MOVIE REVIEW: THE MONKEY

 

When twin brothers find a mysterious wind-up monkey, a series of outrageous deaths tear their family apart. Twenty-five years later, the monkey begins a new killing spree, forcing the estranged siblings to confront the cursed toy.

Director: Osgood Perkins

Cast: Theo James, Tatiana Maslany, Elijah Wood, Christian Convery, Colin O'Brien, Rohan Campbell, Sarah Levy

Release Date: February 21, 2025

Genre: Horror

Rated R for strong bloody violent content, gore, language throughout and some sexual references.

Runtime: 1h 38m

Review:

The Monkey is a devilishly dark, horror comedy that delivers a gory collection of kills that never gels into an entirely cohesive film.  Osgood Perkins' adaptation of Stephen King's short story takes the most basic parts of that story to create an anarchic tale of death and destruction that only expands in scope as the story goes on.  Perkins takes a gleeful approach to each kill with each one taking full advantage of gooey blood and gore to a cartoonish degree.  There's nihilistic undercurrent that pervades throughout the film's runtime that might be off putting to some as Perkins offers no clear answers to what's happening or why.  It’s a demented joyride that leans into the silliness of the haunted toy conceit paired with the kind of adolescent trauma that peppered early era King.  It’s a different approach for Perkins, especially after last year's Longlegs was far more self-serious than this blissfully, bleak jaunt.  Theo James is tasked with carrying the lion's share of the load here in dual roles.  James delivers a fun, tongue-in-cheek performance that puts his level of commitment to the material on display, especially once his twin character takes center stage.  He's clearly open to anything that Perkins throws at him as he and his characters roll with the increasingly outrageous splatter fest thrown onscreen.  He shares the majority of his screentime with Colin O'Brien who plays Petey, his estranged son, with both sharing some solid chemistry together.  Tatiana Maslany is given painfully little screentime in flashback as the twin’s single mother.  Maslany manages to leave an impression in her limited screentime which leaves you wishing Perkins had made better use of her and the character as opposed to all the extended voiceovers from James.   It might have given the story and central character a better-defined emotional core which would have made some of the reveals more impactful.  There's plenty to enjoy, especially if you enjoy gratuitously gory deaths, The Monkey feels a bit too emotionally untethered to leave the kind of impact intended.   

B-

MOVIE REVIEW: CAPTAIN AMERICA: BRAVE NEW WORLD

 

Sam finds himself in the middle of an international incident after meeting with President Thaddeus Ross. He must soon discover the reason behind a nefarious global plot before the true mastermind has the entire world seeing red.

Director: Julius Onah

Cast: Anthony Mackie, Danny Ramirez, Shira Haas, Carl Lumbly, Xosha Roquemore, Jóhannes Haukur Jóhannesson, Giancarlo Esposito, Tim Blake Nelson, Harrison Ford

Release Date: February 14, 2025

Genre: Action, Adventure, Sci-Fi

Rated PG-13 for intense sequences of violence and action, and some strong language.

Runtime: 1h 58m

Review:

Captain America: Brave New World tries its best to be bring a level of intrigue to its comic story but there's something decidedly bland about the whole thing that never connects the way it should.  Julius Onah does a serviceable job in delivering a glossy but exposition heavy, political thriller.  There are plenty of characters and moving parts at play from the start to keep the action rolling.  It should make for an engrossing mystery, but it never engages the audience the way it should with the reveals coming off as more perfunctory than revelatory.  The main issue is that the central mystery isn't all that interesting or shocking, especially since the previews gave away the biggest reveal in the film.  The action sequences are decent but slightly uninspired with none of them giving the film the sort of pop that would liven up most of these films.  Anthony Mackie takes up the Captain America mantle with an earnest air that fits the role, but he struggles to find the real meat of his character.  He does his best with the script he's given as he's clearly searching for an emotional center to this new iteration of the character throughout.  A few quick moments in the final act do touch upon the weight of his new mantle, something the story would have been wise to use to greater effect.  Instead, he almost feels lost in his own film that should have served as his big spotlight.  Harrison Ford joins the fray here, taking over for the late William Hurt, as Thaddeus Ross who has just been elected president.  Ford brings some of the old school Air Force One energy to the role, but he suffers a similar fate to Mackie with an underwhelming script that paints his character in the most generic terms possible.  There's supposed to be an air of antagonism between the two that never comes through the screen the way it should, which kills a lot of conflict that's written on the page.  It doesn't help that the main reveal was given away months ago thanks to the film's advertising which kills most of his character's story arch.   The supporting players are all serviceable even if they don't leave much of an impression with Danny Ramirez and Shira Haas making the most of their limited screentime.  Carl Lumbly brings some gravitas to the screen, but the film never takes full advantage of his presence or his character, especially in relation to Mackie's Sam Wilson.  Giancarlo Esposito shows up for a cup of coffee as a hired mercenary that there mostly to connect the plot to Tim Blake Nelson's Leader from 2008's The Incredible Hulk.  It's a strange choice to connect so much of this film that, mostly forgotten Marvel entry and 2021's Eternals but ultimately Captain America: Brave New World main purpose seems to bring a certain element to the universe and everything that entails.  

C

MOVIE REVIEW: PADDINGTON IN PERU

 

When Paddington discovers his beloved aunt has gone missing from the Home for Retired Bears, he and the Brown family head to the jungles of Peru to find her. Determined to solve the mystery, they soon stumble across a legendary treasure as they make their way through the rainforests of the Amazon.

Director: Dougal Wilson

Cast: Hugh Bonneville, Emily Mortimer, Julie Walters, Jim Broadbent, Carla Tous, Olivia Colman, Antonio Banderas, Ben Whishaw

Release Date: February 14, 2025

Genre: Adventure, Comedy, Family, Mystery

Rated PG for action, mild rude humor and some thematic elements.

Runtime: 1h 46m

Review:

Paddington's third outing shakes up the formula by moving to a more action adventure focus which gives this entry a different feeling while never losing the family friendly charm of the first two films.  Dougal Wilson does an admirable job taking over the reins from Paul King who directed the first two well-regarded entries.  Wilson can conjure up a similar sense of whimsical fun throughout even if he can't quite match the levels of his magical predecessor.  That's not to say this entry isn't as earnest and heartfelt as those previous entries but just lighter throughout as we follow Paddington's adventure through the Peruvian jungle as he searches for Aunt Lucy and a mystical city.  Ben Whishaw easily moves back into the titular bear's hat and duffel coat proving more than capable of exuding his polite charm through the screen.  Whishaw again does an excellent job of balancing the sillier and more emotional moments with impressive ease.   Hugh Bonneville and Julie Walters reprise their roles from the first two entries as the Brown patriarch and housekeeper with Emily Mortimer taking over for Sally Hawkins as Mary Brown.  Mortimer along with Madeleine Harris and Samuel Joslin, as the pair's older children, brings a slightly different energy to the family as the kids are growing up and starting on their own journey's.  The returning and new cast members manage to give the audience an authentic sense of the love that exists in their family and their ability to come together.  Olivia Colman and Antonio Banderas are clearly having a great time hamming it up in key supporting roles.  Colman brings her very specific sort of energy to her instantly suspicious Mother Superior while Banderas has fun being able to play a larger array of personas.   Throughout all the jungle hijinks Paddington and his family encounter, the story still manages to stay grounded with the series' overarching theme of family whether it be by blood or chance.  

B+

MOVIE REVIEW: LOVE HURTS

 

Marvin is a Milwaukee realtor who receives a crimson envelope from Rose, a former partner-in-crime whom he left for dead. He now finds himself thrust back into a world of ruthless hit men and double-crosses that turn his open houses into deadly war zones. Hunted by his brother, a volatile crime lord, Marvin must confront the choices that haunt him and the history he never truly buried.

Director: Jonathan Eusebio

Cast: Ke Huy Quan, Ariana DeBose, Daniel Wu, Marshawn Lynch, Mustafa Shakir, Lio Tipton, Rhys Darby, André Eriksen, Sean Astin

Release Date: February 7, 2025

Genre: Action, Comedy

Rated R for strong/bloody violence and language throughout.

Runtime: 1h 23m

Review:

Love Hurts boasts a game cast, led by an ever-likeable Ke Huy Quan, and some fun action sequences but the clunky executions keep this action comedy from hitting its mark.  Stunt performer/Assistant Director, Jonathan Eusebio, helms his first film here and he clearly feels much more comfortable during the highly energetic and choregraphed fight sequences, but he struggles to find a cohesive flow and tone outside of those moments.  The film moves at a breakneck pace which should work in its favor, but it doesn’t matter since the characters are written so cartoonishly over the top that you are left wishing Eusebio would just fully embrace the Looney Tunes madness.  Instead, there's far too much time spent on a rather nonsensical love story that never connects the way it should despite Ke Huy Quan and Ariana DeBose best efforts.   André Eriksen and Marshawn Lynch prove to be a better onscreen bouncing off each other with ease as a pair of dim assassins.  Mustafa Shakir and Lio Tipton also bring some fun chemistry together as another, more cerebral, assassin and realtor assistant who finds a weird sort of love connection.  Ke Huy Quan is fully committed in the main role, and he brings his generally likeable onscreen persona to his reformed killer.  Ariana DeBose is oddly stiff here, never nailing the funny cool vibe the character is supposed to exude.  Daniel Wu does what he can in the villain role but there's not much there to work with outside of his perchance for revenge and love of boba tea.  Love Hurts ultimately feels instantly disposable and forgettable once it’s all said and done.

C-

MOVIE REVIEW: THE BABY IN THE BASKET

A baby in a basket is left on the steps of an isolated monastery on a Scottish island. The nuns take it in, planning to care for it until a storm passes. Soon though, strange and unexplained events begin to happen at the convent.

Director: Andy Crane, Nathan Shepka

Cast: Amber Doig-Thorne, Michaela Longden, Elle O’Hara, Lisa Riesner, Nathan Shepka, Annabelle Lanyon, Maryam d’Abo and Paul Barber

Release Date: February 17, 2025

Genre: Drama, Horror, Mystery

Unrated

Runtime: 1h 40m

Review:

The Baby in the Basket does its best to emulate 70's style religious horror films by focusing more on the psychological aspect of terror instead of outright gore but it's ultimately held back due to its lackluster execution.  It’s easy to appreciate what directors Andy Crane and Nathan Shepka, the latter of which also stars, are trying to achieve with their film that takes bits and pieces of classic horror films like1976's The Omen and 1973's Don't Look Now.  The script gives them plenty to work with as the majority of the film's story focuses on the character’s mental state as they slowly fall victim to supernatural forces.  The script smartly moves from one character to another as the central point of view to give the entire film an off kilter, unbalanced feel since we are not quite sure who the main character is since the focus shifts at various points during the film.  It gives each member of the cast a chance to shine with Elle O'Hara and Lisa Riesner carrying the load early on before Amber Doig-Thorne and Michaela Longden take over the spotlight.  Together they make for a solid ensemble especially early on when they share the screen together, something the film should have taken advantage to give each nun a more time to develop well defined characterizations.  Elle O'Hara does a lot of heavy lifting in the first half of the film as earnestly devoted Valerie who is trying desperately to understand what is going on after the titular baby arrives.  Amber Doig-Thorne moves into center stage midway through the film with a fun, energetic and ultimately crazed turn as Agnes.  Doig-Thorne's gives the film a boost once she's unleashed only to be matched by the scene stealing Michaela Longden as Eleanor.  Longden stands out every time she's onscreen with her naturalistic verve that leaves you wondering why she's kept offscreen for the entire middle portion of the film.  Her chaotic, adversarial energy would have given the film a definite boost across the board.  It’s compounded by some clunky pacing issues that never allow anything to naturally settle before moving on.  Shooting on location at Scotland's St Conan’s Kirk also should have been a boost but the film rarely takes full advantage of its gothic backdrop.  There's are plenty of moments during The Baby in the Basket that feel as if they are heading toward a crescendo only to fumble the moments with some coming off as more silly than scary despite the best efforts of the script and cast. 

C

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

MOVIE REVIEW: THE RETURN

 

After 20 years away, Odysseus washes up on the shores of Ithaca, haggard and unrecognizable. The king finds much has changed since he left to fight in the Trojan War. His beloved wife, Penelope, is a prisoner in her own home and hounded to choose a new husband. Their son faces death at the hands of suitors who see him as an obstacle in their pursuit of Penelope and the kingdom. Odysseus is no longer the mighty warrior his people remember, but he must face his past to save his family.

Director: Uberto Pasolini

Cast: Ralph Fiennes, Juliette Binoche, Charlie Plummer, Marwan Kenzari, Claudio Santamaria, Tom Rhys Harries, Ángela Molina

Release Date: December 6, 2024

Genre: History

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

Runtime: 1h 56m

Review:

Uberto Pasolini's ultra grounded take on the back half of The Odyssey is powered by a pair of stellar performances from its central duo of Ralph Fiennes and Juliette Binoche.  Pasolini strips away all the Greek gods from the original text, focusing more on the human toll taken by the hero's search for glory.  This naturalistic take on the material focuses more on the mental state of central characters of Odysseus, Penelope and Telemachus as opposed to action or intrigue.  It makes for a film that's decidedly light on frills with Pasolini setting up scenes for performers to shine.  Ralph Fiennes carrying an emaciated and battered frame delivers a powerful but understated performance as an Odysseus haunted by the specter of war and the choices that led him there.  Fiennes has an ability to communicate volumes worth of emotional information with a single look or mannerism.  It’s not a particularly dialogue heavy role but he proves more than capable of giving the audience a real sense of the death and remorse his character has experienced during his long journey home.  Juliette Binoche is equally impressive as the ever-dutiful Penelope whom she imbues with quiet intensity and strength.   When Binoche and Fiennes finally share the screen, she delivers an emotionally powerful monologue that she imbues with a Shakespearean sensibility.  It serves as one of the most powerful moments in the film and a solid payoff for investing its occasionally ponderous pacing.  Fiennes and Binoche are thoroughly engaging every time they are onscreen, unfortunately the supporting cast never manages to match their work.  Charlie Plummer's Telemachus lacks the depth or nuance of his onscreen parents which gives the character more of bratty quality that feels off.  Marwan Kenzari's Antinous is more intriguing, but he's never given enough screentime to flesh out his character and singular focus on becoming Penelope's new husband.  It’s a shame because it would have given the story an interesting angle from one of the suitors who isn't an outright barbarian.  It’s the kind of thing that would have added to the effectiveness of the film but stumbles aside The Return succeeds on the power of its two stars.  

B

MOVIE REVIEW: THE DAMNED

 

A 19th-century widow is forced to make an impossible choice during a cruel winter when a ship sinks off the coast, risking what's left of the village's dwindling supplies.

Director: Thordur Palsson

Cast: Odessa Young, Joe Cole, Lewis Gribben, Siobhan Finneran, Francis Magee, Rory McCann, Turlough Convery, Mícheál Óg Lane, Andrean Sigurgeirsson

US Release Date: January 3, 2025/UK  Release Date January 10, 2025

Genre: Drama, Horror, Mystery

Rated R for bloody violent content, suicide and some language.

Runtime: 1h 29m

Review:

The Damned, Thordur Palsson's feature debut, is an eerie, atmospheric slow burn of a creeper which takes full advantage of its isolated setting and stellar performances.  Palsson film moves at a methodical pace which sets up the characters and their isolated, claustrophobic setting with little fluff or frills.  Eli Arenson’s cinematography is beautifully bleak and foreboding throughout making the icy mountains and frigid coastline characters unto themselves.  The film's pacing may not be for everyone since it moves at a glacial pace with only a handful of increasingly repetitive jump scares breaking it up.  Those looking for cheap thrills will likely be left wanting as this leans closer to Robert Eggers' The Witch as opposed to something like John Carpenter's The Thing even though it still shares aspects of both.  This film is much more a meditation on grief and guilt, themes other "elevated" horror films have covered in the past.  As such, there isn't a ton of new ground to explore but the cast led by an excellent turn from Odessa Young ruminates those themes compelling and engaging.  Young's understated performance carries the film, as she manages to convey the character's exterior steadfastness while she’s slowly fraying at the corners underneath.  Her large expressive eyes deliver a boatload of emotional information as the situation becomes increasingly fraught and tenuous.  It’s a fascinating performance that would have been served better if her character had been better fleshed out in the film's opening since we're given very little background information about her or her companions.  The supporting characters aren't written with much depth, but the entire supporting cast delivers authentic turns in each role giving the group a weathered chemistry that makes you believe they've all lived together for years.  Rory McCann, of Game of Thrones fame, is set up to be a major player early on but for some reason he's taken off the screen relatively early on to the film's detriment.  It’s an odd choice since his presence would have added so much more to the film, especially as it moves into its end game.  Up to that point the story walked a steady tightrope between real and imagined horrors that plague our increasingly dwindling group.  A bit more ambiguity would have helped The Damned be a more effective film but as an opening salvo for his career Thordur Palsson still manages to leave a strong impression.

B-

MOVIE REVIEW: BABYGIRL

 

A high-powered CEO puts her career and family on the line when she begins a torrid affair with a much younger intern.

Director: Halina Reijn

Cast: Nicole Kidman, Harris Dickinson, Sophie Wilde, Antonio Banderas

Release Date: December 25, 2024

Genre: Crime, Drama, Mystery, Thriller

Rated R for strong sexual content, nudity and language.

Runtime: 1h 54m

Review:

Babygirl plays like a gender-swapped version of 2002's Secretary and when it works it pulsates off the screen, but it struggles to maintain that energy despite a stellar turn from Nicole Kidman.  Writer/Director Halina Reijn has plenty on her mind as she presents a series of tantalizing themes over the course of her film.  Sexual desire, normalcy, power dynamics and age all bounce around the edges of the screen as we follow the torrid affair with her intern played by Harris Dickinson.  Kidman's performance is a study in layers as she gives the audiences glimpses of strength, intelligence, repression and shame that are all bottled up in her character.  She's consistently the most interesting performer onscreen as she crafts this fully formed character that feels like a living breathing person along with all her complications.  Her performance carries the film but the central relationship between her and the intern is a bit choppier due to a variety of reasons.  Harris Dickinson and Kidman just don't share the kind of electric chemistry together that would make their affair believable.  His character is terribly underwritten with the audience never being presented because he's so attractive to Romy.  We're told at various points that he is intelligent but never shown anything outside of the most generic sort of blackmail.  He's never portrayed with the sort of charisma or tact that he would be able to engage and enchant in the way we're led to believe on screen.  It doesn't help that he looks like any random, faceless guy you'd see on a subway or train and never give a second thought about.  The film's kinkier moments really play more like softcore Cinemax than anything else albeit with Kidman going for broke with each scene.  Antonio Banderas has a small supporting role as Kidman's husband, and he's given an impressive scene in the final act that reminds you how powerful of a performer he can be.  The film would have been well served had it given him a bit more screentime and fleshed out his character more but like most of the themes that Reijn throws onscreen such as an undercurrent about the monotony and automation of our everyday lives are never explored in any sort of meaningful way.  There's plenty left unexplored throughout which is shame because Reijn does deliver a series of energetic moments topped by a sequence in a dance club that just reverberates off the screen.  These sorts of moments highlight surges of energy in Babygirl which highlight how much more effective the film would have been if it had something substantial to say about itself.  

B-