TVJerry

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.

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.