TVJerry

To Catch a Predator was a reality series that was part of Dateline NBC, using hidden cameras to find men arriving at a sting house to have sex with a minor (I never watched it). Robert Pattinson plays the show’s host, Chris Hensen, who (at least in this film) was obsessed with his show’s rise in primetime. Merritt Wever is cast as the show’s producer with Skyler Gisondo as the “decoy” boy. In keeping with the subject matter director Lance Oppenheim has chosen a dark look and feel. The atmosphere is continually gritty and oppressive, while the oversaturated, high-contrast cinematography and ominous music call attention to themselves. The cast is uniformly strong, even with occasional histrionics. Overall, this is a disturbing character study with visceral intensity that works, but eventually gets tiresome. Interesting note: Alex Winter (“Bill and Ted’s Excellent Adventure”) plays the Texas DA who’s encounter closes the film (and the series).

Other than 2 short appearances, this movie is all Brad Pitt and his dog. He plays a Special Forces vet out on an adventure in the Alaska wilderness when his plane crashes. The rest of the film has them saving each other on their challenging journey. Pitt carries the film just fine and the dog (actually 4 dogs) provides a strong presence. Despite all the expected setbacks, some of which are life-threatening, there’s seldom much genuine tension. David Ayer, who directed Pitt in “Fury” (my review), has created some stressful situations, but they don’t deliver much more. On the positive side, the scenery is lovely (actually shot in New Zealand) and the best moments are Pitt’s interactions with this canine co-star. Instead of a taut thriller, this is more a survival drama filled with some hardships and lots of heart.

Russell Crowe starred in Derrick Borte’s excellent “Unhinged” (my 5-star review) in 2020, but the COVID release date kept it from being appreciated. They’ve teamed up again with Crowe playing a nightclub owner whose ready to retire. Meanwhile, a man in debt (Aaron Paul) is desperate to pay it off and robs Crowe’s character, which sets off the plot. There’s also the guy who wants to buy the business (Luke Evans). All of this plays out without much dramatic tension or narrative surprise. Borte knows how to stage encounters with interesting vibes and there are enjoyable interactions. Crowe is having fun with his Albian accent and usual charisma, while the rest of the cast is equally effective. This isn’t as gripping as “Unhinged.” There’s constant pressure, but it doesn’t build to a satisfying conclusion in the plot or action.

This film takes a new approach to the backstory of Ted Kaczynski (played by Jacob Tremblay). While there’s a focus on the FBI’s search (driven by Shailene Woodley), it also posits that something happened when he was a 16-year-old Freshman at Harvard. He was part of psychological experiments (led by Russell Crowe) that may have shaped his worldview and mental stability. While the nationwide search is presented as a rather bland procedural, the college experience provides more interesting interactions. Tremblay, who you may remember as the little boy in “Room," creates another impressive performance, while Crowe uses his charismatic power as the mentor. Woodley plays it steely. While this film presents an interesting angle, other than the performances, it lacks much dramatic punch.

The “Step Up” films promoted street dance and this centers around the world of collegiate Bollywood dance competitions in the US. Maitreyi Ramakrishnan and Priyanka Kedia play best friends who join a California team and go on to the titular contest. The dance numbers are dizzying in their wild creativity and precise choreo, except when the flashy lighting effects distract. The dances are the reason to watch, but when the relationship stuff comes up, this quickly feels like an MTV drama with all the expected interpersonal issues. This turns to a YA approach and drags down the fun of the dancing.

Ethan Hawke plays the father of a young girl (Avy Berry) in 1933 Oregon. When he’s sent to a prison work camp (with no trial or real explanation) he ends up losing her. To get early release and retrieve his daughter, the camp boss (Russell Crowe) sends him and his fellow inmates on a trek across the wilderness with backpacks of gold. Director Padraic McKinley was a producer and editor on “The Good Lord Bird,” which was shot here with Hawke in the lead. His low-key, slow-burn atmosphere creates continuous mild apprehension, but never much real tension. Some of the gaps in the plot create credibility confusion. Meanwhile, Hawke quietly captures his character’s force and determination, while Berry’s delightful performance provides the only real sunshine in the otherwise dark film. McKinley is certainly an interesting filmmaker, but there are some uneven approaches and plot holes that create flaws in this unusual drama.

The previous films in the franchise took the same approach, mostly with Milla Jovovich violently dispatching the creatures (directed by her husband Paul W. S. Anderson). This new film is from upcoming director Zach Cregger, who’s made a name for himself with his first 2 films, “Barbarian” (my 1-star review) and “Weapons” (my 4.5 star review). He’s gone back to the video game roots (which I never played) for a simpler approach. Austin Abrams plays a hapless medical courier whose latest mission takes him to Raccoon City, but not before he encounters the outbreak of mutated monsters. There are indeed the crazy creatures with the expected attacks, but other than a few jumps, it’s not that scary. What’s going for it is the upbeat direction and Abrams’ continually comic asides. His “regular guy” response to his predicament is a constant source of amusement. That serves to make this an inventive and fun monster flick. BTW, that’s Cregger’s voice on the hospital intercom.

Even though I don’t remember much about the 1998 original, I’m pretty sure it was more upbeat. Sandra Bullock & Nicole Kidman are back playing sisters with Bullock’s character also having 2 daughters (Joey King and Maisie Williams). When one of them falls in love, it revives an ancient curse that kills anyone that the witches fall in love with. Thus begins the journey to quell the curse. The film starts on a somber note and never gets any lighter. It’s much more earnest, full of “heartfelt” emotions and never-ending discussion about their loveless plight. Even the magic elements are minimal until the climatic scenes, which aren’t remotely exciting or wondrous. The focus is much more about sisterhood and love than having any fun with their powers, which makes it pretty much a yawn.

This film is based on the true story of the 1831 Peasant’s Revolt in England against the tyranny of King Richard. Half of the country was killed by the Plague and Andrew Garfield plays a survivor who leads the angry mass to London. The story alternates between this venture and the response from the court. Writer/director Paul Greengrass has crafted an interesting history lesson, but the characters lack any depth and there’s virtually no emotional connection. Actually, the actor who plays the adolescent king (Woody Norman) has some of the more expressive moments. The trek is not especially compelling, but Greengrass has used his action skills to add some violent encounters. After the climax, there’s a “one year later” that seems like a weird coda to the story. Overall, more this is more a history lesson than compelling cinema.

Gal Gadot plays a prosecuting attorney whose son is kidnapped. To save his life she must kill a crucial witness within an hour. This finds her running thru the streets of London and defying absurd odds and ludicrous setbacks. The premise is as irrational as it sounds and Kevin Macdonald’s direction does little to create any suspense. The flashy editing distracts, more than adding any tension. Gadot does fine, but she basically just has to sprint the whole time. The film feels overwrought and preposterous, while the final reveal pushes the credibility into absurdity.

This film is based on a true story that happened in 1966 Mississippi. After the KKK killed a civil rights leaders, a young Black FBI agent (Yahya Abdul-Mateen II) is put on the case. Since it’s the South, his efforts run into constant discrimination, so a mafia hitman (Mark Wahlberg) is sent from New York to get results. Abdul-Mateen II is the solid center of the film and he’s OK, while Wahlberg (in a prosthetic nose) hams it up with his brusque attitude. There’s an attempt to add an action thriller aspect to the historical events, but it’s uneven in approach and execution. The combo of outrageous racism and violent encounters has been done more effectively and although this isn’t a bad film, it never has the emotional impact to make a powerful statement.

If you thought “Teenage Sex and Death at Camp Miasma” was a weird approach to horror, it’s child’s play compared to this movie. Speaking of children, most of this film takes place on the set of a 90s kid’s show, a cross between “Barney” and “Pee-wee’s Playhouse." The ever-cheerful orange unicorn named Buddy (voiced by Keegan-Michael Key) has a dark side and kids start disappearing. Halfway thru, there’s a seemingly unrelated sequence in the “real world.” The acts of violence are either off-camera or cartoon-like, so it’s not terrifying for one minute. The absurdity of the whole thing sometimes leads to unexpected humor, but it’s def not a comedy. Writer/director Casper Kelly has created a trippy, twisted, subversive and downright weird diversion that defies categorization, but manages to be uniquely engaging

A plane carrying suitcases full of stolen money crashes into a frozen lake up North. Joel Kinnaman plays a man who “lives off the land” and discovers the sunken treasure. He soon gets in trouble with a Native American game warden (Cara Jade Myers) and to complicate matters, the original thieves show up searching of their booty. While the story hits the expected beats, the clever situations and the smart solutions make the film more unique. Director Stefan Ruzowitsky has staged some wild encounters with some outrageously cool results. He’s taken a relatively predictable narrative and added elements that surprise and shock for extra entertainment value

Ryan Reynolds plays a Navy pilot whose reconnaissance flight crashes in Soviet territory (it’s a riveting sequence). He’s rescued by a Russian man (Kenneth Branagh), who happens to be a fan of the US and wants to help him return home. While Reynolds uses his affable charm to nail those sly comic asides, Branagh creates a credible character and lands some impressively-staged fight scenes. Their repartee is enjoyable, but it’s the action encounters that are the most fun. This is popcorn entertainment, but with sufficient cleverly-written lines and great action that make it solid “escapist” entertainment. NOTE: Sit thru the early credits for the visual punchline to a funny story.

In this version of the post-apoc world, a virus has wiped out most of the population with the exception of a few pockets of humanity or inhumanity in some cases. It starts with just 2 men: Jacob Elordi, as a mechanic/pilot and Josh Brolin, as his survivalist companion. Elordi’s character flies to other places in a hopeful search, which includes encounters with Margaret Qualley, Guy Pearce and Allison Janney. This film is a weird mix of the typical thriller genre with some action beats and lots of “concerned” dialogue. Director Ridley Scott knows how to stage the dangerous encounters, but the narrative feels sporadic and uneven. Like Elordi’s character, the story wanders. The performances are fine and the action is passable, but there’s never any tension and the emotional beats are rather bland. Ironically, even though it’s supposedly set in and around Denver, it was actually shot in Italy, including at the iconic Cinecittà studios.

This film starts with a sequence of classic chases with Wile E. Coyote and the Road Runner, while every product the coyote uses backfires. This sets up the concept: He hires a personal injury attorney (Will Forte) to sue ACME, the company who makes them. This also introduces the full lineup of Looney Tunes characters in supporting roles, adding most of the fun. Forte is working hard, but is seldom funny, while the often-amusing John Cena, as the opposing lawyer, doesn’t get the opportunity for laffs. There are a few clever moments and lots of cartoon gags, many of which are amusing. Despite all the obstacles, animated and otherwise, this film has a cheerful, upbeat vibe that’s made even more enjoyable thanks to the toons. NOTE: After the credits there’s a Thank You to the public, who lobbied to have this film released after it was slated not to come out and have the studio take a loss instead.

Because of her early roles and easy beauty, Rose Byrne has often been relegated to lite comedies, but “If I Had Legs I’d Kick You” changed that perception and got her an Oscar nom (my review). This role will further solidify her dramatic cred. She plays an unhoused woman, who’s been living in her 1991 Camry. After it gets towed, she spends the rest of the film trying to retrieve it. Byrne creates a character that’s feisty and determined, which makes her less sympathetic, but still deserving. Director Stephanie Laing has surrounded her with wonderful supporting performances from Octavia Spencer, Demi Lovato and Dominic Sessa (who’s more gentle than he is in “Tony”). The Xmas song by Ariana DeBose is a magnificent moment of repose. While it’s based on a true story, it's hard to believe that she managed to survive as long as she did. Byrne’s portrayal makes the woman hard to like, but her ultimate realization is genuinely affecting.

In a typical movie setup, a father and son (Adam Scott & Acston Luca Porto) move to a small town, where the deceased mother used to live. It also happens to be the scene of the titular character (Michael Keaton), who abducted and murdered boys. Turns out there’s a copycat killer with the same MO. Enter the grandfather (Robert De Niro), who solved the original case 15 years ago. He reluctantly gets back into the hunt. De Niro’s performance is solid but offers nothing new, while Scott provides constant anger, which proves obnoxious. Only Keaton provides an interesting take on his character. As for the plot, it’s pretty standard with several of the twists near the end that are easily guessed. Director James Ashcroft has added nothing in the way of genuine suspense or even compelling dramatic encounters. He isn’t helped by a mediocre script. Despite the star power, this is a passable, but not special streaming thriller.

Hanna Einbinder plays a promising new director who’s hired to make yet another sequel to a horror franchise. She decides to contact the original film's 'final girl' (Gillian Anderson) who’s been leading a reclusive life. The last project from writer/director Jane Schoenbrun was “I Saw the TV Glow” and I didn’t love it (my review). Apparently, their sensibilities don’t line up with what I like, because I found this difficult to appreciate…at least for the first slow-moving hour. When things go off the rails and start to subvert expectations, the film becomes more interesting, even challenging. Sure, it’s a genre exercise with an extended discussion of sexual identity, but the convo is often heavy-handed. Einbinder extends her comedy range from “Hacks” with impressively dramatic results. Anderson, who’s ironically channeling Dolly Parton with her voice and deep Southern accent, chews all over the scenery. There’s a level of absurdity and satire, but even when things get bloody, it’s always arty and kinda funny. Getting past the self-indulgent dialogue, there’s an enigmatic angle that’s part of this director’s unique style and vision, making this film an unusual examination that's confusing, bizarre and intriguing.

Although I’d heard of him I’ve never seen any of Anthony Bourdain’s shows. In some ways it doesn’t matter, because this is a look at him before he was famous. After losing a fellowship in NYC, the young writer (Dominic Sessa) heads to Provincetown in pursuit **** (Emilia Jones). Meanwhile, he ends up working in the kitchen of a man whose influence changed the focus of his life (played by Antonio Banderas). Ironically, Banderas is the main person in the film with any sensitivity or real emotion, which he plays quietly. The Bourdain character is given virtually no vulnerability…he’s just an arrogant ass. I’m not sure if it’s Sessa’s limited range or the way director Matt Johnson wanted it. The film is full of chaotic kitchen scenes that are more about the obnoxious staff than the cooking process. There are attempts at poignant connections, but the slow pace and redundant scenarios make it more frustrating than appealing. And not really much of an insight into the future chef’s character.

This is set in modern NYC, but thanks to a conservative government, it’s illegal to have sex if you aren’t married…except this one nite a year. The action takes place on that evening, when the inevitable duo starts their quest. While both are looking for other options, they keep having “meet cutes.” The script has some amusing moments, but it’s up to the leads to make it work. Fortunately, the chemistry between Callum Turner and Monica Barbaro is solid. Turner is effortlessly charming, sexy and even funny, while Barbaro is solid without being especially unique. Director Will Gluck has kept their interactions enjoyable with a few cameos to add to the fun. Even though the premise is new, the basic romcom structure is standard, but the actors, writing and direction manage to make it sometimes amusing and sweetly entertaining.

Kristen Stewart and Alia Shawkat play stoners who end up in a silly, slightly surreal drug escapade. That summary is kinda vague, because the movie is an aimless mess that tries to be quirky, but falls flat. These two actors have the chops, but writer/director Dylan Meyer hasn’t given them much to work with…other than endless dumb dialogue. Even though it’s a supporting role, Kate McKinnon provides the film’s only funny moments. Comedy stalwart Tony Hale is just OK, while Kumail Nanjiani & Seth Rogen, as cat voices, do their usual schtick. Despite all of the attempts at wacky visuals and strange developments, this is a painfully-paced film that lacks the directorial heft to pull off the weirdness or the comedy.

Matthew McConaughey plays Amziah, a member of a folksy band and owner of a honey-making operation in his Oklahoma town. A former foster daughter returns (Angelina ****) and she joins the business. Then, something very unfortunate plunges this film into new territory that includes threats to the bee biz and even murder. McConaughey is full-on charismatic in the role, while **** has a sweet inner glow that belies her eventual hardness. It’s a challenge to categorize this film: Is it a drama? A revenge thriller? A musical celebration? The plot travels in several seemingly-divergent directions that always comes back to the central story. Editor Patrick J. Smith has sometimes opted to use abrupt disquieting cuts and freezes that do nothing but draw attention to themselves. This is certainly one of the most unique films in the last few years and it’s unexpectedly involving.

This family already has issues, but things get crazy after a cosmic event transports their suburban neighborhood to a prehistoric world where they’re terrorized by all manner of creatures. Anne Hathaway and Ewan McGregor play the staunch parents with Maisy Stella and Christian Convery as their manically-panicked kids. Writer/director David Robert Mitchell has created some perilous situations and kept things moving, but the encounters are never really scary. The dialogue is embarrassingly mundane, which is either an intentional throwback to a Disney family film style or simply bad writing. It’s been set in the early 80s, as evidenced by the 70s styles and music, but there is one scene where there’s a giant LED clock…in the 80s? This film is fun to watch for what happens to the victims, which makes it more a lively sci-fi adventure than a thriller.

This drama is set in the near future, when a couple is offered the opportunity to have a humanoid version of their dead son. Even though it’s a sci-fi premise, the film is strictly an emotional examination of grief and loss. It’s more poetic than narrative with restrained performances and **** direction by Hirokazu Koreeda. His output varies in subject, from the sensitive “Shoplifters” (my review) to the engaging “Broker” (my review). Thru them all, he maintains a reserved pace without any directorial flair or emotional outbursts. In this case, the film moves very slowly and there are also several instances where the story jumps in time or logic. Although this film starts out promisingly, this quiet meditation on heartache and longing isn’t as effective as some of his previous work. (Japanese with subtitles)

Eli Roth is known for gruesome horror flix and this one certainly delivers. It takes place in a peaceful small town, where the titular character arrives handing out treats to the kids. It turns them into crazed killers, targeting their parents and any other adults who get in their way. The point of this film is to feature evil children brutally dispatching grown-ups and they’re delightfully dreadful in their creative, clever methods. Roth keeps things moving and directs with a full-blown low-budget horror movie vibe. The concept is sick and twisted, but a rollicking riot of gory carnage. NOTE: Look for the director who plays the dad and stick thru the credits for one final gag.

A family of four is suddenly sealed inside their house with no way out. How long can they survive and what is outside that’s threatening them? This simple plot becomes more interesting as we watch them adapt. Louis Leterrier is an accomplished director, but most of his work is action based (“Lupin,” “Fast X,” “Now You See Me”), so going for a sci-fi thriller is somewhat new territory for him (pun intended). As the parents, Greta Lee and Wagner Moura do fine, as do the children, so we get an effective survival drama. The attempts at scares aren’t especially effective and the lack of character development or explanation of the mysterious force makes the audience as frustrated as the residents. It’s an interesting concept that’s mildly absorbing. NOTE: To promote the film, the producers put an actor in a “house” billboard on Sunset Boulevard.

At the conclusion of the last film, Peter Parker (Tom Holland) was exposed as Spidey, so the world’s minds had to be erased to protect his identity. This included his girlfriend (Zendaya) and best friend (Jacob Batalon). Now he’s back fighting crime alone, while struggling with the loss of his relationships. There’s plenty of him flying around dispatching criminals, which sometimes looks fake. There’s also the inevitable threat to the world, which he must thwart. What sets this film apart is the quest for the personal bonds that drive his character. Given the talents of all involved, it gives the franchise emotional resonance. There are some heroes enlisted as support (Jon Bernthal’s Punisher and Mark Ruffalo’s Hulk) and plenty of splashy set pieces, but much of the action is so slick that it telegraphs CGI. Looking past that, the personal perspective is what gives this "Day" heart.

Cooper Hoffman plays a college grad who lands a cool job working for a popular, provocative artist (Olivia Wilde). Almost immediately, she enlists him to become her sexual muse and the kinky begins. While there are occasional comic asides, this isn’t really a comedy. It’s more a smart satire on interpersonal politics, the art world and, of course, sex. Director Gregg Araki has asserted his typically-bold hand in the look and energy, including a few quick animations and surreal flashes. Wilde goes uninhibited, unabashedly “wild” in her creation, while Hoffman’s innocent character shows off his sweet, subtle comic skills. Supporting roles from Johnny Knoxville and Margaret Cho are wasted, while Daveed Diggs is a fun queen. The film is immensely appealing, even though it sometimes struggles to be as sharp as it promised.

A group of college friends heads to Thailand for an adventure, but end up trapped in submerged caves with a crazed shark. This movie is bad on all fronts. The writing is bland, the acting is often stupid or obnoxious and there’s not one scary moment. It even defies all logic, not only in their escape attempts, but in the creature’s behavior, which disregards any reality: It beats the prey against rocks, jumps high out of the water to catch prey and even swims backward…none of these are true (I searched it up). Jeff Wadlow also directed “Kick-Ass 2,” which ruined all the great aspects of that original. He’s done this mess no favors either. In the shark attack genre, this is absolutely the worst ever. Should be called “The Devil’s Anus.”

Christopher Nolan’s epic is truly that: Grand in scope and storytelling, recalling the past classics in the genre. After about 30 minutes of low-key exposition, the real journey begins with Odysseus (Mat Damon) and his soldiers conquering Troy, then facing mythical creatures and challenges to get home. Meanwhile, his queen (Anne Hathaway) is trying to hold steadfast, delaying her suitors (led by a quietly sinister Robert Pattinson). And her son (Tom Holland) does his best to do what he can. Damon effectively holds the leadership reins with his performance, while Hathaway is heart-breaking in her despair and inspiring in her resolve (their reuniting moment is truly touching). Nolan has chosen to write the dialogue without any period elocution, having Holland call his parents “mom” and “dad.” Even so, the actors are all committed to the dramatic intent. Of course, the spectacle is undeniable and editor Jennifer Lane has crafted some gripping encounters. While the press around Nolan’s commitment to real locations is admirable, I’m not sure it really made a difference in the look. The voyage is expertly crafted creating a compelling cinematic journey.

Jake Johnson just turned in an agreeable performance as the ex-husband in “Maximum Pleasure Guaranteed," but his starring role in this film has none of those qualities. He plays a brash tennis pro who can’t seem to catch a break or get the approval of his dad (Ed Harris). When their club is invaded by geriatric pickleball players, he gets in the middle of the conflict, while befriending a member of the opposition (Mary Steenburgen). Fortunately, she’s sweetly charming, but can’t help bolster Johnson’s character. He’s the film’s biggest flaw. His character is never likable or remotely sympathetic. There are a few attempts at humor (Ben Stiller’s doctor was mildly amusing and Aaron Chen, as the sidekick, has a flat delivery that almost works). The story itself is an embarrassing assembly of trite plot points and tired stereotypes. Nothing about this film is remotely appealing. Interesting coincidence: Chris Parnell & Fortune Feimster were in this movie and they were both just in Will Farrell’s tennis movie “The Hawk."

Kevin Hart plays an advertising creative who ends up at a Miami bachelor party to do research on the younger generation. That includes 3 of the brightest new talents from SNL: Marcello Hernández, Kam Patterson and Ben Marshall. The result is a round of predictable situations that hope to generate laffs (“The Hangover” is the obvious reference), but seldom do. Ironically, Hart, in his usual manic mode seems desperate, compared to the younger generation’s effortless comic skills. Marshall is sweetly sad, Patterson is hilariously clueless and Hernández’s cute charm assures his long-term success. They make the film worth watching, but it’s still a silly escapade with no originality or much else to recommend it.

The unique aspect of this film is that it’s essentially a music video. Except for a few words in the background and the inevitable final line, the entire story is told thru music and visuals. It’s set in 1970’s Detroit and stars Alan Ritchson as a man who’s thrown into jail as soon as he proposes to his girlfriend (Shailene Woodley). Turns out her ex (Ben Foster) is the jealous man behind it. Thus begins a rather standard revenge thriller with some solid action and an involving story. The soundtrack is full of period hits, plus flashy period wardrobe, muscle cars and so much smoking! This isn’t really about the plot, but director Potsy Ponciroli’s unique approach, which is presented in a undeniably cinematic and fascinating showcase. Interestingly, in today’s phone-obsessed world, this film requires continual attention, since there’s no dialogue to listen to while checking messages.

The original “Evil Dead” movies and the TV series “Ash vs Evil Dead” were great fun with plenty of juicy gore, wild action and twisted humor. This latest installment has bits of those elements, but it’s not as assured or fun. A family and a few friends end up in a country house where the “Deadites” attack. There’s plenty of violent fighting, but not much that’s creative in approach. Actually, much of the direction uses frantic camerawork, which makes it harder to appreciate the details. There’s also lots of gory carnage, but again, nothing original. As for humor, the grandma has a few OK lines, but not nearly as smart as it needed to be. Ultimately, this is a watered-down sequel that anyone who’s familiar with the franchise will find disappointing. NOTE: Stick thru the credits for one final kill.

Olivia Wilde and Seth Rogen play a married couple, who are obviously not very happy. After that’s established, the couple from upstairs comes for dinner (Penélope Cruz and Edward Norton). The strained introductions only get more awkward when the subject of sex comes up. Wilde, who also directed, effectively embodies the uncomfortable situations in her performance, while Rogen pretty much plays his regular character (with his signature laugh temped down a bit). Cruz is seductive on every level, while Norton creates a mellow, seemingly balanced character. Together they confidently zip thru the dialogue, while comfortably navigating the changing sentiments. Wilde’s direction maintains the pace, although sometimes she placed people low in the frame, which proved weirdly inconsistent and unnecessary. While some will appreciate the dynamics of this foursome, it also feels strained and never reaches the emotional heights that seemed to be coming. This is an intelligent film for adults, which is rare in cinemas, but it lacks the punch to make it as compelling as hoped.

Writer/director James Sweeney wrote himself a nice part for this film. He plays a twin who forms a fast friendship with another twin (Dylan O’Brien) at a support group for twins who’ve lost their sibling. Their relationship grows, helped with their easy chemistry and Sweeney’s smart script. He’s given himself the most charming role with lots of clever quips. O’Brien provides a solid opposite with depth to match. There are also some twists that make the connection dramatic and more compelling. This is a small indie film that’s much more entertaining and amusing than many of the streaming shows right now.

David Wain, who directed and co-wrote this film, is best known for “The State,” “Wet Hot American Summer” and “Children’s Hospital.” For this comedy, he’s called upon a bunch of his previous cast mates to make fools of themselves, including Ken Marino (who co-wrote). It stars Zoey Deutch, who’s continuing to make a delightful impression, as she did in the recent “Voicemails for Isabel." She plays the sweet fiancée of her Kansas beau. When he takes advantage of the titular pass with Jennifer Aniston (playing herself), she takes off to LA to realize hers, Jon Hamm. Hamm is having a great time making fun of himself, along with his “Mad Men” buddy John Slattery, who really goes for it. There are a lot of amusing moments, but the comedy is often trying too hard. The numerous cameos add surprise coolness, but not much funny. Some of the humor is just goofy, some of it falls flat and some is genuinely amusing. This grab bag is fun just for the effort and numerous cameos. NOTE: Sit thru the credits for one final punchline sequence that’s set up early in the film.

The gang reunites to address the common enemy, kids leaving their toys for electronic devices. There are a few new characters, but none of them especially memorable. As a matter of fact, even the ones we’ve grown to love lack much of the comic punch that launched the series. It’s still full of lively energy with a ramp up on the emotional side. As such, it’s OK entertainment, but lacks the rousing gags, physical and verbal, that sets this franchise apart. NOTE: After all the credits is a cute little “rap.”

The popular yellow creatures are back looking for a new evil master. After quickly going thru a bunch, they end up in ‘20s Los Angeles. Of course, the inevitable monsters appear and the romp continues. As I said about the original film, “Their occasionally intelligible jibberish never gets old and the silly slapstick always generates a smile, if not a laff." True again. The story is filled with endless energy, which makes up for the lack of much true hilarity. There are a few genuinely funny lines and some Easter eggs for those familiar with Hollywood lore. Otherwise, it’s just a jumble of minions. NOTE: They do have additional comic moments during the final credits, but nothing at the end.

I’m guessing they added writer/director Lee Cronin’s name to the title, since it’s the only thing that sets it apart. I don’t know why, because his last film “Evil Dead Rise” was pretty terrible. This version has no relation to the traditional genre, because a young daughter disappears and turns up 8 years later in a shocking state. Eventually, there’s a bit of carnage, but after the opening scene, things go downhill in tension and brutality

Evy Babic plays a podcaster who receives disturbing recordings. As she and her partner listen, things become increasingly dumb (as opposed to scary). Smartly, writer/director Ian Tuason has placed the entire film in one home and only has 2 characters on camera (the other is her dying mother). This kept her budget low, but that’s all. Since the story is audio based, most of the “scares” are mysterious sounds with some shadows lurking the corner. It’s way more tedious than thriller with a lot of ominous atmosphere.

Zoey Deutch plays a woman who has a close bond with her chronically-ill sister (Ciara Bravo). After her sister dies, she holds on to her voicemails as a last effort to cherish her memory. She doesn’t realize that the phone number belongs to a stranger in Texas (Nick Robinson), who eventually decides to travel to San Francisco to meet her. You can figure out what happens next. This is yet another of the romance dramas that have moved from the Hallmark Channel to all current streamers. What gives this one a bit extra is Deutch’s slightly ditzy and somewhat delightful personality. Robinson holds his own with the expected charm. Other than that, there’s not much original in plot, dialogue or characters, although Nick Offerman’s bossy chef is entertaining. Writer/director Leah McKendrick has managed to give the film some heart and kept the repartee sufficiently entertaining. Even so, this by-the-numbers love story will eventually disappear like those voicemails (spoiler?).

Although this takes place during Paris Fashion Week, this film is really about 4 women who are tangential to the event. Angelina Jolie plays a director who’s showing her film during one designer’s showcase. The others are a seamstress working on the opening dress (Garance Marillier), a makeup artist who wants to be a writer (Ella Rumpf) and an innocent model with her first gig (Anyier Anei). Of course, Jolie’s character has the most screen time, as she receives a life-changing information. The other 3 have varying levels of interest, but no real depth in their stories. The performances are fine, but writer/director Alice Winocour has kept the emotions to a minimum, being more observational than expressive (Jolie does have a few dramatic moments). Anyone hoping for insight into the world of fashion will find that only as a background for these rather bland stories.

Full disclosure: I watched every ep of the MTV series and have reviewed all of the movies, so I’m a fan. Johnny Knoxville and his gang return for this final celebration of raucous stunts and rascally camaraderie. They take on new challenges, so many of which involve genitals or anal penetration. There are also moments of reflection that includes never before seen stunts from earlier in the show’s evolution. It’s sill outrageous joy, but seemed like many of the feats have been done before, which makes this less exciting. Even if it may NOT be the best, it’s still fun to see the conclusion of this decades-long phenom, still full of extreme mischief and brotherly love.

John Cena has proven to be one of today’s best comic actors in movies like “Heads of State” “Jackpot” “Ricky Stanicky." That gave me high hopes for this film, but despite his abilities, this one doesn’t provide many laffs. He plays a successful real estate mogul whose life is upended by the return of his “little brother” as an adult (Eric André). Of course, their conflicting approaches to life are supposed to cause calamity and hilarity. Although they writers have struggled to make it zany, they’ve tried to elevate the outrage with some raunchy moments. Almost none of it works, leaving Cena with lots of befuddled expressions, but not much else. I never found André’s performance remotely amusing. The formulaic plot doesn’t help either. This is silly, dumb and trying too hard. Hopefully, Cena can redeem himself next time

Julian Schnabel was originally known as a painter, then later found success as a film director. His latest movie let’s his artistic tendencies overshadow his filmmaking skills. The story is told in two periods. In modern day, Oscar Isaac plays a poet who goes on a quest to find the original manuscript for Dante’s “The Divine Comedy.” This could have been a compelling crime drama on its own, but then there’s the other story. It features Isaac as Dante struggling to write his famous work. These sections drag the film down with too much pretentious, poetic dialogue. In some of the more unusual casting choices, Schnabel has Gerard Butler as a crude, brutal hit man, Jason Momoa as a quiet detective and Martin Scorsese in a giant gray beard and flowing wig speaking in an uncharacteristically show manner. In a switch on the traditional concept, the modern scenes are black and white, while the period footage is in color (with English subtitles even though it’s in English). At 2.5 hours, this endeavor tries patience. While there are moments that work, the flashback segments drag down the whole thing to create an ostentatious mess.

This is a gay version of the classic spoofs like “Airplane” and “Naked Gun” and was created with RuPaul’s “Drag Race” sensibility (plus a few obvious references to the show). Two train stewardesses (Jujubee and Ginger Minj) are working on the luxurious Glamazonian Express, when a massive storm threatens everyone on board. Keeping with the genre, there’s a cast crammed with B-level stars like Nicole Richie, Jerry O’Connell, Sarah Michelle Gellar and Charo. RuPaul plays the president with a campaign slogan that’s one of the funniest lines in the movie (“She Fun”). Director Adam Shankman, who got his gay cred with “Hairspray,” has kept the energy flowing and done his best to make the silliness work. The cast is also trying hard, but writers Christina Friel and Connor Wright didn’t give them enough to work with. There’s an obvious camp factor that adds a layer of fun, but this is one of those joke-a-minute romps, where more jokes wreck than arrive safely. Interestingly, there were more straight couples in the audience when we went.

This film takes its name from the biblical verse that’s used against homosexuality (although it's never mentioned in the film). Joe Bird and Stacy Clausen play teen boys in love, but their small Australian town is dominated by a religious cult. When the leader puts a curse on them, it creates an evil entity that threatens their lives. This is a sweet little romance with the actors elevating the relationship with their fervent chemistry. Then there’s the horror angle, which is more disquieting than really scary. Writer/director Adrian Chiarella has presented a tender relationship film that eventually overcomes the demons of isolation and fear that threaten their engaging love.

Emily Blunt and Josh O’Connor are at the center of this story, as two people who have a connection with an extraterrestrial force. Colin Firth plays the corporate leader who’s out to prevent the truth, which leads to the extended chase that makes up most of the movie. There are several thrilling action scenes, recalling Spielberg’s “Raiders” days, esp. the riveting train sequence. There are also creative moments of sci-fi wonder. Being Spielberg, there’s also an underlying message of empathy and connection. Janusz Kaminski’s flare-filled cinematography adds to the mysterious effect and 94-year-old John Williams returns to create the score. The captivating performances add to the dramatic effect, but this is the director’s movie. Spielberg at this best: bold, compelling and exciting.