As a proper luddite and card-carrying hipster goofball, I don’t have access to HBO at my house, or any other television station for that matter. But as a proper robot — or, at the very least, someone who wants to be plugged in, even if I pretend that’s not the case — I ravenously gobble up whatever is on in situations where I happen to find a television that does have such access. Having spent the past week in a hotel room, I found myself watching a bunch of things. Here they are.

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Draft Day: Enjoyable enough as schlock, though the ticking timeline and heightened tension never really explains why anyone would be excited to join the Cleveland Browns. Costner is in his element, though I was distracted the entire time by how weird his ears are, something I’d never noticed.

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Enemy of the State: I haven’t seen this in years, and it held up pretty well. The 1998 NSA fears are kind of prescient, even in an over-the-top format, and it’s a reminder of when Will Smith was a superstar (and why). Casting grizzled Gene Hackman as a former spy gone rogue is a nice touch, evokingThe Conversation in reverse even if that was unintentional. Tony Scott’s action sequences are fun for the most part. And fun fact: one scene was filmed in an apartment adjacent to where I once lived; Smith jumps out my old window and lands miles away, which I will always enjoy.

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The Good Lie: Woo boy. Reese Witherspoon is a jaded case worker finding jobs for immigrants, in this case Sudanese refugees. She learns a thing or two about Sudan … and herself. At one point, the three Sudanese men tell a why did the chicken cross the road joke and laugh hysterically, because apparently there were no jokes in Sudan. This is not a good film.

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The Heat: I laughed twice. Apparently, Paul Feig thought it was funny when Melissa McCarthy yells obscenities and that people inscrutably think Sandra Bullock is a trans woman. This is also not a good film.

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Endless Love: The funniest comedy of last year. From my understanding, it completely inverts much of the storyline of the original text, but that’s a small price to pay for the nonstop laffs. On the other hand, the movie looks respectable at every turn visually, which is what you’d expect from Andrew Dunn, the cinematographer who brought you The Butler, Precious, and, um, Hot Rod, for some reason.

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Girl, Interrupted: There are moments when this movie seems authentic, but they are few and far between. Angelina Jolie is so contemptible for so much of it that there’s little to enjoy, and Winona Ryder’s final voiceover narration kills any good will it might’ve built up. I’d never actually seen this before. I did not like it.

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That Awkward Moment: What a confused movie this is. There’s actually a pretty fun cameraderie between Michael B. Jordan, Miles Teller, and the impressively vacant Zac Ephron, but the things they say are remarkably stupid. I won’t lie, though — it has its moments. Also, Imogen Poots — my nominee for best name in show business — is extremely pretty. This is neither here nor there and not actually relevant to the film, but there you go. Also, boner jokes are funny but they’re not really that funny; on the other hand, Miles Teller getting hit by a car is a lot funnier here than in Whiplash. The latter movie convinced me he’s actually a pretty good actor, but he still has one of the most punchable faces I’ve ever seen, so I enjoyed that thoroughly.

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Fast and Furious: Tokyo Drift: I confess that this is the first FaF movie I’ve seen. I enjoyed it a lot actually, at least in part because I was extremely drunk.