MOVIE REVIEW: ABIGAIL

 

A group of would-be criminals kidnaps the 12-year-old daughter of a powerful underworld figure. Holding her for ransom in an isolated mansion, their plan starts to unravel when they discover their young captive is actually a bloodthirsty vampire.

Director: Matt Bettinelli-Olpin and Tyler Gillett

Cast: Alisha Weir, Melissa Barrera, Dan Stevens, Kathryn Newton, William Catlett, Kevin Durand, Angus Cloud, Giancarlo Esposito

Release Date: April 19, 2024

Genre: Horror, Thriller

Rated R for strong bloody violence and gore throughout, pervasive language and brief drug use.

Runtime:1h 49m

Review:

Matt Bettinelli-Olpin and Tyler Gillett's Abigail might be a little light on scares but it more than makes up for it with its fun, over the top energy and a game cast that make it one of the funniest horror comedies in recent memory.  The directing duo recapture the energy that worked so well in their 2019 breakout, Ready or Not, with a bloody blend of cartoonish characters and increasingly outrageous dark comedy which plays like a mash up of Reservoir Dogs and From Dusk till Dawn.  Those expecting anything new or terribly deep will be left disappointed since neither the story nor characters are fairly thin and straightforward.  Thankfully, this is the kind of film that doesn't really require much from either, especially with an ensemble cast that's having as much fun as the directors are.  Melissa Barrera is steady in the lead role, playing it straight for the majority of the film even as things get gorier and bloodier.  The supporting cast is made up of familiar faces that are clearly relishing the chance to lean into the characters personas.  Dan Stevens delivers another strong performance as a NY cop turned criminal, further proving his ability to morph into anybody onscreen.  Kathryn Newton, in full Avril Lavigne cosplay, is great fun as the ditzy tech nerd of the group who gets some of the film's best lines.  Kevin Durand brings a goofy likability to his meat head muscle highlighted by some solid chemistry with Newton.  Angus Cloud, in his final screen performance, gets a few moments early on but his screen time is fairly brief, much like Giancarlo Esposito, in the grand scheme of things.  Alisha Weir, who plays the kidnapped tween ballerina, really shines throughout as she shuffles between tween and ancient ghoul with incredible ease.  She possesses a confidence onscreen that makes the film work far better than it would have been in lesser hands.  Abigail stumbles a bit in the final act where you get the sense a few bits could have been excised to make for a leaner experience.  It’s a minor issue and something that's easy to overlook once the film wraps up its goofy, gory trek that's sure to leave plenty of people smiling.  

B+

MOVIE REVIEW: CIVIL WAR

 

In a dystopian future America, a team of military-embedded journalists races against time to reach Washington, D.C., before rebel factions descend upon the White House.

Director: Alex Garland

Cast: Kirsten Dunst, Wagner Moura, Cailee Spaeny, Stephen McKinley Henderson, Nick Offerman

Release Date: April 12, 2024

Genre: Action, Thriller

Rated R for strong violent content, bloody/disturbing images, and language throughout

Runtime: 1h 49m

Review:

Alex Garland's Civil War is replete with stark visuals of a country tearing itself apart at the seams and strong performances from its cast but it’s surprisingly timid about engaging in its central idea.  Garland creates a series of tense and unsettling dystopian vignettes that are visually impactful and visceral echoing moments from the back half of Kubrick's Full Metal Jacket.  The script drops hints here and there about what led to the current situation our characters exist in but it’s frustratingly vague on causes or even details on how any of the warring factions function.  It ultimately leaves the entire story a rather toothless tour of speculative terror as nearly every character they encounter is little more than nebulous ciphers with little in the way of characterization.  The central characters are equally one note but the cast is strong enough to make it easy to overlook the scripts fallings.  Kirsten Dunst is solid as the world weary photojournalist who gains a protégé in the form of fresh faced Cailee Spaeny who looks even younger here than she did in last year's Priscilla.  Dunst nails the thousand-yard stare her character carries throughout as she does her best to provide tangible depth to the role that's missing from the script.  Spaeny, likewise, does the best she can with her underwritten role and her interactions with Dunst carry an air of authenticity in spite of how clichéd they are.  Wagner Moura is given more latitude to have fun as a thrill seeking journalist who's paired with Dunst's character for some undisclosed reason since the film never bothers to explain their connection.  Stephen McKinley Henderson serves as the elder of the group and he does fine work in a role he could probably play in his sleep.  Together they manage to elevate the material they're given it leaves you wondering why Garland didn't create something closer to Oliver Stone's Salvador if he wasn't going to thoughtfully engage in the film's central idea.  Civil War ultimately lacks the resonance to deliver the sort of gut punch it aspires to achieve.

C

MOVIE REVIEW: MONKEY MAN

 

A young man ekes out a meager living in an underground fight club where, night after night, wearing a gorilla mask, he's beaten bloody by more popular fighters for cash. After years of suppressed rage, he discovers a way to infiltrate the enclave of the city's sinister elite. As his childhood trauma boils over, his mysteriously scarred hands unleash an explosive campaign of retribution to settle the score with the men who took everything from him.

Director: Dev Patel

Cast: Dev Patel, Sharlto Copley, Pitobash, Sobhita Dhulipala, Sikandar Kher, Vipin Sharma, Ashwini Kalsekar, Adithi Kalkunte, Makarand Deshpande

Release Date: April 5, 2024 

Genre: Action, Thriller

Rated R for strong bloody violence throughout, rape, language throughout, sexual content/nudity and drug use.

Runtime: 1h 53m

Review:

Dev Patel's directorial debut, Monkey Man, has a kinetic energy that propels the blood soaked, revenge thriller through some of its more uneven sections while managing to leave a lasting impression.  On its surface, it'd be easy to categorize this as little more than a John Wick knockoff but clearly Patel has much more on his mind than mindless mayhem.  The action here is much more brutal and less cartoonish than Wick's gunplay heavy style which gives the sequences a certain level of grimy authenticity.  The action is hard hitting and chaotic, occasionally to a fault, as Patel tries to put you right in the middle of the action.  Some set pieces work better than others, but you get a definite sense that Patel feels more comfortable directing these portions of the film.  The quieter moments prove to be a bit more of a mix bag as it grinds the film to a halt which makes the whole thing an uneven flow, making it feel longer than its actual runtime.  Dev Patel is committed throughout in front of the camera as his character is believably focused on his revenge journey.  He brings a lot more depth and nuance to the character thanks to his talent as an actor which allows him to overcome some of the script's underwhelming characterizations.  The supporting cast doesn't get much more to work with as many of the characters are one dimensional type instead of fully realized people.  Pitobash and Sharlto Copley in particular seem to be begging for meatier roles as they chew up scenery in their limited screen times.  Issues aside, there's plenty to appreciate about Monkey Man's approach and overall style showcasing Patel's talent in front of and behind the camera

B

MOVIE REVIEW: THE FIRST OMEN

 

A woman starts to question her own faith when she uncovers a terrifying conspiracy to bring about the birth of evil incarnate in Rome.

Director: Arkasha Stevenson

Cast: Nell Tiger Free, Tawfeek Barhom, Sônia Braga, Ralph Ineson, Bill Nighy, Maria Caballero, Nicole Sorace

Release Date: April 5, 2024 

Genre: Horror

Rated R for violent content, grisly/disturbing images, and brief graphic nudity.

Runtime: 2h 

Review:

The First Omen is a surprisingly well constructed religious horror throwback that delivers plenty in the way of atmosphere and shocks.  Arkasha Stevenson shows an impressive confidence behind the camera in her big screen debut as she delivers a series of wonderfully crafted visuals which leave an impression.  Additionally, she's able to capture the style and pace of 70s era horror films with an emphasis placed on characters faces during conversations which allows the actors to really shine.  Stevenson draws inspiration from a variety of places initially using Richard Donner's idyllic filter from the originally before leaning more into Polanski's more hallucinatory approach from Rosemary's Baby which fits the story well while also managing to include a sequence that's sure to make fans of 1981 Possession smile.  Of course, it’s all deadly serious from start to finish in this slow burn which thankfully avoids an over reliance on cheap jump scares while keeping the focus solely on the central character and story.  Its a methodical approach that's very similar to those old school horror films so those looking for something faster might be disappointed.  It’s a measured approach that lets its cast do the heavy lifting lead by a strong turn from Nell Tiger Free.  She brings a believable naivety to the role that slowly unravels as the mystery unfolds.  Free manages to keep it all ground even as the story takes some convoluted turns in order to get to its predetermined destination.  Her supporting cast boast some familiar faces Bill Nighy, Ralph Ineson, Sônia Braga and Charles Dance who all bring an air of gravitas to fairly one dimensional characters.  Maria Caballero and Nicole Sorace manage to leave an impression in limited roles as a fellow nun and orphan respectively with the latter begging for more screen time.  The First Omen proves to be one of the more pleasant surprises from a resurrected franchise showing that it's possible to deliver a quality product in the right hands.

B+

MOVIE REVIEW: GODZILLA X KONG: THE NEW EMPIRE

 

Godzilla and the almighty Kong face a colossal threat hidden deep within the planet, challenging their very existence and the survival of the human race.

Director: Adam Wingard

Cast: Rebecca Hall, Brian Tyree Henry, Dan Stevens, Kaylee Hottle, Alex Ferns, Fala Chen

Release Date: March 29, 2024

Genre: Action, Adventure, Sci-Fi, Thriller

Rated PG-13 for creature violence and action.

Runtime: 1h 54m

Review:

Adam Wingard's Godzilla x Kong: The New Empire brings a massive amount of kaiju action to the big screen in a big dumb, popcorn film that keeps the focus on the central monsters.  Those looking for any sort of deep story from the human side of the film will likely be disappointed with them serving as little more than afterthoughts primarily used for exposition dumps.  Rebecca Hall, returning from the previous entry, does what she can with her paper thin character.  Hall, to her credit, doesn't phone it in as she clearly enjoying herself throughout regardless of how ridiculous the dialogue or action is while also managing to squeezing out every bit of emotional connection possible with Kaylee Hottle.  Brian Tyree Henry also returns as the chatter box conspiracy podcaster taking care of most of the comic relief along with Dan Stevens.  Stevens brings his charismatic energy from the moment he pops up on screen, chewing up scenery with impressive enthusiasm.  Of course this is all secondary to the monster mayhem Wingard unleashes onscreen as he creates his version of 1968's Destroy All Monsters battle royal.  He delivers a series of expansive and inventive battles for the titan's conflict with a weightless kaiju battle in the film's final act leaving an impression.  This entry is focused more on Kong's side of the story as he searches for a community after his extended isolation.  He's joined by an adopted mini Kong for large spurts of the film and they manage to create a surprisingly enduring relationship even in the mist of all the CGI action.  Those looking for more Godzilla action might be a little disappointed since he's more of a secondary character here even though he gets to dole out his fair share of destruction.  The action isn't concerned with collateral damage in anyway shape or form as cities are destroyed left and right throughout.  Wingard is fully aware of what kind of film he's making with Godzilla x Kong: The New Empire and those looking for epic kaiju battles are sure to leave happy.

B

MOVIE REVIEW: ROAD HOUSE

 

Ex-UFC fighter Dalton takes a job as a bouncer at a Florida Keys roadhouse, only to discover that this paradise is not all it seems.

Director: Doug Liman

Cast: Jake Gyllenhaal, Daniela Melchior, Conor McGregor, J. D. Pardo, Arturo Castro, Billy Magnussen, Joaquim de Almeida

Release Date: March 21, 2024

Genre: Action, Thriller

Rated R for violence throughout, pervasive language and some nudity.

Runtime: 1h 54m

Review:

Doug Liman's remake of the 80's cult classic, Road House, is entertaining in spurts thanks to some fun action sequences and solid turn from Jake Gyllenhaal but it doesn't do anything memorable enough to make the redux necessary.  Liman's film uses the basic plot of the original as the scaffolding for this update while only making cosmetic changes to the setting, characters and motivations.  It makes the entire thing feel strangely familiar but missing that 80s goofiness that only feathered mullets and karate kicks can bring about.  It’s replaced by a glossy sort of sweaty griminess that makes you feel every bit of that pre storm humidity throughout the film.  Liman makes great use of the scenery to deliver some visually impressive sequences such as Dalton & Ellie's date on a sandbar or some hyper kinetic fight sequences that border on cartoonish even by the original's standards.  Those action sequences are aggressively brutal and edited like they are trying to keep a caffeinated squirrel's attention.  Some of these sequences work better than others but they could all use some judicious trimming to avoid the pervading sense of overkill that takes over.  There are the ingredients of a fun, mindless, beat 'em up but the film lacks the sort of streamlined efficiency to make it all work with multiple dead spots killing most of the film's forward momentum.  Jake Gyllenhaal delivers a workmanlike, understated performance in the central role as he tries to give the character more depth and nuance than what's on page.  Unfortunately, all the other characters are one note at best with Arturo Castro and Billy Magnussen being the lone standouts who at least have fun with their roles.  Conor McGregor's cinematic debut is an embarrassingly over the top performance, puffed out chest and all, that's more likely to elicit unintentional laughter than anything else.  Daniela Melchior and Joaquim de Almeida both deliver professional if uninspired turns to round out the supporting cast.  When it's all said and done this version of Road House isn't likely to leave much of an impression and will probably be forgotten shortly after the credits roll.

C-

MOVIE REVIEW: IMMACULATE

 

An American nun embarks on a new journey when she joins a remote convent in the Italian countryside. However, her warm welcome quickly turns into a living nightmare when she discovers her new home harbours a sinister secret and unspeakable horrors.

Director: Michael Mohan

Cast: Sydney Sweeney, Álvaro Morte, Benedetta Porcaroli, Dora Romano, Giorgio Colangeli, Simona Tabasco

Release Date: March 22, 2024

Genre: Horror

Rated R for strong and bloody violent content, grisly images, nudity and some language.

Runtime: 1h 29m

Review:

Michael Mohan's Immaculate borrows bits and pieces from a variety of sources such as Suspiria and Rosemary's Baby to create something that's initially moody before turning into something that's as nutty as it is darkly funny.  Mohan's direction is confident, and self assured with his film carrying a specific look and feel which takes full advantage of the setting and iconography of a Catholic nunnery in the Italian country side.  He creates a disconcerting, isolated setting that could serve as its own character in the grand scheme of the film's story.  Against that backdrop, Sydney Sweeney's wide eyed, naïve Cecilia enters an alien environment with sinister machinations at play.  Sweeney does some heavy lifting here as she carry's the film from start to finish as we follow her character's twisted journey.  She gives you a tangible sense of her character's lack of control over what's happening to her as things get progressively more dire.  There's an understated, restraint to her performance until the film hits its blood soaked final act where she takes a more active control over her destiny.  There's an abundance of themes you can pick through varying from religious to gender issues making it a film ready made to be dissected with think pieces.  That being said, the script relies on both sides of the board.  It’s an issue that extends to Sweeney's Cecilia who is little more than a cobbled together persona tethered together by a traumatic childhood event.  Immaculate's cathartic, finale recalls the closing moments of The Texas Chainsaw Massacre with it's bloodied, primal release but you're left feeling that it would have been even more impactful if the film has more well rounded characters.     

B

MOVIE REVIEW: LATE NIGHT WITH THE DEVIL

 

In 1977 a live television broadcast goes horribly wrong, unleashing evil into the nation's living rooms.

Director: Cameron Cairnes, Colin Cairnes

Cast: David Dastmalchian, Laura Gordon, Ian Bliss, Fayssal Bazzi, Ingrid Torelli, Rhys Auteri

Release Date: March 22, 2024

Genre: Horror

Rated R for violent content, some gore, and language including a sexual reference.

Runtime:1h 26m

Review:

Late Night with The Devil is a wonderful mash up of Network and 70s era Satanic hysteria in the form of a found footage horror film.  Directors Cameron Cairnes and Colin Cairnes love for every portion of the film's subject matter seeps through the screen from the 70s/80s late night talk shows nuttiness of that era’s fascination with the paranormal.  They manage to recreate the look and feel particularly those shows that lived outside of the mainstream and moved into more fringe subject matter.  The film works best during the "masters' portion” which is supposed to be the show as it aired during that fateful night.  An opening narration explains that there were recently recovered "behind the scenes" footage which is spliced in between show segments providing plenty of exposition for character motivations but its overly produced feel breaks up the main footage's overall vibe.  Personally, I would have preferred narration explaining some of the behind the scenes drama as things spiral out of control while doing a better job of keeping the found footage schtick slightly more plausible.  It’s a minor issue overall especially since the film moves at a rather brisk pace from start to finish aided by inspired performances from its cast, led by David Dastmalchian.  Dastmalchian has been a capable character actor for years but here he's able to shine with the central spotlight focused on him.  He's subtly able to balance the character's TV persona with a sense of his simmering sadness and desperation.  The supporting cast are given showier, more cartoonish roles but he manages to anchor the whole thing.  Ian Bliss and Fayssal Bazzi are clearly having a ball playing a skeptic and psychic respectively with Rhys Auteri making you feel for long suffering side kick Gus.  Ingrid Torelli delivers a memorable performance as the possessed girl with an appropriately creepy, unsettling turn which leaves you wishing they'd given her more screen time overall especially before the creature effects take over in the final act.  That last act does make the story stumble as it tries to stick the landing with the final sequence being a prime example of less is more.  Late hiccups aside, Late Night with The Devil seems destined to become a cult favorite with plenty of midnight screenings in its future. 

B+

MOVIE REVIEW: GHOSTBUSTERS: FROZEN EMPIRE

 

The Spengler family returns to the iconic New York City firehouse where the original Ghostbusters have taken ghost-busting to the next level. When the discovery of an ancient artifact unleashes an evil force, Ghostbusters new and old must unite to protect their home and save the world from a second ice age.

Director: Gil Kenan

Cast: Paul Rudd, Carrie Coon, Finn Wolfhard, Mckenna Grace, Celeste O'Connor, Logan Kim, Bill Murray, Dan Aykroyd, Ernie Hudson, Annie Potts, William Atherton, Kumail Nanjiani, Patton Oswalt

Release Date: March 22, 2024

Genre: Adventure, Comedy, Fantasy, Sci-Fi

Rated PG-13 for supernatural action/violence, language and suggestive references.

Runtime: 1h 55m

Review:

Ghostbusters: Frozen Empire is an overly busy movie that tries to juggle the new, legacy and expansion aspects of the franchise with mixed results.  Gil Kenan is perfectly capable of matching the feel of the original film but the tone is strangely uneven.  There are portions that channel the original's goofy charm aided by appearances from some of the original characters.  Unfortunately, it never maintains that sort of comedic energy instead veering into a more serious tone which feels off for this franchise.  The rather large cast is game throughout but the overabundance of characters makes it difficult for the film to maintain any sort of focus.  Paul Rudd and Carrie Coon have fun while they're onscreen providing an appropriate level of parent energy as their family unit has taken over the Ghostbusters.  Rudd's goofy charm is perfectly suited for this role and he's clearly having a ball playing in this sandbox.  He and Coon have solid chemistry together but the film doesn't spend nearly enough time with them or their kids, played by Finn Wolfhard and Mckenna Grace, which is a strange choice since they were the main characters in the 2021 refresh.  Grace is still able to channel Harold Ramis's Spengler energy but she's given a rather silly subplot considering the character's general intelligence.  Wolfhard's character doesn't fare much better with a rather clichéd storyline.  Dan Aykroyd and Ernie Hudson have significant roles here but the script never bothers to give their characters any sort of background about how they ended up as a supernatural trader and Men in Black style director of a Ghostbusters R&D department.  Annie Potts and Bill Murray both pop up but they aren't asked to do much except provide a few quips here and there with the script more concerned with overlong exposition dumps about the central villain.  In the end, Ghostbusters: Frozen Empire feels like a missed opportunity that forgets that these film are supposed to be fun more than anything else something it doesn't do nearly often enough. 

C+

MOVIE REVIEW: LOVE LIES BLEEDING

 

Lou is a reclusive gym manager who falls hard for Jackie, an ambitious bodybuilder who's heading to Las Vegas to pursue her dream. Their love soon leads to violence as they get pulled deep into the web of Lou's criminal family.

Director: Rose Glass

Cast: Kristen Stewart, Katy O'Brian, Jena Malone, Anna Baryshnikov, Dave Franco, Ed Harris

Release Date: March 8, 2024

Genre: Action, Adventure, Crime, Mystery, Romance, Thriller

Rated R for violence and grisly images, sexual content, nudity, language throughout and drug use.

Runtime:1h 44m

Review:

Rose Glass's sophomore feature, a grimy 80s set crime drama/love story, again shows off her talent as a visual storyteller and an ability to get inside the minds of her characters.  Her film is sweaty and burly in a very specific way almost serving as a counter point to the overly manly action films of the 80s.  There's a tangible energy emanating from the screen from the start and Glass manages to maintain it for nearly the entire runtime.  She splashes visual flourishes sporadically through the film's earlier acts before moving to something more abstract which works for the themes she's addressing but makes the actual story slightly more disjointed, especially in the final reel.  By that point, though, the story has it hooks in you thanks to Glass's direction and impressive turns from the film's central duo of Kristen Stewart and Katy O'Brian.  Both bring a palpable sense of authenticity to their characters that makes their story and relationship engaging throughout.  Kristen Stewart gives her character a sense of aimless, hopelessness early on before finding a sliver of salvation in Katy O'Brian's Jackie.  O'Brian's imposing frame makes an immediate impression, but she pairs it with a sweet, naivety that makes her character likeable before moving into a more delusional obsession which leads to a series of bad choices.  Both performances have subtle hints of raw vulnerability simmering underneath which makes their bloody and darkly funny trek all that more entertaining.  Their supporting cast is a made up of familiar faces like Ed Harris, Dave Franco and Jena Malone who all make the most of their screen time with Harris proving he can still be imitating even when he's sporting a fake hippy length wig paired with his bald head.  Anna Baryshnikov has a minor but pivotal role in the back half of the film, and she manages to leave a noticeable impression.  Love Lies Bleeding fumbles a bit in the home stretch, but it doesn't take away from another strong outing from Rose Glass, proving she's hardly a flash in the pan as a writer and director.

B+

MOVIE REVIEW: DAMSEL

 

A young woman agrees to marry a handsome prince -- only to discover it was all a trap. She is thrown into a cave with a fire-breathing dragon and must rely solely on her wits and will to survive.

Director: Juan Carlos Fresnadillo

Cast: Millie Bobby Brown, Ray Winstone, Nick Robinson, Shohreh Aghdashloo, Angela Bassett, Robin Wright

Release Date: March 8, 2024

Genre: Action, Adventure, Fantasy

Rated PG-13 for sequences of strong creature violence, action, and bloody images.

Runtime: 1h 47m

Review:

Damsel takes an interesting approach to the fairy tale genre by delivering something darker and more interesting even though it only skims the surface of the concept.  Juan Carlos Fresnadillo, director of the underappreciated 28 Weeks Later, directs his film with a steady hand, setting up a colorful Disney approved kingdom before revealing the story's more sinister side.  He makes solid use of stark visuals throughout which are sadly hampered by uneven F/X that fluctuate from solid to early 2000's Sci-Fi channel bad with the open sequence serving as a prime example of the bad.  It’s noticeably choppy throughout which sadly takes you out of the film at various points during its runtime.  F/X issues aside, Fresnadillo moves the film at a steady pace especially once the story moves into the dragon's lair with the focus centering on Millie Bobby Brown's character.  Brown is slowly making a career of these sort of self reliant characters and this role is right in her wheelhouse.  She's tasked with carrying the story alone for the better part of the film with her working against digital backgrounds and Shohreh Aghdashloo's excellent voice work as the dragon.  Sadly, the script never gives her anything really substantial to really sink her teeth into with only surface level characterization.  It doesn't help that the script continually stretches credibility at multiple moments, even for fantasy film, such as Princess Elodie's rather impressive rock and rope climbing skills or her ability to sneak up on a dragon just to name a few.  Brown, to her credit, does the best she can with material even though you get the feeling there's a better story in there somewhere.  Her supporting cast is made up of strong performers such as Ray Winstone, Angela Bassett and Robin Wright but the film never takes full advantage of them.  Robin Wright in particular is just begging for more screen time as the villainous queen.  It’s a consistent issue for the film since there are plenty of opportunities to make Damsel some truly special.  

C+

MOVIE REVIEW: RICKY STANICKY

 

Twenty years after creating the imaginary Ricky Stanicky, three childhood friends still use the nonexistent pal as a handy alibi for their immature behavior. When their spouses and partners get suspicious and demand to finally meet him, the guilty trio decides to hire washed-up actor Rod to bring him to life. However, when Rod takes his role of a lifetime a little too far, they begin to wish they never invented Ricky in the first place.

Director: Peter Farrelly

Cast: Zac Efron, Jermaine Fowler, Andrew Santino, Lex Scott Davis, Anja Savcic, Jeff Ross, William H. Macy, John Cena

Release Date: March 8, 2024

Genre: Comedy

Rated R for sexual material, language throughout and some drug content.

Runtime: 1h 53m

Review:

Ricky Stanicky's silly setup should be perfectly suited for Peter Farrelly's talents especially with game cast but its never as consistently funny as it should be.  Farrelly's film feels familiar from the start with its goofy, over the top comedy and occasional gross outs paired with some choppy sentimentality.  The best Farrelly brother’s film's worked because the comedy bits tended to make it easier to overlook some of the film's shortcomings.  Peter's solo films have never reached the heights of his collaborations with his brother from the late 90's and early 2000's, a trend that continues here.  There are bits that work mostly thanks to a game cast highlighted by John Cena who does the majority of the heavy lifting.  The biggest issue is the film can never maintain the comedic energy since there are a handful of moments that fall flat which makes the whole thing feel longer than it actually is.  Zac Efron, Jermaine Fowler, Andrew Santino and Cena all do their best, but the comedic dead spots highlight how thinly scripted the whole thing is.  The cast seems to be begging for better material to work with Efron making for a great straight man to the assorted zaniness happening around him.  Likewise, Fowler and Santino's comedic talents feel underutilized throughout which is a shame.  The result is a passable but easily forgettable comedy that feels like it could have been much better.    

C-

MOVIE REVIEW: IMAGINARY

 

When Jessica moves back into her childhood home with her family, her youngest stepdaughter, Alice, finds a stuffed bear named Chauncey. As Alice's behavior becomes more and more concerning, Jessica intervenes only to realize that Chauncey is much more than the stuffed toy bear she believed him to be.

Director: Jeff Wadlow

Cast: DeWanda Wise, Tom Payne, Taegen Burns, Pyper Braun, Veronica Falcón, Betty Buckley

Release Date: March 8, 2024

Genre: Horror, Mystery, Thriller

Rated PG-13 for some violent content, drug material and language.

Runtime: 1h 44m

Review:

Imaginary is a predictable, run of the mill horror movie that relies on jump scare to do the heavy lifting even as it toys with campiness before fully embracing it in its final act. Jeff Wadlow's film borrows freely from other, better films like The Shining, Coraline or Pan's Labyrinth which is all fine and well if he'd crafted something engaging.  Sadly, there are only a few well staged scares early on but very little in the way of tension of atmosphere. It doesn't help that the cast of characters are thinly drawn genre clichés that don't make you care about anything that's happening.  DeWanda Wise goes through the motions in the lead role with a sort of wide eye detachment for the better part of the film's runtime.  Pyper Braun is tasked with the central child role and does a decent job all things considered.  Braun is given a healthy amount of screen time and she's subtly funny, especially when some of the situations get more extreme.  Taegen Burns does solid work as the older sister even if she isn't given much to do besides being bratty to her stepmother until she comes around.  Betty Buckley, who plays the requisite neighbor who knows more than she lets on, is really the only person who knows what kind of film she's in.  Buckley's character and performance is campy fun especially as the film veers into its goofier and more inventive final act that doesn't make much sense but has the common sense to be fun at least.  You're ultimately left wondering why the film's first two acts were so serious instead of leaning into the campiness much like last year’s M3GAN.  It’s ultimately too little too late to make Imaginary anything other than another easily forgettable horror film.

D+

MOVIE REVIEW: DUNE PART TWO

 

Paul Atreides unites with Chani and the Fremen while seeking revenge against the conspirators who destroyed his family. Facing a choice between the love of his life and the fate of the universe, he must prevent a terrible future only he can foresee.

Director: Denis Villeneuve

Cast: Timothée Chalamet, Rebecca Ferguson, Josh Brolin, Stellan Skarsgård, Dave Bautista, Zendaya, Charlotte Rampling, Javier Bardem, Austin Butler, Florence Pugh, Christopher Walken, Léa Seydoux

Release Date: March 1, 2024

Genre: Action, Adventure, Drama, Sci-Fi

Rated PG-13 for sequences of strong violence, some suggestive material and brief strong language.

Runtime: 2h 46m

Review:

Denis Villeneuve's Dune Part Two is a sci-fi epic in every sense of the word filled with mesmerizing visuals, a stellar cast and a beefier story than you'd expect from a blockbuster of this size.  Villeneuve, now free of the first film's exposition dump, moves his film at a steadier pace delivering massive action set pieces that are impressively staged and far more engaging than the first film's offers.  Paul's first ride on a sandworm is wonderfully set up and executed to create a thrilling and visceral experience, something the battle sequences can't quite match.  Visually, you can see Villeneuve pulling inspiration from other legendary sci-fi films such as 2001 or Star Wars for Arrakis and contrasting it with the Harkonnen's which clearly draws inspiration from H.R. Giger early work from Jodorowsky’s failed attempt to bring the film to the screen in the 70's.  There are a bevy of shots that are sure to join the pantheon of the memorable shots in cinematic history.  Overall, the film and story move at a brisker pace with the full scale of the story's themes and relationships unfurling at steady pace leaving very few dead spots throughout the film’s hefty runtime.  The film's ensemble cast shines throughout with each delivering strong performances regardless of screen time.  Timothée Chalamet and Zendaya get the lion's share of the screen time with both doing fine work albeit their romantic chemistry isn't quite as strong as it should be likely due to their romance being rushed thru in the opening act.  It’s a minor issue especially with the amount of story they have to work through and both still deliver the goods on the dramatic sides.  Rebecca Ferguson gets a meatier role here as her character takes a darker more ominous tone which she's more than capable of conveying.  Javier Bardem also gets more to do this go around after his extended cameo in the first film.  Bardem is fun every time he's onscreen thanks to his general charisma which works for his character's unwavering zealotry.  Austin Butler proves he doesn't have to be Elvis in everything with an impressive about face as the psychotic Feyd-Rautha Harkonnen.  Florence Pugh does well in her limited screen time even though the character is mainly used for exposition dumps, but you get the sense there's more on the horizon if a third film comes to fruition.  Stellan Skarsgård, Dave Bautista, Josh Brolin and Charlotte Rampling return from the first film with much smaller but important roles with each making those small moments far more impactful.  It’s a testament to the scale of Dune Two that these actors serve as garnish to its cinematic cornucopia which delivers on multiple fronts while leaving you wanting to see the story's final act.   

A

MOVIE REVIEW: DRIVE-AWAY DOLLS

 

In search of a fresh start, two women embark on an impromptu road trip to Tallahassee, Fla. However, things quickly go awry when they cross paths with a group of inept criminals along the way.

Director:  Ethan Coen

Cast: Margaret Qualley, Geraldine Viswanathan, Beanie Feldstein, Colman Domingo, Pedro Pascal, Bill Camp, Matt Damon.

Release Date: February 23, 2024 

Genre: Action, Comedy, Thriller

Rated R for crude sexual content, full nudity, language and some violent content.

Runtime: 1h 24m

Review:

Ethan Coen's solo directorial debut, Drive-Away Dolls, is a silly crime caper of a road movie that can't quite maintain its manic energy in spite of energetic performances from its two leads.  It’s hard to avoid comparisons to Coen's work with his brother since this film carries plenty of hallmarks of some of their sillier crime comedies like Raising Arizona and Burn After Reading.  This film never reaches those levels of joyful insanity although it comes close on multiple occasions.  The film's pacing runs at a frenetic pace which makes it a breezy watch, but it also keeps some of the stronger sequences from landing the way they should since they aren't given time to breathe.  It’s a shame since the film central duo of Margaret Qualley and Geraldine Viswanathan turn in inspired performances.  Their oil and water chemistry make the film run with Qualley outsized performance working in perfect contrast to Viswanathan straight laced understated turn.  Qualley gives the character a lively, energetic spirit that feels authentic even with the cartoonish southern accent she sports.  Viswanathan works more subtly, using her deadpan delivery and expressive eyes to great effect.  They're chaotic fun together especially as the situations get more over the top and outrageous.  Their supporting cast is peppered with well known faces who are clearly having a ball even in their limited screen time.  Drive-Away Dolls makes you wish you got to spend more time with all these characters but it's in a strange rush to get in and out as quickly as possible.  

B-

MOVIE REVIEW: BOB MARLEY: ONE LOVE

 

Jamaican singer-songwriter Bob Marley overcomes adversity to become the most famous reggae musician in the world.

Director: Reinaldo Marcus Green

Cast: Kingsley Ben-Adir, Lashana Lynch, James Norton, Henry Douthwaite, Anthony Welsh, Sheldon Shepherd, Quan-Dajai Henriques, Nia Ashi

Release Date: February 14, 2024 

Genre: Biography, Drama, Music

Rated PG-13 for marijuana use and smoking throughout, some violence and brief strong language.

Runtime: 1h 44m

Review:

Bob Marley: One Love is solid albeit fairly straightforward snapshot biopic buoyed by excellent performances from Kingsley Ben-Adir and Lashana Lynch.  Reinaldo Marcus Green treats his central subject with the sort of reverence and respect you'd expect especially with Marley’s widow and son serving as executive producers.  Green's directs the film with a steady, self assured hand which makes the film an easy watch from start to finish especially since Marley's songs are interspersed throughout.  Green does add in a few visual flourishes in the form of a recurring vision that Marley sees which is visually impactful enough to make you wish he'd added more throughout the story.  A handful of flashback to Marley’s early years, with solid performances from Quan-Dajai Henriques and Nia Ashi, add some texture to his story of his upbringing before moving back to its central story carried Kingsley Ben-Adir.  Ben-Adir is excellent throughout, showing a full level of commitment to the role.  He captures Marley's persona, speech patterns and unique style of performing during his concerts.  He manages to go above mimicry when the film gives him a chance to dig into some of the meatier portions of the man.  Lashana Lynch is just as strong as Marley's wife, Rita, with the two sharing some intense and insightful moments later in the film.  Sadly, there isn't enough of those sequences as we are left with the feeling that we're only scratching the surface of their relationship and ultimately Marley's motivation and turmoil.  The film's final act, especially after his cancer diagnosis, moves unusually fast as it rushes to the finale which ends with a combination of archival footage and title cards.  It’s a strange choice since the film barely started scratching deeper into the man and it ultimately keeps Bob Marley: One Love from being the in depth dive into the man as opposed to a quick overview. 

B

MOVIE REVIEW: MADAME WEB

 

Cassandra Webb is a New York City paramedic who starts to show signs of clairvoyance. Forced to confront revelations about her past, she must protect three young women from a mysterious adversary who wants them dead.

Director: S.J. Clarkson

Cast: Dakota Johnson, Sydney Sweeney, Celeste O'Connor, Isabela Merced, Tahar Rahim, Mike Epps, Emma Roberts, Adam Scott

Release Date: February 14, 2024 

Genre: Action, Adventure, Sci-Fi, Thriller

Rated PG-13 for violence/action and language.

Runtime: 1h 54m

Review:

Madame Web arrives onscreen barely registering a pulse thanks to a bland script and a cast that's as disinterested as the audience.  S.J. Clarkson does her best to give this low rent version of Edge of Tomorrow some life early on but using inventive angles and shots during some of the action sequences.  There are small slivers of energy, especially early, but once the film goes into an endless cycle of repetition which kills any sense of momentum or entertainment.  Those hoping for some mindless superhero action will be sorely disappointed since the majority of that occurs in a flash forward which the film never occurs in the actual film, leaving this film as nothing more than set up for a future installment.  Instead, the film follows Dakota Johnson's Cassandra Webb kidnap/rescue the trio of Sydney Sweeney, Celeste O'Connor and Isabela Merced and chaperon them around before abandoning them for an impromptu day trip to Peru.  It’s all rather nonsensical and illogical which might be goofy if any of the cast put any sort of effort into their performances.  Johnson leads the cast with one of the more uninspired performances in a big budget film in recent memory.  Her consistently monotone line delivery makes it feel like we are watching rehearsal footage instead of the final cut.  That energy runs across her supporting cast  who are saddled with the most generic clichés of early 2000's teenage girls.  It’s so painfully bad that you wouldn't be surprised if they randomly started singing Spice Girls song just to drive the point home about the live action Brats dolls assembled.  Tahar Rahim doesn't fair much better as the film's sort of evil Spider-man from the dollar store with his stilted delivery that makes Johnson look inspired in comparison.  Madame Web is a mess of a film that commits a variety of sins which would be forgivable if it wasn't so incredibly boring.

D-

MOVIE REVIEW: LISA FRANKENSTEIN

 

A misunderstood teenager and a reanimated corpse embark on a murderous journey to find love, happiness and a few missing body parts.

Director: Zelda Williams

Cast: Kathryn Newton, Cole Sprouse, Liza Soberano, Henry Eikenberry, Joe Chrest, Carla Gugino

Release Date: February 9, 2024 

Genre: Comedy, Horror, Romance

Rated PG-13 for violent content, bloody images, sexual material, language, sexual assault, teen drinking and drug content.

Runtime: 1h 41m 

Review:

Lisa Frankenstein is a fun, if uneven, mash up of a variety of sources that's carried by Kathryn Newton's energetic performance.  Zelda William's film is bright and bubbly the way most nostalgia porn recreates the 80s as a neon filled wonderland.  It’s kitschy and overblown but very much in tune with the rest of the film and story being told.  Diablo Cody penned the script, with plenty of moments showing off her ability to write sharply funny dialogue.  It doesn't have the same level of consistent energy and verve that some of her past work but it’s still funnier more often than not.  It’s a broader satire of all sorts of 80's teen comedy tropes with larger than life characters and ideas that the cast willingly embraces with impressive gusto.  Kathryn Newton carries the film from the opening sequence through its final frame with an effervescent, charming central turn.  Newton is consistently the most interesting performer on screen even during some of the film's weaker moments.  Her wide eyed enthusiasm shines through the layers of mascara, apple candy lipstick and ever expanding 80s hairdo.  Newton has shown some comedic talent in her previous turns like Freaky and Blockers, but this is by far her best showcase.  The supporting cast is solid with Cole Sprouse and Liza Soberano leaving the biggest impression.  Sprouse has fun chemistry with Newton which is impressive since he's required to rely on a psychical performance with his character being mute for the better part of the film.  Soberano is equally impressive as Lisa's incredibly supportive and sweet step sister by giving the character a believable sort of authenticity.  Carla Gugino vamps it up to an impressive degree as the stepmother but sadly the film doesn't take full advantage since the film could have benefited from more scenes between her and Newton.  Ultimately, Lisa Frankenstein is a wonderfully twisted spotlight that lets Kathryn Newton show off charismatic screen presence.

B

MOVIE REVIEW: ARGYLLE

 

Reclusive author Elly Conway writes best-selling espionage novels about a secret agent named Argylle who's on a mission to unravel a global spy syndicate. However, when the plots of her books start to mirror the covert actions of a real-life spy organization, the line between fiction and reality begin to blur.

Director: Matthew Vaughn

Cast: Henry Cavill, Bryce Dallas Howard, Sam Rockwell, Bryan Cranston, Catherine O'Hara, Dua Lipa, Ariana DeBose, John Cena, Samuel L. Jackson

Release Date: February 2, 2024 

Genre: Action, Thriller

Rated PG-13 for strong violence and action and some strong language.

Runtime: 2h 19m

Review:

Argylle, the latest spy riff from Matthew Vaughn, is overstuffed to the point of exhaustion as it hurls a seemingly endless barrage of twists at the screen which would make even M. Night Shyamalan blush.  Initially, Vaughn's film has a breezy feel as it plays with a fun premises.  The early action sequences that pepper in bits of Henry Cavill doing his best Bond impression is energetic and engaging.  Bryce Dallas Howard and Sam Rockwell have some fun chemistry with both making the best of their likeable onscreen charm.  Howard is appropriately nebbish early on as insanity plays out around her.  Rockwell seems to be having a blast playing the superspy guiding her and it all works fairly well in the film's opening act.  Bryan Cranston hams it up as the film's central villain but much like the movie's plot, his performance gets progressively more exaggerated and outsized especially as the first reveal which alone would have been a fun thread to chase.  Instead, that initial reveal is barely given anytime to breathe before another U Turn takes in another silly direction follow by another and another.  There are a few fun action sequences interspersed between it all, but those slower moments are noticeably slow especially as the film gets more aggressively silly, highlighted by a colorful bullet filled dance and skating sequence which makes it clear that it’s all intentionally stupid.  In a weird way, Vaughn and his cast end up delivering a modern day Naked Gun film which would have been fun if it weren't so incredibly overstuffed.  

C-

MOVIE REVIEW: THE ZONE OF INTEREST

 

The commandant of Auschwitz, Rudolf Höss, and his wife, Hedwig, strive to build a dream life for their family in a house and garden next to the camp.

Director: Jonathan Glazer

Cast: Christian Friedel, Sandra Hüller, Ralph Herforth, Daniel Holzberg, Sascha Maaz, Freya Kreutzkam

Release Date: February 2, 2024

Genre: Drama, History, War

Rated PG-13 for thematic material, some suggestive material and smoking.

Runtime: 1h 45m

Review:

Jonathan Glazer's The Zone of Interest is a fascinating study in subtle insinuation of horrific events juxtaposed against the seemingly mundane.  Glazer's distinctive style gives the film an almost clinical detachment from the central family and characters as the audience follows their day to day lives.  It’s unnervingly routine even as smatterings of screams and gunshots linger in the background as the family enjoys parties or birthday celebrations.  Small tidbits or comments from the family members as the film progresses exemplifies the level of causal complicity to horror show playing out over the walls.  Christian Friedel and Sandra Hüller play the Höss couple with a lived in authenticity of a pair of people who have been together for a decent amount of time.  If not for the discussions about building a new crematorium or rifling through people's luxurious belongings from the camp, they'd feel like an average couple trying to raise their kids.  The film doesn't shy away from the fact that the evil seeps into the aforementioned children even if they don't have direct exposure to it.  The film is methodical in its approach which may not make it the most accessible experience for the causal movie goer since it doesn't hold your hand and its finale is sure to confounding its share of viewers.  The Zone of Interest isn't an easy film for a variety of reasons, but it is the kind of film that will linger in your mind long after you've watched it.

A-