MOVIE REVIEW: 40 ACRES

 

Surviving on an isolated farm after a series of plagues and wars, a former soldier and her family make one last stand against a vicious militia that wants to take their land.

Director: R. T. Thorne 

Cast: Danielle Deadwyler, Kataem O'Connor, Jaeda LeBlanc, Michael Greyeyes, Milcania Diaz-Rojas, Leenah Robinson

Release Date: July 2, 2025 US/August 1, 2025 UK

Genre: Action, Drama, Sci-Fi, Thriller

Rated R for strong bloody violent content and language.

Runtime: 1h 53m

Review:

R.T. Thorne's debut film, 40 Acres, is a lean mean apocalyptic thriller that delivers impressive action along with plenty of thematic allegory, powered by a steely turn from Danielle Deadwyler.  Initially, there's a sense of familiarity to the proceeding with portions of it echoing the bleakness of 2009's The Road.  The family unit here though is a seasoned team ready to defend their land at a second’s moment thanks to the leadership of Danielle Deadwyler's tough as nails Hailey Freeman and Michael Greyeyes Galen's both of whom were former soldiers before becoming a couple after the end of the world.  Their relationship is a steady balance of carrots and stick as they prepare their kids to survive in this brutal landscape.  They are both overprotective to a fault but it’s all a means to an end to give their offspring the best chance to endure in the future.  Deadwyler's hardened stare barely breaks throughout as she serves as a stoic taskmaster for the adopted family.  Greyeyes provides a bit more tenderness as a counterbalance to her with book loads of history shared via unspoken looks which gives their relationship an air of realism.  The film allows us plenty of time to get to know each of the younger family members with Kataem O'Connor and Leenah Robinson getting the most screentime.  O'Connor is solid as the eldest teenage son, full of angst and ready to rebel by exploring beyond the limits imposed by his parents.  He brings the right amount of resentment for his mother which is revealed to extend further into the past.  On the other side of the coin, Leenah Robinson and Michael Greyeyes have a much more congenial, loving daughter/father relationship with some of their interchanges providing some much-needed moments of warmth.  The film methodically establishes the setting and characters before building to its more action heavy finale which boasts a series of well-constructed action sequences highlighted by a moment in a darkened house that's sure to leave an impression.  Once it's all said and done, 40 Acres brings together its themes of family, legacy and perseverance in an impressive manner especially since it’s packaged in such a familiar package.  

B+

MOVIE REVIEW: EDDINGTON

 

During the COVID-19 pandemic, a standoff between a small-town sheriff and mayor sparks a powder keg as neighbor is pitted against neighbor in Eddington, N.M.

Director: Ari Aster

Cast: Joaquin Phoenix, Pedro Pascal, Luke Grimes, Deirdre O'Connell, Micheal Ward, Austin Butler, Emma Stone

Release Date: July 18, 2025

Genre: Comedy, Drama, Western

Rated R for strong violence, some grisly images, language, and graphic nudity.

Runtime: 2h 25m

Review:

Ari Aster's Eddington is aggressively overstuffed as he tries to capture the general insanity of the summer of 2020 through the lens of the fictional town with Joaquin Phoenix doing the majority of the heavy lifting onscreen.  The film is a measured, slow burn as we watch real world external events and the story threads thrown onscreen move toward their unavoidable intersection.  Aster takes his time setting the table with the assorted collection of characters that inhabit the town, establishing them more as types than anything else.  Joaquin Phoenix's mask adverse Sheriff, Joe Cross, is a sad sack of a man when we meet him, finding some sliver of empowerment by taking up the cause of personal freedom that leads him to run for mayor against Pedro Pascal's Ted Garcia, Eddington's incumbent mayor.  Phoenix plays the character as a lonely, emasculated man that's in a position of power but totally inept until he grabs hold of his cause.  His wife Louise serves as little comfort as she has issues with physical contact leaving both isolated even when they are together, a recurring theme that serves as an undercurrent to the entire film.  Emma Stone looks appropriately disheveled and bizarre with one moment giving off some strong Carrie vibes as her character falls under the influence of Austin Butler's cult leader.  There's some fertile ground that's left untended with their relationship as both Stone and Butler are underutilized with both popping on and off screen far too quickly.   Louise's conspiracy obsessed mother played effectively by Deirdre O'Connell gets more screentime with an air of sly calculation amid all the insanity she traffics in.  Pedro Pascal's character is more straightforward and less nuanced as he serves a performative counter point to Phoenix's Cross.  He's given precious little time to really flesh the character out which leaves him coming off far more one dimensional than Cross.  Likewise, a subplot involving local BLM protest and a love triangle involving Cameron Mann, Matt Gomez Hidaka and Amélie Hoeferle feels undercooked, serving as little more than a plot device for the final and rather brutal finale which drags out into an unnecessarily long epilogue that leaves more questions than answers.  In the end, perhaps that point Aster is trying to achieve with Eddington serving as a rumination on the isolation that led to the increased insanity of that moment in time with no end in sight.  

B-

MOVIE REVIEW: I KNOW WHAT YOU DID LAST SUMMER

 

When five friends inadvertently cause a deadly car accident, they cover up their involvement and make a pact to keep it a secret rather than face the consequences. One year later, the past comes back to haunt them as they learn someone knows what they did last summer. Stalked by a mysterious killer, they soon seek help from two survivors of the legendary Southport massacre of 1997.

Director: Jennifer Kaytin Robinson

Cast: Madelyn Cline, Chase Sui Wonders, Jonah Hauer-King, Tyriq Withers, Sarah Pidgeon, Billy Campbell, Gabbriette Bechtel, Austin Nichols, Freddie Prinze Jr., Jennifer Love Hewitt

Release Date: July 18, 2025

Genre: Horror

Rated R for bloody horror violence, language throughout, some sexual content and brief drug use

Runtime: 1h 51m

Review:

The legacy revival of I Know What You Did Last Summer dusts off the same basic plot of the original with fresh new faces, led by Chase Sui Wonders and Madelyn Cline, but it never decides if it wants to play it straight or lean into outright camp. Jennifer Kaytin Robinson film borrows heavily from the 1997 original as it immediately feels familiar for better or worse.  Legacy films typically have a classic film to fall back on for inspiration but if we are being honest the original was a so-so product of the post Scream craze.  It’s an opportunity for her to do something different or interesting with the concept, something she toys with at various points but never fully commits.  There are moments that feel like the film might go full bore satire thanks to an incredibly fun turn from Madelyn Cline who seems to be channeling Amanda Seyfried's Mean Girls character throughout.  She provides the film with some much-needed injections of energy that the film sorely lacks since it’s never scary or inventive with its kills.  The clunky need to add in random call backs to the original film like random mannequins in a restaurant or a parade float in a cemetery ultimately keep the film from ever finding its own footing.  Chase Sui Wonders does her best to keep the whole thing afloat as she desperately tries to deliver a much more nuanced performance that the film deserves.  The script doesn't do anyone any favors as it's filled with plenty of aggressively stupid logical leaps that are just nonsensical instead of shocking.  Freddie Prinze Jr. and Jennifer Love Hewitt's return should make a bigger impact on the film than they do, which just hammers home the point that their original characters weren't terribly interesting to begin with.  There's a late game story thread about the gentrification of the town and its horrific history which would have been a more interesting approach to the story than we get in this overlong, tepid redux.   

C-

MOVIE REVIEW: SUPERMAN

 

When Superman gets drawn into conflicts at home and abroad, his actions are questioned, giving tech billionaire Lex Luthor the opportunity to get the Man of Steel out of the way for good. Will intrepid reporter Lois Lane and Superman's four-legged companion, Krypto, be able to help him before it's too late?

Director: James Gunn

Cast: David Corenswet,  Rachel Brosnahan, Nicholas Hoult, Edi Gathegi, Anthony Carrigan, Nathan Fillion, Isabela Merced

Release Date: July 11, 2025

Genre: Action, Adventure, Sci-Fi

Rated PG-13 for violence, action and language.

Runtime: 2h 9m

Review:

James Gunn's Superman forgoes all the dour, grittiness of Snyder's take on the character by going in the opposite direction by embracing a more colorful, less grounded approach that allows for him to have more fun with the character and his heavily populated comic book world.  Gunn doesn't bother with the usual origin story instead he gets right into the action almost immediately which gives the film a strong headwind that rarely lets up throughout its runtime.  The world he splashes onscreen is fully formed, already populated by villains and heroes who battle regularly.  It all leans heavily into its comic book roots which feels like it unburdens him and his cast to just have fun with the characters and story.  The action sequences are bombastically big and fun however this version of Superman is beaten around on more than a few occasions.  This version of the character is established but also still green enough to give moments of trepidation and self-doubt.   David Corenswet easily steps into the role with a disarming, boyish charm that fits the character perfectly especially when he's in his Clark Kent guise.  He has the perfect "Aw, shucks" quality that Christopher Reeve brought to the role back in the 1978 version that makes the character easy to like.  This is very much the boy scout version of the character who's straightlaced, well intentioned and ultimately just trying to do the right thing.  Rachel Brosnahan is equally impressive as she takes up the Lois Lane mantle with her performance being a mix of Margot Kidder and Dana Delany's animated versions.  Her Lane is plucky enough to hold her own against the Man of Steel as exemplified with a wonderful character moment during a private interview with him.  Corenswet and Brosnahan share excellent chemistry together, something that shines through in that scene as they bounce off each with believable ease.  I personally would have preferred a bit more focus on them at the cost of some of the more extraneous characters we get time with.  The "Justice Gang" made up of Green Lantern, Mister Terrific and Hawkgirl played by Nathan Fillion, Edi Gathegi and Isabela Merced are fun when they pop up on screen, but we're given the tiniest bit of information about each.  Fillion has a blast playing up the jerk angle as Guy Gardner's Green Lantern while Merced does what she can with the limited amount she's given to work with as Hawkgirl.  Edi Gathegi gets more screentime as the super genius Mr. Terrific, playing him mostly like a human supercomputer with occasional flashes of personality.  He gets a fun action sequence that feels like Gunn is plagiarizing his own work from Guardians of the Galaxy as it feels fairly similar to Yondu and his arrow.  In the same vein, Krypto essentially serves as this film's version of Groot with his appearance being well used for relatable pet comedy.  On the downside, Nicholas Hoult's Lex Luthor is more of a mixed bag as he comes off more like a hodgepodge of previous versions but missing the cold calculating, genius from the best take of the character which was Clancy Brown's work in Superman The Animated Series and Justice League.  Additionally, the film is overstuffed with ideas and plotlines that the film almost buries the titular character under the sheer weight of it all.  Still, it’s hard not to appreciate what Gunn and his cast accomplish with this restart of the DC movie universe with this easy to enjoy and incredibly fun version of Superman.  

B+

MOVIE REVIEW: JURASSIC WORLD REBIRTH

Zora Bennett leads a team of skilled operatives to the most dangerous place on Earth, an island research facility for the original Jurassic Park. Their mission is to secure genetic material from dinosaurs whose DNA can provide life-saving benefits to mankind. As the top-secret expedition becomes more and more risky, they soon make a sinister, shocking discovery that's been hidden from the world for decades.

Director: Gareth Edwards

Cast: Scarlett Johansson, Mahershala Ali, Jonathan Bailey, Rupert Friend, Manuel Garcia-Rulfo, Ed Skrein

Release Date: July 2, 2025

Genre: Action, Adventure, Sci-Fi, Thriller

Rated PG-13 for intense sequences of violence/action, bloody images, some suggestive references, language and a drug reference.

Runtime: 2h 14m

Review:

Jurassic World Rebirth offers the big scale dinosaur action we've come to expect from the long running series however it suffers from an identity crisis as it struggles to figure out if it wants to lean into its horror roots or something more family friendly and safe.  Gareth Edwards is perfectly capable of handling the dinosaur mayhem that occurs throughout the film by delivering impressive set pieces.  There are sequences that are reminiscent of his older works such as The Creator, Godzilla and Monsters which work well for this franchise.  The required T-Rex set piece is particularly well executed although people of a certain age might get heavy hints of the Land of the Lost intro from the 70's.  The rest of the action is solid but it’s nothing groundbreaking or new which is disappointing since the crux of this entry being that this was an R&D island which worked on genetic splicing to create something new to keep the public’s waning interest in the park and their regular dinosaurs.  It’s a bit of unintentional meta commentary on the series itself as this entry’s creatures really don't take any wild swings with the raptor/pterosaur hybrids and Distortus rex (which looks like a weird hybrid of the Rancor from Star Wars and an Alien from that franchise) which aren't nearly as memorable as they should be.  The story doesn't help matter much as we get competing narratives with one following Johansson's covert opt to retrieve dino DNA and a random family that's rescued by her team after being shipwrecked by Mosasaurus.  The script separates each group once they hit the island for no discernible reason other than to expand the geography of the film.  Scarlett Johansson and Mahershala Ali top line the film and their characters are given hints of deeper development which should have been nurtured with more screentime instead of the narrative tangents provided by the most generic family in the form of the Delgado's.  It’s a headscratcher of a decision since the film has two top list stars that could have carried this film with general ease, but the script decides to sideline them for half the film's screentime.  As a result, both groups of characters are underserved and they all come off as far more generic than they should be, especially considering the top tier talent.  It leaves everything in Jurassic World Rebirth feel like a retread of the far superior original, something a steady series of clunky visual easter eggs manage to hammer home.

C+

MOVIE REVIEW: M3GAN 2.0

 

Two years after M3GAN, a marvel of artificial intelligence, went rogue and embarked on a murderous rampage, its creator, Gemma, has become an advocate for government oversight of AI. Unbeknownst to her, a defense contractor has created a military-grade weapon known as Amelia, the ultimate infiltration spy. However, as Emlia's self-awareness increases, it becomes less interested in taking orders. Hoping to stop Emilia, Gemma decides to resurrect M3GAN, making it faster, stronger, and more lethal.

Director: Gerard Johnstone

Cast: Allison Williams, Violet McGraw, Amie Donald, Jenna Davis, Ivanna Sakhno, Aristotle Athari, Timm Sharp, Jemaine Clement

Release Date: June 27, 2025

Genre: Action, Horror, Sci-Fi, Thriller

Rated PG-13 for strong violent content, bloody images, some strong language, sexual material, and brief drug references.

Runtime: 1h 59m

Review:

M3GAN 2.0 switches up the horror tone of the original to a goofier, sci-fi slant that mines films like Terminator 2 among others which works more often than not if you go with the flow.  Gerard Johnstone avoids making this series into a Chucky clone by going in a different direction which is sure to turn off some people, but he manages the change in tone and genre with impressive ease.  The film has a breezy feel to it that makes it easy to enjoy even though its story is more than a tad nonsensical.  He's clearly comfortable leaning into the sillier aspect of this particular story something he did with the original, albeit in a more restrained manner.  The action is bigger and louder across the board with the climatic robot karate fight being chock full of B-movie cheese.  The cast fully embraces it all and seems up for everything that Johnston throws at them.  Allison Williams and Violet McGraw return from the first film as adoptive mother and daughter with McGraw being given more to do this go around.  Williams is given much more latitude as the disgraced robot designer turned advocate for ethical usage of AI in this entry than her more reserved turn in the original.  Violet McGraw also got so much to do here as a preteen with her character having turned into something of robotics prodigy in the intervening years.  They both work well together as parent and siblings who have dealt with a bit more than the usual preteens.  Brian Jordan Alvarez and Jen Van Epps both also return as Gemma's coworkers who have stuck with her for some reason all things consider but it does provide some comedy once M3GAN returns in earnest.  Amie Donald and Jenna Davis are back providing the body and voice to a now slightly taller M3GAN that's explained away in a throwaway line of dialogue.  Davis' voice work is hilariously sardonic here even as the titular robot experiences a bit of personal growth throughout the film from killer robot to more of a protector.  Jemaine Clement has a fun but all too brief appearance as a tech billionaire in the mold of Elon Musk that leaves you wishing he'd gotten more screentime.  Ivanna Sakhno is given the rather thankless role of AMELIA (Autonomous Military Engagement Logistics & Infiltration Android) who serves as M3GAN rival.  While the majority of the returning cast is given so much more to do this go around, Sakhno isn't asked to do much outside of look robotic and make good use of her stunt fighting training.  With the film clocking in at nearly 2 hours it would have been worthwhile to have given her something more interesting to do than what she's tasked with.  M3GAN 2.0 has plenty of fat that could have been trimmed to make room for a bit more time with Sakhno's character but she's more than capable of giving off a murderous stare in this enjoyably comedic sci-fi romp.  

B+

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

 

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

Director: Brandon Salisbury

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

Release Date: January 7, 2025

Genre: Documentary

Not Rated 

Runtime: 1h 50m

Review:

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

B-

MOVIE REVIEW: F1

 

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

Director: Joseph Kosinski

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

Release Date: June 27, 2025

Genre: Action, Drama, Sport

Rated PG-13 for strong language, and action.

Runtime: 2h 36m

Review:

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

B-

MOVIE REVIEW: ELIO

 

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

Director: Adrian Molina, Domee Shi, Madeline Sharafian

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

Release Date: June 20, 2025

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

Rated PG for some action/peril and thematic elements.

Runtime: 1h 39m

Review:

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

  

A-

MOVIE REVIEW: 28 YEARS LATER

 

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

Director: Danny Boyle

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

Release Date: June 20, 2025

Genre: Horror, Thriller

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

Runtime: 1h 55m

Review:

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

A-

MOVIE REVIEW: MATERIALISTS

 

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

Director: Celine Song

Cast: Dakota Johnson, Chris Evans, Pedro Pascal

Release Date: June 13, 2025

Genre: Comedy, Romance

Rated R for language and brief sexual material.

Runtime: 1h 49m

Review:

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

 

B

MOVIE REVIEW: THE ALTO KNIGHTS

 

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

Director: Barry Levinson

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

Release Date: March 21, 2025

Genre: Biography, Crime, Drama, History

Rated R for violence and pervasive language

Runtime: 2h 3m

Review:

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

C+

MOVIE REVIEW: THE BALLAD OF WALLIS ISLAND

 

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

Director: James Griffiths

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

Release Date: March 28, 2025

Genre: Comedy, Drama, Music, Romance

Rated PG-13 for some language and smoking.

Runtime: 1h 40m

Review:

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

A

MOVIE REVIEW: THE PHOENICIAN SCHEME

 

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

Director: Wes Anderson

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

Release Date: June 6, 2025

Genre: Action, Comedy, Crime, Drama, Thriller

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

Runtime: 1h 45m

Review:

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

B-

MOVIE REVIEW: BALLERINA

 

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

Director: Len Wiseman

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

Release Date: June 6, 2025

Genre: Action, Thriller

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

Runtime: 2h 5m

Review:

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

C+

MOVIE REVIEW: BRING HER BACK

 

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

Director: Danny Philippou, Michael Philippou

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

Release Date: May 30, 2025

Genre: Horror, Mystery

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

Runtime: 1h 39m

Review:

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

   

A-

MOVIE REVIEW: 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