![]() ![]() ![]() To Alison’s point, even though objectively he is better looking than Bacon, somehow Bacon is not only weirdly sexy in R.I.P.D., he’s sexier than Reynolds. It just seems like he doesn’t know what to do with himself, nor does Hollywood know what to do with him. I actually think Reynolds is a far better comedic and dramatic actor than most give him credit for. ![]() And even Bacon had humble unpromising beginnings in his career. is it just me, or was Kevin Bacon weirdly sexy in this movie?Īlex: He did remind me of Matthew McCounaghey in Reign of Fire in that sense: realizes he’s in a completely stupid and crazy movie in which he can chew the scenery to his liking, and goes for it with gleeful relish. I think he was probably the only actor who decided on what movie he was in and just stuck with it. He and Bacon also had awfully nice haircuts and clothing for Boston cops, crooked or no.Īlison: Speaking of those haircuts, is it just me, or was Bacon weirdly sexy in this movie?īil: No more so than usual. What I found most weird about the film though was when Ryan Reynolds stop sabatoging his own career?īil: I first encountered him in National Lampoon’s Van Wilder, so I don’t know if he was ever destined for great things in my book. Lines like “Don’t be cliche,” “unprecedented cock-up,” “a dull persistent ache.” It felt like the movie was reviewing itself half the time. has an entertaining knack for serving up quotes that effectively double as criticisms of itself. ![]() Though that line does remind me that R.I.P.D. More online!Īlex: The R.I.P.D.’s lack of awareness of doomsday devices at least begets one of the movie’s rare moments of self-deprecation when Bridges – upon hearing about said doomsday device – exclaims “Why would someone make something like that?” It’s the kind of self-awareness the film could have used more of to correct its derivativeness. Unpopped Kernels: The panel just can’t say enough bad things about this movie. Besides that, Bridges is working so hard at turning True Grit into a pension plan but for some reason he’s never particularly funny. I feel like I’m supposed to relax and enjoy a jaunt in an imaginative premise, except it’s not really imaginative, it’s gimmicky with moments of imaginative execution, but also with the worst lack of rules to its fancy than I’ve seen since Pixar’s Up. And why does the elevator explode out the ceiling of the building? These guys don’t have magical powers, they’re just immortal. Universalīil: I didn’t get what deados were either, but apparently they cause the world’s problems like global warming and financial crises. How is Bacon’s character, who has only, we’re told, been an evil deado for three years, suddenly a mastermind able to pull of some weird apocalyptic prophecy that deados have been trying to do for thousands of years? And why on EARTH is the RIPD, who have been tracking down deados for eternity, completely unaware of all the various artifacts that can bring down the hereafter? Even mortal police departments have better recon than that. What are “deados” anyway? How do they even work? And how do they communicate? Are they operating on some crazy psychic deado frequency, because it sure looks that way when they’re passing off the gold to each other. There’s a desire to create deep characters, with these speeches and the conflict of Kevin Bacon going after his dead partner’s wife, but then there is also this plot that relies on too many objects, including that orb-thing that causes an explosion in the afterlife (an afterlife that is technologically vulnerable to explosions and, for that matter, measures its employees’ contracts in earth time).Īlison: This movie is unconvincing in its mythology. It’s a terrible movie in that it is empty, a collection of inane scenes that are easy to watch complete with Bridges phoning in his True Grit roleīil: That’s why the movie is SO weird! There’s Looney Tunes action, but then Jeff Bridges gives speeches about sitting on regret and learning to live with the past and it’s an attempt at depth that is so awkwardly out of place. I have to admit that while I resented his disruption of my theatre experience, I understood his boredom. R.I.P.D.’s hyperactivity instead lulled an audience member in my screening into an hour-long snoring session. Except Looney Tunes shorts are actually, you know, good, as well as effective in creating engaging lunacy. Coyote-style from great heights, cars drop on characters like ACME anvils, and Bridges is practically playing Foghorn Leghorn here. that makes it feel like a live-action Looney Tunes cartoon. Article contentĪlex: It’s especially hard to take the movie’s action or drama seriously when there’s a strange current of hyperactive mania running through R.I.P.D. This advertisement has not loaded yet, but your article continues below. ![]()
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