The M&M Report: “Win It All” and the State of the Movie Industry

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Win It All is the latest gripping drama from writer-director Joe Swanberg and writer-star Jake Johnson; you can stream it on Netflix now. It’s good.

Meanwhile, what does the recent explosion of content coming from streaming services mean for more traditional creators and distributors of pop culture? We don’t have all the answers, but we make a few guesses.

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“Jurassic World”: Less Dino, More Problems

Jurassic World

During the climax of Jurassic World, two dinosaurs tear into each other with ferocity and menace. The movie builds to this moment, capturing its CGI spectacle in loving wide shots with Michael Giacchino’s nostalgia-tinged score pumping in the background. But for a few seconds, the camera pans to the movie’s three main characters, who are darting in between the dinosaurs’ legs, scrambling to get out of the way.

I wish they had. Human characters are a necessary component of any movie in which dinosaurs terrorize a theme park full of unsuspecting vacationers. But Jurassic World makes a convincing argument that future installments (of which there will undoubtedly be many) ought to do away with them entirely. The movie squanders good actors and does bad no ones no favors. It seems confident that its characterizations have one or two more dimensions than they actually do. And it’s hard to build up a dino-fueled head of steam when the action periodically pauses for another round of unconvincing dialogue.

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“Let’s Be Cops”: Nah

Let's Be Cops

Just as a pile of puzzle pieces doesn’t inherently add up to a masterpiece, Let’s Be Cops has precious few laughs for a movie starring people as historically funny as Jake Johnson, Damon Wayans Jr. (both from New Girl), Rob Riggle and Keegan Michael Key. In fact, it has precious few laughs at all.

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