The movie starts off with some typically awful rap music, played over the apathetic, sleepy faces in a retirement home. How very Guy Ritchie.
Mena Suvari, sporting the worst hairstyle of all times, wipes the rather crap-stained butt of an old man in a nursing home, changes the brown-smeared sheets without a smidgen of a moan or a complaint, and then even proceeds to defend the old man in front of her uptight boss. This way the makers of STUCK have established to the viewer that Mena is a "good guy". Right? Wrong. Soon the characterization takes a sudden and absurd turn when she does a hit-and-run, or a hit-and-whine in her case, having shown us before-hand that she is not only an illegal-pill popper, a drug-dealer's free hooker, and a wearer of very bad hair, but also an egotistical, heartless sociopath. So how does that fit in with her tender-loving care of the aged at the nursing home? But I guess when you become a Hollywood script-writer, the brain is the first thing you throw away in the garbage bin, right before you throw away your first used needle.
The premise is original, I'll give them that, but what follows after the accident is a plethora of cheap and predictable plot-devices that were devised to manipulate the viewer into screaming at the screen with passion and unbridled fury. Quite to the contrary, however: my reactions to the movie's "exciting" twists had more to do with mumbling "oh come on" every five minutes than having my pulse raised.
A Latino kid sees the injured Rhea through the garage window, and yet it's obvious from the get-go that he won't (be able to) help. So what brilliant excuse/explanation did the brainless writer concoct as to why the kid wouldn't ultimately help Rhea? Well, you see, his father is an illegal alien and doesn't want to have anything to do with the police. (What about an anonymous call then?) Not only does this serve as a dumb plot-twist that further stretches the movie's simplistic plot, but it also gives the Oscar-hungry, left-wing Hollywood writer an opportunity for some "critical social commentary" regarding illegal aliens. The message: if we gave papers and documents to all illegal inhabitants of the U.S. then people like Rhea would have much better survival chances when they're STUCK in garages.
More left-wing nonsense is injected into the film in the form of the pimp/drug-pusher mentioning that George Bush is in power hence there is no law in the country anymore. Typical Tinseltown logic, all rolled up in one supremely idiotic, over-simplistic political statement. How moronic to use a DRUG-PUSHER character to espouse one's heart-felt political views.
It's hard for me to understand why someone would include "comedy" in the genre section. There was nothing funny in the movie, except the screenwriter's laughable attempts at exciting plot-twists. Perhaps that idiotic scene in which the tiny Mena beats up her much-larger female rival gives this flick the right to be referred to as a comedy. However, that scene didn't fit into the movie at all. It was a definite low point. (Except the nudity, of course.)
Mena Suvari: the Hitcher, Mike Myers, Foxy Brown, and Freddy Kruger all rolled into one. Laughable.
Naturally, the mobile phone's batteries are low. Naturally, dialing 911 turns out not to be all that it's been cracked out to be. Naturally, just as Rhea finally gets off the ground, at that very moment Mena and Pimp enter the garage. Naturally, Mena isn't in sufficient agony or shock (despite two shattered legs) not to be able to aim a gun at Rhea and try to shoot him. Naturally, Rhea has superhuman strength and his body does not care that it has lost far too much blood for him to go on walking around a DAY after he'd been pummeled by a car. (Why have health care at all? Hospitals? Apparently, the human body regenerates all on its own a mere 24 hours after any major calamity.)
Naturally... this is a Hollywood script, after all.
Mena Suvari, sporting the worst hairstyle of all times, wipes the rather crap-stained butt of an old man in a nursing home, changes the brown-smeared sheets without a smidgen of a moan or a complaint, and then even proceeds to defend the old man in front of her uptight boss. This way the makers of STUCK have established to the viewer that Mena is a "good guy". Right? Wrong. Soon the characterization takes a sudden and absurd turn when she does a hit-and-run, or a hit-and-whine in her case, having shown us before-hand that she is not only an illegal-pill popper, a drug-dealer's free hooker, and a wearer of very bad hair, but also an egotistical, heartless sociopath. So how does that fit in with her tender-loving care of the aged at the nursing home? But I guess when you become a Hollywood script-writer, the brain is the first thing you throw away in the garbage bin, right before you throw away your first used needle.
The premise is original, I'll give them that, but what follows after the accident is a plethora of cheap and predictable plot-devices that were devised to manipulate the viewer into screaming at the screen with passion and unbridled fury. Quite to the contrary, however: my reactions to the movie's "exciting" twists had more to do with mumbling "oh come on" every five minutes than having my pulse raised.
A Latino kid sees the injured Rhea through the garage window, and yet it's obvious from the get-go that he won't (be able to) help. So what brilliant excuse/explanation did the brainless writer concoct as to why the kid wouldn't ultimately help Rhea? Well, you see, his father is an illegal alien and doesn't want to have anything to do with the police. (What about an anonymous call then?) Not only does this serve as a dumb plot-twist that further stretches the movie's simplistic plot, but it also gives the Oscar-hungry, left-wing Hollywood writer an opportunity for some "critical social commentary" regarding illegal aliens. The message: if we gave papers and documents to all illegal inhabitants of the U.S. then people like Rhea would have much better survival chances when they're STUCK in garages.
More left-wing nonsense is injected into the film in the form of the pimp/drug-pusher mentioning that George Bush is in power hence there is no law in the country anymore. Typical Tinseltown logic, all rolled up in one supremely idiotic, over-simplistic political statement. How moronic to use a DRUG-PUSHER character to espouse one's heart-felt political views.
It's hard for me to understand why someone would include "comedy" in the genre section. There was nothing funny in the movie, except the screenwriter's laughable attempts at exciting plot-twists. Perhaps that idiotic scene in which the tiny Mena beats up her much-larger female rival gives this flick the right to be referred to as a comedy. However, that scene didn't fit into the movie at all. It was a definite low point. (Except the nudity, of course.)
Mena Suvari: the Hitcher, Mike Myers, Foxy Brown, and Freddy Kruger all rolled into one. Laughable.
Naturally, the mobile phone's batteries are low. Naturally, dialing 911 turns out not to be all that it's been cracked out to be. Naturally, just as Rhea finally gets off the ground, at that very moment Mena and Pimp enter the garage. Naturally, Mena isn't in sufficient agony or shock (despite two shattered legs) not to be able to aim a gun at Rhea and try to shoot him. Naturally, Rhea has superhuman strength and his body does not care that it has lost far too much blood for him to go on walking around a DAY after he'd been pummeled by a car. (Why have health care at all? Hospitals? Apparently, the human body regenerates all on its own a mere 24 hours after any major calamity.)
Naturally... this is a Hollywood script, after all.