Big budget borefest.
Bringing back Laura Dern and Sam Neil was a cold, calculated nostalgia play and boy, oh boy, did it work. Well, in the sense that it got me through the door but, Christ, there's zero point in either of them being there. But then, there's no real worth in anyone being there because the story is entirely weightless and the character work equally lacking. None of the protagonists or the villain have any depth and the actors…
Even better on second viewing. Cheesier, funnier and more obscene.
That "sex" scene is the tamest thing I've ever witnessed though. It's like watching two friends cuddling on a comedown. Then again, if it had been proper it would have felt wrong because the idea of Tom Cruise having sex with a woman is alien to everyone, especially him.
Unapologetically cheesey, while undeniably enjoyable.
A veritable fromagery of hilariously cringeworthy lines, looks and lordy, lord machoism but what the hell else were we expecting?! This is a sequel to one of the most absurd films ever. Had they tried to make it any different, there would have been uproar. And rightly so. When you watch the OG, or this, you know what you're going in for and, let's not beat around the bogeys on your six, you're there because…
Cagey meta madness.
Hilarious and surprisingly heartfelt, both knowingly and successfully. Cage is obviously the star, fully committing to the (initially) loserish representation(s) of himself at the centre of it all, but Pedro Pascal is just as brilliant. Together, they make a unbearably loveable double-act.
Speaking of acts, it's pretty exceptional until the final third, when it reverts to the tedious type its been riotously mocking. Unfortunately, no amount of funny self-awareness can forgive formulaic, cheesy predictability.
Overall, brilliant though. The kind of film that had me frequently laughing out loud and definitely one that'll reward repeat viewing.
Well, I'm glad Rosamund cared because I sure as shit didn't.
Classic sell your soul to the devil for riches tale, done in a flash bang wallop way, that races to a stop midway through the second act when you realise that none of the (remaining) characters are even remotely interesting, redeemable or, ironically, worthy of your care.
Supposed to be a sharp satirical shot at capitalism and the American dream, it's more of a blunt laudation of cuntery.
