obviously due to the improvisation that both Carell and Fey are famous for. Despite there be so many jokes that rely on the actions taking place on screen, all of them are handled tastefully, and the film never delves off into slap-stick territory. Despite the fact that the plot is very exaggerated, and unlikely, the movie does keep one foot rooted in reality while allowing the unimaginable to help to the characters in the film in the meantime. That's where this film gets most of its charm, too; nothing is unbelievable, but anything that can go wrong, does.

This film stands amongst Pineapple Express and the Hangover as some of the best comedy adventures to have come out in the last two years, and stands out as its own seperate entity due to the romantic comedy elements. Rom-coms are hardly ever this clever, or gut-bustingly funny, and this is one of the few films that take the buddy comedy-approach and simply add a couple in their place. In an age where bromance movies are all the rage, Date Night is pretty damn charming,  and commendable for showing that romantic mishaps can be just as funny as drug or alcohol induced escapades.

Gucci Mane - The Burrprint 2: HD [REVIEW]

Gucci Mane. A genius to some, a retard to others. Very few rappers (outside of Lil' Wayne and Cam'ron, who're his most contemporary peers) have ever attracted this much split affection/hatred, and very few can actually grasp the idea of him as an artist. On the surface, he's a very shallow artist, who can't stop rapping about his jewelry, cars, women, or trap-roots. He's hard to decipher (at times, nearly indecipherable), because his accent is rooted in an Alabama slur, he has a lisp, and his delivery, which varies on nearly every song he appears on, is a slivering, sliding, snake-like whisper which rarely breaks free from the monotony of his inflection.

His character is that of a real life villain. He has killed at least one person in his life (in self-defense), he's stolen pretty much every dude in Atlanta's girlfriend for at least a night, he wears more jewelry than Liberace, he has more money than the last five generations of your family tree, and he probably sold crack to your grandma. He's a very easy target for hip-hop purists, and he's simply a very easy individual to hate. He's an asshole, and he doesn't give a fuck what you think; honestly, he's that bad-ass that almost every man has wanted to be at least one point in their lives. 

But he's also probably one of the most honest, and unadulerated artists in any genre of music. He's gained an extremely loyal cult fanbase that rivals that of the aforementioned Lil' Wayne and Cam'ron, and last year, after all that grinding, he finally broke into the mainstream and he's now getting the attention he deserves. He's honestly one of the most personable artists I've ever listened to; when you listen to Gucci's music, you feel like you know him. How can you get so attached to someone that's lived a life that makes most others look insignificant in comparison? Because at the end of each album, mixtape, or song, it is abundantly clear; Gucci Mane is no super villain, he's merely a human. 

He's as fragile, and frail as the rest of us; but he is simply a survivor. Listening to Gucci lets you live vicariously through his lyrics; each song is a triumph in itself. His self-depreciating lyrics, deadpan sense of humor, and very understated intelligence makes him one of the most vulnerable artists in hip-hop. At the same time, his "don't give a fuck what anyone thinks" attitude pretty much tells you that you can try to take a swing at him; but you're likely to end up dead behind the local middle school if you do. That same attitude also allows him to make some of the strangest, experimental, and quite simply avant garde rap the genre has ever seen. Don't misunderstand that, this isn't arthouse rap; this isn't music that's trying to be smart. This is very self-aware trap rap that is merely a veil for a man who's afraid to get too personal on his records, so he merely drops the struggles he's faced in his life amidst all the gun and jewelry talk, usually to the point that if you're not listening (and most Gucci fans AND haters aren't listening) you'll completely miss it.

In all of his interviews, you see someone that's nothing like the Gucci Mane character that is so predominant in his music. You see Radric Davis, the thirty year old who is soft-spoken, well-educated, and surprisingly wise beyond his years. He's lived five lifetimes in those thirty years; this is a man who had to grow up from the time he was just a child, and never had the opportunity to look back. And maybe this is why his fanbase is so loyal, so attached to him; because he's just so damn relatable.

Gucci's in jail right now, and this is a compilation of songs that he recorded late last year, all of them showing the VERY huge leap he took as an artist from sometime in mid-08 until late-09. There's about a dozen guest features, yet it doesn't feel like it; maybe because over half of them are on the all-star trap anthem "Coca Coca." This mixtape combines all of Gucci's styles, and flows, and puts it in an easily digestable format. From the intro, which is a live freestyle from jail over the phone (including the "One Minute Remaining" message for authenticity), until the very last song, this is a journey into Gucci Land. Weird metaphores, outbursts of singing, GENUINE singing on Antisocial, which is one of the strangest songs in all of Gucci's huge catalog, a whole dictionary full of adlibs, some of the best beats in modern hip-hop supplied by Drumma Boy, Fat Boi, and the rest of Gucci's usual suspects.

There is far too many songs to do a track by track analysis, and honestly, Gucci is the type of artist who is better understood by listening to a full album instead of listening to individual tracks. Simply put, there's something for everyone on hear, and this is just some of the funnest music you'll hear all year long. It's obvious before he got locked up, Gucci was feeling on top of the world, and this mixtape shows that. But then again, when isn't he?

Support the kid. This is some of the best music you'll hear all year, and just makes the wait for him to get out even more unbearable. At least until then we have The Burrprint 2; another defining statement by one of hip-hop's most misunderstood artists.