MOVIE REVIEW: GEORGE A. ROMERO'S: RESIDENT EVIL

 

A documentary that brings to light the vision that director George A. Romero had for an adaptation of Resident Evil, using newly filmed interviews with those who were there, and unravels the secrets behind why it was never produced.

Director: Brandon Salisbury

Cast: George A. Romero, James Rolfe, Charlie Kraslavsky, Pat Jankiewicz, Eric Pirius, Pablo Kuntz, Michael Felsher, Jim Krut, Matthew Blazi

Release Date: January 7, 2025

Genre: Documentary

Not Rated 

Runtime: 1h 50m

Review:

Brandon Salisbury's George A. Romero's Resident Evil documentary works as a retrospective of both the Resident Evil video game franchise and Romero's career and his far-reaching impact.  Salisbury's approach is rather methodical but informative as he tracks the rise of the Resident Evil video game franchise and its ultimate intersection with its uncredited godfather in the form of George A. Romero.  It’s a fascinating behind the scenes tale of what should have been a match made in heaven before falling apart for a variety of reasons.  Salisbury uses archival documents from Romero's estate to give us an insight into what he was attempting to deliver had he been given the reins of this cinematic adaptation.  The retrospectives of the game and Romero himself that begins the documentary are rather dry as it covers fairly well-known information about both and their rise to prominence.  Once we reach the singular moment where both entities come together serves as the most intriguing portion of the film's two-hour runtime.  There's a solid sense of Romero's mindset as he sees the chance to help with the adaptation of the video game which borrowed so much from his legendary films as a way to take back some sort of agency of his ideas.  The documentary does a solid job of leading us along the journey as his adaptation slowly begins to fall apart due to corporate interference.  We're given a window into his bitterness after the project collapses, especially once the zombie genre takes off in the subsequent years.  George A. Romero's Resident Evil ends on a bit of a somber note as it tracks the latter half of his career and ultimately his death in 2017 with heartfelt remembrance and longing for his Resident Evil film that never came to be.  

B-

MOVIE REVIEW: F1

 

In the 1990s, Sonny Hayes was Formula 1's most promising driver until an accident on the track nearly ended his career. Thirty years later, the owner of a struggling Formula 1 team convinces Sonny to return to racing and become the best in the world. Driving alongside the team's hotshot rookie, Sonny soon learns that the road to redemption is not something you can travel alone.

Director: Joseph Kosinski

Cast: Brad Pitt, Damson Idris, Kerry Condon, Tobias Menzies, Javier Bardem, Shea Whigham

Release Date: June 27, 2025

Genre: Action, Drama, Sport

Rated PG-13 for strong language, and action.

Runtime: 2h 36m

Review:

Joseph Kosinski's F1 delivers some truly intense and thrilling racing sequences that really put you in the driver's seat which is sure to leave an impression even though the plot is more or less a dramatic take of 1989's Major League.  This is a sleek film that really takes off when it gets the camera inside the cars and we feel the propulsive energy of the motors.  Kosinski pulls off some impressive technical feats by giving the audience a full 360-degree view during the film's energetic racing sequences that leave you feeling every twist and turn of the track in a visceral way.  It would all be even more engaging if the story and characters matched the level of creativity and artistry as the visual but sadly, they prove to be little more than a collection of sports movie clichés.  The characters all fit into nice tidy boxes with their general characteristics and motivations easily related in a brief synopsis.  Brad Pitt is perfectly cast as the weather worn, former golden boy that's brought back to the sport that he'd walked away from decades ago after a tragic failure.  Pitt's natural, earned screen charisma makes his character far more interesting than he would be in a lesser actor's hands.  There are moments where you get the sense, he's digging for more depth to the character whose ultimate motivation seems to be the same as Ricky Bobby's in Talladega Nights.  It’s a testament to him as a true movie star that he can make some of the film's clunkier moments and dialogue palpable with his natural delivery.  Damson Idris is solid as the hotshot rookie who's brash but still intimidated when Pitt's character shows up.  Idris is an incredibly talented performer, anyone who watched his work in 6 seasons of FX's Snowfall can attest to that, but the script gives him painfully little to work with as Joshua Pearce's rivalry/friendship plays out in predictable fashion with Sonny Hayes.  There's a moment where it feels like the script might take their relationship and the story into more meaningful territory which would have been far more interesting than the more predictable path, they end up choosing.  Kerry Condon is given the thankless job as the perfunctory love interest that's given just enough backstory to give her character a tad more depth than you'd usually expect. Javier Bardem has fun as the team owner and former teammate of Pitt's Sonny Hayes that brings him back into F1.  Tobias Menzies is wasted as the scheming board member who's hoping for the team's failure and ultimate sale.  Once it’s all said and done you get the feeling there was an opportunity for F1 to be something truly special if the amount of time and care put into the racing sequences had been given to the story and characters. 

B-

MOVIE REVIEW: ELIO

 

Elio, an underdog with an active imagination, finds himself inadvertently beamed up to the Communiverse, an interplanetary organization with representatives from galaxies far and wide. Mistakenly identified as Earth's ambassador to the rest of the universe, he starts to form new bonds with eccentric aliens while discovering who he's truly meant to be.

Director: Adrian Molina, Domee Shi, Madeline Sharafian

Cast: Yonas Kibreab, Zoe Saldaña, Remy Edgerly, Brandon Moon, Brad Garrett, Jameela Jamil

Release Date: June 20, 2025

Genre: Animation, Adventure, Comedy, Drama, Family, Fantasy, Sci-Fi

Rated PG for some action/peril and thematic elements.

Runtime: 1h 39m

Review:

Elio, Pixar's latest animated feature, brings a breath of fresh air with is original story and colorful characters while still managing to center itself around an emotional core.  The trio of directors, Adrian Molina, Domee Shi and Madeline Sharafian, deliver a lively sci-fi tale that's fun and easy to enjoy.  The character designs are inventive and wonderfully crafted especially once the action moves into the Communiverse.  They manage to keep a steady pace with the action which keeps the plot moving, something that both parents and children alike will appreciate.  It gives the film a nice flow that rarely lets up as we follow Elio's journey as he progressively gets more and more in over his head.  It helps that the central character is likeable from the onset even as he tries to deal with the loss of his parents and find his place in the world.  Yonas Kibreab voices the character with impressive enthusiasm layered with tinges of sadness that's some depth to the character.  He and Zoe Saldaña share a believe rapport together as she navigates the best way to deal with her nephew who she's left to care for.  Saldaña does a solid job of balancing her character's conflicted situation where she wants to do the best she can for Elio but is equally overwhelmed with the responsibility thrust on her which stalled her career.  There's a fair amount of subtle nuance to it that's easy to miss among the cornucopia of visuals thrown on screen, but it adds so much to the overall story especially in the back half of the film.  Brad Garrett and Remy Edgerly bring a similar sort of energy to Lord Grigon and his son Glordon.  Garrett's deep baritone voice works well for his seemingly aggressive character while Edgerly provides a solid contrast as his son who's not interested in his dad's work.  Edgerly and Kibreab make for a fun duo in the middle portion of the film with their friendship feeling believable as they're both looking for acceptance and attention from their guardians.  It all may not be as emotionally deep or devastating as some of Pixar's other films such as Coco or Inside Out, but Elio will leave you feeling good when you walk out of the theater.  

  

A-

MOVIE REVIEW: 28 YEARS LATER

 

It's been almost three decades since the rage virus escaped from a biological weapons laboratory. Still living in a ruthlessly enforced quarantine, some have found ways to exist amid the infected. One such group of survivors lives on a small island connected to the mainland by a single, heavily defended causeway. When one of them decides to venture into the dark heart of the mainland, he soon discovers a mutation that has spread to not only the infected, but other survivors as well.

Director: Danny Boyle

Cast: Jodie Comer, Aaron Taylor-Johnson, Alfie Williams, Ralph Fiennes, Jack O'Connell

Release Date: June 20, 2025

Genre: Horror, Thriller

Rated R for strong bloody violence, grisly images, graphic nudity, language and brief sexuality.

Runtime: 1h 55m

Review:

28 Years Later subverts expectations at every turn as Danny Boyle's return brings back his frenzied, kinetic style paired with an overstuffed script from Alex Garland that aims for something far more meaningful and epic than you'd expect.  Boyle takes the reins behind the camera, after ushering a new age of zombie films with 28 Days Later, with confidence that shines through as he delivers an evocative, fever dream of a film.  There are moments scattered throughout its nearly two-hour runtime that are simply mesmerizing in such a way that they almost feel other worldly even though the story boils down to coming-of-age tale.  It’s a visually aggressive film that feeds images in such a steady succession that it rarely gives the audience a moment to fully dissect what is being splashed on screen.  There's still plenty of "rage" induced action, but Boyle is far more concerned with the characters living in this postapocalyptic landscape.  It’s chock-full with allegorical meaning, speaking to variety of issues and concepts currently playing out in the real world.  Those looking for more action heavy, more mindless zombie fare might be left disappointed here as the story stakes out its own path with some choices working better than others.  Aaron Taylor-Johnson and Alfie Williams carry the first half of the film as we follow a seemingly straightforward father/son relationship before slow reveals open up the story to its back half with the character's mother played well by Jodie Comer.  Ralph Fiennes gets the least amount of screentime of the main characters, but his inspired turn leaves such a big impression that you wish Boyle would have given him more time to flesh him out.  When it’s all said and done, Alfie Williams deserves a hefty bit of credit for serving as the film's life blood as the film ends with a set up for the 28 Years Later sequel that looks to take everything in a more Romeroesque vibe.

A-

MOVIE REVIEW: MATERIALISTS

 

A young New York City matchmaker's lucrative business gets complicated as she finds herself torn between the perfect match and her imperfect ex.

Director: Celine Song

Cast: Dakota Johnson, Chris Evans, Pedro Pascal

Release Date: June 13, 2025

Genre: Comedy, Romance

Rated R for language and brief sexual material.

Runtime: 1h 49m

Review:

Celine Song's sophomore film, Materialist, isn't quite as focused as Past Lives but it’s a fascinatingly uneven rumination on dating powered by strong performances from its central trio.  Song's film initially feels like a standard rom-com set up but it clear from the outset that she's got more on her mind than that as she uses tropes to lure us into something more interesting.  The debonair rich suitor vs downtrodden, love sick loser is a classic set up but here its deconstructed to something more honest.  Each suitor plays to one half of Dakota Johnson's Lucy with one serving as the answer to her analytical and more materialistic side while the other remains more abstract in spite of history and common sense.  Johnson and Pedro Pascal scenes together are played up with an air of elegance and refinement while maintaining as sense of artificial detachment.  Pascal has his charm level set to max with his character's ultimate failing not being the standard issue anger, womanizing or drug problem that these characters are typically saddled with but something inaner and shallow.  Pascal still manages to bring an air of humanity to the role, something that's typically missing from this kind of character.  He and Johnson make for a solid screen couple but some of their discussions feel a bit too artificial and scripted, far removed from natural conversation.  Johnson’s scenes with her ex-beau, played with just the right level of hapless innocence by Chris Evans, come across a bit more naturally and nuanced.  They deliver solid, subtle work as we get a sense of their shared history with every look and pause conveying volumes of information.  Evans is given plenty of sweet, swoon worthy moments that are sure to melt many hearts serving as effective foil to Pascal's more measured and calculated aura.  A handful of tonal shifts shake up the film's flow, making it a choppier experience as the focus shifts far too often at inopportune times.  A more focused approach on the central trio would have made the whole thing more effective but those looking for a more thoughtful rom-com will find plenty to enjoy with Materialists.    

 

B

MOVIE REVIEW: THE ALTO KNIGHTS

 

In the 1950s, notorious New York crime bosses Frank Costello and Vito Genovese vie for control of the city streets. Once the best of friends, petty jealousies and a series of betrayals place them on a deadly collision course that reshapes organized crime forever.

Director: Barry Levinson

Cast: Robert De Niro, Debra Messing, Cosmo Jarvis, Kathrine Narducci, Michael Rispoli

Release Date: March 21, 2025

Genre: Biography, Crime, Drama, History

Rated R for violence and pervasive language

Runtime: 2h 3m

Review:

The Alto Knights is a solid, if unremarkable mafia tale from Barry Levinson with the main draw being Robert De Niro playing dual roles.  Levinson's film is efficient enough to move through Costello's life at a steady pace even though it suffers from an unshakeable sense of familiarity due to the sheer glut of mafia stories that have hit the screen.  It lessens the effect of this true-life story since there are very few surprises in store as we  follow Costello's retelling of his friendship and feud with Vito Genovese.  Robert De Niro is still more than capable enough to carry dual roles and does it fairly effortlessly here.  He seems to be enjoying himself playing back in the mafia sandbox as he cycles through variations of characters, he's played in the past along with a few hints of Raging Bull thrown in for good measure.  It’s hard to deny how fun it is to see De Niro perform against himself when the characters come face to face, but you can't shake the feeling that the film would have been better off casting someone else as Vito, Joe Pesci would have been perfect for multiple reasons.  It doesn't help that the script from Nicholas Pileggi, who wrote Goodfellas and Casino, is surprisingly thin in terms of fleshing out the characters across the board.  Costello and Genovese are always at arm’s length as we never really get much insight into their minds outside of one's perchance for violence in contrast to the other's more measured, less brutal, approach.  The supporting characters suffer even more as we get painfully little to flesh them out leaving solid performers like Debra Messing and Cosmo Jarvis with very little to work with.  Adding a bit more depth to the characters across the board would have made The Alto Knights far more engaging than it ends up being once everything is said and done.

C+

MOVIE REVIEW: THE BALLAD OF WALLIS ISLAND

 

Old tensions resurface when former bandmates who were former lovers reunite for a private show at the island home of an eccentric millionaire.

Director: James Griffiths

Cast: Tim Key, Tom Basden, Carey Mulligan, Akemnji Ndifornyen, Sian Clifford

Release Date: March 28, 2025

Genre: Comedy, Drama, Music, Romance

Rated PG-13 for some language and smoking.

Runtime: 1h 40m

Review:

The Ballad of Wallis Island is one of those indie gems that pops up every so often that's so subtly heartfelt and funny that you barely notice how engaged you’re with it until it lingers in your memory long after the film ends.  The film is surprising on multiple levels as it traffics in various rom-com/awkward comedy tropes but takes them in refreshingly unexpected directions.  Director, James Griffiths, reunites with writers/stars Tom Basden and Tim Key for this feature length adaptation of their 2007 short The One and Only Herb McGwyer Plays Wallis Island.  Their familiarity working together and the subject matter is readily apparent as they create something disarmingly funny, sweet and meaningful.  Tim Key brings an endearing but oblivious awkwardness that could have bordered on creepy if his performance wasn't so carefully nuanced.  Key gives his character a well-meaning authenticity to the man simply trying to memorialize his deceased wife with a performance from his favorite musicians.  Tom Basden brings an appropriate sense of self-importance to his half of the musical duo at the center of the film.  Basden performance is a fascinating blend ego paired with self-loathing as he’s desperate to find his musical groove again after pursuing a more commercial career at the cost of his relationship.  Carey Mulligan is pitch perfect as his ex-who’s moved on but is willing to revisit that part of her life as part of the gig.  Mulligan's character is measured and layered in a way that you rarely see in these kinds of movies.  Her character acts like a real person throughout especially in the final act which touches on the recurring themes of regret, loss and acceptance.  It all builds together to make The Ballad of Wallis Island something truly special and memorable in the best way possible.  

A

MOVIE REVIEW: THE PHOENICIAN SCHEME

 

Wealthy businessman, Zsa-zsa Korda appoints his only daughter, a nun, as sole heir to his estate. As Korda embarks on a new enterprise, they soon become the target of scheming tycoons, foreign terrorists, and determined assassins.

Director: Wes Anderson

Cast: Benicio del Toro, Mia Threapleton, Michael Cera, Riz Ahmed, Tom Hanks, Bryan Cranston, Mathieu Amalric, Richard Ayoade, Jeffrey Wright, Scarlett Johansson, Benedict Cumberbatch, Rupert Friend, Hope Davis, F. Murray Abraham, Charlotte Gainsbourg, Willem Dafoe, Bill Murray

Release Date: June 6, 2025

Genre: Action, Comedy, Crime, Drama, Thriller

Rated PG-13 for violent content, bloody images, some sexual material, nude images, and smoking throughout.

Runtime: 1h 45m

Review:

Wes Anderson's latest film, The Phoenician Scheme, finds his esoteric style increasingly refined which is sure to please a long time but it'll do little to bring others into the fold.  Anderson meticulous visuals always give his films their distinctive style with that being true again here.  He toys with more hallucinatory detours that give this film a more spiritual sensibility centered around themes of legacy and redemption of self.  It’s a fascinating subject matter, one that's laced some of his previous films such as The Royal Tenenbaums and The Grand Hotel Budapest, but his approach is even more overt here.  There's a mediative contemplation to it all as we follow Benicio del Toro's Zsa-zsa Korda plan to cement his legacy while attempting to mend his relationship with his estranged daughter played wonderfully by Mia Threapleton.  The overly complex plans sometimes hamper the central themes he's exploring which leaves you wishing he'd chosen something a bit less involved to focus on the father/daughter relationship which drives the film.  Those moments possess the kind of tender, soulfulness that have made some of his best films stand out.  It’s a difficult balancing act that he can't pull off this time around as the film occasionally comes to a screeching halt thanks to an over indulgence on the quirky scenario and cameos which are fun but feel far more superfluous than usual.  Those cameos are peppered with a cavalcade of A listers with each making the most of their screentime with Jeffrey Wright's character sorely begging for more time to shine.  Benicio del Toro and Mia Threapleton make for a strong onscreen duo as two different sides of the same coin even though she may or may not be his biological daughter.  Michael Cera fits right in as the third primary cast member with him easily working himself into Anderson's world, so much so that you're left wondering why they haven't worked together sooner.  The Phoenician Scheme may not land in the upper echelon of Wes Anderson's but that doesn't mean that fans won't find plenty to enjoy in this fanciful excursion.  

B-

Cindy Prascik's Reviews of John Wick Chapter 4 & Captain America Brave New World

 My dear readers: This past week I caught up with a pair of action flicks from franchises in which I was once invested.

Spoiler level here will be mild, nothing you wouldn't know from the trailers.

First on my agenda, John Wick: Chapter 4.

Hoping to finally earn his freedom, our hero John Wick is on the run again.

The John Wick franchise seems to blow up its universe pretty much every movie, only to find a way of repeating the same formula with the next outing. JW4 is no real exception, and if the schtick is wearing a bit thin, there's still a lot to like here. Keanu Reeves was born for this role, and there will always be some joy in seeing him play it. Ian McShane elevates any project lucky enough to have him. The cinematography, set design, and fight choreography remain head-and-shoulders above average for the genre, but...maybe there's something to be said for franchises that quit while they're ahead. Chapter 4 is overlong, and the fight scenes, well-done as they are, drag on and on. The movie doesn't manage to hold any real suspense, so ultimately its aesthetic virtues can't save it from being uninspiring.

John Wick: Chapter 4 runs 169 minutes (I'm not kidding) and is rated R for, "pervasive strong violence and some language."

John Wick: Chapter 4 retains some of the assets that make the franchise great, but it might be time to put this one to bed. Of a possible nine Weasleys, John Wick: Chapter 4 gets six.

John Wick: Chapter 4 is now streaming on Peacock.

Next on the docket was Marvel's Captain America: Brave New World.

Sam Wilson officially takes the shield and must foil a nefarious international plot.

In my house, we stan Anthony Mackie, so I was very much looking forward to him taking the top(ish) spot in the Marvel hierarchy. Brave New World gives him a serviceable film with a strong supporting cast and a decent storyline. The movie is almost entirely without the forced humor and convoluted timeline/universe jumping that plague most Marvel output. If the movie is a bit longer than it needs to be, it's not nearly as bloated as most Marvel pictures, and it's well paced enough to (mostly) get away with it.

Captain America: Brave New World clocks in at a pretty reasonable 118 minutes and is rated PG13 for, "intense sequences of violence and action and some strong language."

Captain America: Brave New World is a solid beginning for an iconic hero's new chapter. 

Of a possible nine Weasleys, Captain America: Brave New World gets seven and a half.

Captain America: Brave New World is now streaming on Disney+.

Until next time...

MOVIE REVIEW: BALLERINA

 

An assassin trained in the traditions of the Ruska Roma organization sets out to seek revenge after her father's death.

Director: Len Wiseman

Cast: Ana de Armas, Gabriel Byrne, Catalina Sandino Moreno, Norman Reedus, Anjelica Huston, Lance Reddick, Ian McShane, Keanu Reeves

Release Date: June 6, 2025

Genre: Action, Thriller

Rated R for strong/bloody violence throughout, and language.

Runtime: 2h 5m

Review:

Ballerina is preposterous on multiple levels, but the inventive action and Ana de Armas' laser focused performance makes it far more watchable than it deserves to be.  Len Wiseman is no stranger to directing kick ass heroines, having helmed the Underworld franchise in the early 2000's, so he makes an easy fit for this John Wick spin off.  He's more than capable of emulating the look and feel of the main line films, especially the increasingly outlandish action sequences highlighted by a flamethrower fight in the final act.  There's also a fun injection of tongue in cheek comedy during the barrage of action sequences highlighted by a sequence in a Bavarian Cafe that might have people of a certain age have Three Stooges flashbacks.  It’s a nice way to mix things up for the usual formula along with making a point of Eve having to make up for the strength disparity with the majority of her male adversaries.  That's not to say she doesn't mow through a boat load of people throughout the film's runtime but it’s refreshing to see them get a bit more inventive with the character relying more on knives and bombs in addition to the cornucopia of guns she uses.  Sure, it’s ultimately lip service since her character has a video game style rechargeable life bar which recharges shortly after the assorted injuries she endures throughout.  Ana De Armas is impressively focused throughout, making it all the mayhem and carnage immensely watchable even as it starts to overstay its welcome.  There's also a sense that she's searching for something meatier, character wise, to bite into which is sadly lacking for her and the cast across the board.  The script offers the bares of a story thread, leaning heavily on the established lore while throwing out some interesting ideas like an assassin cult but never really doing anything with it.  If there had been a bit more time and attention given to the story and characters, it would have made Ballerina more than a fun but forgettable detour from the main series.     

C+

MOVIE REVIEW: BRING HER BACK

 

A brother and sister witness a terrifying ritual at the secluded home of their new foster mother.

Director: Danny Philippou, Michael Philippou

Cast: Billy Barratt, Sora Wong, Sally Hawkins, Jonah Wren Phillips, Sally-Anne Upton

Release Date: May 30, 2025

Genre: Horror, Mystery

Rated R for strong disturbing bloody violent content, some grisly images, graphic nudity, underage drinking and language.

Runtime: 1h 39m

Review:

Danny and Michael Philippou sophomore feature, Bring Her Back, is an impressive upgrade on their much talked about debut film with a more engaging story, better fleshed out characters and a tour de force turn from Sally Hawkins.  The twin filmmakers displayed a fantastic eye for visuals in Talk to Me something that's on full display again here as they meticulously frame shot after shot of the increasingly harrowing events.  This is more of a slow burn though as the sense of foreboding and uneasiness builds until it spills out in increasingly graphic spurts of gore.  Those moments of over-the-top body horror feel a tad unnecessary since the less is more approach might have worked better for this particular story.  The psychological aspect of the story makes up the most engrossing angle which would have been better served with some restraint.  Still, it’s hard to really quibble too much about it since those moments will have you winching and squirming in your seat just like the directors intended.  The story itself seems intentionally ambiguous with very few answers provided especially in regards to the ritual being recreated by Sally Hawkins' Laura.  There are just enough breadcrumbs thrown the audience's way to give them an idea of what's going on but never providing a full explanation.  It adds an air of unsettling mystery to the whole that plays into the unsettling nature of the traumatic subject matter played to a perfect pitch by the film's central cast.  Billy Barratt and Sora Wong make for a strong pair of orphaned siblings dealing with the sudden loss of their father.  Barratt brings a strong sense of brotherly protectiveness over his partially blind younger sister.  Underneath it though is a pervading sense of shame that adds a layer of depth to his character that makes him far more interesting.  Sally Hawkins though is the star of the show as the initially quirky foster mother whose becomes increasingly deranged as the film moves on.  She brings so many layers to her broken, crazed character that it’s nearly impossible to take your eyes off her even when she's sporting a Brian May style hair.  The three of them work off each other effortlessly create the kind of familial nightmare that's sure to linger long after Bring Her Back credit's roll.  

   

A-

MOVIE REVIEW: LILO & STITCH

 

Lilo & Stitch is a 2025 American science fiction comedy film directed by Dean Fleischer Camp and written by Chris Kekaniokalani Bright and Mike Van Waes. Produced by Walt Disney Pictures and Rideback, the film is a live-action animated remake of Disney's 2002 traditionally animated film of the same name. 

Director: Dean Fleischer Camp

Cast: Maia Kealoha, Sydney Elizebeth Agudong, Hannah Waddingham, Billy Magnussen, Zach Galifianakis, Chris Sanders, Courtney B. Vance, Tia Carrere, Amy Hill,  Jason Scott Lee

Release Date: May 23, 2025

Genre: Action, Adventure, Comedy, Drama, Family, Fantasy, Sci-Fi

Rated PG for action, peril and thematic elements.

Runtime: 1h 48m

Review:

Lilo & Stitch is a perfectly adequate redux of the superior 2002 original which streamlines certain parts of the story effectively but just never recaptures the chaotic energy of the animated film in spite of the cast and crews’ best efforts.  Dean Fleischer Camp bringing his tender hearted, occasionally soulful approach to the otherworldly hijinks here much like he did with 2021's Marcel the Shell with Shoes On.  He's able to give certain characters in the film more depth, making them more three dimensional than their animated counterpart.  Nani, Lilo's older sister, played with authentic earnestness by Sydney Elizebeth Agudong gets a better realized story arch here as she's given more to do throughout the film.  It’s clear that Camp is trying his best to stake out his out territory here but he's held back by having to recreate a bevy of scenes and sequences from the animated film which just reminds you that like the other live action adaptations there's a cynical money grab driving it all.  There are moments that break free a bit to deliver something new and fresh much like the reworked final act which is revamped to focus more on the emotional connection as opposed to more outright cartoonish action.  Maia Kealoha play the Lilo role a bit sweeter and less chaotic than the original which works better in the back half of the film than it does early on.  Chris Sanders reprises his role as the voice of Stitch barely missing a beat as he easily slides back into Experiment 626's skin.  Billy Magnussen and Zach Galifianakis prove to be welcome additions here as Agent Pleakley and Dr. Jumba Jookiba respectively.  Magnussen talents are perfectly suited as he can play oblivious goofball in his sleep.  Galifianakis reins his usual impulses here to give his take on the character a slightly more sinister undercurrent.  Courtney B. Vance and Tia Carrere's characters split up Ving Rhames Cobra Bubbles character into two separate characters with Mrs. Kekoa serving as social worker side. It doesn't quite work the way it should since both characters feel underserved by the time it’s all said and done.  This iteration of Lilo & Stitch is perfectly suitable family fun with a solid message about the family we're born with and find but it can't shake the fact that the original film did the same thing more effectively.  

 

B-

MOVIE REVIEW: MISSION: IMPOSSIBLE - THE FINAL RECKONING

 

Ethan Hunt and the IMF team race against time to find the Entity, a rogue artificial intelligence that can destroy mankind.

Director: Christopher McQuarrie

Cast: Tom Cruise, Hayley Atwell, Ving Rhames, Simon Pegg, Henry Czerny, Angela Bassett, Esai Morales, Pom Klementieff

Release Date: May 23, 2025

Genre: Action, Adventure, Thriller

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

Runtime: 2h 49m

Review:

Mission: Impossible – The Final Reckoning is massive in nearly every way imaginable from its pair of massively thrilling action set pieces that have to be seen on the biggest screen possible but the whole thing is nearly bogged down by a lore heavy plot that tries to tie together 30 years of the franchise with a noticeable sense of self reverence.  Christopher McQuarrie directs the film with the kind of capable hand you'd expect from somebody who's been playing in this sort of scale for years.  He excels at the rather insane action sequences which have become the hallmark of the series and again delivers the sort of blockbuster insanity that other films can only aspire to.  The submerged submarine sequence is equal parts The Abyss and Titanic with its rotating kaleidoscope of death that's sure to leave a memorable impression.  The much talked about biplane sequence is visceral on every level thanks in large part to Tom Cruise's willingness to put himself in tangible danger to pull off the stunts.  McQuarrie orchestrates it all with impressive ease that you barely notice that both sequences are nearly dialogue free.  There are more noticeable lulls in between those big moments especially when compared to recent entries thanks to an unnecessarily muddled script.  There are plenty of call backs throughout the film with some feeling more natural and organic than some of the more forced moments.  It’s a shame because as nonsensical as the plot is there a sense that if the story had jettisoned some or all of the nostalgia this would have been a leaner more effective send off.  That's not to say there isn't a lot to enjoy here but it’s just not up to the levels of 2018's Fallout or 2023's Dead Reckoning.  Tom Cruise and McQuarrie might just suffer from setting the bar to high at this point by making it nearly impossible to top themselves.  Cruise and his character are practically indistinguishable by this point in the series which shouldn't be much of a surprise even as he spends more time with smaller supporting players than the returning cast.  Hayley Atwell, Ving Rhames, Simon Pegg, Henry Czerny, Angela Bassett and Pom Klementieff all have their moments to shine.  Atwell is earnestly wide eyed throughout while Pegg is given the chance to step up and lead.  Klementieff again makes the most of her screentime leaving her the most memorable supporting character once it’s all said and done.  Esai Morales returns as the main human villain here but much like the last entry there's never a ton of time spent giving him much depth or making him feel like a tangible treat to Cruise's Hunt.  Missteps aside, Mission: Impossible – The Final Reckoning is a solid send off for the series even if doesn't reach the heights of its best entries.

B

MOVIE REVIEW: FRIENDSHIP

 

A man tries to befriend his charismatic new neighbor, but it soon threatens to ruin both of their lives.

Director: Andrew DeYoung

Cast: Tim Robinson, Kate Mara, Jack Dylan Grazer, Paul Rudd, Josh Segarra

Release Date: May 9, 2025

Genre: Comedy

Rated R for language and some drug content.

Runtime: 1h 40m

Review:

Andrew DeYoung's Friendship is a hilariously bizarre film about male friendship gone horribly wrong powered by some utterly cringe inducing turns from Tim Robinson and Paul Rudd.  DeYoung's directorial debut is a strange mix of grounded, mundane reality paired with occasional flights of fancy that gives the film a distinctive feel even as we follow the inanest moments of these characters’ lives.  Tim Robinson's very specific sort of cringe comedy fits this story perfectly as we follow his character's obsessive need to hold on to his newfound friendship.  There's nothing terribly subtle about it which works in spots and takes out of the story in others since it makes you question if his character could maintain a marriage and career with this sort of acute arrested development.  There's an insulation that his life had been neutered to such an extent that he's left desperate to make a connection with somebody outside of his family and work group.  The cool guy, Paul Rudd channeling his Anchorman character Brian Fantana, shows him some authentic interest before a hilariously horrible hangout has Robinson's character shunned as a weirdo.  Things quickly spiral out of control as Robinson's character desperately tries to get back in Rudd's good graces resulting in a few inspired moments.  Kate Mara delivers a more subtle but effective performance as Robinson's cancer survivor wife who has checked out of their relationship ages ago.  Mara and Robinson don't quite work the way they should since it’s hard to believe they'd been married for as long as they have in the film.  It’s one of those story threads that lacks the kind of authenticity that really keeps Friendship from being a consistently enjoyable experience as opposed to a series of highs and lows.  

B

MOVIE REVIEW: FINAL DESTINATION: BLOODLINES

 

Plagued by a violent and recurring nightmare, a college student heads home to track down the one person who might be able to break the cycle of death and save her family from the grisly demise that inevitably awaits them all.

Director: Zach Lipovsky, Adam Stein

Cast: Kaitlyn Santa Juana, Teo Briones, Richard Harmon, Owen Patrick Joyner, Rya Kihlstedt, Anna Lore, Brec Bassinger, Tony Todd

Release Date: May 16, 2025

Genre: Horror

Rated R for strong violent/grisly accidents, and language.

Runtime: 1h 49m

Review:

Final Destination: Bloodlines breathes some new life into the dormant series thanks to directors Zach Lipovsky and Adam Stein embracing the goofy, gory fun of the concept along with a series of cleverly designed death traps.  The Final Destination films have always had a sinister sense of humor which the better entries have used to great effect.  Lipovsky and Stein use a barebones family drama to give the film a bit of connective tissue and stakes which works in spots but noticeably lags in others, leaving you wishing for some tighter editing since the deaths are stars of the show.  The good news is that they prove more than capable of delivering some tense, funny and splatter-filled moments of mayhem that will leave you laughing more than anything else as they manage to make the most mundane items look lethal.  They smartly play with audience expectations by using a handful of well-placed misdirects to give the film an air of uncertainty.   They benefit from a cast who clearly understand what type of film they are making and fully embrace the absurdity of it all even as they recite their clunky dialogue.  Kaitlyn Santa Juana leads the main cast of meat puppets with a serviceable but forgettable turn.  Brec Bassinger fares better in the opening flashback sequence during the funhouse destruction of a new tower restaurant.  Richard Harmon and Owen Patrick Joyner have a fun brotherly chemistry together which the film takes full advantage of during their big set piece.  Tony Todd cameos as the sole recurring character in the series, William Bludworth, with the film giving him a rather touching sendoff both onscreen and off.  It all makes for a return to form for the Final Destination series with Bloodlines ranking in the top three with general ease.  

B-

MOVIE REVIEW: FIGHT OR FLIGHT

 

A mercenary takes on the job of tracking a high-value asset known only as "The Ghost" on an international flight. Realizing the plane is filled with assassins assigned to kill them both, the pair must work together in a fight for their lives.

Director: James Madigan

Cast: Josh Hartnett, Charithra Chandran, Marko Zaror, Katee Sackhoff, Rebecka Johnston

Release Date: May 9, 2025

Genre: Action, Comedy

Rated R for strong bloody violence, language throughout and some drug material.

Runtime: 1h 41m

Review:

Fight or Flight bears more than a passing resemblance to 2022's Bullet Train but first-time director James Madigan delivers some aggressively over the top action sequences, paired with a gonzo performance from Josh Hartnett that makes it distinctive enough to stand on its own.  Madigan brings a fun, freewheeling energy to the proceedings that propels large chunks of the film that make it easier to overlook the barebones script.  He's clearly in his element directing the series of action sequences that mark the film's highlights exemplified by a rather insane but inspired final act.  The quieter moments in between those action sequences aren't nearly as effective making for a herky jerky flow to the film overall.  Tighter editing would have made those moments work better and given the film a steadier flow overall especially since the script is light on depth.  Holding it all together is an inspired turn from Josh Hartnett who goes all in for the entirety of the film's runtime.  Hartnett displays an impressive talent for physical comedy mixed with the fight choreography that makes his character so much fun to watch as he’s surviving wave after wave of crazed assassins.  He's clearly having a ball just letting loose which comes through the screen and makes the film so easy to enjoy.  Charithra Chandran and Katee Sackhoff make up the most substantial portion of the supporting cast with both getting enough screentime to join in on the fun.  Chandran and Hartnett work well together on screen with her proving to be more than capable of holding her own during the action sequences.  Sackhoff's character doesn't get a ton of screen time, but she makes the most of it as she chews up the scenery with villainous glee.  Once it’s all said and done, Fight or Flight doesn't make a ton of sense if you think about it too much but it’s an enjoyable piece of bloody escapism that most won't care.  

B-

MOVIE REVIEW: JULIET & ROMEO

 

Based on the real story that inspired Shakespeare's Romeo and Juliet, follows the greatest love story of all time, set as an original pop musical.

Director: Timothy Scott Bogart

Cast: Jamie Ward, Clara Rugaard, Rebel Wilson, Rupert Everett, Jason Isaacs, Derek Jacobi, Dan Fogler, Ledisi, Tayla Parx, Ferdia Walsh-Peelo,  Rupert Graves

Release Date: May 9, 2025 US/ June 11, 2025 UK One Night Only 

Genre: Drama, Musical, Romance

Rated PG-13 for some violence, bloody images and suggestive material.

Runtime: 2h 1m

Review:

Timothy Scott Bogart's ambitious retelling of the "real" story of Romeo and Juliet is a visual feast for the eyes and ears especially if you enjoy original pop musicals.  Bogart's film takes the classic Shakespeare play as its baseline, hitting on the major points of the story although it’s not slavishly tethered to it.  Those looking for a more straight forward adaptation of the story has ample other options to explore by this point with this production attempting to do something different, akin to Baz Luhrmann's Romeo + Juliet from 1996.  This take is a full-on musical from start to finish filled with original pop songs that make up the lion's share of the film's narrative.  Jamie Ward and Clara Rugaard make for a likeable duo onscreen with impressive vocal talents to boot which makes their sequences pop off the screen.  Those musical numbers serve the film's lifeblood as every bit of energy is poured into each production's lavish outfitting, staging and choreography.  They provide the best kind of assault on the senses as the lavish costuming and easy to enjoy tunes fill the screen like cinematic confetti.  The film does suffer a noticeable lag between the musical numbers as the more traditional scenes serviceably move the narrative along but lack the energy of what came before and after.  Additionally, there is a bit of recalibration required as the script switches from Shakespearean style dialogue to a more modern spoken word throughout the film's runtime.  It’s an odd balancing act since the film is filmed in a real portion of Verona and the costuming as set it firmly in the 1300's while the songs and majority of the dialogue are clearly products of the present.  It takes a bit to get acclimated to mix and match approach which makes the transitions a bit clunkier than need be.  The aforementioned Ward and Rugaard power through it all with impressive enthusiasm and energy as they pour themselves into their performances.  Ward brings a brash, self-assured aura to his Romeo which softens when his character is around Rugaard's Juliet.  Rugaard's exudes a strong, self-assured confidence that gives their relationship more of an even balance than most adaptations.  Surrounding them are a bevy of recognizable character actors such as Rebel Wilson, Rupert Everett, Jason Isaacs, Derek Jacobi and Dan Fogler playing older characters who do the best they can in their limited screentime.  Derek Jacobi leaves the biggest impression as the well-intentioned Friar who sets off the action in the finale.  There are some surprises that pop up in Juliet & Romeo's final act which could lead to some intriguing narratives since this film kicks off a trilogy of films. 

B+

MOVIE REVIEW: ROSARIO

 

Wall Street stockbroker Rosario Fuentes returns to her grandmother's apartment after her sudden death. While sorting through her belongings, Rosario discovers a hidden chamber that's filled with occult artifacts tied to dark generational rituals. As supernatural occurrences begin to plague her, she must confront her family's buried secrets and face the truth about the sacrifices and choices they made.

Director: Felipe Vargas

Cast: Emeraude Toubia, David Dastmalchian, José Zúñiga, Diana Lein, Paul Ben-Victor

Release Date: May 2, 2025

Genre: Horror

Rated R for bloody violent content and some language.

Runtime: 1h 28m

Review:

Felipe Vargas's feature film debut, Rosario, tries to explore some interesting concepts with his Latin inspired spookfest. Unfortunately, its convoluted story falls back on tired tropes while barely registering any sort of real scares along the way.  Vargas does show some talent behind the camera as he makes solid use of the setting and a series of grossout moments.  Sadly, there's a noticeable lack of tension to the whole thing that saps most of the film of any real energy with most of the scares falling flat.  The script doesn't do him any favors with its hackneyed dialogue and slow roll reveal of the main conceit.  The concept takes an interesting approach to weave in horror elements and immigrant experience together but doesn't take full advantage of the concept before resorting to overused jump scares.  It doesn't help that Emeraude Toubia is onscreen by herself for nearly 90 percent of the film's runtime.  Toubia makes an admirable effort as she tries to carry the film, but she just doesn't have the acting chops required to pull it off.  Her character fluctuates between confused, terrified to oddly ok with all the increasingly odd occurrences unfolding in front of her.  That doesn't include some of the sillier elements such as her grandmother's rather expansive apartment which contains more secret compartments than a medieval castle.   David Dastmalchian, José Zúñiga and Paul Ben-Victor make up the small supporting cast, but the film never takes advantage of their talents.  Dastmalchian feels wasted in what amounts to a pointless, throwaway character who doesn't factor all that much into the overall story.  It all leaves Rosario a rather forgettable experience that fumbles some of the more interesting ideas it throws onscreen.   

D

MOVIE REVIEW: THUNDERBOLTS*

 

Ensnared in a death trap, an unconventional team of antiheroes -- Yelena Belova, Bucky Barnes, Red Guardian, Ghost, Taskmaster and John Walker -- embarks on a dangerous mission that forces them to confront the darkest corners of their pasts.

Director: Jake Schreier

Cast: Florence Pugh, Sebastian Stan, Wyatt Russell, Lewis Pullman, Hannah John-Kamen, Julia Louis-Dreyfus, David Harbour, Geraldine Viswanathan, Olga Kurylenko

Release Date: May 2, 2025

Genre: Action, Adventure, Crime, Drama, Fantasy, Sci-Fi

Rated PG-13 for strong violence, language, thematic elements, and some suggestive and drug references.

Runtime: 2h 6m

Review:

Marvel's Thunderbolts* proves to be a refreshing change of pace to the standard formula by focusing on the characters’ inner turmoil while still delivering the kind of superhero action you've come to expect.  There's an easy flow to Jake Schreier's film even as it explores various aspects of unresolved trauma and how it affects each of the characters.  There's a noticeable confidence on display behind the camera, proving more than capable of delivering impressive action set pieces and quieter emotionally centered moments.  Schreier maintains a fine balance between the two, which is impressive especially considering how formulaic these films can be.  There's a concerted effort on keeping the focus squarely on the characters as opposed to devolving into the usual CGI fight fest.  Schreier is blessed with an excellent ensemble cast led by the ever-impressive Florence Pugh.  It'd be an understatement to say that Pugh serves as the oil that drives the machine here since she brings so much depth and nuance to her performance that it just makes the entire film more effective.  This iteration of her character carries so much pain that's practically disassociated with life in general with Pugh being able to communicate that with ease.  She's given a wide emotional berth to work with which makes her character feel like the most three dimensional onscreen as we watch her suffer through her pain but support others through theirs.  Pugh and David Harbour share some fun father daughter chemistry together which delivers some of the film's more effective moments of levity.  Harbour slips back into his Red Guardian role and easily brings his outsized presence to the past, his prime superhero.  The rest of the supporting cast is solid across the board even if they don't get the sort of time or depth of Pugh's Yelena.  Wyatt Russell, Hannah John-Kamen and Sebastian Stan share fun chemistry together with the ensemble bouncing off each other easily.  Stan has been playing his character longer than anyone else onscreen which gives him the opportunity to give his performance more layers that have been earned over the years.  It finally allows the character to breathe a bit and have some fun onscreen as opposed to carrying a perpetual scowl.  Lewis Pullman Bob's is subdued and likable when he shows up onscreen with the script adding more to his character as the film moves along.  Julia Louis-Dreyfus and Geraldine Viswanathan are both clearly having fun onscreen, but their characters feel underserved leaving them little to do outside of moving the plot along.  There's a rather inventive final act that brings something different to screen as a climax which is a welcome change from the usual CGI beat em up, making Thunderbolts* more memorable than the recent string of forgettable Marvel entries.

B+