For a film already clocking in at a good 20 minutes too long, the entire basic training sequence feels highly redundant, the absurdities of military life just underlining yet again how lost Cherry is in a world that seems to him like little more than a bad joke. In Iraq, the Russos frame some large action scenes with an impressive sweep but are less sure-footed at balancing the emotional trauma of Cherry’s experiences as a combat medic with his jaundiced humor. After the prologue, the film cuts back five years to 2002, when Cherry is already planting the seeds of his future self-destruction. As played by Holland with bright-eyed verve, even when he’s at his most ruinous and lost, Cherry bounces somewhat randomly through life.

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This is a simple and serviceable premise for a farce that could bookend John Landis’s Coming to America, yet Brewer and the film’s screenwriters throw this idea away almost as soon as it’s introduced. raig Brewer’s Coming 2 America suggests Alcohol a feature-length version of the blooper reel that plays alongside the final credits of some mainstream comedies. Even by the woeful standards of decades-too-late comedy sequels, Coming 2 America is desperate, belabored, and thin.

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These qualities are effortlessly embodied in Gaudette’s performance, which is as subtly physical as it is densely verbose; at times, his posture seems to defy gravity, Sober living houses bending against the wind in a stance that telegraphs both defensiveness and virility. Indeed, the physicality of all the actors is critical to Côté’s slow-burn comedy.

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With its heightened, allusive sense of unreality, the film gives a more accurate representation of our current cultural moment—one defined by the unending doom of a 24-hour news cycle, all-night Google binges, and isolating financial precarity—than an objective depiction could ever hope to do. he directorial debut of actress and controversial leftist podcaster Dasha Nekrasova, The Scary of Sixty-First captures the zeitgeist, for better or worse. The story focuses on two twentysomething friends, Addie and Noelle , who reluctantly sign a lease for a suspiciously affordable apartment in New York’s Upper East Side.

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Rather than subjecting dreams to the logic of narrative cinema, which would neutralize their potential to both fascinate and terrorize, Burns allows his subject matter to suggest all manner of formal deviations from genre expectations. Come True offers a glimpse of a world where screens are pores in the boundary between dreams and waking life. As sci-fi extrapolations go, this one is slighter than it seems, but in its dual function as horror, it displays a healthy ambivalence toward the power of cinema to make dreams, and nightmares, come true. The film’s angst-ridden protagonist, Sarah , has a virtually nonexistent relationship with her parents and atrocious sleep hygiene, having developed the habit of sneaking out at night to bed down on a playground slide.

The creaky Coming to America is no comedy classic, but it sprung a droll and sometimes even volatile series of fish-out-water scenarios, playing the absurdity of, say, an African prince working in a McDonald’s-style chain dead and patiently straight. The film’s governing joke, which it shares with Landis’s Trading Places, is the idea of a poverty-stricken person, especially of color, having actual mobility in a realm of turbo-charged capitalism. And certain relationships in that film are memorable, especially Akeem’s camaraderie with Arsenio Hall’s Semmi, which is clearly charged by the actors’ own rapport. Brewer sporadically illustrated this sort of patience and flair for texture in Dolemite Is My Name, but he invests Coming 2 America with no such follow through, as every moment here limply exists for its own sake, fading from memory as soon as it passes, and so no collective sense of comic momentum develops. Decades after traveling to New York to find his true love, Akeem , once the wealthy prince of the African nation of Zamunda, must return to the city to find his illegitimate son. Akeem is now king, and though he’s produced three daughters with his queen, Lisa , Zamunda requires that a man inherit the throne.

We hear a lot from him at first—literally so, as he narrates his flailing attempts to get a grip on life while killing time in Cleveland alongside his going-nowhere friends and working crummy jobs. Later, as a series of bad choices limits his options, he will have less to say. When it comes to audio performance, the Klipsch T5 II excel in some Sober companion areas, but disappoint in others. They offer a great bass extension with tightly controlled low frequencies, but suffer from sibilance and a lack of sparkle in the trebles. In addition, while they provide a good level of clarity and comprehensive codec support, they’re let down by their relatively narrow soundstage and lack of dynamism.

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