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Review: ‘Sausage Party’ is an Undercooked Spoof



Sausage Party Review

[dropcap]W[/dropcap]hen the trailer for Sausage Party first landed online, it received many laughs for being so shocking and different. Here was a computer-animated movie where the anthropomorphic characters of supermarket items are forced to comprehend their gruesome fates. The food characters experience torture and pain when being eaten, constantly cursing and speaking of sexually congregating with one another.

Sausage Party Review

Grocery stores are scary business.

Sure, it’s a funny trailer, but my initial thoughts were how well such a concept could work in a feature-length movie. Talking food that takes a dark turn is a funny bit for two minutes, five tops. To make this easy comedy work for a movie, the script struggles to find jokes and weave a blunt allegory around a few hilarious scenes.

The rules of this talking food universe are quite odd. A supermarket full of food is sentient enough with expression and looks up to the humans that enter the establishment as gods. The humans cannot hear the food begging to be taken home or see their eyes, mouths, gloved hands and shoed legs (unless, of course, the humans are majorly stoned).

The food has apparently never learned the horrible truth that they exist to be eaten (the store must not have free samples). They believe that outside the supermarket doors lies the great beyond, an eternal paradise that only humans can escort them towards.

Sausage Party Review

A match made in heaven.

In this supermarket community, hot dogs desire to be wedged between hot dog buns as a sexual act, which can only be accomplished in the great beyond. There are two hot dogs we follow for this adult animated picture. One is Frank (Seth Rogen), a confident everyman (everyweiner?) that is hopeful for the future, despite what he doesn’t know. Another is Barry (Michael Cera), a deformed hot dog that fears for his life and must find the strength to save his friends.

While Barry struggles to find his way in the outside world, Frank travels the aisles of the supermarket to discover the secret of food with his bun girlfriend Brenda (Kristen Wiig), the nervous Jewish bagel Sammy (Edward Norton) and the bitter Arab lavash Vash (David Krumholtz).

As with the controversial pairing of a bagel and a lavash, most of the food characters Frank encounters are based on ethnic origins with stereotypical characterizations.

A wise bottle of booze dubbed Firewater (Bill Hader) smokes weed around a fire and makes the old Indian gag chant of hi-how-are-ya. A box of grits (Craig Robinson) asking that you “call him Mr. Grits”, curses about being driven out of his aisle by crackers. Jars of sauerkraut march in formation as they salute their cause of exterminating “the Juice.” Some of the foods refuse to get along with the fruits, as they are too effeminate.

The only store item that seems to have real character outside of tired stereotypes is the villain of a douche (Nick Kroll) portrayed as an insulting, muscle-head jock. It’s a more clever play on the personification of a douche acting like a douche – not genius, but still clever.

Sausage Party Review

Getting eaten is not all it’s cracked up to be in ‘Sausage Party.’

A big shock occurs when Barry discovers that he has been brought home to be eaten by the gods. Potatoes have their skin peeled off, tomatoes are sliced in half and cheese is grated; all of these characters are screaming in pain as they slowly die. Another eventful scene features a bag of flour explode as food spills out of a cart, cookies scrambling to reassemble themselves and bananas having their faces peeled off, in a parody of Saving Private Ryan.

While these two scenes are hilariously vicious, the gimmick wears out its welcome as the movie goes on and the death toll mounts. We don’t spend enough time getting to know most of these characters that the sight of them being smashed, eaten, sliced or shredded doesn’t hold so much shock. You can only “kill” an inanimate object so many times before it means nothing.

I suppose the big appeal of Sausage Party is that it banks hard on its gross-out, foul-mouthed nature and its hard R rating for an animated movie. It’s not exactly the first animated movie to reach for vulgarity as with Ralph Bakshi’s Fritz the Cat (1972) or Trey Parker and Matt Stone’s South Park: Bigger, Longer and Uncut (1999).

Sausage Party Review

Fear is one way to bring ingredients together.

It’s not even the most recent R-rated animated movie as with last year’s stoner comedy Hell and Back and Charlie Kaufman’s human drama Anomalisa. I’ll give the movie this: it is the first computer-animated movie to savagely lampoon the cute anthropomorphization of animated movies for kids.

But for trying to be so adult with all manner of reference to drugs, religion and gore, I was surprised at the abundance of food puns so lame that even children’s animated movies wouldn’t use them. A meatloaf is voiced by Meatloaf. A collective of apples believe they are called upon when someone utters the phrase “how do you like them apples.” Frank addresses the corn by asking them to lend him their ears. The abundance of these puns comes off as lazy bits of writing, desperately seeking anything that can be funny in a supermarket setting.

Read more to watch the trailer for Sausage Party:

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Box Office

“Captain Marvel” Retains Top Slot at the Box Office



It’s no surprise that in its second weekend, the first Marvel Cinematic Universe of 2019 is still riding high. Captain Marvel, the latest in the MCU with Brie Larson starring as the lead, generated another $69 million over the weekend, placing its domestic total at $266 million. Tallying up the international box office, the film’s global total to date is $760 million. Despite the online controversy, the film is looking to be another strong box office smash for Disney and Marvel.

As for the premieres for the weekend, and there were plenty, they were all over the map. Just below Captain Marvel was the animated adventure Wonder Park, bringing in $16 million, another film with controversy when the director’s name was removed from the picture after sexual harassment charges. Five Feet Apart, the dying teen drama about a romance amid cystic fibrosis, only came in at #3 with a weekend gross of $13 million. And debuting the lowest in the top 10 for debuts was Captive State, a sci-fi dystopian tale, only making $3 million. The film debuted so low the little film No Manches Frida 2 was able to sneak about it at #6 with a gross of $3.8 million.

Drops were fairly low all around for the returning films, mostly because Captain Marvel was dominating the previous weekend. The only milestone worth noting is that The LEGO Movie 2, after six weeks at the box office, finally cracked $100 million. And the sun is now setting on Green Book’s post-Oscar run by coming in at #10 for the final weekend of its top 10 run over the past few weeks.

View the full top ten weekend box office results below:

Captain Marvel ($69,318,000)

Wonder Park ($16,000,000)

Five Feet Apart ($13,150,000)

How to Train Your Dragon: The Hidden World ($9,345,000)

Tyler Perry’s A Madea Family Funeral ($8,085,000)

No Manches Frida 2 ($3,894,000)

Captive State ($3,163,000)

The LEGO Movie 2: The Second Part ($2,135,000)

Alita: Battle Angel ($1,900,000)

Green Book ($1,277,000)

Next weekend, Captain Marvel may very well have some competition when Jordan Peele’s new horror film Us hits over 3,600 theaters.

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Box Office

“Dragon” Continues To Soar, “Funeral” Close Behind, “Green Book” Back



With little competition for the weekend, How to Train Your Dragon: The Hidden World, the third in the animated fantasy saga, was able to secure the box office once more. In its second weekend, the animated epic made $30 million to push its domestic total to $97 million. So far the film has done about the same as the previous film and is on track to stay in the top 10 for a few more weeks in March.

Debuts this weekend were small with one big exception. Tyler Perry’s latest Madea film, A Madea Family Funeral, naturally made a relatively big splash with its dedicated audience. Starting at #2, the film made $27 million for its first weekend. No word on the budget yet but it’s most likely on a budget as most Tyler Perry productions are, so it’s safe to call this a success, especially for debuting with a box office so close to Dragon.

The rest of the premieres were not as strong at all. Greta, the new thriller starring Chloe Moretz, debuted all the way down at #8 with $4.5 million box office. To be fair, however, the film was in a constant battle for its spot as three other films also reported earnings around $4 million for the weekend. Of note, Green Book, fresh off winning the Academy Award for Best Picture one weekend ago, splashed back into more theaters to arise even higher in the top 10 with its domestic total now sitting at $73 million. Don’t count on it remaining there long as bigger blockbusters will be swooping as we plow through the last remnants of winter movies.

Check out the full listing of the top 10 box office weekend results below:

How to Train Your Dragon: The Hidden World ($30,046,000)

Tyler Perry’s A Madea Family Funeral ($27,050,000)

Alita: Battle Angel ($7,000,000)

The LEGO Movie 2: The Second Part ($6,615,000)

Green Book ($4,711,000)

Fighting With My Family ($4,691,284)

Isn’t it Romantic ($4,645,000)

Greta ($4,585,000)

What Men Want ($2,700,000)

Happy Death Day 2U ($2,516,000)

Next weekend is once again all about Marvel as their latest superhero solo film, Captain Marvel, will be appearing in 4,100 theaters.

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Movie News

Review: “Captain Marvel” is a Solidly Sensational Sci-Fi Adventure



Captain Marvel joins the ranks of the Marvel Cinematic Universe in a much different way. She slides into the MCU via a twisty sci-fi adventure of the 1990s, before the Avengers were formed. And though the film does serve as a strong bridge picture that answers a few more questions about the Marvel universe, the film quickly becomes its own thing and gives its hero a real identity as the powerful addition to the superhero ensemble.

Brie Larson plays Carol Danvers, a woman not sure if she’s a human pilot of Earth or a soldier of the Kree empire’s Starforce. There’s little time to explore these conflicting visions she’s having when there’s special energy powers to control and a war being waged against the shape-shifting Skrull alien creatures. A detour to 1990s Earth gives her a bit of time to find out more while also hunting down some more Skrulls, leading to some interesting scenarios when combatting aliens that could look like old ladies.

Marvel Studios’ CAPTAIN MARVEL..Captain Marvel (Brie Larson) ..Photo: Film Frame..©Marvel Studios 2019

Carol’s landing on Earth leads to treading down familiar Marvel timeline territory as well as evoking plenty of dated 1990s bits. What started drawing me into the picture was how the film holds itself back from the obvious. The 1990s setting is used for some gags of video stores and Windows 95, sure, but never goes the extra mile of becoming an aggravating reference fest, keeping a certain vibe the way Guardians of the Galaxy embraced the 1970s and 1980s. And just like that film, there’s a nostalgic soundtrack to boot, with choice tracks for just the right cue.

Samuel L. Jackson pops up in the film as a younger Nick Fury with his two eyes still intact. He teams up with Carol in her intergalactic spy adventure and thankfully never goes to the booming lengths he was known for that decade. And the filmmakers could have easily made this younger Fury go full Die Hard 3 or Pulp Fiction but he never does, always keeping that cool persona he has been known for in the Marvel Cinematic Universe.

Marvel Studios’ CAPTAIN MARVEL..L to R: Att-Lass (Algenis Perez Soto), Captain Marvel (Brie Larson) and Minn-Erva (Gemma Chan)..Photo: Film Frame..©Marvel Studios 2019

But the one aspect that is never shunned and built up grandly is the aspect of female empowerment. Danvers is established as a woman who doesn’t have a clear identity or mindful nature of galactic politics and has to build herself up when she realizes she may be a very powerful pawn in a big game of intergalactic chess. Her memories are that of always being told to back off from non-traditional activities for girls and, sure enough, she rises up to become the smirking and energy-shooting hero when the final piece of her character puzzle is pieced together. It’s just unfortunate that the film spends so much time doing the building amid a twisty sci-fi spy story that Brie never gets a moment to shine as brightly as she could, despite a very enthusiastic third-act closer.

If we’re being blunt, no, Captain Marvel doesn’t quite have the same gravity to be a cultural milestone of a comic book movie. Where others have pointed to Black Panther as not the first the most insightful and cultural of black-led superhero movies, I doubt many will look towards Captain Marvel as the grandest of female-led comic book movies, making its motives known with the power and subtlety of a supernova. But, in terms of what the film is aiming towards, it doesn’t have to prove anything to anyone and that’s perhaps the point. I just wish that Captain Marvel’s astounding powers to destroy starships and aliens had a much bigger punch for a picture that wants to obliterate the glass ceiling and merely cuts a narrow hole within the MCU. It’s a nice hole, mind you, and still weaves a capable and compelling sci-fi adventure with a surprisingly more engaging finale than most Marvel solos.

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