Movie Review – Kubo and the Two Strings


EXPECTATIONS: A beautifully realized fantasy adventure from Laika.

REVIEW: Laika Studios is an animation studio that I am not fully familiar with. Now put your pitchforks away, it’s not due to bad expectations. I honestly don’t know why I am not more into their work although without knowing, I have enjoyed their first studio film, Coraline, immensely. And reading about their other works like The Boxtrolls and Paranorman, I was interested of what they have cooked up for their latest film. An Asian-influenced fantasy film with the use of stop-motion that adapts the art of origami? And it also stars Charlize Theron and Matthew McConaughey as a monkey and a beetle samurai? This honestly sounds like a film I would have loved to have seen when I was a kid. Hell, it sounds incredibly appealing at my current age. So does the film live up to its studio’s sterling reputation or will it rank alongside mediocre animated films like The Angry Birds Movie and the latest Ice age sequel?


In Ancient Japan, a young boy named Kubo (Art Parkinson) cares for his sick mother in a village. A spirit from the past known as The Moon King (Ralph Fiennes) turns Kubo’s life upside down by re-igniting an age-old vendetta. This causes all sorts of havoc as gods and monsters chase Kubo. In order to survive, Kubo must locate a magical suit of armor once worn by his late father, Hanzo a legendary Samurai warrior. On his journey, he also gains some allies in a Monkey (Charlize Theron) and a Beetle (Matthew McConaughey) and he realizes he also has more demons on his way, like his twin aunts, whom are also phantoms (both played by Rooney Mara).


As you can see by the pictures (or the trailer), the animation is absolutely spectacular. The sheer commitment to the animation is just mind-blowing to the point that everything you question on-screen about whether it is CGI or practical effects, trust me, it is all practical. Even the water! And the character designs are all distinct while retaining the Asian influence. I especially loved the character design of the twin aunts, particularly when the first appear in the night. It was reminiscent of ghost stories in Japan i.e Kwaidan stories. And the stop-motion animation of the monsters are endearingly reminiscent of Ray Harryhausen films, which will please adults as much as children.

Speaking of pleasing adults, the story is surprisingly thematic and mature. Venturing towards themes such as death and autonomously determining your fate with minimal sugar-coating or being patronizing to children, it fits into the story in terms of its character development like a glove, which helps the audience relate to Kubo. Even if the themes go over the minds of children, the film still provides a rollicking fantasy adventure. The action scenes are thrilling to watch, particularly the martial arts scenes. Planning and executing them had to be a pain to do, but it pays off really well, particularly in a scene where Monkey fights one of the twins on the ship out in the ocean.


And what would it be without the characters? With such a strange Hollywood cast chosen for these fantasy characters, it’s a wonder that they work as well as they should. Art Parkinson (known for his appearances in Game of Thrones) is endearing and convincingly conflicted as Kubo, as he not only has to deal with this quest involving family conflict, but he is also going through adolescence and owning up to his destiny, and Parkinson portrays that well. Matthew McConaughey is a hoot as Beetle, a former samurai who worked under Hanzo yet his memory isn’t quite what it used to be, leading to some very funny situations.

Ralph Feinnes can play the villainous role in his sleep and with his small role as the Moon King, he suffices. Rooney Mara seems to be relishing playing the twin villains, as she seems to be quite animated (not a pun) and delightfully acidic, when you compare it to her other live-action performances. But the big standout is Charlize Theron as Monkey. Authoritative, strong and paternal to an amusing degree, she steals every scene she is in and the chemistry between her and McConaughey is surprisingly sweet despite the two never working together in the same vicinity. And it was great to hear veteran actress Brenda Vaccaro again, who delights in her small role as Kameyo.


As for its flaws, the story may be a little bit too simple for some and the motivation for some of the villains are not really clear, hindering the ending a little bit. Also, although the character of Beetle is very funny, his comic relief antics can intrude with the dramatic through-line at times.

But overall, Kubo and the Two Strings is one of the best films of the year and I highly recommend it. With its spectacular animation, thrilling action scenes, likable characters and a great message, Laika Studios has gotten me interested to watch their other work.

Quickie Review


Spectacular animation

Likable characters

Resonant themes

Fantastic action scenes


Motivations of villains a bit unclear

Intrusive comic relief

Overly simplistic story

SCORE: 9/10


This review can be also seen at THE IRIS. Visit the site by pressing the picture above.

Cast: Charlize Theron, Art Parkinson, Ralph Fiennes, George Takei, Cary-Hiroyuki Tagawa, Brenda Vaccaro, Rooney Mara, Matthew McConaughey.
Director: Travis Knight
Screenwriter: Marc Haimes, Chris Butler, Shannon Tindle


Movie Review – War Dogs


EXPECTATIONS: A dark comedy along the lines of Pain and Gain.

REVIEW: Pain and Gain. The Wolf of Wall Street. Scarface. What do these films have in common? The characters are all on a quest to achieve their own versions of the American Dream. And they are all about greed and the seduction of power that shows that absolute power corrupts absolutely. But what makes the first two films stand out is there is a satirical and comedic bent towards its story and it just so happens that the films are based on true events. And Todd Phillips‘ latest film, War Dogs, follows that trend. And with talented actors Jonah Hill (who has the moniker ‘character actor’ written all over him) and Miles Teller (fresh off the Fant4stic slump) as the leads, this could be a potential winner. But considering The Hangover sequels, the expectations certainly dip, but War Dogs fortunately qualifies as a pleasant surprise.


Miles Teller stars as David Packouz, a massage therapist who is sick and tired of being stuck in a mediocre life, despite having a beautiful wife, Iz (Ana de Armas) who loves and supports him. After a failed attempt to start his own business selling bed sheets, his junior high school classmate. Efraim Diveroli (Jonah Hill) inexplicably shows up and the two pick up their friendship where they left off. Then Efraim offers David a chance to make big bucks by becoming an international arms dealer. Together, they exploit a government initiative that allows businesses to bid on U.S. military contracts and make a raking out of it. But they soon find themselves in over their heads after landing a $300 million deal to supply Afghan forces, a deal that puts them in business with some very shady people.


If anyone has seen the trailers for this film, you wouldn’t be  wrong if you expected this film to be an all-out comedy, along the lines of The Hangover films. But as the final product turns out, it actually is more of a crime drama that just happens to have comedy in it. Todd Phillips‘ last film was The Hangover 3, which was derided by critics and audiences alike (including myself). The main reason it was derided was because it was more of a thriller than an actual comedy.

The same exact feel is in War Dogs, but in this case, it suits the film’s story a lot better. The true events of the story are so ridiculous that it suits the screen treatment it gets, as Phillips’ direction makes it fun to watch. It also makes the film quite unpredictable and alongside the fast editing, frenetic cinematography, colorful settings, it all ends up in blackly comic fun. But when you compare to films like The Wolf of Wall Street and Pain and Gain, War Dogs is more subtle and it works to a degree, but when it comes to the condemnation of the characters, it seems a bit slight and it hinders the ending.


It is immediately obvious that director Todd Phillips was inspired by Martin Scorsese‘s work as well as Scarface, as it has all the hallmarks: narrations, scenes in the third act that start the film, the soundtrack etc. But that just balances out the absurdity of the story as well as how incredibly appalling the plot gets. Scarface in particular, has a presence throughout the film as well as an influence on Hill’s character as his office has the exact same wall painting and his lamps are gold AK47 assault rifles.

And speaking of AK47s, nothing fires as many rounds and hits as many targets as Jonah Hill as Efraim Diveroli. Building on his promise as a masterful character from films like Moneyball and The Wolf of Wall Street, Hill plays the comedic bent with ease but he also digs into the darkness of the character really well. Playing a sociopath with the kind of empty-eyed smile and the smooth talk of a salesman, Hill creates a monstrous character that will draw you in and repel you in equal measure.

As for the other members of the cast, Miles Teller still shows the average-joe charm that made audiences like him in the first place and again in War Dogs, it still works. It certainly helps that he has great chemistry with Hill and he convincingly portrays the naivety of the character. Ana de Armas (whom I enjoyed in Knock Knock and Exposed) makes the most out of her thankless role as the supportive wife while Bradley Cooper portrays the sinister edge of his arms dealer character well, especially when he reveals his ironic feelings in the final act.


As much as director Phillips tries to make a crime saga, there are some storytelling problems that take it back a notch. The title cards that appear throughout the film seem quite insistent when they could have been removed without affecting the film at all. The use of narration is nowhere near as good as other crime films, mainly because it is used mainly for exposition rather than gradually developing the characters. The story also dwells into cliches like as the supporting wife, and it stands out like a sore thumb alongside the entertainingly unbelievable events. And it is very noticeable that whenever Hill is not on-screen, the film suffers from his lack of presence.

But overall, War Dogs was a much more substantial film than I ever expected from the trailers. With a great source material to work with, a fantastic performance from Jonah Hill and Todd Phillips‘ directorial change of pace, War Dogs is a appallingly comical experience that shows another delusional and depraved side of what the American Dream could be and how low the U.S Government can actually stoop down to.

Quickie Review


A fantastic performance from Jonah Hill

Great, unpredictable source material to play with

Fast editing, frenetic cinematography and colorful settings add to the fun


Some cliches

Questionable storytelling devices

Understated feel hinders the ending

SCORE: 7/10


This review can be also seen at THE IRIS. Visit the site by pressing the picture above.

Cast: Miles Teller, Jonah Hill, Ana de Armas, Kevin Pollak, Shaun Toub, Steve Lantz, Gregg Weiner, Bradley Cooper
Director: Todd Phillips
Screenwriter: Todd Phillips, Stephen Chin, Jason Smilovic

Movie Review – Train to Busan


EXPECTATIONS: A fantastic blockbuster that lives up to its hype.

REVIEW: Zombie stories have always been a guilty pleasure of mine. No matter how a zombie gets disposed of, it will always make me break out a smile. But lately, zombie films haven’t been anything notable and have been treated poorly as more of an entry point for other genres than actually being zombie films i.e. Pride and Prejudice and Zombies, Zombeavers and Scouts Guide to the Zombie Apocalypse. There have been more successful attempts to break the zombie mold like Shaun of the Dead, Zombieland and Miss Zombie, but the main reason those films succeed is because they never forget that they are true zombie films, regardless of what genre they aspire to be. So when you have a zombie film from Korea (which is rarer than you think) directed by an acclaimed director who has only done animation projects, your anticipation tends to slightly go up a little bit. So will the film excite and thrill like the best zombie films do or will it end up drowning in the pool of the undead?

Gong Yoo stars as Seok-woo, a fund manager who is unfortunately a workaholic, much to the detriment of his marriage and his relationship with his daughter Soo-an (Kim Soo-an). On the night before Soo-an’s birthday, Soo-an insists on seeing her mother for her birthday. Feeling obligated to do so, Seok-woo has no other choice but to take her to Busan. Early the next morning, they board the KTX train for Busan at Seoul Station. Before the train leaves the station, a stowaway woman (special appearance by Shim Eun-kyung) jumps onto the train and starts attacking people, causing them to become infected. Struggling to work together as a team, the passengers, including Seok-woo and Soo-an, have to settle their differences in order to survive and make it to their destination of Busan.


Animation directors turning to live-action films have been a successful trend, with filmmakers like Tim Burton, Ari Folman and Brad Bird, and fortunately director Yeon Sang-ho follows the norm. His visual eye for detail has not lost a beat and he provides the best of thrills and scares that one could ask for in a zombie film. Yeon really takes advantage of the train as it provides a strong sense of claustrophobia to the proceedings, ramping up the tension as the film relentlessly zips along. The aspect ratio of 1:85.1 (as opposed to 2.35:1) certainly adds to the cramped feel. The subversion of zombie genre cliches is a welcome change of pace, like how Gong Yoo’s character isn’t really the heroic everyman he appears to be or the use of the pregnant woman trope, played by Jung Yu-mi. Even the zombies are a bit different from the norm and that is due to their movement. Although they run as if death is an energy drink to be quenched, when they move on the train, they contort their bodies, giving them a haunting movement that reminded me of the lady in Kiyoshi Kurosawa’s horror film, Pulse (Kairo). Even some of the potentially tragic moments are laced with a sliver of humour, like a particular phone call to a loved one that ends with a criticism of a particular character.

What is also noticeable about Yang Sang-ho’s foray to live-action is that his cruel worldview has dampened a bit, which may disappoint Yang’s ardent followers. First of all, most of the characters here are actually likable, which is a clear contrast compared to his characters in his previous films, as they are usually cruel, sadistic and even misogynistic. Although there is a human antagonist played by Kim Eui-sang, he isn’t really as cruel as those characters, but Eui-sang still gives it his all to make his character audiences will truly love to hate as well as adding a sense of empathy in the final act. There’s even a message that if mankind unites together, there is an assurance of survival. And as the train acts as a microcosm of society, social statuses are conveyed metaphorically between the two groups of the passengers, which gives the film a hint of social commentary similar to Bong Joon-ho’s sci-fi blockbuster, Snowpiercer. The likability of the characters comes from director Yeon’s insistence for character moments. Although the characters aren’t three-dimensional, the sketches are outlined efficiently and distinctly enough for the audience to care what happens to them.


It certainly helps that we have a talented cast that makes the two-dimensional characters become more substantial than the script would ever allow. Gong Yoo gives a great and understated performance as Seok-woo, the conflicted everyman whose survival instincts will polarize some, yet those choices makes the character painfully real and Gong sells it. Jung Yu-mi provides some comic relief and dramatic clout as Sung-kyu while Choi Woo-sik and Ahn So-hee are likable enough as the young lovebirds who can’t catch a break with their love for one another.

But the standouts are Ma Dong-seok and Kim Soo-an. Being an all-round badass on-screen as well as off (He was a personal trainer for mixed martial artists!), he had the best character in the film. Having excellent comedic chops, charisma and a tough presence, he helps the film take flight whenever he shows up. It is also a nice change of pace for him, since he usually plays villains, particularly of the scene-chewery kind, similar to the zombies. As for Kim, she provides a fantastic performance for a child actress. Never appearing precocious for audience sympathy, she has a great father-daughter chemistry with Gong and shows maturity beyond her years that makes her character’s decisions understandable and even relatable.


As for flaws including those stated above, the ending tends to drag a little bit and can be a bit too sappy for Western tastes. But to be honest, it actually is a bit lighter on the sentimentality compared to other Korean films. And those expecting gallons of blood and gore will come out a bit disappointed, since it is quite tame in that department.

But what it lacks in gore, it makes up with frenetic energy and tension, and Train to Busan is a superior zombie entry with great performances and assured direction that proves that there is life to the over-saturated genre.


Quickie Review


Fantastic performances

Assured direction from director Yeon Sang-ho

Subversion of zombie tropes

Relentless pacing, tension and thrills

Efficient storytelling/character details


Ending can be a bit sappy and overlong

Those accustomed to director Yeon’s worldview will be a bit disappointed

SCORE: 9/10

Cast: Gong Yoo, Kim Soo-an, Jung Yu-mi, Ma Dong-seok, Kim Eui-sung, Choi Woo-sik, An So-hee, Shim Eun-kyung
Director: Yeon Sang-ho
Screenwriters: Park Joo-suk, Yeon Sang-ho

Movie Review – Sausage Party


EXPECTATIONS: A mildly amusing experience that gets the most out of its one-joke premise.

REVIEW: Seth Rogen has always been associated with stoner humour and raunchy comedy, but in the case of Sausage Party, he takes it to a whole new level. With animated films that have anthropomorphised objects like toys (i.e. the Toy Story films) and cars (i.e. Cars), Rogen had the idea to anthropomorphise consumer products while retaining his own sense of humour.

And while the trailer was amusing in its own right, it implied that the movie was just a one-joke premise, which is seeing food swearing. But with daring animated films like South Park: Bigger, Longer and Uncut and Team America: World Police, both of those films effectively mixed vulgar humour with timely themes. So does Sausage Party make a big enough impression to join alongside those two fantastic films?


Co-writer/star Seth Rogen voices Frank, a sausage who is part of the grocery store called “Shopwell’s”. All the groceries of the many aisles all dream of one thing: to be chosen by a customer (seen as Gods) and be taken to the Great Beyond. But according to a supposedly crazed chosen one who had returned (voiced by Danny McBride), he says that the story is all bullshit. After knowing the horrifying truth of what the humans do with the consumer products, the groceries will have to set aside all of their differences of faith and product origin to unite as one and fight back against the humans before the day of celebration.

Unless you’ve read articles about the film, I’m going to be murky about the story details. If you thought this film was just a typical Seth Rogen joint that just so happens to be in animation, then prepared to be surprised. Not only does Sausage Party succeed as a hilariously unhinged and unadulterated comedy, it also succeeds almost as well as providing food for thought. Much like the South Park film dealt with censorship and how Team America dealt with the global implications of United States politics, Sausage Party deals with the conflict between science and religion and existentialism.

Like how everyone is conditioned to believe without any substantial proof or how small differences with each other can drive each other apart so easily to even innate fears that we do not even question that prevent us of our desires, all of this conveyed with wit and raunchiness that offers gut-busting laughs. A scene involving non-perishable groceries (voiced by Bill Hader, Craig Robinson and Scott Underwood) revealing the truth about the Great Beyond satirizes the creation of the Bible so furiously, that had me tearing up with laughter.


What is also surprising is the world-building, which is just as good as Pixar. The grocery store is filled with distinct characters and the many different aisles are so well-realized, that they can be characters of their own. Sure, there are many racial stereotypes, but with the themes they are dealing with and the comedic force they have, you’re bound to break a lot of boundaries.

And speaking of boundaries, Sausage Party not only destroys them, but it defecates and urinates all over them, stomps on them into oblivion and sets them on fire. And that is definitely true in the final act, where every single depraved action known to man is committed in all of its glory. Movie references to Terminator 2 and Saving Private Ryan hit the mark with ease while also adding punch to the offensive feel. Every single race and orientation will find something in the film that has the potential to offend, but the film’s gleeful attitude towards excess is so undeniable that you can’t help but be swept up by the hilarity of it all.

Most of the credit is to the cast. Seth Rogen and Kristen Wiig play their roles with such sincerity (well, as much as the premise allows), that their relationship actually becomes substantial enough to invest in. Michael Cera is great as Barry, the sausage in the unfortunate position of being a coward, and his subplot is a very enjoyable side-quest that is actually an amusing twist of a scene in Toy Story.

While the other supporting cast are great, the best includes Nick Kroll, who plays a villainous douche (literally, of course) with such enthusiasm, that he becomes a villain you love to hate instead of dreading him every time he shows up. And there’s Edward Norton, who plays a bagel with such a killer Woody Allen impression that I would love to see Allen’s impression if he ever gets to see Norton’s performance.


Besides the supposed flaw that the film will possibly offend everyone, the film can be incredibly brash and insistent in its message and themes, which can irk some. Also, I was a bit disappointed that there was only one song in the film. With a great talent like Alan Menken, who has given so much to films with his musical genius, I was expecting more.

But overall, Sausage Party is a hilariously fun time at the movies, but with its thought-provoking plot and its gloriously excessive attitude towards political incorrectness, it is elevated to cult status alongside the South Park film and Team America: World Police. The film ends with a lead-in to a sequel, and the idea for it is so profoundly silly, that I would love to see where it goes.

Quickie Review


Surprisingly thought-provoking plot

The go-for-broke approach to politically incorrect humour

Fantastic voice cast

The extremely satisfying final act


Will offend almost everyone

Lack of musical numbers

SCORE: 9/10


This review can be also seen at THE IRIS. Visit the site by pressing the picture above.

Cast: Seth Rogen, Kristen Wiig, Michael Cera, Jonah Hill, Edward Norton, Salma Hayek, Nick Kroll, David Krumholtz, Craig Robinson, Bill Hader
Director: Greg Tiernan, Conrad Vernon
Screenwriter: Seth Rogen, Evan Goldberg, Kyle Hunter, Ariel Shaffir, Jonah Hill

Movie Review – Bad Moms


EXPECTATIONS: Something crappy along the lines of the directors’ last effort, 21 and Over.

REVIEW: When I was about to watch the film, I was immediately reminded of the scene in the 2007 comedy classic Hot Fuzz, where Simon Pegg is going through a chase scene until he encounters a bunch of moms. And I said to myself that if anything from Bad Moms is as funny as that joke, I’ll end up being a happy man.

But I was brought back to Earth when I realized that the directors of this film (also the writers of The Hangover) also directed the awful 2013 teen comedy 21 and Over and contributed screenplays to abysmal comedies like Four Christmases, Ghost of Girlfriends Past and Rebound.

So as you can tell, my expectations for Bad Moms was a little trepidacious. But my fears were almost totally unfounded since Bad Moms was a surprisingly hilarious film that proves to be a little bit enlightening, a little bit satirical and has a stand-out performance from Kathryn Hahn.


Mila Kunis stars as Amy Mitchell, an overworked and underappreciated 32-year-old suburban wife and mother of two stressed-out kids (Oona Laurence and Emjay Anthony). Amy seems to have it all together, but in truth, she’s on the way towards her breaking point. Her husband Mike (David Walton) is a lazy, selfish, man-child who is secretly having an affair; her younger boss (Clark Duke) is demanding and unappreciative; and her mommy peers (consisting of Christina Applegate, Jada Pinkett Smith and Annie Mumolo) are bullies who shame her parenting skills when she drops her kids off at school every day.

Upon realizing what her life has become from all this, she decides that enough is enough and through an act of defiance, she becomes a “Bad Mom”. Inspired by her actions, the low self-esteemed stay-at-home mother Kiki (Kristen Bell) and the collected, yet oversexed single mother Carla (Kathryn Hahn) join Amy in her quest for some quality time for themselves.


If you judged from the film’s trailer that this film is essentially The Hangover with women, you’re not far off the mark. With thin characters, over-the-top hijinks, an undercurrent of sexism and a questionable outlook in its themes, it’s a wonder that the film works quite well. Directors Jon Lucas and Scott Moore get good mileage out of the premise that it enlightens at times with some truths and even uses true-to-life themes to makes its gags even funnier.

Like in a scene where the moms are fantasizing about their escapes out of their motherly duties and Amy just wants a quiet breakfast…by herself! Or another scene where Kiki and Carla are preparing Amy for a night out by perusing her wardrobe and they are not pleased at what they see. It just goes to show that a little relatability goes a long way.

But the film does come across like a cartoon at times and it does rob the power of the film’s message. And as much as the hilarity persists through the film’s running time, the direction does leave something to be desired. Like the overuse of musical montages that litter throughout, regardless of whether it is comedic or dramatic, the use of music gets annoyingly repetitive after a while.

Even more problematic is the ending; which is not only overlong, but it is also a bit of a cop-out as it goes for the cheesy mega-mega-happy conclusion. Considering that the film was produced by Huayi Brothers, a China-market film production, the ending certainly isn’t a surprise to witness.


But for the cast, it certainly is a surprise to see how much they make the film a success. Mila Kunis (coming back after that Jupiter Ascending disaster) is sympathetic and likable as Amy who hasn’t lost her comedic timing since being in the sitcom, That 70’s Show. Despite her Hollywood glamour, she is surprisingly relatable as the struggling mother. Her interactions with flirtation device Jay Hernandez are a highlight as she makes a klutz of herself and she clearly isn’t against bearing the brunt of criticism i.e. a scene where she wears Spanx.

Kristen Bell, who hasn’t been in a good comedy since the 2008 comedy Forgetting Sarah Marshall (her cameo in the 2010 film Get Him to the Greek doesn’t count), is clearly having a ball as Kiki. Her awkwardness pays off with fantastic jokes, even when she’s not saying anything. There’s a scene where she’s standing in front of a mirror while Kunis and Hahn basically use her to describe something in a graphic fashion that I can only say that it is not kosher. As the villain of the piece, Christina Applegate squeezes the cliche role for all of its worth, even though she could have played this role in her sleep.

But the real MVP of the film is Kathryn Hahn as the nympho-like single mum, Carla. Clearly unstable when first appearing on-screen, she is just a pure dynamo of improvisation and physical comedy and it is glorious to witness. I find her performance even more hilarious when I compare it to her dramatic performance in last year’s horror hit, The Visit. And it was great to see Oona Laurence on-screen again after her fantastic performance in last year’s boxing drama, Southpaw.

As much as I enjoyed the performances of the cast, there are some cast members that are severely underused, notably Jada Pinkett Smith and Annie Mumolo. Talented they most certainly are, their characters are just thin sketches that would require a lot of work to bring them to life.


Overall, Bad Moms is a lot of dumb fun with an incredibly game cast, led by the winning Kathryn Hahn. It may not be as good as the 2003 cult classic comedy, Bad Santa; it is light years away from the 2011 comedic cesspool, Bad Teacher.

Quickie Review


Incredibly game cast

Surprising kernels of truth with its timely premise

Shows that having true-to-life moments can really accentuate the humour


Some of the supporting cast is underused

Problematic ending

Overuse of musical montages

SCORE: 7/10


This review can be also seen at THE IRIS. Visit the site by pressing the picture above.

Cast: Mila Kunis, Kristen Bell, Kathryn Hahn, Christina Applegate, Oona Laurence, David Walton, Annie Mumolo, Jay Hernandez, Jada Pinkett Smith
Director: Jon Lucas & Scott Moore
Screenwriter: Jon Lucas & Scott Moore