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Reviews
F9 (2021)
instead of video game-turned-movie, it's movie-turned-video game
After a two-film absence, Michael Bay (pardon, wrong series) Justin Lin is back driving the ship but given the reveling absurdity the difference is negligible. You must make peace with the past, a lesson Dominic Toretto must learn if he hopes to resolve a schism with long estranged little brother Jakob. There's some backstory but nothing worthwhile, over-the-top action scenes to the point of utter disbelief undo any semblance of reality, but a true series fan is unlikely to care. Too long, with too many characters (most just in and out) and the little bits of self-awareness add nothing whatsoever; Cena's the new blood but isn't given anything interesting to do except smolder and make a few speeches. What's the plan for the next chapter, street racing against aliens? *½
Doctor Strange in the Multiverse of Madness (2022)
puts a new spin on things
From hubristic neurosurgeon, to Kamar-Taj underling, to Master of the Mystic Arts, to time-traveling Sorcerer Supreme, to Avenger and protector of reality, Dr. Strange professes happiness, but following a set-to with Wanda Maximoff he discovers unrest in the multiverse, and embarks on a quest for the antithesis of the Darkhold--easier said than done. Sam Raimi and his Evil Dead sensibilities make him the ideal director as this delves into the horror genre with plenty of shock and awe and a real visual flair. Doesn't find its stride for a while, but there's plenty to please the eye and the expected teases, plus a good cast with MCU newbie Xochitl Gomez fitting right in, and Olsen who has a flavorful role as the Scarlet Witch. **½
The Adam Project (2022)
pleasant in spite of the obvious
A beleaguered twelve-year-old boy who's struggling to cope with a painful loss meets his older self, leading to a dizzying scientific adventure that could drastically alter his (their) future. Scenario is familiar, the science certainly questionable, and those intended heartfelt moments don't always come off, but it's good-natured and the relationship between Reynolds and young Scobell is a treat to watch. Mixture of the large-scale sci-fi action and the usual family drama this has a good message, though talented supporting actors like Saldaña, Garner, and Keener deserve more to do. **½
The Batman (2022)
atmosphere to burn and much more, but it goes on for quite some time
An innovative, gritty and grounded take on the DC icon finds Gotham City plagued by corruption but protected by "vengeance" as the masked vigilante tangles with a slippery, games-playing serial killer. Not really a traditional superhero film but more of a neo-noir with a superhero in it, this has much to admire including Reeves' fittingly grim visual aesthetic (with some easy to see inspiration from David Fincher) along with Michael Giacchino's thunderous score and moments of just pure exhilaration, but the whodunit approach creates a myriad of plot convolutions that lengthen the story, one which piles on climaxes and simply refuses to end, thus lessening the overall impact. Sullen, brooding Pattinson is good though he doesn't quite establish the dichotomy of Bruce Wayne and Batman, and he has plenty of help from Kravitz who's ideal, straitlaced Wright, Turturro who's deliciously slimy, and an unrecognizable force of nature in Farrell. **½
Resident Evil: Welcome to Raccoon City (2021)
goodbye Raccoon City
Raccoon City in the late 1990s has become a decrepit ghost town since the departure of Umbrella, the world's largest pharmaceutical company. In the midst of a zombie outbreak, former runaway and conspiracy theorist Claire Redfield has come home to investigate and reunite with big brother and STARS officer Chris; fellow Alpha team member Jill Valentine finds herself in a quandary; and last (but certainly not least), daisy fresh RPD rookie cop Leon is struggling to prove his mettle. Doesn't have a great story, witty dialogue, or rounded characters, but given the source material that's to be expected and can be put aside as long as it's fun. But despite the doom and gloom approach nothing truly exciting happens even with the little nuggets thrown in for fans of the game, or all the blood, guts, and gun fire which fill the screen; a reboot not a sequel by the way. **
Halloween Kills (2021)
a bland, bloodthirsty continuation
Seeing as this movie exists, it seems pretty safe to say that the secret's out and Michael Myers ain't dead yet. Picking up where the previous one left off, Laurie Strode is in critical condition following her encounter with the demonic Myers, meanwhile survivors from the original 1978 bloodshed have gone rogue and decided that evil dies tonight. This film's raison d'être seems to be killing people as it really dials up the level of violence, to a disturbing degree in fact, but there's no tension or excitement, thus it feels longer than it really is resulting in a lengthy, bloody bore; Curtis is totally underused here. *½
Unforgettable (2017)
title is a misnomer
Somewhere in Northern California--not that the setting is essential to the plot--vulnerable, lucky in love Dawson tangles with uppity ice queen Heigl, her current beau's ex-wife and the mother of his child. While the actors do seem invested, this self-serious thriller is just another played out Fatal Attraction scenario with a twist, but it unwisely chooses to give the game away early on thereby undermining any real suspense, and has a finale that's far from convincing; Unremarkable may have been a more fitting title. **
Candyman (2021)
the style is good even if it doesn't add up to all that much
In the late 1970s Cabrini-Green is a wasteland of socioeconomic problems on Chicago's North Side, but more than forty years later those things have seemingly progressed with gentrification. Then a pioneering artist delves into the past and becomes fixated on the legend of Candyman, that is if it's really a legend at all. Good direction and inventive visuals give this atmosphere to burn, but Abdul-Mateen's character is the only one of real interest and the plot explanations that try to dovetail with the original don't make for much thrill. The mood is suitable though, and the shock value is at least sufficient to make it worth a look. Of note: this is considered a direct sequel even though it takes place nearly thirty years later. **½
The 355 (2022)
the right idea but the wrong approach
Top agents (most of them anyway) of the CIA, BND, MI6, MSS, and DNI rally together to retrieve a high-tech whatchamacallit that spells bad news if the wrong people get their hands on it. Plenty of globe-trotting, red herrings, and usual genre clichés, but for anyone who's ever bothered to watch a spy thriller your mind is certain to jump ahead of the plot, thus subverting any suspense, and potentially good action scenes are undercut by poor camera work. Despite playing archetypal characters the lead actresses work well together, though Cruz is underutilized. A good concept and occasionally fun, but lacking in execution or innovation. **
Scream (2022)
an attempt to reach a new audience, but it's already been done
A "requel" as it may appropriately be called to the iconic 90s slasher film takes old audiences back to Woodsboro (and new audiences there for the first time) for another batch of bloodshed, but to those who've been with the franchise since its inception this is really just old wine in new bottles. Opens as expected, then throws out the inevitable (if occasionally clever) meta references and exposition for true fans, but just doesn't know when to quit; despite the frequent (borderline annoying) self-awareness there's little suspense or scares, unmemorable new characters, plus a thin finale that gives little justification to anything despite the filmmakers attempts to show how well they've done their homework. It may have been wiser to look for an original project instead of retreading a long dormant series...can we move on now? **
The Power of the Dog (2021)
some quibbles in the presentation but still riveting with a dominant performance from Benedict Cumberbatch
In Montana in 1925, manly and scornful rancher Cumberbatch is none too pleased when his lonely brother decides to shack up with low-class widow Dunst, whom he views as a cheap schemer. The plot thickens when her effeminate son Smit-McPhee arrives to stay for the summer. Explores intimidation, frustration, inner torment, and other elements in an interesting way, but the subtle, slow-burn approach doesn't keep all the emotions at the forefront, and the finale doesn't hit quite as hard as it intends to. It's still a unique showing with fine acting, especially Cumberbatch who never strikes a false note in his layered, hypnotic portrayal, while the rest of the cast does their best to try and match him. **½
The Addams Family 2 (2021)
not much more added this time around
Wednesday Addams is at a crossroads; she's found a niche in science, but a lack of validation leaves her feeling unremarkable and questioning her place amongst the ghoulish clan. To bring them closer together Gomez opts for a family road trip, while Pugsley feebly tries to garner the attention of some vacuous lemmings. Follow-up is essentially a 90-minute animated postcard with adequate visuals but nothing that really calls attention to itself, though the Lurch character is made use of. Hader and Shawn are thrown in amongst the eclectic voice cast but fail to up the ante; they may be creepy, kooky, mysterious and spooky, but that doesn't stop the bulk of the gags from falling flat. **
Old (2021)
he's got ideas, but ideas alone don't make it worthwhile
A married couple and their two kids travel to a luxurious tropical resort for some much needed R&R, a resort that the wife just happened to find online. Once there, they (and a select group of others) are invited to explore a beautiful isolated beach, but that's when everything takes a turn for the weird...for those who didn't watch the trailer they begin to age at an accelerated rate, among other things which don't have to be revealed until later. Shyamalan's latest showing features many of his usual tropes: a promising setup, tricky camera work that escalates tension, the inevitable big reveal, but brush all that aside because the acting is wooden, the dialogue is often lousy, and some grotesque images and an unsatisfactory payoff hinder what could've been a unique exploration of some really fascinating ideas; oh well. **
The French Dispatch (2021)
not easy to describe, yet still with entertainment value
Wes Anderson's ambitious love letter to journalism is a comic anthology set in the French town of "Ennui-sur-Blasé," spotlighting the eponymous American newspaper and it's factual weekly reporting of world politics, fashion, the arts, fancy cuisine, and diverse stories of human interest. Multiple interwoven stories include a spry, darkly comic look at the bold artistic works of an incarcerated lunatic; a lukewarm examination of a self-styled, undergraduate student revolutionary leader transcribing his manifesto; a far-out, fleeting recount of a writer with a typographic memory and his dinner with the police force that's disrupted by a conflict with denizens of the criminal underworld. The director's unique visual style, eccentric characters, and quirky storytelling techniques are on full display, and the cast is an embarrassment of riches, but the latter stories pale in comparison to the first as they feel rushed and lack the dry wit that's established early on, plus many of the characters aren't utilized to their full potential. It's not a perfect showing, but definitely not a regrettable viewing experience either. **½
Ghostbusters: Afterlife (2021)
plenty of nostalgia but not much else
Her estranged father passed away, financially inept single mother Callie and her two kids, handy Trevor and asocial, scientific geek Pheebs, relocate to his old dirt farm in Oklahoma to piece through the rubbles of his life, but quickly discover he was something of a pariah among his peers. Provided some assistance from lazy science teacher and seismologist Rudd, they then learn about their secret connection to the original Ghostbusters. Jason Reitman is handed down the franchise his father helmed nearly forty years ago and he's clearly done his homework as this contains numerous callbacks to the original, but despite all the fan service and some cool pyrotechnics it doesn't have much of a story or provide much in the way of laughs, plus the ending is anticlimactic. Mckenna Grace's personality evokes the late Harold Ramis though, which is definitely a plus. **
Nightmare Alley (2021)
lengthy but with much to appreciate
A specious, curt, and penniless vagrant stumbles upon a ragtag carny show full of dodgy individuals during the late 1930s and gets in league with them upon revealing his innate gift for (what else?) manipulation. When the time comes he finally branches out, but the more ambitious he becomes the greater the risks he takes. This lurid, slow and simmering neo-noir is a touch long, but never uninteresting thanks to del Toro's intoxicating visual scheme, an ample collection of rancid characters, not to mention the dynamic ensemble of top-tier actors who each bring it, no matter the scope of the role. It becomes quite unsettling in the final act, which makes for a memorable payoff. ***
Venom: Let There Be Carnage (2021)
lots of carnage but the results are just meh
Eddie Brock and his voracious alter ego Venom, who'd definitely be a candidate for "couples therapy," are trying to co-exist. Seeking a career boost Brock elects to conduct a one-on-one with certifiable Cletus Kasady, a serial killer imprisoned in San Quentin who's still pining for his one bright light. This piles on the visual effects (mostly fighting among the goo) but the script is bland and there isn't enough of a story to move things along or make it interesting. Serkis is going for a mix of off-the-wall humor and edgy action but never hits a stride, plus the chaotic final act doesn't provide any suspense or thrill. Hardy looks like he could implode at a moment's notice, Harrelson channels Mickey Knox, but the messy results aren't funny or exciting. *½
That Awkward Moment (2014)
the actors make it better than it really is
So...clueless bachelor Efron, amatory barfly Teller, and cuckolded medico Jordan are old college pals now navigating their way through the Manhattan singles scene, making a pact to avoid real relationships but the obvious question is how's this gonna work? Some of the commentary on the single male dating life is on point, but most of the raunchy humor is forced and therefore doesn't fly; this has sprinkles of American Pie and The Hangover only not as good, but at least the charismatic lead actors share a believable sense of comradery, there's also good roles for spunky Poots as a mystery woman who catches Efron's eye, and Davis as a sharp-witted female wing. **
Cruella (2021)
does enough to make it fun to watch
Cruella de Vil; arguably she's the poster child of greed and vanity, yet Disney has no scruples about giving her an origin story, chronicling her irregular but "creative" youth to her gradual ascent through the fashion industry in 1970s London. This smacks of Devil Wears Prada, and also has a dash of Oliver Twist which begs the question of if it really needed to be made, yet the filmmakers sure know how to push the right buttons with immaculate wardrobe, humorous characters, a varied (if exploitative) soundtrack, and a peerless pair of Emmas who really sink their teeth into their respective roles. **½
Mimic (1997)
serves its intended purpose
Three years ago cockroaches were responsible for the spread of a virulent disease that claimed the lives of children throughout Manhattan Island like a thief in the night; altruistic entomologist Dr. Susan Tyler led a genetics team that created a biological counteragent, a new breed of insect with a short life span that wiped out the infectious carriers. In the present day that same breed evolves to counteract an even greater predator: human beings. The movie's visual aesthetic is fittingly murky and drab, with confident direction that creates a tangible and unpredictable feeling of something lurking in the shadows. Innovative mixture of the scary and the scientific, this is a grabber despite any of the usual horror movie conventions. ***
Don't Look Up (2021)
interesting but with all that talent it should've amounted to more
Deep Impact in the era of social media, only with a lot more humor and a star-studded cast. Doesn't waste much time as PhD astronomy candidate Kate Dibiasky and her MCU professor Randall Mindy get wind of a global killing-sized comet on a 100% collision course with Earth. A myriad of problems arise when trying to make their findings public. Takes aim at internet memes, clickbait, political divisiveness, gullibility, ignorance, the mob mentality, but never quite lands the knockout punch; still quite engaging due to all the satirical digs and broad assortment of characters from fidgety DiCaprio, ostracized ginger Lawrence, approval-seeking Streep, tone-deaf Rylance, plastic Blanchett, addlebrained Hill, square-jawed Perlman, the list goes on, all of them bringing a little something to the table. **½
Red Notice (2021)
a divertissement with star power
Tongue-in-cheek action-comedy unites The Rock, Deadpool, and Wonder Woman so they can...well seemingly so they can get paid. As things begin an American fed who's an expert profiler is working abroad to aid Interpol in the capture of an elusive art thief, until the plot requires them to team up. Self-referential, with flavors of buddy movie, double-crossing, and espionage, but clearly pilfers from other films (ahem, Indiana Jones) and some too obviously unreal visual effects dilute the lush scenery. The banter between fast-talking Reynolds and muscle-bound Johnson frequently falls flat, but Gadot brings some heat as a masterful thief whose skill and savvy dwarfs their own. Would be really disappointing, but with all the comic schtick and conveniences of the script you never take it seriously. **
After the Sunset (2004)
some fun though it doesn't sizzle
Slick, savvy jewel thief Max Burdett and his sexy lover/accomplice retreat to a Caribbean paradise after pulling off a complex diamond heist. Though seemingly retired, they're tracked down by Stan Lloyd, an FBI agent they outfoxed in the past, and who doesn't believe that Max is quite ready to give the game up. A breezy, lightweight caper with a few noteworthy twists but nothing that truly stands out; a charismatic cast and visual eye candy (the scenery as well as the actors) turn it up a notch. **
The Matrix Resurrections (2021)
unfortunately no one can be told what the Matrix is, you have to see it for yourself...but unfortunately not this latest entry
Thomas Anderson, now without his indelible nom de guerre Neo, is a game designer in a constant state of unease, mostly cause he's not living the life he should be. Begins with a bit of nostalgia for those fond of 1999's debut, but fails to go much further than that; nearly two decades have passed since the last entry, yet despite any technological advancements in that time the special effects are pretty mundane, and the fight scenes try (but fail) to replicate the earlier films as they lack tension or innovation. Much of the time Reeves looks like he should be elsewhere, he and Moss only have a shell of their former chemistry, and even worse: new casting in previously iconic roles along with multiple flashbacks warrant a shake of the head as to how vastly inferior this latest showing really is. A lot of talk and explanation, likely to convince fans that there was a valid reason to produce this disjointed sequel in the first place; just what was the goal here? *½
Looper (2012)
various elements that are effectively blended together
Kansas circa 2044: specialized assassin-for-hire (along with committed Francophile) Gordon-Levitt works for an underground crime syndicate who, thirty years in the future where time travel is prohibited, send marks from their present back to the past to be executed. Although never permitted to let a target escape, things get tricky when he encounters his future self (Willis) and is ordered to close the loop. While trying to "fix" things, he also crosses paths with Midwestern twanged wood chopper Blunt. This slick, crafty, multilayered thriller ingeniously toys with time travel and paradoxes, but also incorporates elements of action, suspense, and romance as well. The pace slows heavily after a strong start, but it remains interesting and ends in ways that aren't quite expected; good casting makes up for any close scrutiny applied to the plot. ***