Tag: Jamie Foxx

  • Review: Back in Action

    Review: Back in Action

    If there’s one thing Netflix can be counted on for, it’s assembling familiar faces for unambitious but reliable genre fare. BACK IN ACTION exemplifies this, reuniting Cameron Diaz and Jamie Foxx as a pair of retired spies reluctantly drawn back into the game.

    Fifteen years ago, CIA agents Emily (Diaz) and Matt (Foxx)—partners in both espionage and romance—stepped away from the field upon discovering Emily was pregnant. Fast-forward to the present day, and when their identities are accidentally leaked online, the duo finds themselves on the run in London, kids in tow.

    If this sounds familiar, it’s because it occupies the well-trodden territory of The Long Kiss Goodnight, Spy Kids, and countless similar stories. Director Seth Gordon and co-writer Brendan O’Brien, both known for irreverent comedies (Horrible Bosses, Neighbors), keep the tone light and breezy, relying on generational humor for much of the comedy. The script leans into the “OK Boomer” meme but from a Gen X perspective, albeit clumsily. (Let’s be honest: Gen X would likely just sit back and enjoy the chaos).

    Back in Action (2025)

    That said, Gordon and O’Brien deliver something their previous comedies didn’t: genuinely impressive action sequences. Diaz and Foxx both shine, kicking ass literally and figuratively, and their natural chemistry adds a spark to every scene. It’s especially delightful to see Diaz back on screen after a decade-long hiatus, her effortless dynamic with Foxx complemented by a fabulously over-the-top Glenn Close as Emily’s estranged mother.

    Admittedly, the film overstays its welcome by about 30 minutes, recycling jokes and telegraphing plot beats from a mile away. Yet when the action shifts to a climactic showdown on the Thames, complete with iconic London landmarks, it’s hard not to get swept up. Netflix’s budget is on full display, ensuring the film looks polished even if the narrative isn’t groundbreaking.

    As Netflix’s first major release of 2025, BACK IN ACTION suggests the streaming giant is sticking to its formula. And that’s fine. It’s not a clever deconstruction of the genre, nor does it redefine action comedies. But it’s entertaining, and sometimes, that’s all you need.

    2025 | USA | DIRECTOR: Seth Gordon | WRITERS: Seth Gordon and Brendan O’Brien | CAST: Jamie Foxx, Cameron Diaz, Andrew Scott, Jamie Demetriou, Kyle Chandler, Glenn Close | DISTRIBUTOR: Netflix | RUNNING TIME: 114 minutes | RELEASE DATE: 17 January 2025 (Global)

  • Review: Soul

    Review: Soul

    In any other year, we’d all be lining up in cinemas right now to see the annual slate of post-Christmas releases. 2020 has been, for want of a curse word, different. As such, SOUL makes its way directly into our living rooms via Disney+.

    About half of Pixar’s last 10 films were sequels or prequels, a self-perpetuating trend that seems to have been solidified by their Disney acquisition. As if in answer to that, Pixar have returned in 2020 with two original films (alongside Onward) that had atypical digital releases. SOUL is quite easily the best of the two.

    In this film, Joe Gardner (voiced by Jamie Foxx) is a middle school music teacher who has always wanted to be a professional jazz musician. When he gets a chance to play with a legend, he thinks his life is finally on track – until he falls into an open manhole and dies. Now in the afterlife, he must work with soul in training 22 (Tina Fey) for a chance at returning to Earth.

    While there are elements that are similar to Pixar’s earlier Inside Out, mixed up with a few doses of Chuck Jones’ The Phantom Tollbooth or similar, here is a film that is simply and joyously exploring its heritage. While ‘cartoon’ has become a reductive term in modern animation, director Pete Docter displays a deep visual knowledge of the medium in every frame.

    Yet on a more fundamental level, SOUL explores many of the things we question in ourselves every day. Things that often get overlooked in overwhelmingly positive family fare. If Inside Out reminded us that it was ok to be a little depressed sometimes, and you can have more than one feeling at a time, here is an acknowledgement that maybe we are all unsure if we’re doing enough. If we are, to paraphrase the character of 22, ‘good enough for living.’

    On a technical level, SOUL may be one of Pixar’s most accomplished films to date. From the opening moments of trippy Great Beyond animation, this is visually unlike anything Pixar or Disney has ever put to screen. The deceptively simple voids contrast spectacularly with the New York City streets, one of the most complex, photorealistic and sophisticated animated films sets we’ve ever seen.

    Massive props to Trent Reznor and Atticus Ross who, together with their work on Mank, have delivered two of their most interesting soundtracks this year. For a film that is so infused with jazz, their typically precise work blends seamlessly and warmly with the musical set-pieces.

    A minor caveat is that it briefly falls back on Disney/Pixar’s habit of turning minority characters and people of colour in particular into animals for chunks of the running time. Cases in point are Brother BearThe Princess and the FrogThe Emperor’s New Groove and the short film Out. Even with the presence of acclaimed playwright Kemp Powers (One Night in Miami, Star Trek: Discovery) alongside Docter and Mike Jones, it’s a trope that the studio can’t seem to shake.

    Nevertheless, here is a film that tells us that just living life with its warts and all is something unique – even if you’re not into jazz. “I’m worried that if I died today,” says Joe at one point, “my life would have amounted to nothing.” It’s a thought we’ve all shared at some point, regardless of what we’ve accomplished, and SOUL is a beautifully illustrated acknowledgment that failure is as much a part of living as success.

    2020 | US | DIRECTOR: Pete Docter | WRITER: Pete Docter, Mike Jones, Kemp Powers| CAST: Jamie Foxx, Tina Fey, Questlove, Phylicia Rashad, Daveed Diggs, Angela Bassett | DISTRIBUTOR: Disney/Pixar| RUNNING TIME: 106 minutes | RELEASE DATE: 25 December 2020 (Disney+)

  • Review: Baby Driver

    Review: Baby Driver

    Music has always been such an important part of Edgar Wright’s work, from the pop culture tributes of Spaced to the carefully orchestrated sequences of Scott Pilgrim Vs. The World. So it was inevitable that he would eventually build an entire heist film around an exquisite mix-tape of grooves. Yet even with the ferociously precise pre-credits chase sequence set to the Jon Spencer Blues Explosion, BABY DRIVER never consistently sticks its own stylistic flourishes.

    Baby (Ansel Elgort), a young and skilled getaway driver, is perpetually attached to his earbuds thanks to a childhood accident that left him with permanent tinnitus. Timing his high-speed crimes and his lifestyle to the beat of his ubiquitous iPod, Baby’s debt to mob-boss Doc (Kevin Spacey) keeps him on the hook for “one last job.” Yet with the volatile Bats (Jamie Foxx) and violent lovers Buddy (Jon Hamm) and Darling (Eiza González) in the crew, his smooth ride to freedom may still be a few tracks away.  

    (l to r) Baby (ANSEL ELGORT), Bats (JAMIE FOXX), Darling (EIZA GONZALEZ) and Buddy (JON HAMM) decide on doing the heist in TriStar Pictures' BABY DRIVER. PHOTO BY: wilson webb COPYRIGHT: © 2016 Columbia Pictures Industries, Inc. All Rights Reserved.

    In opening title sequence, Baby dances around an Atlanta street filled with signs that appear to anticipate the music, a bit of magical realism that steps straight out of a Michel Gondry music video. Coupled with the kinetic driving scene that preceded it, Wright immediately carves out a stylistic road map for his film. It’s just a shame that he doesn’t stick with it for long. Indeed, the perpetual soundtrack of around 30 tracks feels like the world’s longest promotion for a film that is yet to start. 

    With tips of the hat to its dramatic forebears, it’s clear that Wright’s cinematic playlist is still as deep as his musical one. Nevertheless, with a script that regularly falls back on narrative tropes that span the entire heist sub-genre, the film takes a darker turn thanks to Foxx’s actions in the second act. It’s here that Wright abandons his own style, opting for something a bit more traditional and safe, making what came before a somewhat hollow experience.

    Baby (ANSEL ELGORT) charms Debora (LILY JAMES) at her work in TriStar Pictures' BABY DRIVER. PHOTO BY: Wilson Webb COPYRIGHT: © 2016 Columbia Pictures Industries, Inc. All Rights Reserved.

    Emotional depth is superficially added through the inclusion of love interest Debora (Lily James), an ultimately perfunctory 1950s waitress archetype, seemingly included to add some retro flavour to various black and white fantasy sequences. Baby’s deaf foster father Joseph (CJ Jones) is used purely as a prop when Baby’s cool facade needs cracking just enough for the audience to care about his fate. 

    Wright builds to a climactic parking lot battle, a chaotic mix of sound, fury, and close-quartered crashes, all to the tune of Queen’s “Brighton Rock.” It might be a tongue-in-cheek callback to the “Don’t Stop Me Now” moment in Shaun of the Dead, but the music itself is drowned out by the action. The real shame is that Wright set an early high-water mark for himself, but seems to lose control of the wheel somewhere along the way, frequently turning a hot ride into a bit of a hot mess.

    [stextbox id=”grey” bgcolor=”F2F2F2″ mleft=”5″ mright=”5″ image=”null”]2017 | US | DIR: Edgar Wright | WRITERS: Edgar Wright | CAST: Ansel Elgort, Kevin Spacey, Lily James, Jon Bernthal, Eiza González, Jon Hamm, Jamie Foxx | DISTRIBUTOR: Sony | RUNNING TIME: 113 minutes | RELEASE DATE: 28 June 2017 (US), 13 July2017 (AUS) [/stextbox]

  • Review: The Amazing Spider-Man 2

    Review: The Amazing Spider-Man 2

    The first sequel to the Spidey reboot tries to weave a wicked web, but rapidly gets tangled up in its own convolutions.

    [stextbox id=”grey” caption=”The Amazing Spider-man 2 (2014)” float=”true” align=”right” width=”200″]

    Amazing Spider-man 2 poster (Australia)

    Director: Marc Webb

    WritersAlex Kurtzman, Roberto Orci, Jeff Pinkner

    Runtime: 143 minutes

    StarringAndrew Garfield, Emma Stone, Jamie Foxx, Dane DeHaan, Campbell Scott, Embeth Davidtz, Colm Feore, Paul Giamatti, Sally Field, Felicity Jones

    Distributor: Sony

    CountryUS

    Rating:  Wait for DVD/Blu-ray (★★½)

    More info
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    NB: This review originally appeared on our sister site, Behind the Panels.

    Simple economics dictate that Sony will continue to make Spider-man films until the end of time, or at least until they start to become unprofitable. As such, it was only a mere 5 years that separated the misguided final chapter of Sam Raimi’s Spider-man trilogy and Marc Webb’s 2012 reboot. The origin retread was all about “setting them up to knock them down later”, making way for endless sequels, so it’s particularly odd that this first new sequel seems intent on rushing through several key stories from Spider-man’s 50 year publication history.

    Enough time has passed since the death of Captain Stacey (Dennis Leary) for Peter Parker’s alter-ego Spider-man (Andrew Garfield) to become a New York’s local hero. Struggling to keep a promise to the late cop daddy and stay away from his daughter Gwen (Emma Stone), Peter finds that his personal and heroic lives continually intersect. However, with the return of old friend Harry Osborn (Dane DeHaan), and the tragic origin of a new super powered being in the form of Electro (Jamie Foxx), Peter’s past and identity threaten to blow up in his masked face.

    Almost immediately, The Amazing Spider-man 2 makes a tonal shift away from its predecessor, amping up the self-aware slapstick in place of the endearingly awkward moments of the previous entry. The film is in desperate search of an identity for the lengthy running time that follows, frenetically bouncing between some admittedly impressive action sequences and the classic comic book romance of Peter and Gwen. In both cases, it hits some high points: Spider-man’s early take-downs and his first encounter with Electro are comic books brought to life. Similarly, a scene in which the on-again/off-again couple set up relationship “rules” is magic. However, it never sustains a line-through for any of these loose threads, and is unable to separate a cheesy musical routine from an otherwise chaotic electrical plant fight. Jamie Foxx’s character of Max Dillon/Electro is a perfect analogy for the film itself: it begins as a weak caricature of something grander, but winds up just wanting the world to pay it some more attention, regardless of the mindless destruction.

    The casting, on the other hand, is mostly spot-on, albeit just not used particularly well. It’s a shame that the momentum-heavy script never allows any of the new players time to be anything more than two-dimensional figures. Dane DeHaan may as well be stroking a cat and listening to My Chemical Romance for all the emo he leaves lying around, while a thickly Russian-accented Paul Giamatti is casually tossed in as a character actor more than anything. Foxx is perhaps the most frustrating player of them all, commanding a formidable presence as Electro, but completely failing to sell the cookie cutter geek that forms the basis of his self-worth issues.

    As individual set pieces, The Amazing Spider-man 2 has some stand-out moments. Yet in attempting to run several parallel storylines without a strong narrative backbone, Webb and his scriptwriting team make many of the same mistakes as Spider-man 3. Worse still, the overloaded villain roster waits until the final act to introduce several rogues, rushing through a key turning point in Spider-man’s history for the sake of using a well-known sinister figure. Rife with Easter eggs and hints at coming attractions, this sequel is less of a feature film and more of an extended trailer for a Spider-man cinematic universe that has a long way to go before it develops cohesion.


    The Amazing Spider-man 2 is released on 17 April 2014 in Australia from Sony. It is released on 2 May 2014 in the US.

  • Rapid Review: White House Down

    Rapid Review: White House Down

    A familiar concept doesn’t stop this Roland Emmerich film from having a mighty good time blowing things up and chasing other things down. 

    White House Down poster (Australia) Roland Emmerich is perhaps most famous for blowing up the US seat of power in a spectacular fashion in 1996’s Independence Day, a fact he references in his latest monument trashing enterprise, White House Down. This time around, Washington cop John Cale (Channing Tatum) has been assigned to protect Speaker of the House Eli Raphelson (Richard Jenkins), but is desperate to win the approval of his estranged daughter Emily (Joey King), a precocious young thing with an unhealthy interest in politics. After applying for a job in the Secret Service, and being flatly knocked back by former colleague Agent Carol Finnerty (Maggie Gyllenhaal), John finds himself in the middle of a hostile coup led by Head of the Presidential Detail Martin Walker (James Woods). John suddenly has to not only protect the US President James Sawyer (Jamie Foxx), but find his teenage girl and save the day.

    Despite following the similarly themed Olympus Has Fallen, Emmerich’s White House Down sits firmly in the Die Hard school of action films. Even the incredibly charismatic Tatum is wearing the same white singlet top and holster combo that made Bruce Willis a star. In fact, Tatum’s presence is what lifts this above other copycat capers, sharing an easy on-screen chemistry with Foxx, who is the most badass president the screen has ever seen. While James Vanderbilt’s screenplay is rife with clichés, and plenty of things blowing up for the sheer mad fun of it all, but the amazing collection of actors gives it their all. It’s pure popcorn bliss, and definitely not to be taken seriously. The White House might be down, but our thumbs are firmly up.

    Rating★★★½

    White House Down is released in Australia on 5 September 2013 from Sony.

  • New Footage in International Teaser for Django Unchained

    New Footage in International Teaser for Django Unchained

    Django Unchained posterSony Pictures has released the new international teaser for Quentin Tarantino’s Western homage/collage Django Unchained. It contains a tiny bit of new footage.

    Tackling the subject of slavery, Jaime Foxx will play the titular Django, who under the care of German bounty hunter (who else but Christoph Waltz?) becomes a bounty hunter himself, determined to rescue his wife (Kerry Washington) from an evil plantation owner (Leonardo DiCaprio). It also stars pretty much everybody who has ever had a meeting with Mr. Tarantino including Samuel L. Jackson, M.C. Gainey, Garrett Dillahunt, Dennis Christopher, Gerald McRaney, Laura Cayouette, Don Johnson, and Tom Savini…if none of them leave before production ends.

    Django Unchained will be released in Australia on 24 January 2013 from Sony.

  • First Trailer for Quentin Tarantino’s Django Unchained Arrives

    First Trailer for Quentin Tarantino’s Django Unchained Arrives

    Django Unchained posterFandango has revealed the first trailer for Quentin Tarantino’s highly anticipated Spaghetti Western tribute Django Unchained.

    Tackling the subject of slavery, Jaime Foxx will play the titular Django, who under the care of German bounty hunter (who else but Christoph Waltz?) becomes a bounty hunter himself, determined to rescue his wife (Kerry Washington) from an evil plantation owner (Leonardo DiCaprio). It also stars pretty much everybody who has ever had a meeting with Mr. Tarantino including Samuel L. Jackson, M.C. Gainey, Garrett Dillahunt, Dennis Christopher, Gerald McRaney, Laura Cayouette, Don Johnson, and Tom Savini…if none of them leave before production ends.

    Django Unchained will be released in Australia on 24 January 2013 from Sony.

  • Six New Images from Quentin Tarantino’s Django Unchained

    Six New Images from Quentin Tarantino’s Django Unchained

    Very little has been revealed about Quentin Tarantino’s Django Unchained up until now, short of a teaser poster and two equally teasing images. With a trailer imminent, six new photos have been released (via Yahoo! Movies) from the spaghetti Western showcasing stars Jamie Foxx, Leonardo DiCaprio, Christoph Waltz…and director Tarantino himself.

    Tackling the subject of slavery, Jaime Foxx will play the titular Django, who under the care of German bounty hunter (who else but Christoph Waltz?) becomes a bounty hunter himself, determined to rescue his wife (Kerry Washington) from an evil plantation owner (Leonardo DiCaprio). It also stars pretty much everybody who has ever had a meeting with Mr. Tarantino including Samuel L. Jackson, M.C. Gainey, Garrett Dillahunt, Dennis Christopher, Gerald McRaney, Laura Cayouette, Don Johnson, and Tom Savini…if none of them leave before production ends.

    Django Unchained will be released in Australia on 24 January 2013 from Sony.

    Click image to enlarge

    Django Unchanined - Jamie Foxx and Leonardo DiCaprio

    Django Unchanined - Jamie Foxx and Christoph Waltz

    Django Unchanined - Jamie Foxx

    Django Unchanined - Christoph Waltz

    Django Unchanined - Quentin Tarantino

    Django Unchanined - Jamie Foxx

  • First Images from Quentin Tarantino’s Django Unchained

    First Images from Quentin Tarantino’s Django Unchained

    Following the release of the poster for Quentin Tarantino’s Django Unchained earlier this month, the first official images have now gone online for our collective pleasure. These were originally posted on EW, but have now hit the entire Interwebs. This has easily become one of our most anticipated films of the next 12 months.

    Tackling the subject of slavery, Jaime Foxx will play the titular Django, who under the care of German bounty hunter (who else but Christoph Waltz?) becomes a bounty hunter himself, determined to rescue his wife (Kerry Washington) from an evil plantation owner (Leonardo DiCaprio). It also stars pretty much everybody who has ever had a meeting with Mr. Tarantino.

    Django Unchained will be released in Australia on 24 January 2013.

    Click image to enlarge

    Django Unchained - Christoph Waltz and Jamie Foxx

    Django Unchained - Leonardo DiCaprio

  • Review: Horrible Bosses

    Review: Horrible Bosses

    Horrible Bosses - Australian posterAt some point in history, humans decided that they needed money, and as a result we invented this thing called work to earn the money to buy the things we don’t need. As if that wasn’t proof enough of our collective masochism, we then went and invented a hierarchical structure at work and placed the boss at the top of this pyramid. Designed to make our lives miserable through irrational and frequently unfathomable decisions, some hope to achieve bossdom while others simply hope to avoid their steely gaze. Then there’s those co-workers who go postal and murder their bosses. Seth Gordon’s Horrible Bosses sort of starts here.

    A group of three friends each have problems at work. Nick (Jason Bateman, Paul) works overtime for his psycho boss Dave Harken (Kevin Spacey, The Men Who Stare At Goats), who rewards his labour with emotional abuse. Dale (Charlie Day, TV’s It’s Always Sunny in Philadelphia) is a dental assistant who is repeatedly and forcefully sexually harassed by his dentist boss Julia (Jennifer Aniston, Just Go With It). Meanwhile, Jack (Jason Sudeikis, Hall Pass) loves his job and his boss (Donald Sutherland, The Mechanic), until the latter dies leaving his deadbeat coke-addled son Bobby (Colin Farrell, Fright Night) in charge. After Kurt jokingly suggests over drinks that they should kill their bosses, they run with the idea, going so far as to hire hitman Motherfucker Jones (Jaime Foxx, Rio) to aid them. Needless to say, hilarity ensues.

    Horrible Bosses is the kind of black comedy that is simultaneously a throwback to screwball caper films, tempered in the coarser fires of the more recent The Hangover school of filmmaking. Although the opening act takes its time, and is filled with the kind of exposition that hardly seems necessary given the ultimate goal, it provides a solid foundation of characters upon which the film builds its comedy. These are all characters, or should we say caricatures, that we’ve seen before. Yet in the capable hands of improvisational comedians Bateman, Day and Sudeikis, the film motors along with an energy that its contemporaries often miss. Surprisingly film literate in places, with references to Strangers on a Train and a disarmingly funny nod to Snow Falling on Cedars, Horrible Bosses is the kind of comedy aimed at people who have grown weary of all those “other” comedies out there. That’s not to say it is consistently hilarious, with Bateman essentially playing the same character he’s produced in Arrested Development and Extract, but there’s genuine chemistry between the leads and a sense of uneasy camaraderie that is difficult to manufacture.

    Horrible Bosses

    Sudeikis and Day are perhaps the greatest strengths in the film, with Day providing us with the highly strung character that allows us into the world, while Sudeikis effortlessly slides into the man-whore role that isn’t too far from his Hall Pass turn. All three bosses act against type, with Aniston in particular revelling in not playing a rom-com girlfriend, and instead working her sexy out for some nympho bitchiness. Spacey typically pleases, only a few shades away from Swimming with Sharks, and Farrell is almost unrecognisable as the sleazy coke-head with a pot belly and a dodgy combover. Moral ambiguities are easily swept aside at the sheer nastiness of these bosses, allowing for unfettered hijinks. Supporting players such as Foxx, with a side-splitting origin story for his unique first name, and Ioan Gruffudd as the “Wet work” man, pepper the comedy with unexpected moments, keeping this comedy fresh.

    Director Seth Gordon is perhaps most known for his documentaries King of Kong and Freakonomics, and with the exception of a few TV episodes, his only fictional effort has been the uneven Four Holidays. Gordon handles the large cast capably, with each member given the freedom to draw upon their own improvisational skills within the confines of Michael Markowitz, John Francis Daley and Jonathan M. Goldstein’s script. Each of the writers has worked largely in television, and while the episodic nature of this comedy may betray those origins, there is certainly a strong group of players here lifting this into a territory of regular chuckles.

    [stextbox id=”custom” caption=”The Reel Bits”]For anybody who has every thought about killing their boss, or just simply quitting, Horrible Bosses is sure to provide a layer of giggles. Even if you are unemployed or strangely pleased with your work, this is a bit of fun that will please without offending. Not much, anyway.  [/stextbox]

    Horrible Bosses is released on 25 August 2011 in Australia from Roadshow Films.