TVJerry

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.

When they set out to make a next-level fight film, the producers assembled a team that includes outstanding actors, choreographers and technicians from various Asian countries (it’s set in “somewhere in Southeast Asia”). What results is a spectacle of gritty, violent encounters that defy human odds (and they keep coming back for more). The plot revolves around a father out to rescue his young daughter from human traffickers, but it’s really all about the martial arts. Various styles are featured with lots of kicks and acrobatics, but it’s often sloppy and noisy without the clever angles and approaches of a Jackie Chan film. As a matter of fact, by the last hour of the two-hour running time, the encounters get downright tedious. I enjoy an insane brawl (my recent review of “They Will Kill You”), but even for me, this proved too over the top and stopped being fun.

Even though Russian writer/director Kirill Sokolov has definite influences from some of the great action directors, he still exhibits a unique perspective. This film stars Zazie Beetz, who takes a job in an ominous apartment building run by Patricia Arquette (and serving Satan). Although she’s hired as a cleaner, that notion is quickly dispelled during the first brutal encounter with the building’s residents. She’s actually there to save her sister (Myha’la). Once the insane action starts, it ramps up the wild killings, made more bizarre since her victims are immortal and keep re-assembling themselves. Sokolov’s use of the camera offers unique perspectives, while soaking the screen with his brutal bloodbaths. It’s chaotic and berserk in a violently fun way.

My original intention was NOT to see this (superhero fatigue and all that). But since the reviews have mentioned the almost-campy approach, I gave it a shot and was disappointed again (damn reviewers). Nicholas Galitzine plays the prince of an alien planet, who must leave Earth to save his home from the evil reign of Skeletor (the unrecognizable voice of Jared Leto). It’s crammed with lots of noisy and unoriginal fights and chases. There are a few funny self-effacing cracks, but most of the dialogue is the typically-leaden drama you expect from this genre. The film’s best asset is Galitzine, he’s appealing by keeping the character grounded in his vulnerability and humanity. Otherwise, there’s nothing worth watching. NOTE: As per this genre, stay thru the credits for a teaser.

Rick (Paul Rudd) is a wedding singer who hangs out and jams one night with Danny, a former boy-band star (Nick Jonas). A few months later, a song that Rick wrote turns up as Danny’s giant hit, so he sets out to get his due. This is from writer/director John Carney, who also created “Sing Street” and “Once.” Both of those charmers revolved around musicians and featured Carney’s catchy tunes. This film is less lyrical, in both senses of the word: The ambience of the film is more mundane and the songs aren’t as memorable. Rudd, who can be effortlessly amusing, has little chance for comedy here and Jonas just plays it serious. That makes this an earnest drama that revolves around dreams and aspirations, instead of a delightful tune-filled escapade. It’s not bad, it just lacks the aimable"power" of Carney’s earlier work.

After several impressive comic and dramatic performances, including “Ted Lasso” and “Shrinking,” Brett Goldstein confidently steps into this first leading man role. He proves his comic charms as a writer and actor. Jennifer Lopez plays the CEO of an airline, which has the usual anti-fraternization policy. Goldstein is one of her staff lawyers, who puts that rule to the test. Although this story runs thru the expected formula, several things set this film apart. In addition to Goldstein’s appealing performance, this may be the best thing Lopez has done and the rest of the ensemble is often fun. Tony Hale’s HR rep is the hilarious highlight (stick thru the credits for his funniest scene). There are unexpected broad moments accompanied by genuinely smart writing. Director Ol Parker, whose last film was “Ticket to Paradise”, has again nailed the comic rhythm, including several laugh-out-loud moments. The film isn’t breaking any new ground, but it adds a new winner to this genre that proves genuinely appealing and often funny. NOTE: Tony Hale returns for one of the film’s funniest moments during the closing credits (with another post-credit punchline.)

This film is based on John Travolta's 1997 book and it’s also his directorial debut. It follows a boy who loves aviation and takes a trip with his mother on a cross-country flight in 1962, when people still dressed up to fly and even freely smoked on board. The film’s greatest asset is the beautiful recreations of the terminals and aircraft (including the TWA Hotel at JFK Airport). As for the script, it’s continually precious, which might work for a young audience or a child’s POV, but it gets downright hokey after a while. Considering that he’s so excited about his flight experience, Clark Shotwell is rather flat in the role (after all, he is essentially Travolta). As his mother, Kelly Eviston-Quinnett is appropriately motherly, while being pretentious. I must mention that his daughter, Ella Bleu Travolta, is lovely as the friendly flight attendant (or stewardess in those days). Travolta narrated, has a brief cameo and cast other family members in various roles. It’s unquestionably a vanity project. While I appreciated the lovely imagery, I found the film was trying too hard to be poetically sweet and wondrous and that effect didn’t translate to the screen.

The son of a widow (Allison Janney) has issues with attending his dad’s funeral, so he sends his assistant (Andrew Rannells) to help with the arrangements. Thus begins their discourse over numerous personal issues. Although it’s essentially a two-hander, much of the dialogue consists of longish monologues from each of them. As a result, it often feels like a play. Both of these talented actors get a chance to do deep work and they are up to the task. They manage to establish an emotional connection and shed many tears, although it's never especially moving for the viewer. Considering that the writer/director is Jim Rash, who’s primarily an actor, you can understand why the focus is on the performances. For anyone looking for good dramatic acting, this film fills that need.

Leo Woodall continues his impressive rise as one of today’s most interesting and talented actors. He plays a piano tuner with a heightened sense of hearing, which can be a problem for him. His gift draws the attention of a criminal gang, who use his talents to crack open safes. You can probably figure out where that takes him. Woodall centers the film with his quietly compelling performance and Dustin Hoffman, as his mentor, brings his personable charms. This is the first narrative film from documentary director Daniel Roher and his assured approach keeps the film involving without any big gangster action (plus a robust final scene). This movie’s focus is fully on the challenges that Woodall’s character faces and it succeeds, thanks to his strong performance.

This film is based on true events that shaped the Allied Forces invasion on D-Day. Just 72 hours before that event, General Dwight D. Eisenhower (Brendan Fraser) called in a noted British meteorologist (Andrew Scott) the determine the best day for the invasion. If he’s wrong, they’ll potentially lose World War II to the ****. Now that’s pressure! Scott turns in a deeply nuanced performance, as he grapples with the facts and conflicting opinions, while Fraser comes across gruff and demanding. The writing and direction play out in the traditional mode with solid dialogue, short scenes and predictable interactions. While there’s never much tension, the film is an interesting drama about a little known factor that influenced the future of the world.

Keanu Reeves plays a fictional movie star who finds himself in turmoil after a potentially-cancelling video emerges. As suggested by his agent (Jonah Hill), he embarks on a journey to apologize to everyone he’s offended in hopes that it’ll stop the clip. This gives him a chance to interact with a bunch of stars, including Susan Lucci (as his mother) and Martin Scorsese (in an impressive turn as his former agent). Meanwhile, his best friends since high school (Cameron Diaz and Matt Bomer) give him constant advice and support. Hill, who also co-wrote and directed, not only presents himself in an unflattering look, but creates a character that’s truly obnoxious. He’s assembled a strong cast, including Drew Barrymore (as her talk-show host self), and Roy Wood Jr. (as an advisor). They have a few moments of comedy, but more often, just frustration. This film has some redeeming aspects, but it ultimately is a sad sack satire that fails more than it succeeds.

I gave up on the TV series after several eps, so this film gave me a chance to appreciate it on the big screen. There’s a hint of a plot and a few moments of dialogue, but this is mostly about the adventures of the masked hero and his young apprentice (aka Baby Yoda). The chases, fights and battles are plentiful, although the action itself isn’t especially original. There are also bunches of otherworldly creatures and locations that make things fun. Pedro Pascal plays the title role (although one person performed in the suit and another did his stunts), so we barely get to see his face. Martin Scorsese, as the 4-armed monkey creature, makes his distinctive style enjoyable, although Jeremy Allen White’s voice is unrecognizable as the main Hut. Co-writer/director Jon Favreau has added sufficient humanity in the interactions and yes, Grogu is precious. The music has gone more electronic modern with less of the grand John Williams style. Overall, this variation of the Star Wars saga doesn’t present anything new in style or story, but it’s a sufficiently-mounted adventure, esp for kids.

Boosters is a nickname for women who shoplift loads of designer clothes, then sell them at reduced prices. This group, which includes Keke Palmer and Naomi Ackie, expands their undertaking when they find a sci-fi device. Their antagonist is a high-end designer, played by Demi Moore (in a great blonde wig) with LaKeith Stanfield as a model, Will Poulter as the flamboyant store manager and Don Cheadle in an almost unrecognizable look. They’re all doing edgy work, but it doesn’t really work comedically. This is the 2nd feature from Boots Riley. His first was “Sorry to Bother You” (my review) and here’s an excerpt that also applies this time: “Writer/director (and rapper) Boots Riley has demonstrated an assured grip on storytelling with some creative directorial moments. Although the messaging is heavy handed and it spirals a bit out of control before the end, it’s still a dark, fascinating and unique look at the world…or at least Oakland.” This film launches with colorful, energetic promise, but starts to bog down with too much dialogue and some confusion before the wacky finish. Riley certainly has a potential for a great film, but this isn’t it. NOTE: Sit thru the credits for one extended, puzzling clip.

John Krasinski is back in the title role as a former CIA operative who’s drawn back into the world of spy antics and treachery. The team heads to London, then Dubai, which showcases the city’s cool architecture. Sadly, that’s the film’s best asset. Otherwise, it’s much like my review of the series (my review) with “more intrigue and espionage than big staged action sequences.” If you can dredge thru the continual dialogue scenes, there is one car chase which upends a few trash cans and lots of shooting. What the film lacks is any spectacular staging or even mildly exciting action. I’d pronounce this a disappointment, but given the 2/5 star rating of the original series, I’m not surprised that this did worse.

This is a revenge film, but not what you’d expect. There is retribution, but it’s more a drama about the relationship between two sisters (Kara Young and Mallori Johnson). When they were children, their father committed a horrific act that left them with significant scarring, hence the desire for payback. It was written and directed by Aleshea Harris from her play. She’s created a duo with a bond so close, they can communicate without words (although we get the subtitles). Young and Johnson are both compelling in their performances and they’re joined by Vivica A. Fox, Sterling K. Brown and Janelle Monáe for star power. The pacing is deliberate and the violence is mostly off-screen, so the focus remains on the challenges and joy of their bond. Harris has an assured hand in allowing the scenes to play out without making much effort to ramp up the action elements. There’s an unquestionable arthouse aesthetic to the approach and an unexpected ending that serves justice and hope.

Michael Johnston plays a guy who has a crush on a co-worker (Inde Navarrette). He ends up making a “magical” wish that she’s completely devoted to him. Her almost instant love devolves into an uncontrolled obsession…until it turns bloody and bad. This is one of those psychological dramas that’s more about dread and anticipation than real scares. The actors are committed to their roles and writer/director Curry Baker maintains some small sense of anxiety, but there’s only one pay-off scene that makes an impression. Otherwise, it’s a slightly-disturbing, slow-burn film with too much talk. It's more about atmosphere than real tension.

Writer/director Guy Ritchie is known for his cleverly-staged smart action films like “Snatch” & “Sherlock Holmes,” but he’s gone flat with this one. Even with Jake Gyllenhaal and Henry Cavill in the lead, it doesn’t have much going for it (although there is discussion that the duo is a gay couple). They play extraction professionals who are hired by a woman they call “mom” (Eiza González) to retrieve a billion-dollar loan. Most of the movie lays out the elaborate plans with precise detail before the inevitable big chase. Ritchie’s script is very methodical without any of the sassy comedy that make his films more fun. The performances are jaunty, but the action (Ritchie’s hallmark) is unoriginal and unexciting. This movie got little advance press and it’s easy to see why: There’s no black humor or white hot action, just a bland gray movie.

Hugh Jackman plays the kindly shepherd who’s murdered and it’s up to his sheep to solve the case. The talking sheep had potential for a cute comedy, but even though they have some personality, the dialogue's never especially smart or clever. Even with voices that include Patrick Stewart, Regina Hall, Chris O’Dowd and Julia Louis-Dreyfus. Things start off with bright charm and a few laughs, but the whole affair soon becomes a more traditional whodunit. As the local cop, Nicholas Braun brings some of his wonky charm, but that’s not sufficient. Director Kyle Balda (“Minions,” “Despicable Me 3”) knows his way around quirky characters, but this script doesn’t provide sufficient eccentricity or humor. It ultimately becomes a sweet little mystery, without the wacky fun that the premise promised.

Sally Field creates another charming character, as a lonely woman who cleans at the local aquarium at night. Her “friend” is the local octopus (voiced with a mellow Afredi Molina), where she confides her personal thoughts. Along comes a young man looking for meaning (the ever-charming laid-back Lewis Pulliam) and their relationship adds another element to this little drama. Of course, the octopus is all CGI, but cool. There are hokey elements, but the film’s earnest base makes this unlikely bond sweeter, thanks to Field’s slightly-quirky creation and Pullman’s easy appeal. BTW, the title gets a new meaning with the last line.

This is pretty much the same movie, just set 20 years later. Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci are all back, essentially in similar situations (except Blunt, who’s working for Dior). This time, Hathaway’s character is now a respected journalist hired to head the features department at “Runway.” Keeping with the times, this print publication is struggling for relevance in today’s digital age. The writers and director have returned as well, so it has the same jaunty attitude, lively pace and fab fashions as the original. Everyone’s still great in their roles, with Streep continually fabulous and subtly funny (plus the long list of cameos as listed in the credits). Any fans of the original will certainly find plenty to enjoy in this buoyant sequel. Sad note: Tucci’s character is the only one who hasn’t had any relationship in either movie.

This is really 2 films: A biography covering the first 30 years of Michael Jackson’s life and a concert film that features performances of many of his early hits. The story starts with his childhood, which was dominated by his controlling, abusive father (intensely played by Colman Domingo). The highlights of his career with the Jackson Five and his early solo albums are featured. John Logan’s original screenplay included the child-abuse allegations, but that was scrapped by his estate and the settlement with an accuser. Even so, his early experiences with plastic surgery, the Pepsi commercial accident and his strained relationship with his father are designed to give the story more drama. As Jackson, Jaafar Jackson (son of Jermaine) and Juliano Valdi (as the child version) are both exceptional in their emotional depth and performance skills. BTW, Miles Teller and Mike Meyers show up in almost unrecognizable looks. Even more fake is the CGI creation of Jackson’s pet chimp Bubbles. Interestingly, sister Janet refused to be involved, so she’s essentially written out of his life. Director Antoine Fuqua has made a traditional biopic that covers all of the highlights with assured guidance. The film effectively mythologizes Jackson with a sequel promised at the closing “His story continues.” Lovers of the star will appreciate this softball sweet and sour version of his life, but to enjoy the real thing, check out the 2009 concert doc “This is It.” Speaking of previous work, the doc “Leaving Neverland,” which directly addressed the charges, has been pulled from HBO.

Peter Farrelly is half of the famed Farrelly Brothers, who are known for such classics as “There’s Something About Mary” and “Dumb and Dumber.” He’s gone on to direct several other comedies including this one and it primarily sticks to their love of gross-out sex comedy…this time with flat results. Mark Wahlberg and Paul Walter Hauser play marketing execs who want the land the condom sponsorship for the World Cup with their new concept (it covers the balls). Things are going well until they don’t and the duo ends up on the run. Wahlberg can sometimes effectively deliver deadpan lines and Hauser can shine with his awkward style. Sadly, they’re both trying too hard and the flacid script doesn’t offer them many opportunities for genuine humor. There are expected gross out, slapstick moments and some supporting stretches from Sacha Baron Cohen and Molly Shannon that also don’t add much. Farrelly’s last comic outing was “Ricky Stanicky,” which was very funny (my review). This time he’s hindered by writing that offers little hope of comic enjoyment.

You may have heard about John Davidson, who yelled inappropriate slurs at gay and Black actors at this year’s Bafta Awards. He has Tourette's Syndrome and this film won several awards, including Best Actor and Best British Film. Scott Ellis Watson plays him as a teen, while Robert Aramayo assumes the role as an adult. The story takes him thru his troubled puberty, when his condition first appeared, to his later years, as he learned to cope with it and become an advocate to encourage understanding of this neurodevelopmental disorder. Writer/director Kirk Jones is a competent filmmaker and this latest film ably tells the story with appropriate setbacks and victories. The actors playing Davidson are both remarkable in portraying the complexities of the condition, as well as the character’s emotional challenges. While this is a pretty standard biopic without much drama, but it does present an informative and mildly emotional look Tourette's Syndrome.

David Lowrey’s last film was “The Green Knight,” which I gave 1.5 stars and called it “a tedious, pretentious slog” (my review). I can only go for 1 star this film. Anne Hathaway plays a superstar pop singer who travels to the home of her former best friend and costume designer (Michaela Coel) for a new dress. Thus begins a painfully tiresome interaction between the duo. In quiet tones with a languid pace, they interact with an endlessly low-key lack of energy. The usually dark cinematography doesn’t help. There are a few concert flashbacks that add nothing to the narrative and only break up the painful pace. This is an affected and deadly drama. 

As the film starts, an art conservator (Michaela Coel) is hired by the offspring of a famous artist (Ian McKellen) to access the remaining titular paintings in his attic. From his first moment, McKellan exhibits the charismatic power and utter delight that’s made him so enduring. He’s continually entertaining and funny. As his complete opposite, Goel manages to hold her own in what is basically a two-hander. Adding to the dark comic elements are the greedy children, beautifully smarmy James Corden and Jessica Gunning. Steven Soderbergh wrote and directed under his name, while shooting as Peter Andrews and editing as Mary Ann Bernard. His complete control allows for this intimate, mature, entertaining film, while poking some fun at the art market. Not only one of McKellan’s best performances, but one of the year’s best.

Zendaya & Robert Pattinson play a couple in the final stages of their wedding prep, which is peppered with flashbacks to their earlier relationship. While hanging with best friends, they all decide to reveal the worst thing they’ve ever done. Her unexpected revelation changes the tenor of the evening and reverberates from then on. Zendaya effectively captures the complexity of the situation. So does Pattinson, but he infuses his character with slightly funny tearful breakdowns. Meanwhile, their chemistry is OK. Writer/director Kristoffer Borgli has effectively captured the complexities of this potential meltdown. He also likes to make his presence known using sparce but noticeable flute phrases and OCD editing that jumps in and out regularly. While the film isn’t perfect, it certainly creates an interesting conversation about love, understanding and forgiveness.

Gaten Matarazzo and Sean Giambrone play two loser college students who happen upon a mysterious substance that takes them on a drug adventure. Along the way they encounter several gross-out encounters and outrageous confrontations. The exploding head sequence is an instant comedy classic…smartly timed and hilarious. Sarah Sherman and Caleb Hearon add some fun characters with their cameos. Since there’s so much crazy happening, some of it lands while other crashes. Co-writer/directors Nick Kocher & Brian McElhaney have kept it crammed with all types of wacky stuff, plus some original elements that make this typical stoner comedy a dizzy, wacky trip.

This sequel picks up at the end of the first film. Samara Weaving is the only one left after the wild game of Hide & Seek wrecks hazard on her new family. While recovering in the hospital, her sister appears (Kathryn Newton) and they end up on yet another diabolical, deadly chase. The success of the last film has garnered some cool new talent including Elijah Wood, Sarah Michelle Gellar and Shawn Hatosy (look for director David Cronenberg as the father). Even so, the movie hasn’t upped its game. Much of what I said about the first one still applies: “Samara Weaving plays the new bride who undergoes a lethal game of Hide & Seek before she can be accepted into her hubby’s rich, weird family. She undergoes a gauntlet of danger and injuries to avoid her end. The movie has plenty of energy and occasional humor, but not much suspense. Plus, the plotting often seems convoluted.” 

Daniel Roher is about to have his first child and the controversy around AI is causing him to wonder if he should be introducing a new person to this upcoming tech world. He assembles a bunch of experts, including ChapGTP founder Sam Altman, to discuss the power and pitfalls. They present a compelling case on both sides. Roher, along with co-director Charlie Tyrell, has kept this pretty traditional with talking heads with some fun graphics and illustrations to soften the blow. AI is the most powerful technology ever created and the outcome is terrifying and exciting. This film manages to convey both potentials with lots of personal input, but it doesn't offer a satisfying conclusion.

A middle school science teacher (Ryan Gosling) wakes up alone in a space ship light years from home. He got there because a strange substance is gradually eating our Sun and he’s been sent to a distant planet to uncover a solution. After a few flashbacks to reveal more details, he happens upon another creature whos planet is experiencing the same thing. What starts as an involving space sci-fi adventure turns into a buddy flick with his new friend. While saving the universe still plays a part, the film gradually focuses on their relationship. This was written by Andy Weir, who also penned “The Martian” (my review), so he knows how to create new and cool sci-fi concepts. He’s done it again here, while directors Phil Lord and Christopher Miller have crafted a crowd-pleasing adventure that launches a fun exploration that ends up being sweetly touching.

The series started out with a violent, cruel attitude that slowly lost its mojo as the seasons progressed, primarily because the boss, Tommy Shelby (Cillian Murphy) got soft. This feature picks up in Birmingham, 1940, when WWII threatens the United Kingdom. Murphy returns as a man who’s tried to straighten out his life, when he finds his son (Barry Keoghan) is wreaking havoc back home that may have dire results for the whole country. Eventually, they encounter each other, but it doesn’t really matter. The things that made the series so compelling have faded: The brutal fights and operatic emotions have been tamped down. Everything has gone dark and dramatic with potent cinematography to match. There’s lots of brooding monologues without much hard action to back it up. Even the final climax lacks punch. Creator Stephen Grqaham (who also returns on screen) and director Tom Harper are back, but their desire to end the franchise on a grand note didn’t pack the slashing impact of the series.

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.