Like you I was skeptical that they went all out with The Lego Movie and it was fantastic!!! But I check the flixster search and basically found no information regarding The Coca Cola Movie or The McDonald's movie. But however,there was a movie called The Coca Cola Kid that came out around 1985 with Eric Roberts. It's on Flixster!
Pompeii is good old fashioned nonsense. The story is refreshingly simple and uncluttered with superfluities. Completely unencumbered by anything deep or pretentious, it's the occasional cheese that makes this experience fun. I actually wished there was more. Milo's moral dilemma is initially conceived as a revenge tale but clearly the gods are not happy with Rome either and the narrative slowly turns into a disaster flick. I chuckled every time rumbling shots of Mount Vesuvius were randomly inserted amongst the action. These sonic reminders of the mountain percolating in the background pop up occasionally. "Remember me? " the mountain seems to ask. "Well I just might have something to say a little later." The climax is exciting and when the ASH hole blows its top, the spectacle is appropriately impressive. Before that happens, however, we get some nicely staged action sequences in the arena. There's slashed throats, stabbings, and enough deaths that might have earned an R, but the spirited battles are surprisingly bloodless. The PG-13 rating makes sense for a lively production a teen audience shouldn't be denied the right to see. Pompeii is by no means a great film, but it isn't horrible either. It kind of exists in that realm and that's how I appreciated it.
About Last Night concerns the sexual politics of two couples. The sweet one wants to commit following a one-night stand. The other passionately volatile, are like two moths drawn to a flame. The pace is frantic. The frenetic editing can go from screwball to headache in seconds. One minute of conversation between two people talking is a series of 30 jump cuts back-and-forth between two faces. Relax! It's OK to linger on a shot for more than 2 seconds. Director Steve Pink's movie bears little resemblance to David Mamet's play or dialogue, but that doesn't mean this isn't an improvement to the 1986 adaptation. Argumentative Bernie and Joan are fun to watch. Their shouted dialogue is delivered machine gun style at each other in rapid succession without breath. They interact in hilarious fashion and their discussions descend into bickering, often suddenly without warning. They quarrel, often for no good reason other than to provide laughs. They raise this from a clichéd chronicle to an enjoyable romp.
Gloria as a movie isn't particularly innovative. It feels like some rediscovered relic from the 70s highlighting the liberated single woman character wronged by men. Here she is a vibrant older woman who, once married, must now come to terms with being alone. Her emotional journey to make peace with her current state in life is where the story mines its drama. The entire film rests on the performance of its titular star. Gloria is highlighted by Paulina García. She craves passion and it's hard not to care about her predicament. We sympathize with her. But Rodolfo's behavior grows more inconsiderate and less tolerable. He's weak and ineffectual. We do not share in her attraction to this man. Her decision to keep going back to him is a little frustrating and after awhile, enabling. Laura Branigan sang, "Are the voices in your head calling, Gloria?" Because if they are, don't answer them, Gloria. Just walk away.
This is pretty manic stuff. For better or worse, the narrative is all over the place. Writers-directors Phil Lord and Chris Miller (Cloudy with a Chance of Meatballs, 21 Jump Street) are the minds behind all this lunacy. They manipulate the conventions of children's entertainment and turn them right on their ear. They imbue the proceedings with a subversive bent. The importance of a coherent story is ridiculed. The prophecy of wizard Vitruvius (brilliantly voiced by Morgan Freeman) is not taken from some venerable sacred text. It's something he just makes up on the spot. Emmet zones out when listening to Wyldstyle (Elizabeth Banks) give exposition and all he (and the audience) hears is, "blah blah blah proper name place name back-story stuff." Wyldstyle desperately wants to be the "Special". And why not? She's infinitely more qualified because she is creative and brilliant, unlike Emmet who just follows the rules. The hero is in fact a zero. But believe in yourself and you can achieve anything, right? The message is superficially cloying but there is a twist. Without revealing anything important, the underlying recommendation is to NOT follow instructions. The "good guys encourage the workers to rise up against Lord Business. Imagination is a powerful thing. Freedom is better than conformity. However the script's greatest inspiration lies in its ability to explicitly decry business while indirectly celebrating it. This is after all, an advertisement for Lego toys, right?
The plot is simplistic in the extreme. Lonely divorcée falls in love with an escaped prisoner. He's pretty benign, but the ominous music misleads the viewer into believing something very evil is imminent. I suppose falling for a murderer isn't ideal. But then there are several groan-inducing flashbacks that awkwardly persuade us to sympathize with Frank in the most horrendously manipulative way possible. Thank You for Smoking, Juno, Up in the Air, Young Adult: I've adored every single one of Jason Reitman's other films. I am flabbergasted this was helmed by the same director. Furthermore, he adapted Joyce Maynard's novel himself. Regardless of how sappy the source material is, he must accept blame for this script. I kept thinking that at some point in the development of this story there would be a twist or surprise that would explain why such a mentally troubled woman would be so comfortable with a convicted felon in the house. No such luck.