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+

Cindy Prascik's Review of Borrowed Time: Lennon's Last Decade

 

Release date May 2, 2025 (United Kingdom)

My dear reader(s): Recently the documentary Borrowed Time: Lennon’s Last Decade was brought to my attention, and my little Beatle brain couldn’t wait to have a look!

No real spoilers here, as pretty much every aspect of John Lennon’s life has long been part of public lore.

Borrowed Time looks at John’s sometimes tumultuous final decade, mostly through anecdotal accounts from Lennon-adjacent individuals. The documentary is loaded with new interviews, and 45 years after John’s untimely passing, any new material feels very much like bonus content.

 Unfortunately, there is a sensationalized quality to much of this footage, as if those interviewed share more to enhance their own profiles than out of any real desire to provide useful insights on John’s life. There’s also an undercurrent of the tired idea that Yoko Ono was somehow to blame for everything negative, a gross misconception that continues to rear its ugly head no matter how often it’s proved to be false.

Fifty-five years after the breakup of the Fab Four, we Beatlemaniacs find ourselves in the midst of an unlikely Beatles renaissance. A sanctioned John and Yoko film (“One to One”) was released not long ago. Four new Beatles biopics are in the works as I write this. Ringo Starr and Paul McCartney (84 and 82 years old, respectively) continue to tour and make new music, and Sean Lennon, Dhani Harrison, Yoko Ono, and Olivia Harrison join them in keeping the Beatles’ legacy at the forefront of today’s cultural landscape. It’s hard to fault anyone for wanting to strike while that iron remains hot, but there’s a self-serving air to this content that makes me think of a great line from Jersey Boys, “Everybody remembers it how they need to.”

Borrowed Time: Lennon’s Last Decade runs 134 minutes and is unrated.

Borrowed Time is well paced, and the anecdotes are interesting, even if some – particularly those relating to the night of Lennon’s murder - are a bit distasteful. Of a possible nine Weasleys, Borrowed Time: Lennon’s Last Decade gets five.

Until next time…