Review: Suicide Squad (2016)

Suicide Squad

© Warner Bros.

© Warner Bros.

Earlier this year, DC Films started its serious attempt at creating an expanded universe to combat the one that rival Marvel Studios already has in place. They kicked things of with the critically-maligned Batman v Superman: Dawn of Justice in preparation for their upcoming Justice League films. I sat through that two-and-a-half hour slog, actually finding myself somewhat drawn to the storyline and to the characters we have seen portrayed on-screen time and again. I ultimately blasted the film for its climactic bait-and-switch which took away any possibility for DC to make a bold statement within the superhero film genre that would have stood in stark opposition to the seemingly happy-go-lucky Marvel fare we have seen over the past eight years. One of the key crosses that DC bears in the creation of its films is this idea that they must be the darker alternative to their more light-hearted counterpart. As a result, their films have lacked a true sense of fun and adventure, but the studio hoped their newest installment might be the one to break that dreary mold. 

Suicide Squad opens with Amanda Waller (Viola Davis), a military operative attempting to craft a plan for keeping America safe from future meta-human threats in the wake of Superman's death. She plans to assemble a team of dangerous criminals forced into taking high-risk missions on behalf of the government. The team, emotionally led by an elite hitman known as Deadshot (Will Smith) and a deranged psychiatrist named Harley Quinn (Margot Robbie), must fall in line behind Colonel Rick Flag (Joel Kinnaman) as an ancient menace begins terrorizing Midway City in a plot that could spell doom for the entire world. The group of hardened and seedy individuals must then decide whether their own personal proclivities overpower the needs of the rest of the world before time runs out. 

Let's just cut to the chase: Suicide Squad is a terrible movie. I'll get more into the specifics in just a moment, but the film simply illustrates a summation of cataclysmic factors that generate one of the worst filmgoing experiences I have seen in quite some time. Below-par movies oftentimes manage to have some sort of silver lining or saving grace, but Suicide Squad earns the rare distinction of being an all-around stinker. Let's figure out just what fails, shall we? 

If a film can only be as strong as its screenplay, then Suicide Squad must have been made with particle board. I'll discuss the issues and concerns with the movie's cast and stylistic choices momentarily, but every aspect of the film ultimately suffers as a result of an abysmal script that simply doesn't allow the actors or the story any room to breathe. The film opens with an overly long introductory segment in which Viola Davis's character runs through the members of her brand new "bad guy" task force. These rapid-fire cut scenes play like the lineup introduction during an NFL broadcast, complete with a list of stats and misdemeanors for each and every character. Rather than allowing the audience to meet the characters organically over the course of the film, we are given a rush-cut of their personas and ideals right from the start in the hopes that skimming through these introductions will allow the main storyline to hold the film's focus. The film's opening feels sloppy and rushed, but I hoped that the lack of attention to these introductory moments might give way to a decent storyline filled with the lighthearted humor that a DC film so desperately needed. What we get instead, however, is a plot so ridiculously muddled that it seems as though the characters themselves can't keep it straight. 

The cast does its absolute best to elevate itself above the atrocities the screenplay presents them, but there's only so much an actor can do with awful material. Will Smith plays himself here, bringing a little bit of his personal flavor to the criminal-with-a-heart-of-gold character we have seen so many times before. Margot Robbie portrays a perfectly adequate Harleen Quinzel, and to her credit, she seems to be having the most fun with her character. Aside from the lack of true characterization, my biggest gripe with her performance lies in the fact that her accent slipped on more than one occasion throughout the film. As you may have heard, Jared Leto has infamously taken on the Joker persona, portraying the character on-screen for the first time since the passing of the late Heath Ledger. All of the marketing for Suicide Squad played as though the Joker would be a central figure throughout the film, but in the final cut, he's simply resigned to chasing after his honey bunny Harley. In the few scenes in which Leto actually appears, he hams it up, leaving his performance feeling over-the-top and borderline pretentious. Reports have surfaced that a number of his scenes were cut from the final film product, and perhaps a more fleshed-out Joker would have presented a stronger performance. As it currently stands, however, it feels more like piecemeal than anything else. We can round out the stars of the film with Viola Davis, who brings a seemingly strong character out of the muck. Her screen presence alone makes her a minor shine in the film, but everything else just leaves her star power dwarfed. 

The remainder of the cast rests on a spectrum ranging from under-utilized to absolutely atrocious. Jay Henandez's Diablo just might be the film's best-written character, receiving an actual arc over the course of the story. In contrast, Adewale Akinnuoye-Agbaje's Killer Croc might receive the slightest amount of background information; all I gathered about the character was that he is some sort of mutated individual who now eats other humans for fun. Jai Courtney shows up and actually plays against type (in that his normal "type" is stoic and dull), but I never really got a sense of his character's motivations. Cara Delevingne plays both sides of the field, but that simply means she offers her awful performance to both the good guys and the bad guys in what culminates in the movie's worst performance. Joel Kinnaman, Kara Fukuhara, and Adam Beach round out the principal cast, but each proves to be either mediocre or forgettable. Again, most of the blame of this film must lie with the screenplay itself, but even so, this cast offers up a slew of poor performances. 

Suicide Squad also offers a number of peculiar stylistic choices that don't necessarily work with the end result. The cinematography can be characterized as colorfully murky, presenting a grimy world that still hopes to show some bright flash aimed at keeping viewers invested. Suicide Squad does take a step away from the full-on dreariness that Zack Snyder has crafted with his Superman entries, but this one never feels like it does quite enough to bring it completely out of that darker atmosphere. The musical choices also left me scratching my head. The film takes a page from the Guardians of the Galaxy playbook by offering a number of catchy and recognizable rock and pop songs meant to draw the viewers interest. Unlike its Marvel counterpart, however, these song selections are not used to enhance the film or add to the storyline; instead, they seem haphazardly placed simply as a veiled attempt at keeping the audience engaged. 

All of its flaws aside, Suicide Squad simply proves to be a slog of a film. I know that I have been an outspoken opponent of the superhero genre in general, and I know that I clearly do not fall into the key demographic for this realm of movies. In addition to the diehard comic book fans itching to see their favorite characters on-screen, studios mainly market these movies to adolescent boys looking for explosions and edgy - but not inappropriate - humor. I'm sure that plenty of people in that group enjoyed Suicide Squad, but I also saw a thirteen-year-old in a seat near me fall asleep halfway through the film. Suicide Squad is a boring, muddled mess of a movie, and all you DC fans deserve so much better. 

Review: Star Trek Beyond (2016)

Star Trek Beyond

© Paramount Pictures

© Paramount Pictures

When J.J. Abrams took the helm of The Force Awakens, Star Wars fans around the world rejoiced. Having seen what he had done with reinvigorating the Star Trek franchise, many believed him to be the perfect fit for George Lucas's universe. Trekkers, on the other hand, started to worry about their beloved franchise that Abrams had brought back from the brink. For the first time in years, it seemed as though Star Trek could be a viable film franchise, but with their director's departure, it let the series in a state of limbo. A number of names were tossed into consideration for the job, but no one knew whether Abrams's successor could bring the same quality of film that the previous two installments had brought. 

Star Trek Beyond follows the continuing adventures of the U.S.S. Enterprise, led by the fearless Captain James T. Kirk (Chris Pine). Three years deep into their five-year mission, Kirk has started to grow tired with his life in space and looks to seat himself behind a desk for the remainder of his career. When a distress signal sends he and his crew into the depths of a nebula, the Enterprise is suddenly and deliberately attacked by an alien force led by the evil Krall (Idris Elba). Stranded on an uncharted without a ship, Kirk and his crew must improvise to the best of their abilities to escape their captivity and return to the Federation. In the process, however, they soon learn that Krall's plot may spell doom for the entire galaxy. 

The success of the first two films ensured that the franchise would need a fitting replacement in the director's chair. The studio ultimately landed on Justin Lin, who brought an eye for action from the Fast and the Furious franchise. Would he be able to juggle that grounded, streetcar action with the sci-fi element so desperately needed in the Star Trek universe? Fortunately, Lin was blessed with a solid screenplay from Doug Jung and Simon Pegg which surely helped him in his endeavors. 

Star Trek has long been the franchise that delves into intelligent science fiction with a solid basis of social commentary. While I feel as though these movies have strayed a bit from the latter, they have still offered fans their legitimate dose of sci-fi, even if the ships and gadgets don't wow us the way they must have amazed audiences in the 1960s. Jung and Pegg easily slide into this vein, bringing a story rife with action, drama, and a true sense of adventure. The story itself kept me guessing, and I was so engrossed with the film that I found myself shocked with some of the twists and turns it took. That's a true testament to the filmmakers' storytelling ability. What really sets this franchise apart, however, is its ability to craft complete and believable characters. While most of these characters have a long and storied history through the television show and the previous films, but I believe that these characters have adapted for the grander universe in which they now live, bringing slightly different nuances to the table. This installment also felt much more team-oriented than its predecessors; while the last two films centered around the Kirk and Spock characters, Beyond gave the rest of the cast the opportunity to show off their character's individual skill sets. If Justin Lin brought anything over from the Furious franchise, it was the ability to demonstrate effectively the best qualities of a team through its individual members. We definitely get a sense of that with Star Trek Beyond. Chris Pine and Zachary Quinto have their screen-time but don't dominate the story; instead, we get to see a little bit more of Pegg's Scotty, Karl Urban's McCoy, Zoe Saldana's Uhura, John Cho's Sulu, and Anton Yelchin's Chekov as they play integral roles in saving the galaxy from destruction. 

I could easily spend plenty of time on the cast's effectiveness within their individual roles, but most of the returning players meet the splendid status quo they have achieved in the past two films. Instead, I want to focus on the franchise newcomers in Sofia Boutella and Idris Elba. Boutella, who most might remember from her supporting role as an assassin in last year's Kingsman, does a fantastic job playing opposite Montgomery Scott for most of the film's duration. She brings to life a multifaceted character who is given plenty of time to showcase her incredible physical prowess while still delving into slightly dramatic moments while talking about her character's past. Elba, who has been all over the cinematic map this year, takes on the nefarious villain Krall and does so incredibly effectively. Despite being hidden beneath layers of makeup, Elba still manages to bring a menacing ferocity to the character and just might cement himself as the best villain in this particular saga. 

I do want to take a moment to mention the two members of the Star Trek family have passed since the release of 2013's Into Darkness. The legendary Leonard Nimoy, who originated the Spock character and reprised him in these most recent films, was given a fitting sendoff, and the filmmakers used their love and admiration for him as a sort of springboard for Zachary Quinto's Spock in this film. The world more recently lost the young Anton Yelchin, and it proved to be incredibly difficult for me to watch him on the screen knowing that we would never be able to see just how far his potential would take him. I felt as though his character receives more screen-time in Beyond than he had in the previous installments which I believe is a testament to the fact that his star power was on the rise. The two received simple but fitting tributes as the credits rolled, and I personally had to hold back the waterworks as their names flashed by. While there will be more posthumous performances from the young Yelchin, seeing him one last time in the biggest of his adventures solidified his place in Hollywood lore. 

While I can't quite say that this is the best entry in the newest Star Trek saga, Beyond serves as an incredibly enjoyable film from start to finish. Justin Lin picks up exactly where J.J. Abrams left off, and Star Trek fans should have faith with the direction the franchise now seems to be heading. If you're looking for a smart, exciting, and adventurous blockbuster, you'd be hard-pressed to find something better than Star Trek Beyond playing in theaters right now. 

Review: King Jack (2015)

King Jack

© Well Go USA Entertainment

© Well Go USA Entertainment

In a reflection of the real world, the realm of cinema has long been rife with stories revolving around bullying. The idea has permeated nearly every genre, and each takes a different look at the respective stories to be told. The themes centering around a bullying story allow for an in-depth look at the psyches of both the bully and the bullied, and when done correctly, these movies can prove to be both entertaining and impactful. 

King Jack follows the titular character (Charlie Plummer), a teenage loner with a penchant for getting himself into trouble in his all-too-boring hometown. When his younger cousin Ben (Cory Nichols) is suddenly trust upon his small family, Jack's mother (Erin Davie) asks him to keep an eye on the boy for the weekend. Although initially abrasive, the two boys soon begin to bond over the simplicities of small-town life. They unfortunately stumble across some of the local bullies led by Shane (Danny Flaherty) who seems to have a personal vendetta against Jack. When the gang kidnaps Ben, Jack must decide whether he will continue to fend only for himself or if he will stand up to his tormenters and save his cousin. 

The film premiered last April at the Tribeca Film Festival where it earned the Audience Award; it has since garnered relative acclaim from the critical community. With King Jack, first-time feature writer and director Felix Thompson puts forth a somewhat stylized version of the run-of-the-mill bully story that we have seen so many times before. The film is well-shot, adding to a nice atmosphere, but it is readily apparent that we have a rookie filmmaker at the helm. King Jack struggles with pacing issues that rest with its screenplay. For a film with as little story as this one, it sure feels as though the situations are dragged to their fullest extent, almost to the point of condemnation. 

Thompson's early struggles as a writer also slip through the cracks. While the storyline itself proves to be decent, the characterization of our principal leads definitely leaves something to be desired. Aside from the titular Jack, through whom we see the story unfold, most of the ancillary characters lack any real depth, preventing us as an audience from caring about their wants and needs. Their backstories are skin-deep at best, and a little more insight to what makes them tick would have created a more fully-realized world. Eventually, Jack feels like a real person, but the rest of the cast generally feels like a group of shells hoping to break out and become fully fleshed individuals. This unfortunately presents a negative dichotomy between our lead and his supporting cast. 

Charlie Plummer does a fine job bringing Jack to life, playing him with a quiet innocence masked by a harsh, grown-up attitude. He opens the film as an abrasive little punk who gradually starts to win the audience over as we begin to see beneath the seemingly tough exterior, and I have to give a lot of credit to Plummer for crafting an incredibly complex character that still manages to be relatable. Cory Nichols, who plays Jack's cousin Ben, proves to be the film's other standout; although he isn't offered much in terms of backstory, he manages to throw in a few quips here and there to keep pace with the slightly older Plummer and keep his character engaging. Flaherty portrays the film's villainous bully as incredibly over-the-top which stands in stark contrast to the general quiet that Plummer brings to the screen, making the difference seem all the more glaring. Sadly, the rest of the cast simply isn't given much with which to work, and aside from Jack, we simply never care about anyone else gracing the screen. 

In certain ways, King Jack proves incredibly successful: for example, it creates a likable and relatable lead put in a situation that many of us - myself included - may have experienced before on varying levels of extremity. Because of this, I can firmly say that this is a solid debut feature for Felix Thompson, who brings an interesting - albeit unoriginal - style to the fray. He certainly stands to improve in the screenwriting aspect, but for a first go-around, I certainly think that this young director shows some promise. If he can work out the pacing issues that made this eighty-one minute film feel like a two hour runtime, then Thompson will be set going forward with his career. King Jack ultimately walks around as though it's a grander film than it proves to be, but there's still enough to like about this little film with a decent amount of heart. 

Review: Mike and Dave Need Wedding Dates (2016)

Mike and Dave Need Wedding Dates

© Twentieth Century Fox Film Corporation

© Twentieth Century Fox Film Corporation

What happens when you take four of the hottest young comedic actors in Hollywood and put them in the same movie? In the past, studios have attempted to bring together dream teams of big-name stars, and it has had widely varying results. Surely a movie starring a principal characters from "Workaholics" and "Parks & Recreation" as well stars from Pitch Perfect and High School Musical would be able to deliver a fun and entertaining experience.

Mike and Dave Need Wedding Dates tells the story of Mike (Adam Devine) and Dave Stangle (Zac Efron), two wild and crazy brothers who always manage to destroy their family gatherings. When they're younger sister Jeannie (Sugar Lyn Beard) is set to be married, she and their parents ask the boys to bring dates to her destination wedding in the hopes that the "nice girls" will help keep the brothers' antics at bay. Mike and Dave post an ad on Craiglist, stating they are looking for two girls to take on an expenses-paid trip to Hawaii, and thousands of women immediately respond and share the posting with everyone they know. Tatiana (Aubrey Plaza) and Alice (Anna Kendrick), two struggling and out-of-work women looking to get away from their lives for a while, decide to con the boys into bringing them to Hawaii so they can soak up some rest and relaxation. When they arrive on the islands, however, Mike and Dave soon start to realize that these "nice" girls might not be as mellow and family-friendly as they had hoped. 

The earliest trailers for this film made it seem as though it might offer a few good laughs here and there, but with any trailer for a comedy, you always have to wonder if the studios are filling it with the film's best bits in the hopes of getting your butt into the theater. While Mike and Dave does offer a few minor laughs, this is mostly an unfunny slog from start to finish. I didn't know a film with a runtime just under one hundred minutes could feel this slow and arduous. I don't think I cracked a smile during the first two-thirds of the film, and during its climactic moments, I found myself laughing more at the film's expense than at its merit. Not the best sign for a comedy.

I could easily spend time talking about the insanely predictable storyline or the fact that the overall writing by Andrew Jay Cohen and Brendan O'Brien was incredibly shoddy, but at the end of the day, I don't think this film's key demographic really cares about the overall character arc. They want to hear jokes that push the raunch boundaries, and they want to hear them from some of their favorite funny actors, so in that respect, this movie lives and dies in the hands of its principal cast. Sadly, this cast has butterfingers. 

I have personally never been much of an Adam Devine fan as I think he's simply been playing a version of his "Workaholics" character for the majority of his career (save for his decent guest appearances on "Modern Family"). He's bringing his status quo for Mike and Dave, playing the overgrown man-child who's more interested in having fun and getting laid than achieving any kind of life solidity. Zac Efron has finally shed his High School Musical stigma by appearing in a few feature films including the highly successful Neighbors franchise for which he garnered praise for his comedic turn. Of the four main characters in this film, Efron delivers the best performance, bringing a little bit of depth to a character that is tangibly underwritten. Our two female leads don't fare much better, and a lot of it comes down to the writing. Aubrey Plaza has made a name for herself playing shy and awkward characters, but here she plays against type and attempts to command the screen as the risqué and outspoken foil to Anna Kendrick's goofy aloofness. Plaza's break from type is fun to watch but ultimately suffers from being poorly-written and lacking true depth. I never fully believed Kendrick's character for much of the same reason, and it felt like she compensated for the lack of depth by playing the character over-the-top. I constantly had to remind myself that Anna Kendrick is an Oscar-nominated actress because she's that far from her potential here. 

A few of the supporting characters are serviceable although no one truly stands above the rest. Sugar Lyn Beard plays sister Jeannie, and for the most part she's fine, save for one particular scene involving a special massage where she definitely chews the scenery. Her fiancé Eric, portrayed by Sam Richardson, might be the most consistent character in the film, but he isn't given enough screen-time for us truly to care about his well-being. If anyone in the film rubbed me the wrong way, it has to be Alice Wetterlund who played Cousin Terry. Her character has a constant tiff with Devine, and in her every moment on-screen, I felt as though the two were simply trying to out-shine the other in typical Devine fashion. Were the character not so close to the one I've grown to know and dislike from Adam Devine, I might have liked Wetterlund a little more, but as it stands, it just got very old very fast. 

As you can see, Mike and Dave Need Wedding Dates simply doesn't have enough falling in its favor. The story is flimsy, the characters are poorly-written, and the overall direction is relatively bland. All of that would have been forgivable, however, had this quartet of comedic stars been able to improv their way to a handful of solid jokes and gags. This film really just feels like the cast and crew wanted an excuse to head down to Hawaii for a little while, and they just happened to make a movie while they were there. When I saw the movie, I was in a theater occupied by a large percentage of college-aged men, who I think would fall under this film's demographic. I think one of the most telling signs that Mike and Dave is a flop was the fact that none of them even managed to chuckle throughout the entire film. If you can't hit your own demographic, you're not going to be able to hit everyone else. 

Review: Swiss Army Man (2016)

Swiss Army Man

© A24

© A24

Today's Hollywood has a penchant for the big-budget blockbuster event. We live in a world where sequels and remakes dominate the cinematic frontier, all in the hopes of cashing in on a previously-established intellectual property. These tentpole pictures do enough to whet the appetite of the average theatergoer, but it feels as though there's a groundswell of individuals clamoring for a taste of some original fare. So many fresh and exciting ideas and concepts fall by the wayside simply because they cannot compete with the big-budget machine that churns out reboot after sequel after remake. When something original does break through and permeate the public consciousness, attention must be given. We all crave these new stories, but riddle me this: is there a limit to just how "original" they can be before we turn against them?

Swiss Army Man opens with Hank (Paul Dano), a suicidal man stranded on a tiny deserted island, as he readies himself to end his life. He glances across the beach to catch one last glimpse of this world and notices a body has rolled onto the sand only a few yards away. He stumbles across the beach only to find a very dead (and very flatulent) corpse (Daniel Radcliffe) who proceeds to expel bodily gasses in such a way that he propels himself through the surf. Seeing his opportunity for escape, Hank hops on the man and rides him to the mainland where the pair's true adventure begins. 

Before I delve into my thoughts on the film, let's talk a little bit of Swiss Army Man background. The movie premiered at the Sundance Film Festival back in January, and news immediately broke that a large portion of the audience attendees walked out of the theater before the film had finished. Normally, something like this would be a bad omen, but the people who managed to sit through the film in its entirety began to give it a slew of praise. Clearly, this movie was going to be divisive, and something about that drew me into the idea. I waited patiently for the film to hit theaters in the hopes of seeing something seemingly original, no matter the concerns of those who had left prematurely. I just wasn't quite prepared for the experience that is Swiss Army Man.

This film does have a bit of an elephant in the room with the aforementioned flatulence, so let's just get this out of the way. I'm sure plenty of you might be turned off by the thought of sitting through a film with consistent low-brow humor centered around a slew of bodily functions, and I for one needed about ten to fifteen minutes to commit myself to sticking this one out. Our audience was less fortunate: of the twelve people in the theater, six left before the film had concluded, with the first casualties lasting less than five minutes. Again, this movie is divisive. Aside from a few moments in film history, I generally despise toilet humor such as what's thrown our way at lightning speed in Swiss Army Man, but I urge all of you to try to push through the slog of farts and erections because the rest of the film is more than worth the suffering. 

Swiss Army Man is an unconventional story of friendship that uses an incredibly outlandish premise as a starting point for its ideas. Shortly after discovering the rotting corpse, Dano's Hank begins to see it seemingly come to life before his very eyes. We as the audience as never truly told whether the things we're seeing are actually happening or if they're the product of some starvation-induced fever dream, but that's part of the intrigue of the film. As they continue their journey, Hank grows to know Manny (the name the corpse gives himself) and begins to reintroduce him to the world and its realities. The two battle and bond as they trek through the wilderness together, learning and debating the deeper concepts of life. 

For the most part, Swiss Army Man works, and a large portion of its success rests heavily on our two leads. Paul Dano continues to cement himself as one of today's best young actors, but it's his counterpart who truly deserves recognition. Daniel Radcliffe continues to push himself further away from his Harry Potter visage; taking the plunge and playing a reimagined corpse was a gutsy move, but his boyish innocence works well opposite Dano's manic-depression.

The chemistry between the two keeps the film going even when the story falters from time to time. This movie is grandiose, and it takes quite a few shots at being something of a transcendent experience. Over the course of the film, Hank and Manny have discussions about the meanings of everyday life, and each moment feels as though it's meant to be more profound than the last. Unfortunately, many of these conversations fail to hit the mark. In a way, the film's reaches further than it can grasp, and although it's makes a valiant effort, it just doesn't hit the messages home. 

If the film truly succeeds in any respect, it's in its visual style. Directors Dan Kwan and Daniel Scheinert have spent much of their career working on music videos, and you can see that translation in their feature film debut here. There's a manic energy that paces the film, and the very look of it all feels wondrous and magical. Their use of music throughout the film adds to the joyous atmosphere, and I have found myself running the music through my mind since I saw the film last week. You'll be hard-pressed to find another film this year that encompasses such a spirit.

At the beginning of this review, I asked whether a film could be too original for your everyday audience, and I think that Swiss Army Man is certainly toeing the line. This is a weird movie, but it embraces that weirdness and to an extent champions it. I walked out of the theater not knowing just what to think, but the more I allow myself to process everything I saw, the more I'm coming around to the brilliance of Swiss Army Man. Is it a perfect film? Not by any means. It has the flaws that you would expect from a first-time directing duo, but it also stands as an impressive debut. The film itself is a feel-good movie that's moderately accessible, but it's going to take some internal convincing to get yourself to sit through it. It doesn't play by your normal film conventions, and it has to be forgiven and applauded for that. The Daniels, as the directing team calls themselves, have made something truly unique and, at times, breathtaking. Swiss Army Man is the perfect anti-comfort food type of film: it's hitting all the themes and tones you would expect from a movie about friendship, but it's doing them in a way unlike any movie you've seen before. I've certainly never seen anything quite like it. In a way, it's letting it's freak flag fly, and in a day and age where we all have something that makes us self-conscious, Swiss Army Man is the perfect antidote.