Postal

Uwe Boll has done the impossible: create a game adaptation that stays at least somewhat true to the game; he has turned a game full of antisocial and offensive content into a movie full of antisocial and offensive content. So, as an adaptation, it's a success.

Unfortunately, it's still Uwe Boll we are dealing with here, so don't expect the movie to be actually any good. while it does have it's moment, "Postal" wears out his welcome very fast and becomes a pain to sit through.

At its core, Postal is a satire on the United States, as done by a twelve year old kid. Boll seems to think that offensiveness is linearly proportional to comedic value: the more offensive, the funnier, and the more exaggerated the funnier. This results in a movie that sets new levels of tastelessness while being extremely hit and miss. Yes, some gags do work but it seems to be pure luck. High points include the director satirizing himself, and people getting hit very violently by trucks and other vehicles. Low points include..well pretty much everything else.

After the initial surprise wears off, Postal simply becomes a bore to watch. Yes there is a good joke every and good point ten minutes, but everything else consists of hordes of annoying characters shooting and chasing each other all over the place for what seems to be an eternity.

This probably would have worked as a short movie, but it's just not enough content for something that lasts over 90 minutes (although it feels twice as long). There are nice ideas and nice tries, but they get hopelessly lost in endless and pointless action scenes and content that is offensive just for the sake of it 4/10

Now we all know Uwe Boll's track record when it comes to movies, but even more so when it's applied to video games. However, in the case of Postal I have to say I was rather surprised because the movie possessed this subtle flair of the game. While watching it I felt it was trying its hardest to be as true to the game as it could. It has sick and pointlessly funny humor both political and sexual, and it has a ridiculous plot that feels like something right out of the game. Perhaps the one thing Boll does well in Postal is the bumbling collection of Muslim terrorists who are apathetic about the whole "Jihad" thing and they are quite funny to watch as they goof around. I guess what makes Postal the movie special is the collection of little silly Easter egg-esquire instances that will just make you chuckle. Like the Postal game, the movie deserves its due because it is a novelty among movies. Regardless, it's Boll's "best" work.

After all the crap Uwe Boll made, I really had very low expectations for this one. And those were not just met, but exceeded. The guy actually has a sense of humor. A dark sense of humor. But few people like that thing, so it's understandable that many don't like it. It goes against most common movie taboos, which is good, it doesn't favor any side, and makes fun of itself as well. There are a few drawbacks, though, like the music and some scenes could've been better, but overall it is above average.

The movie is random, it is senseless, but it is also fun. I never thought Id say this, but if you like dark humor, go see this Uwe Boll film.

Uwe Boll's best Movie. Better than "You Don't Mess with the Zohan". Neither of those statements are saying particularly much, but to say the least, this movie is actually worth watching. Postal is essentially an absurdist farce comprised of characters designed to be caricatures of the worst parts of humanity. Assuming this was not some cosmic coincidence whereby Uwe Boll managed to write and direct a movie that actually entertains it's alleged target audience, I feel confident in saying that this movie actually hits it's mark. Knowing the spirit and tone of the source material, this is actually a pretty decent video game adaptation. The movie is essentially a Bollian journey into Tromaville territory: from the crass socio-political commentary, through the excessive violence, coarse language, gratuitous full frontal Dave Foley nudity, right down to the self deprecating director cameo. It's intentionally offensive to everyone. Despite itself, on some level this movie works. It's weird that I seem to only have good things to say about this movie, seeing as it is not a good movie... but, dare I say, it's not bad either. 5/10

While Uwe Boll has garnered a reputation as one of the worst directors of all time, I can only surmise that those particular critics either have a very limited awareness of cinema (and clearly have not seen any films by Ulli Lommel...or Eli Roth), or are so embittered by their profession that they cannot see the insane, driven vision beneath the surface of the German mastermind's work. Those who have followed his career with masochistic pleasure have concluded that his current works have shown a legitimate upgrade in quality, and "Postal" is one of his most impressive films; while yet another loose take on a video game, Boll's proficiency with narrative structure (he co-wrote the script with Bryan C. Knight) has gotten better, as has his scene composition (few out-of-nowhere edits away from the action); and placed on the grounds of an absurd satire (a genre that many filmmakers bungle), Boll shows unfettered confidence and drive, even if the end result comes up short. Ditching the nauseating sitcom-structure that has turned Judd Apatow's films into crudely saccharine cinematic gold-mines, Boll goes for the subversive, anti-commercial jugular with "Postal"--he seems on a mission to top one offensive gag with one even more offensive, and the film (true to its title) is an onslaught of un-PC humor from start to finish. While I will say I laughed often at "Postal" and its politics (which echo the anti-consumerist diatribes that made "Fight Club" a cult classic), the comic timing is probably only spot-on about half the time; the remainder of the film's humor flows out of the absurdity of its premise: Dude (Zack Ward, the red-haired bully from "A Christmas Story") is an unemployed, lower-class guy having a bad day--in a pinch for cash, he and Uncle Dave (Dave Foley) concoct a plan to steal a shipment of Krotchy dolls from a Nazi-themed amusement park (run by Boll himself in a hilarious cameo); meanwhile, Osama bin Laden and the Taliban (camped out in the back of a convenience store, natch) are also converging on the coveted toy. Yet the plot is really just an excuse for Boll to let loose with a skewering of stereotypes, history, and blue-collar madness: while "Postal" could have merely been tasteless and humorless, its own sensitivity toward mankind's collectively repressed id shows a greater existential curiosity toward our "post-9/11" society than any Oscar-nominated tearjerker to come down the pike.