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Movie reviews: 'Free Guy' tackles meaning of life with humour, heart, and Reynolds' brand of irreverence

This image released by 20th Century Studios shows Ryan Reynolds in a scene from "Free Guy." (20th Century Studios via AP) This image released by 20th Century Studios shows Ryan Reynolds in a scene from "Free Guy." (20th Century Studios via AP)
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FREE GUY: 3 陆 STARS

This image released by 20th Century Studios shows Jodie Comer, right, and Ryan Reynolds in a scene from "Free Guy." (20th Century Studios via AP)

鈥淔ree Guy,鈥 the new Ryan Reynolds action comedy now playing in theatres, has its philosophical moments, but no one will confuse its search for the meaning of life with the explorations of Joseph Campbell or Socrates. This is pure pop philosophy that breathes the same air as 鈥淭he Truman Show鈥 and 鈥淓dtv,鈥 movies about men who yearn for more than life has offered them.

Reynolds is Guy, a bank teller in Free City, a video game metropolis where the main characters wear sunglasses, have devil-may-care attitudes, cool hair and treat laws as suggestions, not hard and fast rules. Everyone else, including Guy and his best friend Buddy (Lil Rel Howery), are NPC, non-player-characters, who exist simply to give the Sunglasses People someone to rob, beat down, or, in rare cases, flirt with.

They are set decoration in the grand videogame of life.

鈥淧eople with sunglasses never talk to people like us,鈥 Buddy says.

One day Guy鈥檚 orderly life is thrown a curve when he spots Molotov Girl (Jodie Comer), a gunslinging sunglasses person, who also happen to be the woman of his dreams. Consumed with feelings he has never had before; his behaviours change as he looks for love and meaning in his life.

鈥淢aybe I鈥檒l get some sunglasses of my own,鈥 he says.

IRL (In Real Life) Millie (also played by Comer) and Keys (Joe Keery) are former coding superstars whose idea for a videogame that would actually change and grow independently of its users was stolen by evil videogame developer Antoine (Taika Waititi). Keys now works for Antoine, while Millie is obsessed with infiltrating the game as Molotov Girl to get evidence for her lawsuit against the obnoxious tech giant.

Soon the line between Guy鈥檚 algorithmic life and Millie鈥檚 quest blend as 鈥淔ree Guy鈥 asks, 鈥淒o you you have to be a spectator in your own life?鈥

You need a lot of hyphens to describe 鈥淔ree Guy.鈥 It鈥檚 a videogame-rom com-satire-action-comedy that tackles, in a lighthearted way, questions that people had grappled with for thousands of years.

鈥淲hat is the meaning of life?鈥 Guy asks. 鈥淲hat if nothing matters.鈥

But don鈥檛 fret, this isn鈥檛 Camus. The nihilism that usually goes along with big questions about life is replaced with videogame action and brewing romance.

Reynolds brings his trademarked way with a line to play man child Guy. He鈥檚 the definition of bright-eyed-and-bushy-tailed, able to give Guy the na茂ve quality he would have as someone just coming to consciousness, driven by feelings he doesn鈥檛 understand, as it slowly dawns on him that he is free to make his own decisions.

Comer, best known for her Emmy Award winning work in 鈥淜illing Eve,鈥 deftly hops between real life and Free City, creating two characters with a shared goal. She鈥檚 there mostly as a sounding board for Guy鈥檚 awakening, but Comer brings personality to both roles.

Ultimately 鈥淔ree Guy鈥 doesn鈥檛 teach us anything about life we couldn鈥檛 have learned from any number of episodes of 鈥淥prah,鈥 but the message that life doesn鈥檛 have to be something that just happens to us is delivered with a heaping helping of humour, heart and Reynold鈥檚 brand of irreverence.

RESPECT: 3 陆 STARS

This image released by MGM shows Jennifer Hudson as Aretha Franklin in a scene from "Respect." (Quantrell D. Colbert/MGM via AP)

Two years ago, the documentary 鈥淎mazing Grace鈥 showcased Aretha Franklin's remarkable 1972 two-night stand at the New Temple Missionary Baptist Church in Los Angeles. It鈥檚 a soul-stirring window into Franklin鈥檚 vocal ability as she caresses and stretches the notes of the songs to maximum effect.

A new film, 鈥淩espect,鈥 starring Jennifer Hudson and now playing in theatres, broadens the scope, detailing Franklin鈥檚 life from her beginnings, singing in her father鈥檚 church, to the height of her fame.

We first meet Aretha as a ten-year-old (Sky Dakota Turner) phenom, blessed with a beautiful voice.

鈥淵ou have a talent,鈥 her Baptist minister father Clarence (Forest Whitaker) says, 鈥渢hey call genius.鈥

She鈥檚 ten, says a friend, but her voice is going on thirty. Her guiding light is mother Barbara (Audra McDonald), who tells her, 鈥淪inging is sacred and you shouldn鈥檛 do it because somebody wants you to. What鈥檚 important is that you are treated with dignity and respect.鈥

Despite that advice, her father controls every aspect of her life. Using his connections, Rev. Franklin secures a recording contact with music producer John Hammond (Tate Donovan) at Columbia Records. Four low-selling albums of jazz and blues standards follow as she struggles to find her voice on vinyl.

The climb to the top of the charts came with advice from a legend, Dinah Washington (Mary J. Blige), who told her, 鈥淗oney, find the songs that move you. Until you do that, you ain鈥檛 going nowhere,鈥 and a new manager (and love interest) in the form of Ted White (Marlon Wayans).

Taking the career reigns from Franklin鈥檚 father, White breaks ranks with Columbia, and gets a new record deal and a new sound with producer Jerry Wexler (Marc Maron).

As Franklin becomes known as the Queen of Soul, she and White struggle with personal demons that threaten to sidetrack her rise to superstardom.

First and foremost, 鈥淩espect鈥 is a tribute to the genius of Aretha Franklin and the talent of Jennifer Hudson. Franklin left an indelible mark on several generation and styles of music, and her life鈥檚 work is well represented here, from her roots in the church, to her genre-bending chart toppers and the civil rights activism that defined her life off stage.

Hudson is given ample opportunity to showcase Franklin鈥檚 vocal stylings, and does so with a voice that sounds heaven sent. As a rousing jukebox musical 鈥淩espect鈥 succeeds spectacularly well.

It鈥檚 in the telling of Franklin鈥檚 life that the movie hits a few sour notes. There is a lot of ground to cover, from alcoholism and racism to sexism and becoming pregnant at the age of 12, it鈥檚 a complicated story told in fits and starts, wedged between musical numbers.

The film鈥檚 early scenes, featuring the wonderful Skye Dakota Turner as the ten-year-old 鈥淩ee,鈥 are nicely developed and paint a vivid picture of Franklin鈥檚 young life. It鈥檚 when 鈥淩espect鈥 adopts the Wikipedia bullet point approach to quickly cover a lot of ground that the movie loses some of its dramatic thrust.

鈥淩espect鈥 skims the surface of a long, interesting life鈥攖he story ends rather abruptly in 1972 with the recording of Franklin鈥檚 landmark 鈥淎mazing Grace鈥 gospel album鈥攂ut presents a rousing tribute to Franklin鈥檚 lifeblood, the music.

THE COMEBACK TRAIL: 2 陆 STARS

Robert De Niro and Zach Braff are seen in the film "The Comeback Trail." (StoryBoard Media)

Based on the 1982 film of the same name by Harry Hurwitz, 鈥淭he Comeback Trail,鈥 now on VOD, is star Robert de Niro鈥檚 third Hollywood satire after 1997鈥檚 鈥淲ag the Dog鈥 and 2008鈥檚 鈥淲hat Just Happened.鈥 It doesn鈥檛 pack the same kind of sardonic punch as those films, but supplies a laugh or two.

Set in 1974, De Niro plays Max Barber, a Hollywood hanger-on and producer of bottom-of-the-bill b-movies with names like 鈥淜iller Nuns.鈥 He dreams of the big time, of making an epic but his reputation and lack of money put his dream out of reach until he concocts a deadly scam.

With his unsuspecting partner and nephew Walter (Zach Braff), Barber sets up a new film starring Duke Montana (Tommy Lee Jones), a suicidal western star living in a home for retired and forgotten, actors. The tough old coot spends his days playing Russian Roulette, but when Barber offers him a gig, Duke thinks this might his comeback and puts away the gun.

Barber, who is being pressured by gangster Reggie Fontaine (Morgan Freeman) to repay a sizable loan, has other ideas. His scam is to kill Duke, shut down the movie he never planned to finish, and, make a killing, literally, with the insurance money.

But, like so many things in Barber鈥檚 life, his scheme doesn鈥檛 go as planned.

鈥淭he Comeback Trail鈥 is a movie in love with the movies. Barber and Fontaine banter in movie references鈥斺淚鈥檓 gonna choke you.鈥 鈥淟ike Tony Curtis in the Boston Strangler?鈥濃攁nd, ultimately, it sings the praises of the power of the movies to inspire and transform lives.

Film fans may enjoy the sentiment, but they likely won鈥檛 be as impressed by the slack pacing and obvious telegraphing of joke after joke. It takes ages to get to the heart of the one-joke premise and, while there are mild laughs sprinkled throughout, as soon as director George Gallo (who wrote 鈥淢idnight Run鈥) allows the story to limp on to the film set-with-the-film, the movie starts to run out of steam.

Of the three Oscar winners who headline 鈥淭he Comeback Trail,鈥 only Jones appears invested in creating a memorable character. His take on the 鈥渂roke-down-over-the-hill-has been鈥 Montana has enough flashes of pathos to hint at what this movie could have been, a bittersweet comedy about the dreamers who live and breathe celluloid, but the movie鈥檚 silly tone lets him down.

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