I remember a time when it seemed as if the Farrelly Brothers could do no wrong. Upon release, Dumb and Dumber, There’s Something About Mary, and Kingpin all instantly became a part of the pop-culture landscape, and the writing/directing duo was on a streak that seemed like it would never end. Of course, this was back in the nineties, and times change. Unfortunately, the Brothers didn’t. Eventually, their unique style of “gross out humor” became the norm, and all of a sudden, they didn’t seem so special anymore. Before we knew it, audiences were being subjected to drek such as Shallow Hal, Stuck on You, and The Hearbreak Kid. And now, the Farrelly’s have hit an all-time-low with the impossible to believe that it actually got a greenlight, Hall Pass.

If ever a “comedy” has been more poorly conceived, I can’t think of it. Owen Wilson and Jason Sudeikis play Rick and Fred, two friends physically devoted to their families, but mentally craving an escape. Finally, their wives agree to give them the hall pass of the title, which is one week off of marriage to do whatever they want, without consequence. When it comes to high-concept films like this, I can usually suspend my disbelief enough to let the filmmakers have their say. However, right off the bat, I found this a highly uncomfortable premise. Even if I could buy into the fact that these wives would do this, I just couldn’t bring myself to root for these guys and their attempts to successfully cheat on their wives.

That isn’t to say they don’t learn the obvious and predictable lessons along the way, but by the time the cheesy life lessons come around, I was completely over the film. Jenna Fischer and Christina Applegate play the wives, and they also learn a lot from the week off. But by the end, I was sick of learning life lessons from a script that had such a fundamentally awful premise to begin with.

Now, I admit that there was some potential for humor in the premise. Watching these guys try and figure out how to live the frat-boy lifestyle after being emasculated by several years of marriage could have been funny. Unfortunately, the jokes are forced and obvious. Per the Farrelly’s tradition, there is the occasional gross-out sequence, but they exist simply for shock-value and do nothing to enhance the film. Perhaps somebody like Judd Apatow could have turned this into something bearable, but the Farrelly’s just don’t seem to have it in them anymore.

Despite my complaints about the premise, I still saw this in the theater based on the cast and a hope that this would mark a return to form for the Farrellys. I ended up hating the film then, and I still hate it now. I bring this up because the newly released Blu-Ray hypes the version included here as an “extra funny extended cut with footage not seen in theatres.” This is the version I watched, and I have to admit, I couldn’t find anything different. Whatever changes exist are not substantial in the least.

The film is a disaster, but there is one element that works. Richard Jenkins plays Coakley, a “guide” for Rick and Fred on their journey of infidelity. Jenkins is a great actor in everything he does, and I thoroughly enjoyed seeing him in such a silly role. In fact, the newly released Blu-Ray only has two extra features and one of these is a deleted scene featuring this character. It’s a very funny scene on it’s own, but I can see why it was cut as it doesn’t enhance the film at all. The only other extra is a two-minute “gag reel,” that is exactly like every other gag reel I’ve ever seen. In other words, not funny.

If for some reason, you are still curious about the film, the Blu-Ray is a two disc set containing both the Blu-Ray itself, along with a digital copy/DVD. While I never liked the premise, I was really hoping for more out of the cast. They all tried their best, but unfortunately, were hampered by a truly terrible script. I would like nothing more than to see the Farrelly Brothers recapture the glory of their earlier 90’s work, and truly hope that this doesn’t signal the end for what was once a very promising partnership.

 Official Site: hallpassmovie.warnerbros.com

Having seen many movies about exorcism over the years, I thought I had seen all that the genre had to offer. But when I heard about The Rite, and it’s story of a struggling seminary student rediscovering his faith while attending exorcism school, I was genuinely excited about this new spin on a worn-out concept. Like most people, I’m sure, I was completely unaware that exorcism schools even existed, and this film, based on a true story, provides a fascinating insight into this unknown world.

Unfortunately, the film doesn’t quite live up to the intriguing premise. Other than the always-captivating Anthony Hopkins, the best thing about the film is the idea behind it. Colin O’Donoghue plays Michael Kovak, a student who’s faith seems to be decreasing with each passing day. He’s going through the motions, because that is what is expected of him. Through a variety of circumstance, he finds himself hand-picked to attend this exorcism school, and eventually sent to the private tutelage of renowned exorcist, Father Lucas (Hopkins). He is immediately thrust into a case involving a young pregnant woman, seemingly possessed. Is she repressing childhood trauma, or is there something far more sinister at play?

I enjoyed the sequences of actual exorcism, and Marta Gastini brings a twisted playfulness to her scenes as the pregnant woman. However, the most important thing missing from this “horror” film is the horror. A good exorcism film should really get inside of an audience’s head. The antagonist in these films is Satan himself, and if a filmmaker can’t make Satan scary, then something is definitely wrong. Everything in the film feels staged, and there is never any genuine horror. Sure, there are moments that border on suspenseful, but I never found myself scared, and I definitely didn’t find myself unsettled when it was all over.

In watching the film, I got the sense of a filmmaker and cast going through the motions. Everything is staged well enough, but it feels observational, rather than immersive. The camera lingers as the events transpire, but we never feel as if anything truly significant is happening. The screenplay by Michael Petroni doesn’t take advantage of the intriguing setup, but seems to be following a rigid formula as dictated by previous horror films. He even utilizes the classic scare tactic of a cat jumping out at the audience.

However, the film’s biggest sin lies in the last act. I don’t want to give it away, but it reeks of Hollywood contrivance, and is so obvious and misguided at the same time, it brings the film to a staggering halt. Ironically, these scenes feature Hopkins’ best work in the film, but it’s at the expense of any credibility for the film itself. While Hopkins seems to delight in playing the twists and turns of these moments, it’s just not worth it. I don’t know why the screenwriter felt it necessary to resort to such cheap gimmickry, but I’m very disappointed that he did.

Regarding the recenty released Blu-Ray, the features are pretty sparse. The only real documentary on the set is “The Rite: Soldier of God,” which is a far-too-short, but genuinely interesting look at the real-life exorcism school that inspired the film. As explained in this feature, the film is based on a book by Matt Baglio who actually attended the real school while preparing the story. Baglio is needlessly even turned into a character in the film, although for some reason, he becomes a woman named Angeline, played by Alice Braga. His research is the focus of this feature, and while I found it very interesting, I found myself wanting much more.

Other than that, the disc contains some deleted scenes, and an alternate ending. It would have been an interesting way of closing the film, but it felt far more Hollywood than the ending they went with, and I’m glad that’s not the direction they decided to go.

That’s everything the disc has to offer. The picture looks great, and the moody soundtrack really stands out in an impressive sound mix. While the technical side of the presentation is flawless, I wish I could say the film for the actual film itself. I’d love to see another film tackle a similar subject, just without all the Hollywood tropes. Definitely worth a rental, I can’t really recommend much the film for much more than that.

I Am Number Four, as directed by D.J. Caruso (Eagle Eye, Disturbia), would have made a fantastic television pilot. In telling the story of an alien on the run from extra-terrestrial killers, Caruso sets up a great number of potentially interesting characters and plot points. On top of that, the effects would have been amazing for television. Unfortunately, this wasn’t a pilot, but rather, a story with a lot of missing pieces and effects that fall short of cinematic expectations.

As written by Alfred Gough, Miles Millar and Marti Noxon (all very successful writers of genre-based television), I Am Number Four feels nothing short of incomplete. Alex Pettyfer plays “John Smith,” the fourth in a line of nine Loriens who fled to Earth after the evil Mogadorians destroyed their home planet. For reasons never explained, the Loriens can only be killed in sequence, and as the title indicates, John is number four. Guiding John through his life on Earth is a Lorien guardian/warrior named Henri (Timothy Olyphant). Henri serves as a guide to both John and to the audience, providing key exposition throughout. Confusing matters, there is also a random lizard/dog/alien thing that I think is supposed to be like a bodyguard, but again, this is never explained.

In case it’s not obvious yet, it is very frustrating how much appears to be missing from the film. A box from John’s father is introduced and frequently referenced as if it is going to be a pivotal plot device, and a payoff is never provided. I’m sure that items such as the box, along with some details as to the film’s seemingly detailed mythology were being held for the anticipated sequel. I’ve always felt that in any good franchise, each individual film needs to be able to stand on it’s own, while still providing setups and payoffs from the other films. On it’s own, this film doesn’t work. There’s just too much left unexplained.

It would be really easy to go into Gnomeo and Juliet from a cynical perspective. An adaption of Romeo and Juliet as portrayed by garden gnomes, this is the type of script that seems to have been influenced by the title rather than any creative motivation. Further confusing things, the film is randomly scored by Elton John music, both old and new. This is a really odd film.

But having said that, it’s not all bad. As in introduction to one of Shakespeare’s most famous and accessible works, this is a harmless enough literary gateway for the kids, and one that adults can enjoy as well. Yes, it’s filled with puns, random dance numbers, and some of the most inane dialogue I’ve seen in a long time, but at the same time, the film is pretty fun. Taking a cue from the Pixar playbook, the filmmakers are able to derive a lot of humor from the juxtaposition of the world of inanimate objects with the real world we all reside in.

In this world, the Montagues and the Capulets have been reduced from rival families to rival neighbors. And for some reason, these hate-filled neighbors have populated their yards with the tackiest looking gnomes they can find. One of them has gnomes all in red, and the other’s gnomes are all in blue. And of course, it is war between the two. While this may be a greatly simplified approach to the story, it’s important to remember that this is a children’s film, and the way these ideas are stripped down could really help children to understand the complexities of the story when they approach it later in life.

Directed by Kelly Asbury (one of the directors of Shrek 2), this is a vibrantly animated film that is sure to keep the kid’s interest. Running a mere 84 minutes, the story is constantly moving forward, and there’s always something interesting happening. Helping to keep my interest was the fantastic voice cast. Featuring a who’s who of British talent, I was shocked to find that they were able to get such big names as Michael Caine, James McAvoy, Emily Blunt, Jason Statham, and on and on. They even managed to get Patrick Stewart to briefly appear as Shakespeare himself.

As mentioned above, the film also features Elton John in a prominent role. Not only does his music feature heavily throughout, but he serves as an Executive Producer as well. He wrote two new songs for the film, both of which are pretty good, and the score is comprised of audio cues from classic Elton John tracks. As composed by James Newton Howard and Chris Bacon, it’s like an audio Where’s Waldo of Elton John music.

While there aren’t many extras on the Blu-Ray, Elton John features pretty prominently. One of the longest features (running just over 5 minutes), is called “Elton Builds A Garden,” and focuses on the influence he had over the whole production. The movie comes from Rocket Pictures, which is his production company, and as such, he played a pretty large role in the production of the film. While this feature showcases his creative input, there is also a lot of footage of everybody talking about how great the whole production is.

Other features include a look at British actress Ashley Jensen recording her dialogue as a plastic frog, and humorously shows her working with a dialect coach for a gag where she starts speaking Japanese. There is also a new music video for this film’s version of Crocodile Rock, as performed by Nelly Furtado with Elton John, and some deleted and alternate scenes. Rounding out the disc is a feature called “The Fawn of Darkness,” showing Ozzy Osbournce recording some of his dialogue as a surprisingly funny lawn deer.

Overall, this is a slight, but entertaining film. It will definitely keep the kids occupied, and, best-case-scenario, spark an interest in the original source material. I was really impressed with the animation overall, and had a lot of fun watching this. While the script doesn’t even come close the Pixar quality, there are definitely worse ways you could spend your time.