MOVIE REVIEW: COMPANION

 

A weekend getaway turns bloody and violent when a subservient android that's built for human companionship goes haywire.

Director: Drew Hancock

Cast: Sophie Thatcher, Jack Quaid, Lukas Gage, Megan Suri, Harvey Guillén, Rupert Friend

Release Date: January 31, 2025

Genre: Sci-Fi, Thriller

Rated R for strong violence, sexual content, and language throughout.

Runtime: 1h 37m

Review:

Companion is a fun, dark dramady that puts a techno twist on the lifecycle of an abusive relationship led by a stellar turn from Sophie Thatcher.  Sleekly shot and well-paced, the film quickly lays out the set up and players before moving into the meat of the action.  Drew Hancock's debut feature shows off an ability to turn on a dime from tense to darkly funny.  It gives the entire film a breezy feel even as the body count continue to increase.  Through it all he never loses focus on Sophie Thatcher's Iris and her "awaking" as the human collection of dullards attempt to complete their master plan.  There aren't many surprises to be had since the story plays out like you'd expect but that doesn't detract much since the cast is strong across the board.  Sophie Thatcher leads the entire thing by naturally cycling through a wide range of emotions as the film goes on.  She's got the kind of screen presence that makes it easy to root for her character as she tries to break free on multiple levels.  Jack Quaid is a fun counterpart since he's able to project his goofy energy along with incel infused anger as he slowly loses control.  Thatcher and Quaid have solid chemistry together that gives their scenes together a sort of rom-com vibe before things turn more twisted.  Harvey Guillén brings his fun and likable persona to his supporting role with his onscreen partner Lukas Gage making for a fun counter point to Quaid and Thatcher's relationship.  Rupert Friend is clearly having a blast, hamming it up as Megan Suri's well-off Russian boyfriend which is a shame since he's got the least screentime of the ensemble.  It all adds up to making Companion the perfect anti Rom-Com for those that like their love stories with a bit more blood and viscera.  

B+

MOVIE REVIEW: PRESENCE

 

A family moves into a suburban house and becomes convinced they're not alone.

Director: Steven Soderbergh

Cast: Lucy Liu, Chris Sullivan, Callina Liang, Eddy Maday, West Mulholland, Julia Fox

Release Date: January 19, 2025

Genre: Drama, Horror, Thriller

Rated R for violence, drug material, language, sexuality and teen drinking.

Runtime: 1h 25m

Review:

Steven Soderbergh's reverse perspective ghost story, Presence, is a solid bit of voyeuristic experimentation that's more engaging as a drama than a horror film.  The gliding, first person point of view can be a bit disorienting initially especially for people who have not played many first persons video games.  It gives the film an interesting look and feel as the camera serves as the character of the Presence with Soderbergh proving more than capable of communicating a boatload of information via movements and more standard ghost tropes over the course of the film's brisk runtime.  The film plays out in a series of short and extended sequences that play out like uninterrupted shots which are technically impressive.  Once the film settles in the central story it is far more focused on a portrait of a family fraying at the edges for a variety of reasons.  Lucy Liu toplines the cast as a domineering matriarch who's possibly involved in some sort of criminal endeavor and overly focused and forgiving of her eldest son.  Chris Sullivan is solid as the long-suffering father who's trying his best to keep his family together even though he's clearly at his breaking point.  Eddy Maday is appropriately douchey and entitled as the family's golden child.  Callina Liang plays the daughter who's broken from the recent loss of a friend which may be the Presence since it seems to be singularly focused on her.  The four of them have a natural family dynamic even if the characters are written a bit generically.  The script only gives us bits and pieces on their backstories but it’s enough to give us insight into the dysfunctional nature of their family unit.  West Mulholland's Ryan is far less subtle with the character written as far too creepy and strange as Tyler's friend who shows an immediate interest in Liang's Chloe.  It’s obvious that there's something off about his character early on that makes Chloe's interest in him seem far-fetched at best.   It makes the final act come off as far more predictable than it should have, especially since its script drops breadcrumbs every step of the way.  It ultimately keeps Presence from really knocking the concept out of the park even though it leaves you with a particularly goosebump inducing shot.  

B

Cindy Prascik's Holiday Triple Play

 

My dear reader(s), thanks to the Dr. Martin Luther King, Jr. holiday last Monday, I was able to tick off some entries from the "My Stuff" section of the various streaming services. No explicit reveals here, but if you like going into a movie cold, best to read after watching. Forewarned is forearmed.

Third place in holiday movie-thon goes to A Different Man (2024), in which Sebastian Stan stars as an aspiring actor who undergoes an experimental procedure to alter his appearance, then discovers that looking like Sebastian Stan isn't all it's cracked up to be. (An extremely unlikely premise!) Regular reader(s) will know I have worshipped at the altar of Sebastian Stan for more than 15 years, and will be unsurprised that I found him exceptional in A Different Man. I was less thrilled with the rest of the film. It’s uncomfortable, which I'm pretty sure it means to be, but it's also a bit patronizing. The supporting cast is decent, and the story takes enough turns to remain interesting, but the ending isn't much of an ending. Since the movie isn’t likely setting up a sequel, mostly it feels like the filmmakers got bored and stopped...which is what I wanted to do at least 30 minutes sooner.

A Different Man clocks in at 112 minutes and is rated R for "sexual content, graphic nudity, language, and some violent content."

A Different Man is a messy message film that sadly misses its mark. Of a possible nine Weasleys, A Different Man gets five.

A Different Man is now streaming on Max.

The runner up on my holiday movie podium is to Conclave (2024), starring Ralph Fiennes, Stanley Tucci, and John Lithgow as Catholic cardinals at the center of the process of electing a new Pope.

Like most movies about electing a Pope, Conclave plays like a political thriller. I always imagine the politics of religion must be very disheartening to believers, and this doesn't tiptoe around anyone's faith; all the ugliness is on full display. Conclave is beautifully acted, visually stunning, and methodical in its storytelling, but it culminates in a twist that is equal parts shocking and so unlikely in the circumstances as to seem absurd. For a film that strives for so much gravitas, it feels like someone accidentally tacked on the ending of a different movie.

Conclave runs 120 minutes and is rated PG for "thematic material and smoking."

Conclave is a decent thriller with a doozie of a finish. Of a possible nine Weasleys, Conclave gets six.

Conclave is now streaming on Peacock.

Finally, the gold medalist in my MLK Day movie marathon is a little documentary called What the Hell Happened to Blood Sweat & Tears? (2023), the unlikely story of how a rock group at the height of its popularity was conscripted into a "cultural exchange" program that saw them become the first American band to perform behind the Iron Curtain.

Here, dear reader(s), I must admit that I knew nothing of this absolutely mad tale until this documentary popped up in my feed over the weekend. Against the soundtrack of some of the era’s best tunes plays tale of intrigue and political machinations. New interviews with band members and assorted adjacent individuals are cut with historical photos and footage, but most of the material filmed by the crew that accompanied expressly to document this historic event was hidden from the world and seemingly destroyed. The film is a sobering reminder of the Cold War, but the tone remains upbeat, mostly thanks to the members of Blood Sweat & Tears. The band would have every right to be bitter about the tour and its effect on their careers, but they recount even the worst moments with surprising good nature.

What the Hell Happened to Blood Sweat & Tears clocks in at 112 minutes and is unrated, but since it’s about a rock band you may assume the occasional coarse language and drug use.

What the Hell Happened to Blood Sweat & Tears is a fascinating but cautionary snapshot of the most unlikely of bedfellows. Of a possible nine Weasleys, What the Hell Happened to Blood Sweat & Tears gets nine.

What the Hell Happened to Blood Sweat & Tears is now streaming on Prime Video.

Until next time…

MOVIE REVIEW: FLIGHT RISK

 

A U.S. marshal boards a small plane to transfer a government witness to New York. As they cross the Alaskan wilderness, tensions start to rise as not everyone on the flight is who they appear to be.

Director: Mel Gibson

Cast: Mark Wahlberg, Michelle Dockery, Topher Grace

Release Date: January 24, 2025

Genre: Action, Crime, Drama, Thriller

Rated R for violence and language.

Runtime: 1h 31m

Review:

Flight Risk is an unintentionally funny thriller that could have been decent if it weren't for the hackneyed script and direction.  Mel Gibson, whatever you think of him, has directed some solid films in his time which makes this mess of movie more confusing.  Everything about the production and direction feels undercooked and uninspired from start to finish.  It might be passable if he was able to create some sort of tension in the confined and claustrophobic set up, but he never does.  The script gives us a trio of incredibly generic one-dimensional characters who are never all that intriguing or interesting.  Mark Wahlberg made his mark in movies with his inspired turn as a nutjob boyfriend in 1996's Fear, so we know he's capable of playing an intense villain.  This role seems tailor made to give him an opportunity to bring that sort of energy, but the character is so poorly written and over the top that it’s too hard to ever take him seriously.  Giving his character a serious case of male pattern baldness makes him come off even goofier and leaves you wondering why they bothered with it in the first place.  Topher Grace adds to the silliness which an over the top performance that has him set to max level of annoying for the better part of the film's runtime.  Michelle Dockery tries her best to make her underwritten character interesting and engaging but there's only so much she can do when her character continually makes the dumbest decisions possible.  It doesn't help that the film's final act starts to feel like an accidental remake of Airplane! sans the inflatable auto pilot and sweating.  Once Flight Risk comes to a rather abrupt end, you’re left more confused than anything else since it’s such a collective mess.  

D-

MOVIE REVIEW: THE BRUTALIST

 

Escaping postwar Europe, a visionary architect comes to America to rebuild his life, his career, and his marriage. On his own in a strange new country, he settles in Pennsylvania, where a wealthy and prominent industrialist recognizes his talent.

Director: Brady Corbet

Cast: Adrien Brody, Guy Pearce, Felicity Jones, Joe Alwyn, Raffey Cassidy, Stacy Martin, Emma Laird, Isaach de Bankolé, Alessandro Nivola

Release Date: December 20, 2024

Genre: Drama, History 

Rated R for strong sexual content, graphic nudity, rape, drug use and some language.

Runtime: 3h 35m

Review:

Brady Corbet's mammoth immigrant epic, The Brutalist, is straightforward but so densely packed with so many themes and undercurrents that its unwieldly at various points but the whole thing is buoyed by a pair of powerful turns from Adrien Brody and Guy Pearce.  Corbet's steady sense of structure paired with cinematographer Lol Crawley stunning visuals make for an elegant film from start to finish.  Each moment and shot are constructed with a meticulous level of detail that echoes films of a bygone era exemplified by the decision to film using VistaVision.  It all gives the film a specific look and feel that pops off the screen throughout its extended runtime.  The inclusion of an overture, intermission and epilogue all add to the overall effect Corbet is trying to achieve.  Amidst all the technical bells and whistles the story, at its heart, is grounded in harsh realism missing any semblance of rose colored nostalgia.  Adrien Brody's László Tóth is a complex character filled with intelligence, ambition, trauma and human imperfections.  The role makes for a fascinating character study as well as following his journey from the moment he hits the shores of America as he tries to find his footing before meeting industrialist Harrison Lee Van Buren played by Guy Pearce.  Brody turn is fully formed with his evolution over the course of the film coming off as authentic.  He carries a sense of intellectualism even during his lowest points which serves as Van Buren's main fascination.  Pearce creates a blue blood industrialist who serves as the de facto face of American capitalism presented in its most brutish form.  His hardnose, cold pragmatist serves as a perfect foil to Brody's more measured and cerebral employee.  Their interchanges serve as fascinating explorations of their power structure, with a sprinkling of Ayn Rand for good measure.  The script stumbles in its back half as the subtleness gives way to more overt allegories that feel unnecessary.   Its an odd choice for a film that moves so methodically for a large portion of its runtime before feeling the need to make its larger point more explicit to the point where the final line of dialogue serves as coda for the film's story and experience watching it unfold.  

B+

MOVIE REVIEW: SEPTEMBER 5

 

During the 1972 Munich Olympics, an American sports broadcasting crew finds itself thrust into covering the hostage crisis involving Israeli athletes.

Director: Tim Fehlbaum

Cast: Peter Sarsgaard, John Magaro, Ben Chaplin, Leonie Benesch, Zinedine Soualem

Release Date: December 13, 2024

Genre: Drama, History, Thriller

Rated R for language.

Runtime: 1h 35m

Review:

Tim Fehlbaum's September 5 is a tense retelling of the 1972 Munich massacre told with an "in the moment" immediacy that recounts the tragic events of that day and powered by an excellent ensemble cast.  Told almost exclusively from the ABC sport production point of view gives the audience a sense of the unexpected and unsettling nature of events as they unfold.  Events are condensed for maximum efficiency but it’s still a fairly accurate retelling that hits the main points of what occurred on that faithful day.  Fehlbaum creates an environment that leaves his cast of characters with a moral quandary the actual people had to deal with as events shifted over the course of the day.  There are more than a few bits of retroactive pontificating on how this moment could set journalism on a more sensationalized slant going forward which breaks up the sense of realism built up throughout.  Small moments like that do lean more towards didacticism, which feels unnecessary since we live in the reality of Sidney Lumet's classic film, Network, come to life.  His cast does manage to keep everything grounded performances that speak to humanity and the fallibility of people making decisions while traversing uncharted ground.  Peter Sarsgaard brings a decisive, unemotional pragmatism to his turn as ABC Sports president Roone Arledge who clearly grasp some of the larger scale implications of the situation.  John Magaro has a sort of nervous energy as the head of the control room, Geoffrey Mason, who is initially out of his depth before he slowly gains confidence despite any moral questions that continually arise.  Ben Chaplin brings a strong sense of journalistic integrity to Marvin Bader, the head of operation at ABC Sports, who consistently runs on a razors edge as he tries to counsel on the most prudent path to take.  Leonie Benesch's German translator, Leonie Benesch, a composite character of multiple real-life people who served in that capacity during the crisis serves as the film's tortured soul.  The ensemble works incredibly well together to reflect an authentic sense of fallible people with varying agendas flying by the seat of their pants in the face of an unprecedented situation.  Intersplicing bits of actual broadcast footage adds to the overall feeling of being in the room as these events occurred.  September 5 isn't interested in exploring the causes that led to this, but it excels as a singularly focused recreation. 

A

MOVIE REVIEW: ONE OF THEM DAYS

 

When her boyfriend takes her rent money, Alyssa and her roommate race against the clock to avoid eviction and keep their friendship intact.

Director: Lawrence Lamont

Cast: Keke Palmer, SZA, Vanessa Bell Calloway, Keyla Monterroso Mejia, Maude Apatow, Katt Williams, Joshua Neal, Aziza Scott, Patrick Cage

Release Date: January 17, 2025

Genre: Comedy

Rated R for language throughout, sexual material and brief drug use.

Runtime: 1h 37m

Review:

One of Them Days is a throwback to 90's comedies like Friday as we follow our central duo through a series madcap situation as they try to get their rent money before the end of the day.  Lawrence Lamont's film has a steady, breezy pace for the better part of its runtime that rarely lingers too long on any situation.  He gives the entire set up a fun, lived in feel with each location populated by a fun collection of characters.  Some are a bit more cartoonish than others but for the most part it works and gives them a varied collection of characters to play off.  The film wouldn't work nearly as well as it does if the central duo didn't share any sort of chemistry together.  Thankfully Keke Palmer and SZA make for a strong onscreen pairing with their excellent comedic timing and onscreen chemistry.  Palmer is the known commodity of the two and she's perfectly comfortable in her role from start to finish by bringing her natural, likable charisma to the role.  SZA is the real surprise with her naturalistic turn that gives their relationship an air of authenticity even during some of the film's wackier moments.  The pair work off each incredibly well and serve as the film's beating heart throughout as they manage to find some moments of real emotion between the pair.  There are a few clunky moments, particularly in the film's final act, but it doesn't keep One of Them Days from being a refreshing comedic surprise.  

B+

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!

My 10 Favorite Films of 2024

 2024 ended with a total of 96 movies reviewed and with that here are my 10 favorite films of the year.  

This year was filled with plenty of unexpected surprises especially in my favorite genre, horror, which is always welcome.  

As always, I’ll add the disclaimer that these are my personal favorites of the year which include a handful of admittedly flawed films that I enjoyed, nonetheless.

Without further ado here is my list presented in no particular order.

Robert Eggers’ Nosferatu is a gothic marvel of the macabre that leaves an indelible impression.  The film shows a director on a steady upward trajectory as he gains even more confidence in his craft.  Lily-Rose Depp delivers one of her best performances here while Willem Dafoe steals every scene, he’s in.  

Nosferatu Review

Heretic is one of those films that came out of seemingly nowhere to deliver a heady piece of horror.  It doesn’t manage to stick the landing as it feels the need to fall back on standard horror tropes, but Hugh Grant’s inspired turn makes it more than worthwhile.   

Heretic Review

Coralie Fargeat’s The Substance not so subtle critique of unattainable standards in Hollywood uses its aggressive visuals and stellar performances from Demi Moore and Margaret Qualley to deliver a singular experience.  The back end turns into something more akin to 1989’s Society which may not be for everyone, but you must appreciate the sheer guts to go full bore into the metaphor.

The Substance Review

The original Smile was decent at best for my taste, so the sequel didn’t rank highly on list of anticipated films.  Parker Finn’s sequel delivered well above expectations with its more meticulous decent into madness led by a star making turn from Naomi Scott as a pop star fraying at the seams.  

Smile 2 Review

The Wild Robot is a deceptively simple mix of Wall-E and The Iron Giant but that doesn’t keep it from being any less impactful.  Its lush visuals paired with heartfelt voicework by an all-star cast led by Lupita Nyong'o make it a poignant emotional journey.

The Wild Robot Review

As a child of the 80’s, Transformers will always hold a special place in my heart and the news of a new animated film until an underwhelming trailer had my expectations set low.  Surprisingly, this reimagining was thoughtful and gave the central bots well defined characteristics and motivations.   The vibrant animation and strong voicework resulted in one of the best Transformers movies since the original animated film.  

Transformers One Review

Strange Darling is a fun jigsaw puzzle of a movie that takes advantage of its nonlinear set up to keep the audience off kilter until the central reveal.  It’s not a new approach but J.T. Mollner’s style is refreshingly energetic throughout his efficiently paced thriller.  Willa Fitzgerald and Kyle Gallner deliver excellent performances as predator and prey.  

Strange Darling Review

2024 was filled with plenty of pleasant surprises but nothing quite as unexpected as the Indian import, Kill.  What starts as a cheesy melodrama quickly turns into an ultra-violent story of survival confined almost entirely to a moving train that feels like a spiritual successor to the 2011 Indonesian import The Raid.

Kill Review

The First Omen could have come and gone as another cash grab pilfering from an established IP.   Arkasha Stevenson could have delivered a paint by the numbers prequel and collected an easy paycheck however what she actually delivered was far more refined and layered.  Nell Tiger Free performance is sure to earn cult status in the coming years and left me anxious for her next big screen role.  

The First Omen Review

All the set-up work done in Denis Villeneuve’s first Dune paid off in spades with the second entry which brought together the story to deliver an epic sci-fi drama.  Massive on multiple levels but the film’s real highlight is that we finally get more involved emotionally with the central characters’ journey, ambitions and betrayal.   

Dune 2 Review

Honorable Mentions

Justin Kurzel's latest, The Order, came an went with little fanfare even though it sported a strong cast and engaging true crime tale.  Jude Law, Nicholas Hoult and Tye Sheridan all deliver strong work in this taut thriller that deserved more attention than it received.  

The Order Review

Fede Álvarez managed to bring back the look and feel of the first two Alien films with this impressive refresh.  Sure, it shoehorns call backs to those film throughout with some landing better than others but that doesn't keep it from being an effective bit of cinematic comfort food.

Alien Romulus Review

The Ministry of Ungentlemanly Warfare is another one of those film's that came and went with little fanfare even though it has a name director and cast.  Guy Ritchie's WW2 is a fun ensemble piece that's fun and thrilling for the majority of its runtime plus its always great to see Henry Cavill having fun onscreen.  

The Ministry of Ungentlemanly Warfare Review

Late Night with The Devil is one of those horror gems that pops up from time to time as it recreates the look and feel of the 70's talk show with an sinister underpinning.  It doesn't seem to know how to bring it all together at the end but that doesn't keep it from being an impressive bit of filmmaking powered by a great performance from David Dastmalchian.

Late Night with The Devil Review

Rose Glass' sophomore film shows a noticeable level of growth and confidence from her impressive debut film, Saint Maude.  This love story takes us through a series twisted and hallucinatory sequences that keep you off balance throughout.  Kristen Stewart and Katy M. O'Brian make for hell of onscreen couple with their energy popping offscreen.  Ed Harris steals every scene he's in while wearing one of the more impressive wigs in recent history.

Love Lies Bleeding Review