Not Worth The Effort was conceived in early Fall of 2015 with the aim of succinctly documenting and summarizing movies (and possibly other media) that simply aren’t worth the effort of a full review. This month’s issue is dedicated to Ghostbusters (2016), which is so far by far the most astonishing movie of the year and which proves to misogynist haters beyond a shadow of a doubt that women can be as witty and hilarious as Azis Ansari, Louis C.K., Adam Sandler, and Anderson Cooper.
"A film which almost nobody could dislike..." ~ The Author before he saw the Tomatometer
* Like meter on a social media photo zipping up really fast to indicate significance to modern, tech-dependent viewer
* A character talking nonchalantly about one thing in a vague enough manner that strangers think he’s talking about something completely inappropriate and sexual.
* Well-meaning but misguided government trying to take the kid away
* Character at the beginning of the movie: “Don’t call me Uncle.” Character at the end of the movie: “I guess you can call me Uncle.”
* “What did you just call me? Call me that one more time!”
* Terminator references
* Hungry person imagining an animal is a giant hamburger
* Character who thinks he’s taking a long and arduous journey is rudely awakened by someone to learn he hasn’t traveled more than 200 yards.
* Practical trick exercised at beginning of movie (haiku) brought back at end for emotional impact and symmetry.
* Beautiful, luminously backlit girl shakes hair in slow-motion as main character realizes he’s falling hopelessly in love. [OK, I admit I laughed at this part, and they did it twice in case you missed it the first time.]
Much though I would love to exhort these Files’ readers to go support indie cinema and “movies that are different”, to do so in regards to Wilderpeople would be completely disingenuous, as this is nothing more than another slant on the now formulated tale of a talkative kid warming the heart of a grumpy older guy and showing him he doesn’t have to be alone. What’s more disappointing is that this variation on the tale adds the loss of an amiable wife and mother figure, but after Auntie passes away, we never really see the boy or Sam Neill grieving her absence. Would dedicating more time to her and what she meant to both main characters have made this a more sentimental, manipulative movie? Probably. Would it have made the film more engaging and consequential? Yes.