This Pixar animation takes on the climate crisis. A 19-year-old animal lover discovers a new technology that allows her to inhabit a robotic beaver, which leads her to assemble the animal kingdom to save her favorite pond. As expected, the lively pacing keeps it moving, but it lacks some of the hallmarks of the studio. The characters are charming, but none of them are especially quirky or unique. Although there are spunky moments, the opportunities for genuine humor are slim. The design is attractive without adding anything new to the style. Sure, it’s got a warm center and important message, but there’s a lack of anything new or special.
Anyone familiar with 20th century history will recognize this film’s title as the place where the world-changing cases against **** leaders took place. Instead of staging a grand trial drama, this film focuses on a psychiatrist who’s sent to evaluate the leaders before the trials (Rami Malek). His interviews with Hermann Göring turn into an obsessive bond, as he strives to understand the evil behind the man (played with subtle bravura by Russell Crowe). Meanwhile, the prosecuting lawyers (led by Michael Shannon) strive to determine the best way to approach this controversial new case. The character dynamics are emboldened by the captivating performances from every member of the cast, which also includes Leo Woodall and Richard E. Grant. Director James Vanderbilt has crafted a tightly gripping narrative that brings humanity to the horrors, while never excusing their actions. Despite it’s 2:28 length, every minute was compelling, sometimes disturbing. It’s a significant historical drama that packs a powerful dramatic wallop.
The title refers to the passenger seat on a motorcycle. This is where the young sub (Harry Melling) sits when he rides with his dom (Alexander Skarsgård). This original take on a romance revolves around the world of BDSM. It starts with the duo’s chemistry, which is electric from the first scene. Skarsgård creates a distant character with plenty of sex appeal, while Melling is constantly compelling as he navigates his new sexual actualization. The few sex scenes are erotic and kinda mean, but there are also moments of humor and genuine warmth. Their relationship is original, complex and ultimately poignant, which makes this a complex and very human relationship story.
Priyanka Chopra Jonas plays a woman living a quiet life in the Cayman Islands, waiting for her sailor husband to return. He shows up, but as captive of a pirate (Keith Urban) who arrives causing causalities on his way to the showdown with her. I’ll say no more to avoid any spoils. The action consists primarily of BRUTAL hand-to-hand fights with some guns for quicker results. That’s really the whole point of this film: A high body count with lots of stabs and slashes. Chopra Jonas confidently fights back with bloody attacks, while Urban is equally vicious. There is a basic plot with some family members, but they only serve to add emotional elements. Even so, it’s all about the fierce action in a pulp package.
Even though it’s set in Mexico and the US, this film has a distinct European feel. This is primarily due to writer/director Michael Franco’s style, which is detached and deliberately paced with minimal dialogue. In the past it’s been his shortcoming, but this time it’s working. Jessica Chastain plays a rich socialite who’s having a passionate affair with a promising ballet dancer (Isaac Hernández, who is really an accomplished dancer). The scenarios alter between her luxurious activities and his continuous struggles…peppered with their HOT erotic encounters. They’re both quietly compelling in their understated performances. Instead of extensive narrative explanation, this drama offers glimpses into their lives. Even with the distant emotions, Franco’s simplified storytelling is quietly affecting and the final scene packs a shocking wallop.
This film moves the multiverse out of Marvel territory. Michaela McManus plays a woman whose daughter was killed, so she travels through parallel universes, repeatedly killing the murderer. Along the way, she teams up with a runaway (Stella Marcus) that adds some humanity to the story. Although there are kills, they’re often quick, so it’s not about the action. It’s also set in a grubby town, so don’t expect any cool visuals. After we put all the pieces together, it’s primarily about the effect this process has on her. Interestingly, it’s written and directed by The McManus Brothers, who are literally her brothers. With any project dancing around quantum physics theories, there are challenges to the logic, but it doesn’t matter. This is a scrappy indie film that’s appealing in its earnest examination of revenge and grief with a sci-fi angle.
Glen Powell stars as a man who was disowned at birth by his rich family. A childhood girlfriend (Margaret Qualley) casually suggests he eliminate the people who are in line for his inheritance, hence the title. The concept had potential for an enjoyably dark crime comedy. Powell maintains his charisma and charm, but he isn’t helped by writer/director John Patton Ford, who didn’t make the script sufficiently funny or the kills effectively clever. Qualley creates a pretty devious character. At least the pacing keeps it from ever being dull, but it’s never especially smart either. His last film, “Emily the Criminal” was more successful.
This film has all the elements of a solid crime drama: There’s a detached, kind-hearted, pro thief (Chris Hemsworth), the beleaguered detective on his trail (Mark Ruffalo), the frustrated inside connection (Halle Berry) and the impetuous disrupter (Barry Keoghan). What it also has is too much time: too much excess story told too slowly. There are absorbing moments, some decent action and compelling performances. This movie’s strong cast interactions overshadowed the heist aspects, which is fortunate since they’re the films best asset. The running time is 2:19 and at 1:45 it could have been a gripping drama. BTW, writer/director Bart Layton’s last film was “American Animals.” another heist flick that sometimes worked and also featured Keoghan
Margot Robbie and Jacob Elordi play the adult versions of the famed star-crossed, ill-fated lovers. (BTW, the young version of Heathcliff is played by Owen Cooper, the lead in “Adolescence”) This attractive couple faces numerous odds in this version, thanks to writer/director Emerald Fennell (writer of “Saltburn” & “Promising Young Woman”). She’s taken liberties with the story and setting. Then entire film is dark, literally and figuratively. The clothes are brighter in the later “rich” scenes, but the tragic story has virtually no moments of joy. Instead, they have furtive heated sexual exchanges. Robbie suffers appropriately, while Elordi smolders in the early scenes before becoming dashing (and mumbles a lot). There are some attractive elements, including the cinematography and production design, but Fennell has indulged herself to the point of tedium. Some of the film is wonderful, but it bogs down more than it inspires.
First off, this movie has nothing to do with the original Nirvana led by Kurt Cobain, but is based on a Canadian TV series of the same name (with 2 “n”s). Matt Johnson and Jay McCarrol play aspiring performers who are desperate to get a gig at the Rialto, although we never hear them sing a song. Their efforts end up with them travelling back to 2008 and some other preposterous episodes. It was also shot guerilla style on the streets of Toronto, including some nerve-racking footage on the exterior ledge of the CN tower without permits. Their style of comedy is goofy, unexpected, brash and energetic (there’s lots of running down the street). Even so, I never found it funny, although the young audience around me seemed entertained. This duo has created a unique project that’s feels like an extended comedy sketch from two desperate wannabes.
This latest installment in the Predator series takes a unique approach: Instead of having the beast terrorizing people on Earth, it takes us to their home planet, which also introduces their culture. After one young beast (Dimitrius Schuster-Koloamatangi) is ostracized from his clan, he sets out to capture the ultimate adversary. Along the way, he teams up with a cheery android (Elle Fanning). Their quest includes the expected violent encounters, but there are also more sensitive moments with insight into their feelings. Dan Trachtenberg, who’s directed several of the others in the franchise, has added new sci-fi elements, locations and tech that make the design appealing and downright cool. Under the impressive prosthetics, Schuster-Koloamatangi manages to give “humanity” to his character, while essentially turning him into the hero. Fanning’s upbeat performance is simply delightful. This is undoubtedly one of the most unusual buddy road films ever made, but it’s one of the most entertaining and original
A man (Sam Rockwell) bursts into a diner and declares that he’s from the future and is back to save the world from the impending AI apocalypse. After lots of bluster, he manages to assemble a crew that includes Juno Temple, Haley Lu Richardson, Zazie Beetz and Michael Peña. They set out on a weird and wacky sci fi adventure. This was directed by Gore Verbinski, who’s best known for the “Pirates of the Caribbean” films, so off-the-wall comedy is expected. There aren’t many outright laffs and many of the scenes go on too long, but the main quest and the side trips that set up the character’s involvement keep it interesting. This is an extremely unusual comic adventure that’s makes scary statements about our culture’s obsession with our devices and their addictive appeal.
French director Luc Besson is best known for his action films like “The Fifth Element” and “La Femme Nikita,” but this more a dramatic romance with a few moments of violence. It starts in the 15th-century when a prince (Caleb Landry Jones) denounces God after his wife is killed. Somehow, this turns him into an immortal ****. The story also travels forward 400 years as he goes to Paris to find her reincarnation. Jones creates a creepy and compelling character in both a young and ancient iteration. First off, this is more about the inconsolable love that drives his quest than the typical horror approach. There are some fun weird moments, esp. the gargoyles that serve as his minions (see one in lower right corner of the picture with this review). It also features glossy production design and lush cinematography. What the film lacks is pace. Every scene goes on too long and it’s a tedious wait between the spurts of evil. Besson has taken a new angle with the sad lost soul approach, but the slow development keeps it from being it a memorable addition to the legend.
Aiden Zamiri is not only known for directing music videos with artists like Billie Eilish and FKA Twigs, but also for working with Timothée Chalamet’s image for his press tours. He applies his hip skills to this faux documentary about singer Charli XCX’s prep for her “Brat” arena tour. It employs his restless style of shooting and editing to keep it edgy and cool. Charli is at the center of almost every scene, as it looks at her creative process and the pressures of **** and she's not afraid to paint her portrait with flaws. The rehearsal process takes up most of the time and features a quietly funny Alexander Skarsgård as the arrogant director. It’s also great to see Rosanna Arquette as the record company boss. There are amusing observations and wisecracks sprinkled throughout, but it’s more about the star’s lack of control. Even people not familiar with the singer may find this an interesting approach to a documentary style with maybe some insight into the artist herself.
Ben Foster moves into a beautiful new home with his wife and son. On their first nite, a car crashes into a tree out front, leaving one person dead. This begins his twisted obsession with the calamities calamaties at the corner and the fate of the people involved. Foster’s character is about as bleak as can be, going from slightly introvert to quietly unhinged. He seems unrealistically too far at times, but to appreciate the film, it’s necessary accept it. Director Jason Buxton never goes for outright thrills, preferring to create a character that’s both unsteady and unsettling. Ultimately, the ending makes it all worthwhile.
Netflix cranks out these romantic stories based on popular books and this is the latest (by Emily Henry). Emily Bader and Tom Blyth play best friends who decide to meet every year and share a vacation. Of course, the inevitable romantic attraction develops, but not before the typical setbacks. There’s nothing new in this series, except that they get to visit some cool locations. Bader manages a bit of quirk in her character, while Blyth is cute but ineffectual. The pace keeps things moving and there’s sufficient chemistry between them to make it bearable. The writing or supporting characters add nothing unique. Like most of these, it’s got a continual background of soulful pop songs that sound like they could all have been written by Taylor Swift. Fans of this genre who are just looking for a reassuring formula may enjoy, but it’s one of many quickly forgotten bland romantic ventures.
Rachael McAdams plays a nerdy, but smart office worker who’s ridiculed by the executives, esp. the new company’s young new president (Dylan O’Brien). After a harrowing air disaster, they end up together on a deserted island. He’s slightly injured, so her love of “Survivor” comes in handy as she takes the upper hand, which ends up in a vicious power struggle. McAdams is too pretty for the character, but she still carries it off. O’Brien effectively maintains his guy’s arrogant attitude, even after some unpleasant setbacks. There are some elements that push credibility, but director Sam Raimi manages to keep in interesting, while dropping in a few moments of his signature suspense style. If you can look past the plot discrepancies, this is an enjoyable “escape.”
Ann Lee was the founding leader of the Shaker Movement in the US. Amanda Seyfried plays her in this unusual, but interesting historical drama. The story starts with her as a girl in England, but as an adult, she has a vision which takes them to America. The Shakers were known for their unique form of droning songs and jerky dance moves (as well as their wooden furniture). As their worship style is distinctive, this film takes a similar approach. First, it’s a musical! Even though all of the songs are sung during their ceremonies, they still perform them all the way through. Seyfried does a commendable job in the lead and the rest of the cast is fine. Writer/director Mona Fastvold is best known for working with her co-writer Brady Corbet and their most famous collab is “The Brutalist” (my review). Her unique approach requires forgoing expectations of a typical narrative in order to experience this sect in an curious light.
Rose Byrne recently won a Golden Globe for this role. She plays a therapist, who has serious personal issues, in addition to her daughter's illness and an absent husband. From the opening shot, writer/director Mary Bronstein (she also plays a therapist) keeps the camera close on Byrne for almost every minute. This showcases the actor’s notable dramatic skills. Despite her struggles, the character is unpleasant most of the time, making it hard to like her. Conan O’Brien plays it straight as her co-worker, while A$AP Rocky adds the only personality. There are some “fantasy” moments that only serve to add to the tedious pretentiousness of her dilemmas. As an acting exercise, Byrne gets to shine, but don’t ask the audience to emphasize with this unpleasant woman in a rather frustrating character study. BTW, she did have legs, so the title must refer to her general frustrated inadequacy.
Jason Momoa and Dave Bautista play half-brothers with an unpleasant past. After their father dies mysteriously, they begrudgingly come together to uncover the truth. They also fight a lot (with others and each other). This is an action comedy that works for two reasons: The chemistry of the duo and the incredible action sequences. Bautista goes for gruff, while Momoa is the funniest he’s ever been with sly, off-handed comic delivery. The action scenes are insane with numerous wild blows and one crazy car chase (the CGI seemed to be peeking thru). There’s even a direct reference to the classic “hallway” scene from “Oldboy,” where he dispatches a number of opponents while working his way down the hall. The plot follows the basic formula, but the stars and the action help make it a fun popcorn entertainment.
In the opening scene, Chris Pratt finds himself strapped to a chair in a solo court run by an AI judge (Rebecca Ferguson). He has 90 minutes to prove that he didn’t kill his wife or he’ll be executed. Being a cop, he begins his “armchair” investigation, calling on AI’s vast resources. This is basically a “found footage” movie that constructs the narrative from security footage, bodycams, phone records and social media posts. This sci-fi forward aspect is cool, but makes it harder to create any tension, since almost everything plays out in the past. Pratt doesn’t get much chance to drop his smirky quips, opting instead to create a more intense character. Ferguson maintains a neutral expression, as is appropriate for her impartial judge. Director Timur Bekmambetov has made some inventive and intense movies, but this struggles to create any excitement, even with the proliferation of high-tech imagery (including a one-man drone).
Colin Farrell & Margot Robbie play strangers who meet at a wedding and end up on the titular journey. They spend lots of time driving to various locations where they discover doors in the wild. When they step thru the doors, they venture to a previous time in their lives to re-live important moments. Sure, bits of the trip are bold and sometimes beautiful, but the whole thing falls apart once they enter the doors. The narrative starts to head off the rails and careens into emotional encounters that turn this into an introspective wasteland. Director Kogonada and writer Seth Reiss peppered the film with some cinematic surprises and occasional humorous moments, but these are overshadowed by the dull “meaningful” drama that develops. BTW, Phoebe Waller-Bridge and Kevin Kline are somewhat unrecognizable in their interesting supporting roles at the car rental agency.
Director Danny Boyle and writer Alex Garland created “28 Days Later” in 2003 and it broke new ground with its fast-moving zombies. This latest sequel continues to be more about the survivors than the undead and how the humans have become even more horrible than the ghouls. Ralph Fiennes is back as the doctor trying to understand the virus, which is furthered by his encounter with a particularly imposing zombie (Chi Lewis-Parry). The majority of the movie is spent with the gang that showed up at the end of the last film. Jack O'Connell plays the leader of this small group of young people who are doing his bidding, which is basically capturing and torturing innocent humans. This includes some pretty gruesome scenes, but violence is an expected part of these films. Throughout these cruel episodes is a boy from the last one (Alfie Williams) who’s been conscripted into the gang. His experiences provide the story’s sensitive moments and they ultimately end the film with a somewhat hopeful outlook. It’s certainly better than the last one (my 1.5 star review) and bodes well for the final one. Even there aren't any real moments of tension, it's mean and violent, but ultimately sweetly compelling.
This is based on a true incident in 1977, when a desperate customer (Bill Skarsgård) took the president of a mortgage company (Dacre Montgomery) hostage with the titular sawed-off shotgun wired around his neck. This standoff leads to the expected back-and-forth with the police. There’s also a reporter on the scene, that doesn’t add any information, only parallels what really happened. Skarsgård creates a character that’s gruff and not especially empathetic, while Montgomery just seems defeated and desperate. Al Pacino has a small, essentially useless part as the company’s owner, while Coleman Domingo adds a bit of class as a local radio DJ. Director Gus Van Sant has staged the event and the subsequent discussions without much tension. As a result, this plays out as a re-creation without much excitement or anxiety. NOTE: The credits feature actual footage from the event, which shows the criminal as an even more outrageous character.
This film opens with a dull series of police being interrogated, including the stars Matt Damon and Ben Affleck. After inconsequential scenes that set up the feistiness of the characters, a team heads to a stash house where they discover a lot of cash. This starts the machinations of how to handle it and who might be dirty (there’s always a dirty cop), which results in intense discussions as the confusion and danger mounts. Through all the back-and-forth, the actors play it rough and tough. What little action that arises is staged in confusing darkness with matching editing. Writer/director Joe Carnahan creates a unique situation, but his efforts to generate tension don’t. It consists primarily of a lot of angry encounters, trying hard to be dynamic, but turning out to be a tirade of noisy drama. BTW, it’s never explained, but “The Rip” is cop parlance for “ripping off” the bad guy’s stuff.
Lee Byung-hun plays a loyal worker at a Korean paper factory who gets laid off (by the Americans who took over the company). After months, a potential job comes up, so he decides to eliminate the competition…literally. It’s an unusual story made even more special by noted director Park Chan-wook’s unique slant. There are unpredictable elements, including some magical realism moments, slapstick violence and a sometimes-confusing plot. It’s undeniable that he’s a master with his unique angles, creative camerawork and unexpected moments. Adding to the slightly surreal elements is cinematographer Kim Woo-hyung’s saturated colors and dramatic lighting. This film is in no way like a typical American comedy/thriller. Chan-wook’s distinctive approach makes the interesting predicaments unexpected, surprising and enjoyable.
Will Arnett plays a man whose marriage is falling apart, so he starts to perform in New York’s stand-up comedy scene. The plot’s potential sounds better than the result. First off, even though the Comedy Cellar’s audience is laughing, his routines are not funny. Meanwhile, his encounters with his estranged wife (Laura Dern) become more and more tedious as they dissect their relationship’s failure. Surprisingly, Arnett is known for his comedy chops, but here he’s going against type for a dramatic portrayal. Dern brings radiance to her role and their family moments are the only bright spots, including the winning performances from their sons (Blake Kane & Calvin Knegten). Bradley Cooper directed (and has a supporting role), but his determination to make this a warm relationship drama undermines any potential for amusement, while dragging down the potential with dull dialogue. There’s promise here, but it doesn’t completely succeed in the comedy or drama aspects.Interesting trivia: Sean Hayes has a small part and his real-life husband Scott Icenogle (a composer on “Will and Grace”) plays his partner in the film.
Wagner Moura plays a man in 1977 Brazil, fleeing the oppressive military dictatorship and his own potential murder threats. He travels to his hometown, where he meets other dissidents and reunites with his son. Meanwhile, corrupt cops and hired killers are disposing of bodies and more. Then there are flash forwards, when two women listen to tapes that might help explain his past. This fragmented narrative rambles with glimpses of the culture and other things that extend the plot. They also make watching it more challenging (or some might say tedious). At 2:40, there’s an interesting story in the film, but the narrative focus is often is sidetracked by excess information and cultural flavor.
Writer/director Jim Jarmusch is known for his unique vision and laid-back approach and this film meets those expectations. It examines family interactions in three parts: “Father” is Tom Waits, who’s visited by his adult offspring (Adam Driver & Mayim Blalik) for an awkward conversation. “Mother” features Charlotte Rampling, who has tea with her daughters (Cate Blanchett & Vicky Krieps) for a more formal, but equally strained interaction. Finally, the siblings (Indya Moore & Luka Sabbat) visit their deceased parents’ Paris apartment for one last moment of memories. There’s no plot here, but there are random elements that appear in each one: a Rolex watch, discussions of water quality, a popular British expression and some mention of clothes (this was partially produced by fashion house Saint Laurent). These “scenes” feel like one-act plays that examine emotionally distant relationships and the labored effort it takes to reconcile these missed connections. Fans of Jarmusch might find it quietly enjoyable.
This film is told in real time, as a platoon of Navy SEALs embarks on a mission in Iraq. It’s also based on a real event remembered by the men who were there. It begins with the logistical prep, as they get ready for an attack on their building. Even when the firestorm begins, the “action moments” are tempered by the methodical procedures they undergo, including constant communication with the base. Since almost all of this takes place in the same location, it’s not the typical war movie. It’s more about the processes and procedures they follow, even when some of them get severely injured. Alex Garland & Ray Mendoza are co-writer/directors and Garland’s “Civil War” was an equally potent conflict film, albeit fictional (my review). The determination, discipline and brotherhood of these men pushes thru the continuous intensity and chaos to show the horrors of war on a more intimate level. BTW, there are images of the real soldiers that play during the credits.
The original German name for this film is “The Tiger,” the nickname given the tank by designer Ferdinand Porsche. The story takes place on the Eastern Front of World War II, when a five-man crew is sent on a secret mission behind the front line. Naturally, the intensity of the tank’s close quarters creates plenty of tension, especially when they’re being bombarded. Their journey becomes more severe as they travel more deeply into enemy territory. The performances embody the fear that permeates a wartime excursion and director Dennis Gansel has added to the effect with some mildly effective sequences. There are a few scenes of brutal cruelty and some events challenge credibility, including the ending. Ultimately, fans of war stories might find it interesting, but it never culminates in an especially gripping tank trek.
The compelling underwater shots that launch this film provide an eerie foreshadowing of writer/director Charlie Polinger’s unusual perspective. The film takes place at a polo camp, where one twelve-year-old (Kenny Rasmussen) is ostracized for having the titular infection. Another team member (Everett Blunck) feels sympathetic and attempts to befriend him. The social hierarchy of the boys plays out with cruel comments and mean pranks. Joel Edgerton is the only adult member as the coach. This impressive cast of burgeoning adolescents is remarkedly lively and comfortable in their roles, while Blunck once again shows his remarkable depth. (He was equally strong as the lead in “Griffin in Summer,” now on Hulu.) The pace is often deliberate, allowing Polinger to linger on moments, while sometimes dragging the pace. It’s lite on plot and is more about the emotional dynamics and troubling pressures these kids confront. Trudging thru Polinger’s artsy elements can be challenging, but the ultimate character study reveals itself to be probing and powerful.
Mark Wahlberg is back and his kids are older. They take on a new adventure in London and Paris for Christmas, which naturally leads to chases and danger. Much of what I wrote about the original film still applies, so why re-invent the review? “There are well-staged PG action scenes to keep the energy up (the parkour moments are cool in this new one). The characters have enjoyable moments. Despite the deadly threats, the overall energy is not comic, but lighthearted and upbeat with touches of thriller. The plot is basic and the dialogue isn’t special, but there’s sufficient verve to make it moderately entertaining and quickly forgettable.” There you go.
Talk about meet cute: Kevin Bacon plays a security guard who tries to foil a robbery by breaking into the home of a client (Kyra Sedgwick). Their relationship develops as he reveals his health issues and she happens to be a doctor. She’s also married to a much older man (Judd Hirsch) who’s experiencing dementia. Of course, the inevitable happens when the couple’s friendship goes deeper. This is the first time in 20 years that this husband/wife duo has been in a film together and their chemistry is still solid. Bacon turns in a pleasing performance, while Sedgwick glows with light and energy. Writer/director Michael J. Weithorn (best know for creating “The King of Queens”) has created fun banter to amplify their relationship, while not getting too deep into the emotions. This film isn’t especially memorable, but it’s enjoyable to watch Bacon & Sedgwick expanding their long-lived relationship.
Hugh Jackman plays a singer who’s making a meager living. Along with his new wife (Kate Hudson) they create “Lightning and Thunder” and become popular with their Neil Diamond tribute. This is based on a real couple from Milwaukee. After they start to taste success, tragedy strikes. Even with the setback, their sincere love keeps them strong. Jackman and Hudson have immediate charming chemistry, making their inspiring ups and considerable downs even more affecting. It’s a given that Jackman’s musical skills are strong, but Hudson’s vocals are equally impressive. Her performance is the highlight. While this story has more tragedy than expected, it makes the movie more about their enduring love than the music. Warning: They cover many of Diamond’s hits with verve and you’ll have at least one stuck in your head after leaving, prob the title song.
Timothée Chalamet plays the title character, a talented, aspiring table tennis player. This isn’t a character study, but a full-on character explosion. Chalamet plays him full of energy, enthusiasm and ego. He’s continually hustling for his game, but also dealing with some personal issues (including the affair with an older actor played by Gwyneth Paltrow). In addition to Chalamet’s non-stop performance, it’s director Josh Safdie’s buzzy, busy style and crazy, crowded camera that add to the film’s kinetic energy. While the ping pong adventures comprise most of the story, there are side trips that involve the amoral lengths he’ll go to win in life and the game. Combine Safdie’s manic style with Chalamet’s hyper portrayal for a somewhat unique, sometimes compelling and always interesting film. BTW, the athletic way they play the game required the use CGI balls to make the shots.
At more than $2.2 billion, this is the highest grossing animated film in the world and it was also the highest grossing film of 2025. All of this success came mostly from other countries, but now we can experience it streaming. What makes the movie so appealing are the dazzling visuals that constantly present beautiful new images. The story continues with Ne Zha and his friend Ao Bing on an adventure for their spirit vs. the inevitable demons. It’s easy enough to ignore the plot and just appreciate the continuous flow of magnificent fantasies. The characters are exaggerated, but they manage to keep the energy moving. It does drag when they try to ramp up the emotional aspect, but there are some entertaining moments too. Otherwise, just watch it for the visual treats.
Kate Winslet, Andrea Riseborough and Toni Collette play sisters who bring their families to the hospital for a few final days with their dying mother (Helen Mirren). Of course, the siblings (including brother Johnny Flynn) have issues with each other and those make up most of the conflict. Much of the script, which was written by Winslet’s son Joe Anders, falls along predictable beats with clichéd conflicts. I was able to guess many scenes pretty early on, although the son’s final revelation was an abrupt and unexpected. Fortunately, first-time director Winslet has assembled this exceptional cast that gives even the tritest scenes more heft. As the father/husband Timothy Spall manages to the most touching moments late in the film (tears guaranteed). With lesser credentials this film would fall squarely in soapy Lifetime movie territory, but Winslet’s cast and direction have classed it up.
Paul Feig (best known for comedies like “Bridesmaids”) takes on a thriller. Sydney Sweeney plays a woman “with a past” who’s hired as the maid for a rich family (Amanda Seyfried & Brandon Sklenar). Naturally, things aren’t what they appear and they go wrong more than once. The twisting plot is the big selling point and fortunately, the trio of actors manages to bring their skills to make it work. Even though the story may stretch credibility and it’s never especially suspenseful, it’s still fun to see where it goes and how it gets there.
The main point of this series is the dazzling visuals that offer new sights and cool creatures. This one delivers. The story begins with the main family (Sam Worthington and Zoe Saldaña) mourning the loss their son, but the greater plot involves an aggressive new tribe, who join the humans’ attempts to destroy the peaceful inhabitants of Pandora. Sigourney Weaver is back playing a teen and Stephen Lang returns as the villainous Colonel. There’s plenty of awesome spectacle and dizzying action with just enough dialogue to further the plot without dragging the pace. Even at 3:17 it almost never slows and the performance capture technology allows the actors’ performances to shine thru, adding a layer of emotional involvement. Director James Cameron has once again managed to continue his fascinating journey with another cinematic adventure.
Bryan Fuller created the unique TV series “Pushing Daisies,” so his take on a thriller is also expectedly distinctive. He also created “Hannibal” so he’s comfortable in this genre. Sophie Sloan plays a girl who has a giant, lethal rabbit under her bed. She enlists the help of a hitman neighbor (Mads Mikkelsen) to help her eliminate it. This isn’t a typical horror film, as a matter of fact, it’s not one. It’s dark fantasy with a somber stylized look that's often beautiful. In some ways, it reminds me of Wes Anderson, in its formal approach and idiosyncratic flair. The extended dialogue scenes drag down the pace, but there are many scenes with no talking. Yes, there are some violent kills, but they're often off camera or so quickly staged that it's not horrofying. Ultimately, it’s a bit sweet and never scary. BTW, Sigourney Weaver seems to be enjoying her evil character.
Emma Mackey plays an idealistic young woman, who finds herself the governor of her state (which is never identified, but was shot in Rhode Island). After this happens, she addresses issues she has with her husband (Jack Lowden) and estranged father (Woody Harrelson). Supporting her thru it all is her aunt (Jamie Lee Curtis). Even though this is supposed to be a comedy, the only mildly humorous moments come from Curtis. Otherwise, writer/director James L. Brooks calls less on his comedy chops (one of the creators of “The Simpsons” and he’s cast Julie Kavner, best known as the voice of Marge) and more on his dramatic tendencies (screenplay for “Terms of Endearment” and “Broadcast News”). Although the pace is lively, there’s no amusement. There’s also not much of a compelling story, giving the talented cast little to work with. BTW, it’s just coincidence that Mackey and McCay are so similar
The first shot in this film is the reflection of 3 moons, which sets us up for a fantasy world. In this misogynistic society, a new wife (Miaka Monroe) finds herself alone when her husband leaves for business. Meanwhile, he charges a friend (Nicholas Galitzine) with seducing her, while her devoted maid (Emma Corrin) remains a constant presence. This is quiet and quietly-paced fantasy with some design tweaks to give it a “foreign” feel. Monroe successfully flashes mixed signals, Corrin carries a sour demeanor throughout and Galitzine is simply a dashing hunk. Director Julia Jackman has created a mythical world with bits of imagination. It’s ultimately a feminist fairy tale that features compelling performances, but its sedate approach doesn't create much emotion or excitement.
The first film in this series was great. The second, not so much. Fortunately, writer/director Rian Johnson is back on track with this 3rd installment. Josh O’Connor turns in another remarkable performance as a rough-around-the-edges, but dedicated priest who’s sent to a small church. Turns out it’s run by a domineering and downright evil monsignor (Josh Brolin, who’s also great). After he’s murdered, the young priest is the prime suspect. The Southern gentlemen detective (Daniel Craig) returns to help prove his innocence and detect the real culprit. Johnson has assembled another enjoyable cast, but the only comically eccentric is Glenn Close, as the uptight church lady (characters like this were the hallmark of the first). The plot, which is sprinkled with social critique, takes a too long to unravel. There’s more introspection than flamboyance or humor and the script lacks many surprises. Even if the mystery isn’t as exciting, the film delivers on pleasing performances and snappy direction
This sequel places some of the characters from the original in a new situation where two trolls ultimately fight it out (I didn’t see the original). This final showdown is much like a Kong vs Godzilla encounter without the massive destruction. That’s the disappointing thing about this film. The giant stone creature’s devastation is minimal, not leaving much else to care about. The small team’s response is unimpressive and mostly relies on lots of guns. Being that this is Norwegian, the dialogue and confrontations are mild. Compared to traditional giant monster flix, this is more subdued and slowly paced, leaving little to recommend it.
Edward Burns wrote and directed “The Brothers McMullen” in 1995, about a close-knit Brooklyn family. Thirty years later, he returns with 2 adult kids and the fun begins. The plot revolves around romantic encounters for everyone, but it’s more about the characters. Burns has created a group of unique, interesting individuals who interact with his distinctive snappy dialogue. The actors all create dynamic personalities that further the enjoyment. Their relationships have their minor issues, but this is overall an upbeat comedy populated with enjoyable people. If anything, things are too easy, but the film is still full of joy and charm.
Olivia Holt and Connor Swindells play strangers who team up to rob a classy London department store on Christmas. It takes a while before they get to the actual theft, spending time exploring their personal issues and hinting at romance. When the big steal finally arrives, there’s no tension and nothing much clever about it. Holt brings nothing special to the role, but Swindells manages a few sympathetic comic moments. Other than the decorations, this film doesn’t have a lot of Christmas elements. It’s more of a mediocre heist with a middling romance tossed in.
Michelle Pfeiffer adopts a slight Texan accent as a mom doing all the prep for her family’s Christmas gathering. After being frustrated by her lack of appreciation, she sets out on a dumb trip to seek her own reward. With comic stalwarts like Denis Leary & Jason Schwartzman you’d hope for at least a few funny moments, but they never materialize. Pfeiffer is fine as she leads the cause of mother appreciation. Other than this sincere message, there’s not much to make this holiday adventure worth the watch. And it’s never clear why they decided to use the periods after each word.
The movie starts with Kevin, Joe and Nick finishing up their tour in London, but not in good personal relationship spaces. Santa (Jesse Tyler Ferguson) extends their trip back to the US in an attempt to reinforce their familial bond. They sing their way thru the detours, which includes several hook-filled songs, lively staging and a genuinely good time. The attempts to add holiday emotion gets a bit tiresome, but these guys know how to make fun of themselves and there are lots amusing moments (Andrea Martin and Will Farrell have funny cameos). Of the 3 movies in this review, this is the most fun.
George Clooney plays an aging movie star, who starts to look back at his life and his failings, esp. as a father and friend. It’s a role that fits Clooney comfortably and he inhabits it with his usual charm. Most impressive is Adam Sandler’s nuanced performance as his manager. He's a revelation! Billy Crudup’s menu monologue is an instant cinema classic. Director Noah Baumbach, who wrote with Emily Mortimer on her first screenplay, has touches of comedy surrounding the serious encounters. He’s also added flourishes of cinematic fantasies to amplify the memory moments. This journey of personal reckoning proves sometimes amusing, often winsome, occasionally affecting and ultimately rewarding for the actor and us
