MOVIE REVIEW: WOLF MAN

 

Blake and his family are attacked by an unseen animal and, in a desperate escape, barricade themselves inside a farmhouse as the creature prowls the perimeter. As the night stretches on, however, Blake begins to behave strangely, transforming into something unrecognizable that soon jeopardizes his wife and daughter.

Director: Leigh Whannell

Cast: Christopher Abbott, Julia Garner, Matilda Firth, Sam Jaeger

Release Date: January 17, 2025

Genre: Horror

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

Runtime: 1h 43m

Review:

Leigh Whannell's first go around reimaging one of the classic Universal Monsters was a pleasant surprise in the form of 2020's The Invisible Man.  Whannell's second attempt, Wolf Man, similarly tries to bring a different slant to the basic story but with far clunkier, underwhelming results.  Using elements of The Shining throughout he manages to deliver a handful of well-constructed scares as we follow Christopher Abbott's transformation in the titular Wolf Man while he and his family are being stalked by another beast.  There's a breakneck pace to the film that’s in such a hurry to get to the gory scares that it never bothers to give the central characters much time to get fleshed out which leaves us with the most generic married couple going through issues.  The audience is only given the slightest hint about what sort of martial issues Christopher Abbott's Blake and Julia Garner's Charlotte are going through before things quickly spiral out of control.  It doesn't help that the film is peppered with incredibly clunky dialogue that lacks any sort of subtly about the themes at play.  Additionally, this is the kind of horror film where people continue to make increasingly stupid decisions that don't make much sense.  An interesting werewolf POV, sort of like a Predator view, is played with but never really explored enough to make much of an impact.  Christopher Abbott and Julia Garner are both strong performers but they're noticeably flat for the most part since the film doesn't really ask for much outside of terrified reaction shots.  Abbott is given the short end of the stick as his character slowly disappears under layers of practical make-up, which looks gross but not very wolfy, that leaves him practically mute, leaving him to rely on his physical performance.  Julia Garner is left carrying the lion’s share of the action, delivering an admirable job that leaves you wishing she'd been given a meatier role.  Once it’s all said and done, Wolf Man, proves to be little more than a bit of disposable January horror that toys with some interesting concepts but doesn't fully explore or take advantage of them.  

C

MOVIE REVIEW: BETTER MAN

 

The true story of the meteoric rise, dramatic fall, and remarkable resurgence of British pop superstar Robbie Williams.

Director: Michael Gracey

Cast: Robbie Williams, Jonno Davies, Steve Pemberton, Kate Mulvany, Alison Steadman, Damon Herriman

Release Date: December 25, 2024

Genre: Biography, Fantasy, Musical

Rated R for drug use, pervasive language, sexual content, nudity and some violent content.

Runtime: 2h 15m

Review:

Better Man is a rare music biopic that shakes up the standard formula to deliver something much more emotionally authentic and impactful even though Robbie Williams' role is played by CGI simian.  Your familiarity with Williams' life and career isn't much of an issue as Michael Gracey delivers an engaging and fanciful musical trek through his life's highs and lows.  The choice to use a CGI monkey, a blunt metaphor to say the least, is initially jarring but it becomes surprisingly digestible as the film goes on.  It’s a fully realized creation thanks to a confluence of technical wizardry, excellent motion capture/voice work from Jonno Davies and Williams to create a living, breathing character.  They are capable of ringing out a full range of emotions throughout the film such as Williams’ persistent self-doubt and increasingly detached sense of self as his fame grows.  The unfiltered honesty that is offered up is truly impressive, reflective of the passion behind the project.  The film's large musical sequences as just as inventive and effective with each bringing a different emotion to the screen ranging from sheer jubilation to deep heartbreak.  A raging internal battle is visualized during the peak of Williams popularity highlighted by his performance at Knebworth which brutal sense of devastation laid bare onscreen.  It’s one of the bolder choices that shouldn't work as well as it does, serving as a testament to overall craftmanship on display.  There are a few issues with the supporting characters which are far more one-dimensional and underwritten, leaving his parents and Nicole Appleton feeling underserved by the script.  It’s one of the few missteps the film makes but that doesn't keep Better Man from being an impressive achievement in the genre.

A-

MOVIE REVIEW: DEN OF THIEVES 2: PANTERA

 

Lawman "Big Nick" O'Brien gets embroiled in the treacherous and unpredictable world of diamond thieves as he pursues career criminal Donnie Wilson to Europe.

Director: Christian Gudegast

Cast: Gerard Butler, O'Shea Jackson Jr., Evin Ahmad, Salvatore Esposito, Swen Temmel

Release Date: January 10, 2025

Genre: Action, Crime, Drama, Thriller

Rated R for pervasive language, some violence, drug use and sexual references.

Runtime: 2h 10m

Review:

Den of Thieves 2: Pantera refreshes the formula from the first film, which played like a poor man's Heat, to give the sequel a different, more international dynamic for the central caper with Gerard Butler and O'Shea Jackson Jr chemistry powering the film.  This entry plays things a bit more lighthearted than the overly macho original which allows the director and cast to have a bit more fun with the Ocean's 11 style heist that drives the central plot.  Christian Gudegast delivers a film that is more visually stylish taking advantage of the European back drop much in the way that he used Los Angeles' grimy backdrop to great effect in the original.  Gudegast still has pacing issues as he takes his time getting to the climatic action sequence.  That sequence, outlandish as it is, is well constructed as he creates an impressive air of tension on various occasions before things start to go sideways.  It ends the film on a strong note but getting there is peppered with several superfluous scenes that don't really add much to the film overall.  We are introduced to another set of characters that make up the central crew, but they are all underwritten across the board.  Gerard Butler carries the lion's share of load here with Big Nick's roughish energy coming through the screen along with the smell of booze and cigarettes.  The decision to have his character switch sides and work with O'Shea Jackson Jr.'s Donnie avoids some of the issues of retreading story points.  It also allows Jackson Jr. to flesh out his character a bit more which makes him more likable this go around.  It helps he and Butler have fun chemistry that makes their friendship feel authentic.  Sadly, nobody around them gets that kind of treatment from the script with Evin Ahmad intriguing ringleader, Jovanna, getting the short end of the stick.  There's a set up for a continuing franchise near the end which could be interesting if Gudegast could streamline his pacing and give us more than a couple of three-dimensional characters to flesh out the world.

B

MOVIE REVIEW: THE LAST SHOWGIRL

 

A seasoned showgirl must plan for her future when her show abruptly closes after a 30-year run.

Director: Gia Coppola

Cast: Pamela Anderson, Jamie Lee Curtis, Dave Bautista, Brenda Song, Kiernan Shipka, Billie Lourd, Jason Schwartzman

Release Date: January 8, 2025

Genre: Drama

Rated R for violence, some sexual content, graphic nudity and language.

Runtime: 1h 29m

Review:

Gia Coppola's The Last Showgirl stripped down tale of a fading showgirl is powered by a reflective, sorrowful turn from Pamela Anderson that propels the film's straightforward narrative.  Coppola style is naturalistic with moments that capture an almost dreamlike quality to the setting and subjects.  There are echoes of Darren Aronofsky's The Wrestler on multiple occasions although the script lacks that film's depth in terms of character development.  This works more as a pensive piece that takes advantage of Anderson's lived experiences.  Anderson's wispy voice vacillates between inspired by nostalgia and sadness as the present collapses on her.  She's given a handful of moments where she channels her own experiences to deliver some of the film's more powerful moments, particularly in the film's latter half.  It’s an impressive performance that gives the character a level of realistic humanity as she tries to keep up a brave face while she's slowly cracking underneath.  The supporting cast is solid even though they all suffer from being terribly underwritten which mostly wastes the talents of Brenda Song, Kiernan Shipka, Dave Bautista and Billie Lourd.  Jamie Lee Curtis though manages to make the most of her screentime as an over tanned, well past her prime cocktail waitress.  Anderson and Curtis make for a strong pair onscreen, but the film never takes full advantage of it to really flesh out their relationship.  It’s a similar situation with her much younger coworkers, played dutifully by Song and Shipka, as the film gives us only the most simplistic version of their relationships.  The Last Showgirl provides Anderson a perfect showcase to shine but once the credits roll you are left feeling there was a better film in there somewhere.

B

Cindy Prascik's Ho Ho Holiday Cheer!

My dear readers, predictably, the second theme of my holiday watchlist was…well…holidays. If you’re looking to extend your celebrations through the weekend like we are, these movies may reinforce your cheer.

No fan of romance I, but sometimes a person’s hand is forced during the festive season, so first on my agenda was a double-bill of Haul Out the Holly (2022) and Haul Out the Holly: Lit Up! (2023).

In Haul Out the Holly, a big-city girl comes home to her parents’ for Christmas. Wanting only a relaxing holiday, she is conscripted into the Christmas-crazy neighborhood’s festivities and finds romance in the process. In Haul Out the Holly: Lit Up! a family of Christmas “influencers,” moves in and causes strife among the residents of Evergreen Lane.

At risk of damning with faint praise, both of these Hallmark offerings are…cute. If you’re looking to fully immerse in Christmas cheer without using too much brain power, you could do worse. Both are well paced, with likeable casts/characters. Even the conflict isn’t so conflicted as to harsh the holiday buzz too much.

Haul Out the Holly and Haul Out the Holly: Lit Up! run 84 minutes each, and both are rated TVG.

The Haul Out the Holly series is a bit of light, quick-moving holiday fun that doesn’t wear out its welcome. Of a possible nine Weasleys, Haul Out the Holly gets six, and Haul Out the Holly: Lit Up! gets five.

Both Haul Out the Holly movies are now streaming on Hallmark+.

Next up was Hot Frosty.

As you’ve likely guessed from the not-so-subtle title, a snowman comes to life and he’s not hard on the eyes.

Hot Frosty was a bit of a surprise. It doesn’t reinvent the wheel, but it’s genuinely funny with a couple clever Easter eggs. The cast even boasts some faces that are different from the ones you see in all the Christmas romances. (I’m happy whenever and wherever Craig Robinson turns up!) Like the Haul Out the Holly movies, Hot Frosty goes full Christmas with its costumes and sets. The cast is engaging and doesn’t play it too serious or too cringey, and the movie leans into its familiar theme just enough.

Hot Frosty runs 92 minutes and is rated TVPG for “mild sex and nudity.” (When he comes to life, the snowman has no clothing save a strategically placed red scarf.

Hot Frosty is cheerful, fun, and good natured, a step up from the average holiday romance. Of a possible nine Weasleys, Hot Frosty gets seven.

Hot Frosty is now streaming on Netflix.

Taking a welcome break from romance, next on my docket was the big-screen Christmas extravaganza Red One.

When Santa is kidnapped, the head of North Pole security teams up with an infamous hacker to try to save Christmas.

I’ve heard a fair bit of grousing about Red One, but it isn’t romance, horror, or strictly for kids, and that’s hard enough to come by in a Christmas movie that I’m willing to cut it some slack. The cast features familiar and well-loved faces like Dwayne Johnson, Chris Evans, Lucy Liu, and JK Simmons, and if the material doesn’t stretch their talents too much, it’s still good fun. The general effects are pretty decent, though some of the non-human creatures look like someone dropped a bargain bin Star Wars cantina onto the set. The action is solid and there’s nothing so dragged out as to get boring. The movie knows exactly what it is and doesn't pretend to be more, so any small quibbles are easily forgiven.

Red One clocks in at 123 minutes and is rated PG13 for “action, some violence, and language.”

Red One is good holiday fun for the whole family. Of a possible nine Weasleys, Red One gets seven and a half.

Red One is now streaming on Prime Video.

I hope everyone has enjoyed this festive season, and that 2025 brings you all much happiness!

Until next time...

Cindy Prascik's Reviews The Hills are Alive with the Sound of Music (Documentaries)

My dear, neglected reader(s): Over the holidays I had an opportunity to catch up with a few streaming offerings, and I shall provide some reviewlets for anyone who may be interested.

Our first theme is music documentaries, and my first priority (of course) was Beatles ’64 (2024), another view of the Fab Four’s first visit to America. The magnitude of the Beatles’ fame being what it is, and these events being 60 years in the past, the challenge here isn’t necessarily presenting new material, but presenting existing material in fresh ways to engage a new audience. Beatles ’64 chooses to focus on the fan frenzy around this momentous trip. Certainly there’s plenty of footage of John, Paul, George, and Ringo, but this is the story of the people who first heard the songs on American radio, the girls who waited outside hotels, and the (now) senior citizens whose lives were ever changed by being Beatles-adjacent. It’s not the most well-crafted film, and there is some weirdly awkward footage (fans listening to the Beatles on the radio while side-eyeing the camera) but Beatles ’64 does a nice job of communicating the excitement of this particular bit of history.

Beatles ’64 clocks in at 106 minutes and is unrated. There is a LOT of smoking, some drinking, and a bit of colorful language.

Beatles ’64 is a fun and well-paced rehash of a familiar story. Of a possible nine Weasleys, Beatles ’64 gets seven.

Beatles ’64 is now streaming on Disney+.

Next up was The Making of Do They Know It’s Christmas (2024), an updated BBC documentary celebrating the 40th anniversary of the ubiquitous holiday hit. This one feels more like a home movie than something recorded with any intention of making a proper documentary, but it is still terrific look inside the REAL greatest night in pop. The biggest stars of the day (mostly) put egos aside for a worthy cause. Interviews are fairly casual, and most of the artists seem like old pals and fans of one another’s work. If you’re around my age and can still picture every minute of the original music video in your mind, it’s lots of fun picking out the pieces of this film that ended up in that final cut. Sure, some of the lyrics are cringeworthy in 2024, but four decades later Do They Know It’s Christmas continues to raise millions of dollars to alleviate world hunger, and that’s something worth celebrating.

The Making of Do They Know It’s Christmas runs 74 minutes and is unrated, with basically the same warnings as Beatles ’64: smoking, drinking, some coarse language. (Hey, they’re rock stars!)

It’s not polished, but The Making of Do They Know It’s Christmas is a wonderful, sentimental look inside one of pop music’s defining moments. Of a possible nine Weasleys, The Making of Do They Know It’s Christmas gets eight.

The Making of Do They Know It’s Christmas is now streaming on YouTube.

The final installment in my music doc trilogy was Yacht Rock: A Documentary (2024), which chronicles the rise, fall(ish), and ongoing influence of the sort of mellow gold perpetrated by artists such as Michael McDonald, Christopher Cross, and Toto.

Yacht Rock gets away with what it does largely due to the unironic regard it has for its subject matter. Historically, it’s been pretty easy to make fun of this music and these artists, but that’s not happening here. Even comments made in jest are good natured and never mean. There are extensive interviews with many artists who made and have been influenced by these iconic tunes, and the movie doesn’t miss an opportunity to remind viewers just how good the songs are, with plenty of clips. The documentary attempts to pinpoint Steely Dan as the sort-of genesis of this brand of music, and I (as well as Donald Fagen, apparently) don’t wholly agree there, but because the material is treated so respectfully, it’s hard to take offence. For me, anyway. Fagen is another matter entirely.

Yacht Rock: A Documentary clocks in at 95 minutes and is rated TVMA for mild profanity.

Yacht Rock: A Documentary is a laid-back look at a laid-back genre that has not only endured, but today has spawned a whole new generation of fans and tribute bands. Of a possible nine Weasleys, Yacht Rock: A Documentary gets seven.

Yacht Rock: A Documentary is now streaming on MAX.

Stay tuned for part two of my holiday mini-reviews: Christmas movies!