By Jack Dignan
I've said it before and I'll say it again, when it comes to Michael Bay, I'm always skeptical. No matter if he's directing, producing or anything, I always hesitate. I can never trust the guy. Sure, he's made some not-so-terrible films before, but most of his filmography, both producing and directing, is utter garbage. Despite some positive reviews and decent trailers, I was still slightly skeptical about 13 Hours, but after watching it, I'm pleased to say that I'm pleasantly surprised by this movie. I went in not expecting much, but I ended up with a Michael Bay film I may actually watch again one day. That's surprising.
13 Hours: The Secret Soldiers of Benghazi is the true story of a security team working in Benghazi. Our main protagonist is Jack Silva (John Krasinski), a father and a husband who's hoping to go back and see his family again. Him and his crew are a last resort for an attack on the US ambassador (Matt Letscher), but after his unforeseen death, the security team are forced to defend off waves of enemies who are all trying to attack their compound, attempting to kill all the American's that they can find. It's an intense and somewhat horrifying true story that certainly shows a more restrained and mature side to Michael Bay, rather than his Transformers bullshit. He's taking a more serious approach to directing and it's very much needed. If he told this story wrong, I'm sure there'd be a whole lot of people who wouldn't forgive him.
At 2 hours and 24 minutes, 13 Hours is much longer than it needs to be, and when you look at the actual content the film has to offer, it really doesn't need to be that long The film's first 40 or so minutes attempts to give you an insight into the lives of these characters and the stake that they're dealing with, but it's unnecessarily long and drags way too much, a majority of the scenes not really doing anything to further my attachment to these characters. There's a few necessary scenes, but not forty minutes worth.
Once I managed to drag myself through the film's first act, that's when things started to get interesting. The characters had been set up, although not all of them were ever given too much screen time, and so it was time for the actual plot to get under way. We're instantly hit with an explosive sequence out on the streets, where just about anything that can happen, does happen. It's intense, violent and gripping, and I'd even go so far as to say it made up for the film's slow opening. Almost.
What becomes apparent in this first major action set piece is that this is the film Michael Bay was born to direct. It never once feels like your groan worthy Michael Bay film, and that's because he's actually trying. With the Transformers movies, all he really cared about was how many under skirt shots he could get of young women. With 13 Hours, he actually seemed to care about making a good movie, and he did. His visual eye blended well with his explosion-fetish, resulting in a film that deserves the explosions. They're all there for good reason, something Bay hasn't seemed to understand until now.
From here on out, the film is essentially these men fighting off waves of enemies, and while it does get rather repetitive and drawn out after a while, it's unpredictable, squeamishly violent and insanely gripping. War films, if done right, are impossible to turn away from, and 13 Hours is one of them. It's by no means the best film ever made, but it's done well enough to have my eyes glued to the screen, and it even ends on a rather emotional note after a shocking finale. John Krasinski, kudos to you, man. You gave one mighty fine performance and have proven yourself to be a surprisingly great actor.
To sum up, 13 Hours: The Secret Soldiers of Benghazi is Michael Bay at his most mature. It's painfully slow and occasionally repetitive, but it's also an intense, exciting, brilliantly brutal and hard to look away from war thriller with performances I didn't expect to be as good as they were.
3 1/2 Stars
By Jack Dignan
The Coen Brothers are two of the greatest filmmakers working today, giving us such classics as The Big Lebowski, Fargo, No Country For Old Men and countless others. They are both masterclass directors and writers, and so when it's announced that they have a new film coming out, you bet I'll be excited. Hail, Caesar was my second most anticipated movie of 2016, trailing slowly behind Rogue One: A Star Wars Story, and did it let me down? Not too much, although that's the price you pay for having excessively high expectations, but on the bright side, this is still one hell of a movie.
Hail, Caesar is set in 1950s Hollywood and follows the story of Eddie Mannix (Josh Brolin), a man who goes around to movie sets and makes sure everything is in line. He makes sure everything is holding together and the cast and crew are doing their job, as well as keeping the press where he wants them to be kept, especially the nosy sisters, Thora and Thessaly (both played by Tilda Swinton). Soon, however, things don't seem to go as planned, and one of their biggest movie stars, Baird Whitlock (George Clooney) is kidnapped by a group of writers who call themselves 'the future.' What do they want? $100,000. Why? It's up to Mannix, as well as a group of talented actors, to find out, and help get their movie star back so he can finish the blockbuster he's working on, titled 'Hail, Caesar!'
When you see a Coen Brothers film, you never know what to expect. With The Big Lebowski, I wasn't at all prepared for the stoner trip I was about to witness. With No Country For Old Men, I didn't realise I was going to be in agonising suspense for two hours. With True Grit, I didn't think I'd be laughing and cheering as Jeff Bridges rode on horseback to take on four other men on horseback. With Hail, Caesar, I wasn't quite ready to be taken on a relentlessly weird and sensationally wild tale through old Hollywood, but I was, and I loved it.
The film is as wacky as they come, but in doing so, it managed to bring out the best of laughs, and there's never any one person who brought the most. Sure, Channing Tatum easily stole the show, but he got just as many laughs out of me as Alden Ehrenreich's Hobie Doyle did, and my god that character was funny. He's a western actor who's been put into a more serious role and with the comedic talents of Ralph Fiennes as his director, it's all sorts of brilliant, although not nearly as brilliant as the few scenes Tatum is in. Now they were something, alright.
It's rare to say this, but Hail, Caesar is one of the most wholeheartedly original and unique movies I have seen in quite some time. There's a few smaller, more familiar moments here and there, but as the saying goes, there's nothing original left. Hail, Caesar seems to have proven that wrong, as the film's central plot is certainly original, and therefore unpredictable. It's a roller coaster of events, and while some plots don't play any relevance to anything *cough Scarlett Johansson's character cough* the journey as a whole is quite a delightful one.
That being said, it did take a little time for me to really get engaged with it. My expectations for this film were through the roof, and I will be honest, for the first twenty or so minutes, I was slightly let down. I wasn't at all bored, in fact it was the opposite. I was having a great time watching, but I was never sure what I was watching. Hail, Caesar is a little on the slow side, the opening few scenes playing out much longer than they should've. Thankfully, it does pick up and it does get better, and while it was never boring, it did drag to begin with.
Another one of the many reasons that this film never managed to bore me was because of the performances these actors give. I've already mentioned how great Channing Tatum and Alden Ehrenreich were, but this is a film with a massive cast, and nearly all of them are put to good use. Josh Brolin and George Clooney are the two leads and they're both splendid, Clooney especially. He's a bumbling idiot, more so than in the few other roles in which he plays a similar sort of character. He can't do anything right and his plot is the most interesting of the lot. A kidnapped actor? Yes please. That's the stuff I wanted to see, and see it I did.
To sum up, Hail, Caesar is an utter delight, bringing together an a-list cast for a film that's certainly worthy of their talent. It takes some time to get into, but once you're in, there's no turning back, and once Channing Tatum arrives, you'll start to realise how worthwhile the whole really film is.
By Jack Dignan
How To Be Single? More like.... How To Make An Awful Movie. Ha. Ha ha. I'm so funny. Ha ha ha. Look at me and my fantastic puns. Ha ha. I'm so great and hilarious and original. Ha ha. It's so truthful because this is a bad movie. Ha. Well, now that I'm thinking about it it's more so a below average movie..... ha....? Damn. So much for my hysterical pun. Turns out the movie should be titled How To Make A Below Average Movie instead. Now THAT is one funny pun, right? RIGHT?!?! Oh. Okay.
Well, all terrible jokes aside (mainly done because I didn't have any ideas for an opening paragraph.... yeah, I'll admit that. I don't feel judged at all), How To Be Single follows the story of a young woman named Alice (Dakota Johnson), who's taking time apart from her long time boyfriend (Nicholas Braun) to live life as a single woman, something she hasn't really experienced before. When starting at a new job, Alice meets Robin (Rebel Wilson), a drunk, fun loving woman who's main goal is to party all night and never, ever, under any circumstances go home. Then there's Alice's sister, Meg (Leslie Mann), who's single, but desperate for a baby. Also in the mix is Lucy (Alison Brie), who.... who.... who shares a mutual friend with them, I guess. That's about all she's relevant to.
How To Be Single attempts to convert the rom-com formula with bumpy results, mostly blamed on the film's mediocre screenplay. It's a bland and uninteresting story that attempts to link these three characters to one another unsuccessfully. The conventions are there, it's just difficult to see at first, and as for the plot..... it's a mess. There's never any point of focus, the characters just doing whatever the hell they want because hey, who really cares when there's jokes to be said and relationships to be found? And on that note, the characters in this movie spend a majority of the runtime in relationships, rather than actually being single. So, yeah. Misleading title.
That being said, there was one story that actually tugged on my heartstrings a little bit. At one point during the movie, Alice tries her luck dating a single father, David (Damon Wayans Jr.). His character started out charming and likeable, but soon lost me. He became, like all the characters in this film, a big cliché, and yet he still kept coming back. However, it didn't take too long for him to win me back over, and during the final scene he has on screen, I was emotional. I will be honest. It's a simple scene, but it's the only one that's stuck with me in the few days it's been since I saw this movie.
While the screenplay doesn't work and 95% of the jokes fall flat, the actors do give it their all, making the film somewhat likeable, although certainly not interesting. They all have charm and charisma, suiting the roles, but they're not given good material to work with. Rebel Wilson is as likeable as ever, laying out improv wherever she goes. She's the best part about this movie, being the only character to legitimately make me laugh, but even then, none of the jokes are remotely memorable. That's this whole film, though. It's nothing memorable. You won't want to die when watching it, it's not that good, and you probably will forget it even exists after about a week. Maybe even less.
To sum up, How To Be Single is an uninteresting and unfunny rom com that attempts to convert the clichés, but ends up resorting back to them constantly. The cast are likeable and they save this film from being excruciating, but as a whole, it just didn't work.
By Jack Dignan
Sick of superhero movies? Tired of seeing the same old thing each and every time? Ready for some more light hearted and adult-aimed superhero movies? Well, Deadpool is here and he has provided the world with a superhero movie unlike any other. "Justice has a new face," says the film's poster, but this face is ugly as fuck and completely relentless. Blood. Sex. Language. Fourth wall breaks. There's not much more you could ask for in a film as good as this one. Now, get your chimichanga's ready as it's time to review the best X-Men film yet, if one were to count this as an X-Men film.
Deadpool, if described in a serious manner, sounds like any old superhero movie. Wade Wilson (Ryan Reynolds) is engaged to marry Vanessa (Morena Baccarin), but after he's diagnosed with cancer in practically all of his body, he's forced to take desperate measures to find a cure. Ajax (Ed Skrein) is the man in charge of curing Wade, but to do so, he tortures the hell out of him, attempting to unlock his mutant genes. He does, and before you know it, Wade is invincible.... and also scarred from head to toe, and because of this, Wade comes after Ajax, hoping to get his revenge in the most brutal way he can. Sounds dramatic, doesn't it? Trust me, this is not a film that's meant to be taken seriously. And it knows that.
For many years now, Ryan Reynolds has been oh so desperately trying to get a Deadpool movie made, especially since the Deadpool we got in X-Men Origins: Wolverine wasn't quite up to everybody's expectations. But it's probably best that we don't talk about that. We'll save that for Deadpool to do. He knows what happened. He's aware. It's not his finest moment. But this movie is. After a leaked script, some cool test footage, the best marketing campaign in history and many, many years of waiting, Deadpool fans finally have a chance to see the Merc with a Mouth on the big screen, and it's very, very satisfying to watch.
Deadpool, as previously mentioned, is not your traditional superhero movie. It's a superhero movie that makes fun of superhero movies, all while enjoying being an actual superhero movie. Ryan Reynolds is absolutely perfect as Deadpool, encompassing his sense of humour and attitude to life. It's clearly not his fault that Origins was as bad as it was, and with no restrictions on content, this film is everything I wanted it to be and more. If there was even the tinniest gripe that people have with these types of movies, it's okay. Deadpool has you covered, and yes, he's going to bag the crap out of it. Usually more than once.
The film intercuts between Deadpool's origin story and his attempts to get vengeance over the aftermath of these events. The origin story is fairly by the numbers. It's funny, but formulaic, and not really in a self aware, look-how-funny-we-are way. The origin story is still rather entertaining, Wade keeping his sense of humour the entire time, but it never quite matches the insanity and hilariousness of the modern day sequences. Perhaps it's because of the way the film is edited, cutting it side by side so we're always comparing stories, or perhaps it's simply not as interesting.
This introduces us to the film's antagonist, Ajax, who's a sadistic mutant with the inability to feel pain. He's a decent villain who proves to be a worthy opponent for Deadpool, creating an actual plot, no matter how simple it really is. The character, however, is, like most Marvel on-screen villains, not at all developed, but I think that's the point. None of the supporting characters in this film are given much screen time and there's even jokes about Ajax just being another random villain. He's underdeveloped, but it's all for good reason, and yet, because of how good this film actually is, I don't mind his lack of development.
Deadpool is written by Rhet Reese and Paul Wernick, the writers of Zombieland, and this may just be their best movie yet. It's violent, funny, (mostly) original and entertaining from start to finish. Their screenplay is great, off the charts bonkers and completely self aware. They've nailed the character of Deadpool, and while the plot is, at times, painfully basic, it moves at a very swift pace, ending before you realise you've been in the theatre for nearly two hours, and they're even given a very special credit during the opening credits. If you have to be on time to just one movie this year, make sure it's Deadpool. It's got an opening you don't want to be late for. Plus, the rest of the film is pretty good too, I guess.
To sum up, Deadpool is a fast paced, ultra violent and completely hysterical superhero movie that completely tears apart what makes a superhero movie a superhero movie, teasing every last aspect of it, and yes, it has a post credit scene you're definitely going to want to stick around for.
4 1/2 Stars
By Jack Dignan
If you were left unsatisfied with 2013’s on-screen portrayal of Apple’s co-founder, don’t be alarmed. Now, in February 2016 (or earlier if you live overseas), you will finally be able to witness the genius of Steve Jobs, as this latest biopic is something rather special. From director Danny Boyle, the man behind Trainspotting, 127 Hours and Slumdog Millionaire, and writer Aaron Sorkin, who gave us The Social Network and A Few Good Men, comes one of the most unique biopics you will ever watch.
Steve Jobs follows the story of.... well.... Steve Jobs (Michael Fassbender). The thing is, this isn't your typical biopic. We don't witness his rise, fall and redemption. We don't see his life story. We get none of that. Instead, we're treated to three individual scenes, all of which are shown in real time. These three scenes all take place backstage before the launch of a product, all at different points in Steve's life. The film explores his relationships with his ex-girlfriend (Katherine Waterston), their daughter (Makenzie Moss, Ripley Sobo, Peria Haney-Jardine), his co-founder Steve Wozniak (Seth Rogen), his boss and former partner (Jeff Daniels) and the head of marketing, Joanna Hoffman (Kate Winslet). It's a look inside the mind of this modern day genius, showing both the good and the bad sides of him, and it puts all other recent biopics to shame.
Nobody can write dialogue quite like Aaron Sorkin, and with Steve Jobs, he's once again written a masterpiece. Sure, writers such as Quentin Tarantino are famous in their own rights, and while I do prefer his movies, even his writing, as fantastic as it is, is extremely different to Sorkin. Sorkin has a way with words. Every line he writes is something magical. It's like poetry. I found myself constantly in awe at the words he's able to put on screen, no matter who's saying it. Every line would fit and it would fit exceptionally well.
The film's got just three scenes, yet there's never a slow or uninteresting moment. Steve Jobs is a film that just keeps on going, full of energy, conflict and, thanks to Sorkin's writing, perfect dialogue, too. The film is so vibrant and alive, constantly moving forward despite not much besides talking actually going on. It's a bunch of characters arguing about Steve's way of life and yet, looking away just isn't an option. My eyes were glued to the screen, my heart pounding. Boyle's direction never stops, and the film's score is rather mesmerising. Everything comes together tremendously, resulting in a film that's bursting with life.
Michael Fassbender kills it as Steve Jobs, and if DiCaprio doesn't get his Oscar this month, we know who to blame. Fassbender's performance is everything you'd want out of him and more, and I truly believe that this is his best work yet. Another standout is Kate Winslet, who is essentially Steve's best friend, and she's also spectacular. Watching the two of them together on screen is all sorts of brilliance, but it won't beat a stand out scene between Fassbender and Jeff Daniels halfway though that's a scene you will never forget. Ever. It's that good. Of course, everyone in this movie, from the actresses who played his daughters to Seth Rogen, are great, but it's these two (plus Daniels, I guess) that really stood out for me.
Throughout all three scenes, the same characters are constantly reappearing, and it's not until the very end that we get the emotional payoff I was waiting for. The film could not have ended in a more perfect way, and the scene is so good that I nearly cried. This wasn't because it's sad or heartbreaking or anything like that, but simply because it was a good ending. It was done so well, I wanted to cry, and yes, it's safe to say that this film moved me. I wasn't expecting this film to emotionally punch me in the nose, but that's just what it did, and it might've broken my nose, too.
To sum up, Steve Jobs is a biopic that puts biopics to shame. All of the cast are splendid, particularly Michael Fassbender, and the writing is absolute perfection. The score is great, as is the camera work, and the film's ending is a scene that's resonated with me ever since I saw it.
By Jack Dignan
As this is the final Best Picture nominee that I have left to review, it's safe to say that the Oscars didn't do an entirely awful job at choosing the Best Picture nominees this year. I will be doing a detailed analysis of all the nominees shortly, but for now, let's just say I'm rather pleased. Brooklyn is a lovely movie that won't get the release it deserves here in Australia, just like many smaller films don't, but those who see it will not regret it.
The film follows the story of Ellis (Saoirse Ronan), a young woman living in Ireland. She leaves the country in search of a better life, and this brings her to New York, where she's staying in a small apartment with a group of other young women, led by Mrs. Kehoe (Julie Walters). She gets a job at a local shop and in her spare time, she even participates in some local Irish activities. While at a dance one night, Ellis meets Tony (Emory Cohen), an Italian who takes quite a fancy to her. The two start to go out on dates, and before they know it, they're in love, spending as much time together as they can. Soon, however, a tragic event occurs, causing Ellis to come back to Ireland for a short time. It's here she meets Jim Farrell (Domhnall Gleeson), another man who she shares feelings for. She's now torn between two men and two different countries, and must make the decision to live at just one of them.
Brooklyn started out as a pretty good movie. It wasn't anything excellent, but it was fine. I was enjoying it. Nothing of any real importance was going on, but I was enjoying the way they were setting up the character of Ellis, particularly the relationship with her family. It's not just her character that I liked though, but also the performance by Ronan. She's excellent. Soon, she leaves for New York, and it's here that the film picks things up a notch. It's still no masterpiece, but it was entertaining and well made. As every scene passed, I began to notice something. I began to notice that I was slowly enjoying it more and more and more, and it went from a decent movie at the start to an excellent one at the end.
I still don't have an explanation for this. Perhaps it's because the plot was beginning to be put into full effect, and this plot kept on going right up until the film's final shot, or perhaps it was because I was enjoying spending time with these characters. The more I stayed with them, the more I liked it. So, if this film fails to grab you from the word go, don't fret. Don't even pause it. Just keep going. Stick with these characters and this story as it will get better. When the film's credits roll, you will understand why I, and many others, enjoyed this film so much.
Excluding a couple of episodes of True Detective, I hadn't previously seen anything from director John Crowley. In my eyes, he was practically an unknown, despite making a few previous films that I must now seek out. Crowley is a man of great talent, and Brooklyn proves just that. His direction is to die for, never getting in your face with anything. It's the subtle things he does best, in particular, always having a shining light in Ellis' eyes during the shots closer up to her face. It's a small detail, but an effective one, and when you watch the film it's easy to miss.
This film moved me, and that's mostly thanks to its beautiful script. Written by Nick Hornby, the man who wrote Wild, High Fidelity and About A Boy, and based on the book by Colm Tóibín, Brooklyn may be simple in terms of plot, but the plot never stops, just constantly providing the audience with something else to latch onto. There's always something new going on, and at times, these new events are triggered by a heartbreaking one, the film putting me on the brink of tears multiple times. It's a touching tale of love, home and family, and while I wasn't entirely sure how I'd feel about it when going in, I loved it by the time it finished.
To sum up, Brooklyn is a touching and moving film that just gets better and better as each scene goes along. It's not going to sweep up any award shows, but as a film, it's rather excellent, mixing together emotion, drama and humour for a film you won't regret watching.
By Chris Campo
Rooster Teeth is one hell of a success story. In case you don't know, Rooster Teeth is a small production company that specializes in web based content. They're responsible for the now-televised and long running web series Red vs Blue, as well as many other well respected projects on both Youtube and their website. Rooster Teeth's latest effort, a sci-fi comedy with a $2.5 million budget, only furthers their success as it's a hell of a watch. It measures its manhood to that of a modern superhero flick and just about nails it, in its own small budget, cheesy way.
Lazer Team starts decades ago, where the United States government recives a signal from a friendly alien race telling them an aggressive race of aliens known as the Worg are on a mission to destory any weak planets. The friendly aliens promise that a suit of un-imaginable power will arrive in 30 years. The suit is designed to one man, Adam (Alan Ritchson), who is trained from birth to be the "Champion of Earth". Meanwhile, four idiots accidentally intercept the alien suit and each put on a piece of the armour Forced to train to defeat the evil Worg, the self-dubbed "Lazer Team" must save the world, without killing each other... somehow.
Lazer Team is undeniably Rooster Teeth. The style is expectedly ridiculous, silly and will not be for everyone. As I am a Rooster Teeth fan, I think I got more out of the film than the average movie-goer, but it doesn't alienate non-Rooster Teeth fans. There's next to no inside jokes, only a few subtle references. An example of this is the football game in the beginning of the film. The game is between teams with red jerseys and blue jerseys, a fun reference to Red vs. Blue. That's how subtle the references are here.
The titular heros all are suprisingly fantastic. There's Hagen (Burnie Burns), an awful cop and loving father. Zach (Michael Jones), a hot shot football player who's main goal in life is to sleep with Hagen's daughter, Mindy (Alexandria DeBerry). Woody (Gavin Free), a mentally handicapped waterboy that can't find his way. And Herman (Colton Dunn), a former football star turned drunk after Hagen ruined his career. This cast of idiots are amazing, playing off each other to perfection. They're not necessarily great actors, but their wit, delivery and self-awareness shine. The standouts are Jones and Dunn. Colton Dunn and Alan Ritchson are not Rooster Teeth employees, yet they feel so natural around the gang. They feel like they've been friends with the cast for as many years as everyone else.
The film throws so much comedy at the screen at once that not every joke is gold, but I was laughing consistently hard throughout. From sophomoric dick jokes to outrageous visual gags, Lazer Team attempts so many styles of humor, but the tone is so rock solid and self-aware that it never feels forced or unnatural. The tone is remarkably cheesy. Like, so cheesy that it may turn some people off. Think of the cheese in a old Star Trek episode, but cranked up to 100 and done intentionally. Yeah, it's that cheesy. But both the cast and crew know exactly what they're doing, and this gives the film a charm that just isn't found in the big blockbusters. It's refreshing silly and actually quite smart.
To balance the cheese, there are a few legitimately effective scenes of drama. For example, Alan Ritchson is a very serious character. He was raised to do one thing and it's taken from him. It's quite tragic, and his slow steps towards appreciating the Lazer Team is subtle and, honestly, hartwarming. The payoff to his character is definitely a highlight of the film. The drama between some members of the team is also handled well. While the hatred that Hagen has towards Zach is mostly played for jokes, Hagen's incident that costed Herman his career is a big and effective emotional push the film reallt needed towards its finale. There's also a subtle scene in the beginning where Woody gets bullied by military and it's sad as Hagen begs for his mercy because he's mentally handicapped, which makes him becoming a super genius so much more satisfying.
The action scenes are all pretty clever and well staged, my favorite being a standout sequence in a hospital where they have to stealthily sneak out of containment. There's also a genuinely trilling sequence that takes place at a high school. It's probably the most seriously handled action scene and its production value floored me. Then there's the final battle. It is played for laughs, but it's quite the crowd pleaser and I laughed throughout the entire sequence. There's a remarkable visual gag referencing a classic video game that made me laugh uncontrollably.
Lazer Team is not a perfect movie, by any stretch of the imagination. Most of the CGI is outstanding, but there's one scene involving a group of aliens that have close up shots and they, admittedly, look bad. They look like a last-gen video game cutscene. The big bad villian of the movie looks pretty odd, also. Its design is almost half cat-half Orc from Lord of the Rings. It looked like an old power ranger villian. I honestly couldn't tell if it was practical make-up or CGI. Also, the editing during action is noticeably amature, but its not a huge problem. It has quick cuts and can get a bit jittery, especially in a car chase sequence early on that didn't impress me that much on a technical scale.
To sum up, Rooster Teeth's first attempt at a feature film is a lovingly crafted and hilarious film. You may enjoy it more if you're familiar with the style of Rooster Teeth, but it's definitely a hell of a watch and it almost has a guaranteed cult classic status. Lazer Team... Game on.