Tag: NetFlix

THE RIP – The Review

THE RIP. (L to R) Matt Damon as Lieutenant Dane Dumars and Ben Affleck as Det Sergeant J.D. Byrne in The Rip. Cr. Warrick Page/Netflix © 2025.

By Marc Butterfield

“Are we the good guys?” – Lieutenant Dane Dumars (Matt Damon)

Matt Damon and Ben Affleck have been friends since they were in elementary school, and now they’re bringing that friendship to Netflix. The duo are reteaming for the new crime thriller The Rip, from writer-director Joe Carnahan (Narc, Smokin’ Aces, Copshop, Boss Level). Also coming along for the ride are Steven Yeun, Kyle Chandler, Teyana Taylor, Catalina Sandino Moreno, and Sasha Calle; the film is produced by Artists Equity, the studio-led studio that Damon and Affleck founded in 2022.

If you think you’re going to walk in and figure this one out while watching, I must say, you probably aren’t. The story has more twists and turns than a Monaco race track, and you catch on pretty quick that nothing is as it seems. The pacing is smooth, the dialogue is tight and economical, the action does NOT disappoint either. It may be a Netflix movie, but it really could have killed at the box office. I like Carnahan’s movies, and this is amongst his best. The chemistry with Affleck and Damon has not diminished with time, and the supporting cast all pull their weight with them. It’s definitely the edge-of-your seat action one wants from a crime drama, and the settings all feel like they could stand up to much bigger budget movies.

Beware: spoilers ahead, so if you don’t want to know too much, save the below for later.

THE RIP follows Damon – Lieutenant Dane Dumars – and Affleck – Detective Sergeant J.D. Byrne – as Miami cop partners who find themselves in a sticky situation after their team finds $24 million stashed away in a safehouse. Required by law to count the money before leaving the scene, the cops and their team must survive the night — and each other. Plus the team is already on edge — and under FBI investigation — after the murder of their captain, Jackie Velez (Lina Esco). 

And they find the police informant in the house, Dumars and Byrne’s first instinct is soon proven correct: The money is from the cartel.

Desi (Sasha Calle), the home’s owner, is an unwitting pawn in the organization’s game. The cartel paid Desi to place buckets of cash in the attic of her new home, inherited from her recently deceased grandmother. With plenty of funeral and medical expenses to pay, it was an offer the young woman couldn’t refuse. Partner turns on partner, bullets start flying, and the cartel is on the prowl. When threatening phone calls start coming through and the house is hit with a barrage of bullets, the team naturally blames the cartel.  But a nighttime chase quickly resolves that question. Byrne finds common cause with the cartel lookout who was communicating through the porch light. He even helps him run off the real culprits and coordinates a phone conversation with his cartel chief (Sal Lopez), who convinces Byrne and Dumars that the cartel didn’t fire a shot.

THE RIP. (L to R) Steven Yeun as Detective Mike Ro, Matt Damon as Lieutenant Dane Dumars, Writer/Director Joe Carnahan, Ben Affleck as Detective Sergeant J.D. Byrne and Kyle Chandler as DEA Agent Mateo ‘Matty’ Nix on the set of The Rip.Cr. Claire Folger/Netflix © 2025.

“The Rip came out of a deeply personal experience that my friend went through, both as a father and as head of tactical narcotics for the Miami Dade police department,” Carnahan explains. “It’s inspired in part by his life and then, by my enduring love for those classic ‘70’s cop thrillers that really valued the character and interpersonal relationships and became touchstones of that era — films like Serpico and Prince of The City and more recently, Michael Mann’s Heat.”

The viewer will discover that there are details in the movie drawn directly from officer Chris Casiano’s true story that inspired the film. The final piece of tension emerges from a procedural detail: will the rip’s final total match the count performed by the Tactical Narcotics Team? It does, to the dime: $20,650,480.

Dumars says goodbye to Desi, and reveals the truth behind his tattoos. They’re not a somber reminder of his duty, necessarily. They’re a memorial to his son. “Are we the good guys?” was the last thing his son said to him; “We are and always will be” was the last thing he said to his son.

Shot masterfully by cinematographer Juanmi Azpiroz, the film is filled with gunfights, car chases, and rooftop shootouts. This is The Rip. You won’t want to miss it.

Watch on Netflix: https://www.netflix.com/title/81915745 

4 out of 4 stars

JAY KELLY – Review

With all the manic activity, preparations, shopping, and general “hub-bub” that fills the holiday season, most of us have precious little “downtime” to reflect. If you do get a “breather” you might pause to mull over your relationships with family and friends. And perhaps not all those memories are seen through “rose colored glasses”. Yup, regret can be an unexpected source for the end-of-the-year blues. This new film proclaims that those “pangs” can even affect the very-rich and famous. That includes iconic Hollywood “A-listers”, like the title character of this movie. And the “m-word” certainly applies to him because there are few movie stars that have been at the top of the box office longer than that “leading man” with the “matinée idol looks”, Mr. JAY KELLY.

Naturally, when we first meet Jay Kelly (George Clooney) he’s on a movie set, wrapping up his final scene. Right at his side is his devoted longtime manager Ron Sukenick (Adam Sandler), as they hear “Cut!”. Back at his lush estate, Jay meets with his youngest daughter Daisy (Grace Edwards), who’s preparing to join some school friends on a train trip through Europe. Jay tries to convince her to cancel and hang out with him between acting gigs. She declines just as Ron delivers a big bombshell: the director that gave Jay his “big break”, Peter Schnieder (Jim Broadbent), has died. Jay then recalls their last get together when he passed on Peter’s last film project. After attending the funeral, Jay runs into his old acting-school buddy, Tim (Billy Crudup), who suggests that the two get a drink at their old dive bar hangout. Things turn sour when Tim recalls how Jay got a role he had wanted, Their reunion ends in a fistfight on the sidewalk. The next day, Ron does damage control as Jay hits him with a bombshell. Rather than work on a new project with a hot directing duo, he’ll go to a Tuscany film festival that wants to honor him with a career award. But Jay doesn’t want another piece for his mantel. He makes a few clandestine calls, and finds out Daisy’s travel itinerary by following her BFF’s credit card trail. With Ron in tow, along with his long-time publicist Liz (Laura Dern), the “Kelly crew” flies to France where they board Daisy’s train. Along the way, Jay reconnects with the “common folk” while drifting in and out of memories before the big event in Italy, where he’ll encounter more folks from his troubled past.


So Clooney as a long-time, decades-spanning screen icon…not much of a stretch, sure. The guy has enough charm to spare, or at least for a couple more years. But here he peels back the sparkle to show the melancholy at Jay’s core. We see the sadness edging out that boyish twinkle in his eye as Clooney projects an unexpected vulnerability when Kelly realizes that time may not heal all wounds. His pairing with Sandler as the put-upon “wrangler” Ron is most inspired. Yes, Ron’s devoted to Jay, but Sandler shows us how the countless frustrations are boiling to the surface, ready to dour some hot steam into that suave mug. And he shows how his own family is losing the “tug-of-war” with Kelly. Dern’s great as another senior member of the “crew” who has his own regrets concerning her past with Ron. As Liz, Dern channels the staccato line delivery of those classic movie workin’ gals.The supporting cast is very impressive, including Patrick Wilson as another star in Ron’s “stable” (their Dinner “confab” is a highlight), Stacy Keach as the “rough around the edges” reminder of Jay’s boyhood, and Riley Keough as the elder Kelly daughter who is immune to papa’s “too late” attempts to reconnect. But the big standout may be the superb early-in-the-story turn by Crudup as the affable at first, old method acting buddy who suddenly bares his fangs on the startled “old pal”.

This is the latest work of one of the medium’s most interesting filmmakers, Noah Baumbach, who crafted the script with actress Emily Mortimer, who also plays Jay’s hairstylist Candy. This is a more grounded story than many of his more fanciful flicks like his WHITE NOISE, but not nearly as emotionally raw as MARRIAGE STORY. He gives us an interesting “insider’s view” of the industry, with riffs on several current stars and their scandals (now, who might those directing brothers be). Plus, Noah does dip his toe into fantasy with his unique flashback “transitions”. Suddenly, Jay will work through a day and be plunged into a major mistake from his past (he’s on his first movie set, he’s at a therapy session with one of his kids). We get some nice comic bits with the cute train passengers who adjust to the big star quickly. Oh, and that location works, especially in Tuscany, is quite dazzling. Though this can get a bit too fluffy and “navel-gazing”, the story does make its point concerning the consequences of putting your career first since in the non-soundstage world, we don’t get a second “take” to make things right. That’s a good lesson for moviegoers and movie stars like JAY KELLY.

3 out of 4

JAY KELLY is now steaming exclusively on Netflix

TRAIN DREAMS – Review

In this high-speed modern age, it’s hard to recall a time when much of the country was nearly inaccessible. No airports or interstate “super-highway” systems existed, just a little over a hundred years ago. Well, somebody had to “clear the way” for the ever-expanding US population as it headed west. So, what were these hard-toiling workers like, emotionally. What were their desires, and how did they carve out a life for themselves, and, eventually, their families? This new film, based on a recent celebrated literary work, tries to answer those questions as it focuses on one such man in the early part of the previous century. After several grueling hours of laying track, did he close his eyes, and drift away into a slumber filled with TRAIN DREAMS?

That laborer at the heart of this story is Robert Grainier (Joel Edgerton), who relates his humble beginnings as a young orphan arriving via train to Idaho in the late 19th century. Most of his early memories revolve around the railroad and the surrounding forests. He sees Chinese immigrant rail workers being driven out of town, and even gives a water-filled boot to a dying man near the bottom of a ravine. In his teenage years, he hops on to a locomotive that takes him far away from his adopted family, to Washington state. After a long stint as a logger, he settles in a small town and meets a lovely young woman at a church function. Robert and Gladys (Felicity Jones) begin a romance that culminates in marriage. They build a home near a stream on the edge of the woods far from their village. Robert is happy, but he’s haunted by dreams of an incident in which he failed to intervene in an attack on a Chinese co-worker. Soon the couple welcome a daughter, Kate. But Robert soon leaves once more, to work on the railway expansion hundreds of miles away. He keeps to himself, but befriends a colorful old explosives excavator named Arn (William H. Macy). When that job is completed, Robert rushes back to his cabin for a happy reunion. Sadly, fate has other plans. He must decide whether to drift from job to job or try to put down roots near the site of his great, heartbreaking loss.

In the lead role, Edgerton must make Robert compelling without reciting much dialogue. And he certainly succeeds, making his tired eyes a window into the stoic man’s soul. We can almost share his aches and pains as Robert toils to make a better life for his family. This gives an extra emotional wallop as Edgerton conveys his joy (falling in love, playing with Kate) to his sorrow (that tragedy and the horror of the work camps). Many of the most powerful moments are the scenes shared with Jones, whose Gladys is the bright, shining light in Robert’s dreary drudgery. It’s surprising to see her as the main catalyst to the relationship, catching him “off guard”. Jones’ beaming gaze at him informs us of her passion for the new life she has begun as wife and mother. Another terrific actress, Kerry Condon, also brightens Robert’s life as a new-found friend who begins a job at a nearby forest preserve. Their interplay is quite engaging, as she describes her own love of the solitude of nature. As is the case in his superb supporting work, Macy makes the most of his scant screen time as the lazy bur lovable “blaster” who makes Robert the “sounding board” for his philosophy, while generating laughs as he tinkers with faulty equipment (“Stand back, boy…aw, c’mon now!”).

With his sophomore feature, director Clint Bentley carefully crafts a somber saga of early American life in the West. He also co-wrote the screenplay adaptation of the Denis Johnson novella with Greg Kwedar, which eschews showy histrionics in order for Robert to tell his own story of love, loss, and regret. There’s a dream-like quality to the early scenes of young Robert collecting lifelong memories that will shape his later years. Adding to the dreamscape of the title, Bentley presents images and sequences that could be fantasy or fact, as Robert deals with his own fractured history. All this is enhanced by the rich, luminous cinematography of Adolpho Veloso (tough to go wrong with that lush scenery). For those film fans in need of a quiet, contemplative respite from the usual “rapid_fire”, bombastic movie fare, TRAIN DREAMS is cinema serenity.

3 Out of 4

TRAIN DREAMS streams exclusively on Netflix beginning on November 21, 2025

IN YOUR DREAMS (2025) – Review

While we’re awaiting the big year’s-end animated sequel from the “Mouse House”, here’s quite a tasty CGI (mostly) appetizer you can stream at home. Fledgling Kuku Studios , with assists from Netflix and Sony Animation Studios (yes, the Spider-Verse folks) have produced quite a charming bit of lyrical whimsy that focuses on family dynamics via the imaginary world dotting the “dream-state”. Sure, it sometimes veers into nightmare territory, but more often several rousing fantasy adventures occurs IN YOUR DREAMS.

We’re first introduced to the story’s main character, a pre-teen girl named Stevie (voice of Jolie Hoang-Rappaport) during a pleasant daydream set in the not-too-distant past. She’s having lots of fun making a French toast breakfast in the kitchen, along with her lovably goofy musician Dad (Simu Liu). Soon after Mom (Cristin Milioti) joins them, the dream shifts into chaos with the sudden arrival of a baby brother. Stevie awakens in the present day as she is distracted while making breakfast by the antics of her now eight-year-old wannabe magician kid brother Elliot (Elias Janssen). Mom and Dad are nearby having a pretty serious discussion (the thin walls allow Stevie to get the gist). Mom is heading to Duluth (several hours away) to interview for a higher-paying job, since Dad’s music career has somewhat stalled. Could this prompt a big move. Unfortunately, Dad wants to remain in the old house, so could this lead to them breaking up? Fortunately, Stevie is given a task to take her mind off her worries. She’s going shopping with Elliott to find a book he can write a report on for his class. At a second-hand shop, Elliot innocently brings home a tome from the “off-limits” back room (that dreamy clerk did say it’s priceless). The dusty ole’ storybook is all about “the Sandman”. As if prompted by its subject, Stevie has a weird dream that Elliot’s bed behaves like a flying horse. Or is it a dream? Before she can figure things out, the duo are whisked to a land of living breakfast foods where Elliot is reunited with his thought-to-be-lost favorite childhood toy, a stuffed giraffe named Baloney Tony (Craig Robinson). Somehow he leads them to the land of the Sandman (Omid Djalili) who gives Stevie a chance to make all her dreams come true. Can this be the only way to keep her family together?

This film is truly an entrancing tale with splendid dollops of “eye candy’ that will dazzle animation lovers of all ages (there’s even a few seconds of 2D-style classic “line art”). Big congrats to Erik Benson and Alexander Woo on their feature film directing debut and on the heart-tugging, witty script they co-wrote with Stanley Moore. In that aspect they’ve crafted a most sensitive approach to a great fear of family fragmentation with empathy and maturity. But they haven’t been stingy with the laughs. Baloney Tony may be the big breakout comedy star due to his bouncy, “floppy” physicality and the infectious energy in the vocal work from Robinson. Ah, but those visuals…particularly in the dream settings, with the Sandman’s desert-like domain highlighted by a grainy castle inspired by M.C. Escher (stairs in every possible direction). I was also impressed by the land of breakfast treats, from their sprightly intro to the later “dark turn” with “zombie donuts”. Much of the film’s strength comes from the steady pacing, allowing us to drink in the themes without manic “in-your-face” extreme reactions. But when things kick into action mode, the movie soars, much like the amazing over-the-city and above the clouds flight of Elliot’s bucking-bronco-bed. Also worth savoring (hit that rewind) is the hilarious montage of nightmare trope (“naked in public”, “unprepared for a test”, “teeth falling out”, etc.). All the excellent animation acting (the natural gestures and bouncy double and triple-takes) are given extra “oomph” by the subtle music score by John Debney. Sure, it’s not a big epic blockbuster, but family audiences will savor the wonders and everyday warmth (lots of laughs and heart) of Stevie’s journey throughout IN YOUR DREAMS.

3 out of 4

IN YOUR DREAMS is now streaming exclusively on Netflix

Eddie Murphy Alert! Watch The Trailer For The BEING EDDIE Documentary

Eddie Murphy. Cr. Mark Seliger

“There is no one else like him. Nobody. He’s been famous longer than just about anyone alive, and he’s never lost who he is.” – director and two-time Oscar winner Angus Wall.

For those of us who grew up in the 1980’s listening, on cassette, to Eddie Murphy – there was nothing else like it. RAW and DELIRIOUS was and still is COMEDY GOLD. Decades later, so many of his phrases are just as repeatable and memorable as they were in 1983 and 1987.

From stand-up prodigy and Saturday Night Live phenom to beloved Hollywood icon, Being Eddie chronicles the extraordinary life and legacy of the genre-defying star through exclusive interviews with Murphy himself and his comedy peers, offering an intimate portrait of this once-in-a-generation talent.

But wait… there’s more. Check out his hit “Party All The Time”!

It goes without saying that there is only one Eddie Murphy. No other teen comedian shared a stage with Jerry Seinfeld at 17, and joined the cast of Saturday Night Live right out of high school. No actor has ever played a cop, a doctor, and a donkey — and dominated every facet of Hollywood he’s touched. Fewer still have been an A-list celebrity for over four decades, and never succumbed to its darker side. Murphy’s unusual combination of explosive charisma, focused ambition, raw talent, and deep-set circumspection puts him in a league of his own, and is on full display in Being Eddie, directed by two-time Oscar® winner Angus Wall.

The documentary gathers comedy and Hollywood legends like Dave Chappelle, Tracee Ellis Ross, Jamie Foxx, Jerry Seinfeld, Reginald Hudlin and more to celebrate the Oscar®-nominated actor and his nearly 50-year career that’s seen him break barriers, invent genres, and inspire generations of talent. For the first time ever, Murphy invites the public into his home to revisit his breathtaking body of work, all the while revealing the dazzling interior life that has long driven — and grounded — this once-in-a-century star.

Being Eddie premieres on Netflix Nov. 12.

https://www.netflix.com/title/81094163

Being Eddie. Eddie Murphy. Cr. ©2025 Eddie Murphy/Courtesy of Netflix.

SHARK WHISPERER – Review

By Michelle McCue and Melissa Thompson

“I want to meet more sharks and explore this beautiful planet. While I’d like to be able to continue that, you never know when you’re gonna go. But if it happens from a shark, I’m putting myself in these extreme situations. So definitely don’t blame the shark.” – Ocean Ramsey

As filmgoers everywhere are celebrating the 50th anniversary of Steven Spielberg’s JAWS, there’s another film about these magnificent creatures that’s airing on Netflix.

From the Academy Award®-winning director of My Octopus Teacher comes SHARK WHISPERER, a provocative and visually arresting documentary that dives into the murky waters of modern conservation, where science, activism, and spectacle collide.

At its center is marine conservationist and social media lightning rod Ocean Ramsey, whose viral videos of swimming freely with sharks have sparked global fascination—and fierce debate. Driven by a desire to leave the cage and decode shark language up close, Ocean strives to connect with these predators on an unprecedented level— hoping to challenge the negative perception of sharks. To her supporters, she’s a fearless advocate giving a voice to misunderstood predators. To her critics, her mission blurs the line between saving the planet and seeking the spotlight.

Through intimate character study and breathtaking underwater cinematography, the film explores the tensions between advocacy and ethics, media influence and ecological integrity. With insight from marine biologists, indigenous knowledge holders, and fellow conservationists—both supportive and dissenting—it paints a nuanced portrait of a polarizing figure and the broader questions she provokes.

One of the best documentaries of 2025, this incredible story is not just a story about sharks. It’s a story about how we choose to tell stories—about nature, ourselves, and what we’re willing to risk to be heard. The film is balanced with the pros and cons of going into the oceans with the sharks, including the account of a 25-year old surfer, Colin Cook, surfing off of Oahu’s North Shore, who was attacked by a tiger shark and lost his left leg. He was rescued by another surfer, Keoni Bowthorpe, who is credited as one of the cinematographers of the documentary.

Wanting to prove they’re not monsters, Ocean, who can hold her breath for 6 ½ minutes while free-diving, was instrumental in getting the law passed in Hawaii making it illegal to kill sharks. Attacks are rare and most sharks swim right past swimmers, divers and surfers all the time.

Two of the big highlights that will leave the viewer in awe, along with grabbing for a kleenex, is Roxy the shark, who has the saddest of stories and the 20 ft. great white that Ocean encounters and catches a ride with, as if it’s a pet dog. Even two dolphins make a visit acting as escorts.

One of the most endearing parts of what Ramsey and husband Juan do is give the sharks they interact with names. Whether it’s their intention or not, the names draw viewers in and it gets us invested in what happens to not only these sharks, but all sharks. From Roxy to Kahili, Nikki and Tank, we now are emotionally attached. 

Director of the underwater photography is Keoni Tetawa Bowthorpe, edited by Sam Rogers, and filled with a lovely score by Roger Goula and Sam Thompson, SHARK WHISPERER is a brilliant documentary about what we need most in the world today – HEROES.

Directed by J.P. Stiles, Harrison Macks and James Reed, this is a must-see for everyone. Even the end credits are filled with joy, from the beautiful cinematography of the sharks, an update on Colin Cook and his journey back to the water, to Ocean’s and Juan’s wedding surrounded by their “friends.” SHARK WHISPERER is extraordinary.

https://www.netflix.com/title/81639669

RATING: 4 out of 4 stars

Are You Watching KPOP DEMON HUNTERS On NETFLIX? You Should Be!

Looking for something fun and unusual to stream – check out the K-pop and animation phenom that is KPOP DEMON HUNTERS.

When they aren’t selling out stadiums, Kpop superstars Rumi, Mira and Zoey use their secret identities as badass demon hunters to protect their fans from an ever-present supernatural threat. Together, they must face their biggest enemy yet – an irresistible rival boy band of demons in disguise.

The animated film, which is now streaming on Netflix, comes from Sony Pictures Animation (Spider-Man: Across the Spider-Verse, The Mitchells vs. The Machines), is directed by Maggie Kang and Chris Appelhans, and features a script by Danya Jimenez, Hannah McMechan, Kang, and Appelhans.

Watch the trailer for the film that premiered June 20 on Netflix.

The movie sits at 95% on Rotten Tomatoes.

Collider said in their review: Great World-Building, Catchy Songs, and Impressive Performances Make Netflix’s Surprising New Film Unmissable. “It’s a beautifully bonkers fantasy premise that works, thanks to gorgeous animation and choreography, fun lore, a set of talented voice performances, and catchy tunes.”

Variety’s review:‘ K-Pop Demon Hunters’ Review: High-Concept Toon Is as Catchy as the Korean Music Phenom That Inspired It. “Because the nimble, genre-hopping movie is set in the world of K-pop, it may not even occur to fans that they’re watching a musical — although it’s kind of hard to deny as you catch yourself singing along.”

See what fans are saying over on reddit: https://www.reddit.com/r/netflix/comments/1lg0bvl/what_do_you_guys_think_of_kpop_demon_hunters/ “Just finished watching it. Love it. And I’m not even a k-pop fan.” “It was amazing. Great animation, I loved most of the songs, and the vibe was off the charts.” “Its entire production is gorgeous. This is one of those movies that makes me desperately want to buy a Blu-Ray copy to own forever. “

https://www.netflix.com/title/81498621

The full voice cast includes: 

K-Pop: Demon Hunters is a musical action adventure that follows the story of a world-renowned K-Pop girl group, as they balance their lives in the spotlight with their secret identities as bad-ass demon hunters, set against a colorful backdrop of fashion, food, style and the most popular music movement of this generation. Cr: Netflix© 2024

WALLACE & GROMIT: VENGEANCE MOST FOWL – Review

Wallace & Gromit: Vengeance Most Fowl. Cr. Courtesy of Netflix © 2024

Happy New Year 2025 indeed, since it’s off to a “crackin’ good start’! And you’re no doubt wondering why? Well, premiering just 72 hours after the “ball drop” is the feature film return of one of the most beloved comedy teams on the planet. Now, it’s not another biopic set in Hollywood’s Golden Age ala STAN & OLLIE nor a Farrelly Brothers follow-up to THE THREE STOOGES. Mind you this duo has been entertaining audiences for over 35 years, starting with a couple of acclaimed shorts before making their first feature in 2017. Oh, did I not mention that they’re animated characters, rendered in clay? From “across the pond” it’s their full-length adventure from the artists of Aardman Animations Limited, WALLACE & GROMIT: VENGEANCE MOST FOWL. Put the kettle on and bring out the cheese…

This story begins with a flashback from over thirty years ago, near the end of the classic short subject, “Wallace & Gromit: The Wrong Trousers”. Gromit the dog watches silently as his best pal Wallace (voice of Ben Whitehead) phones the police after tying up the mastermind behind the Blue Diamond heist, the penguin known as Feathers McGraw. He’s swiftly brought to justice, locked up in a musty jail cell that opens into the Arctic animal habitat at the local zoo. But Feathers keeps in shape while waiting patiently for the perfect time to escape. Spring ahead to the present day as Gromit worries over the deluge of overdue bills in the “morning post”. Wallace doesn’t fret as he completes his newest creation that will rescue Gromit from toiling in the garden (which he actually enjoys). It’s a robotic groundskeeper resembling a garden gnome that he dubs “Norbot” (Reece Shearsmith). Several neighbors observe it making the backyard “neat and tidy” and inquire about renting its services. Aha! Financial problems are solved, though Gromit remains a bit leery of the grinning tech sprite. Soon the local media cover the story of Wallace’s gizmo, and Feathers catches a morning TV news crew segment. The “stars have aligned” as the local museum is about to bring out that Blue Diamond from the vault where it has been since the attempted theft, which is now the main interest of the soon-retiring original officer Chief Inspector Mackintosh (Peter Kay) and eager new PC Mukherjee (Lauren Patel). What happens when McGraw’s plan for revenge utilizes the Norbot and casts doubt on the honesty of its creator Wallace? Can even his dedicated and resourceful buddy Gromit hope to thwart this dastardly scheme?

Well. well, who should get the first bit of praise for this excellent entertainment? We may as well begin with the superb vocal ensemble led by an actor with a most daunting task. Namely, he had to take over the role of Wallace since his original much-beloved voice, Peter Sallis passed away in 2017. I’m happy to report that Mr. Whitehead is also quite charming as the eccentric inventor evoking just the right mix of childhood enthusiasm and endearing daffiness. He’s the ultimate “child-man” who delights in his toys but is often hurt when the world shuns him. Shearsmith is also gloriously goofy as Norbot with his awkward upbeat delivery even when he’s hiding a threat. As the defenders of the peace, Kay is a delightful fumbling “old school’ copper while Patel has a bubbly youthful zeal as she reminds her mentor of the “proper procedures” in a nice parody of the cop/buddy pairing of grizzled vets and “by the book” newbies’.

Now we need to laud the incredible team of craftspeople and artisans for creating the world of Yorkshire especially 62 West Wallaby Street (where Wallace works his wizardry). I was particularly “wowed” by the dazzling colors of the gardens and the intricate details of every dwelling, inside and out”. This touches on the props with everything from the furnishings to the transports (we get vans, motorcycles and racing boats). Happily, the characters move flawlessly with a touch of graceful physical movement much like classic clowns and gestures (of course Gromit’s deadpan evokes Buster Keaton, with a touch of Bob Newhart’s exasperated “takes”). Of course this would all be very impressive “eye candy” without the clever, witty script by Mark Burton and W&G’s creator Nick Park which deftly juggles vibrant visual gags, silly slapstick (love Wallace’s morning “bath flume”), smart satire (Feathers does a great “Max Cady” CAPE FEAR homage), tense action (a midnight hunt leads to an aquatic showdown), and a heart-tugging celebration of the unbreakable bond between the leads. It all works as an action comedy due to another team, the directing duo of Park and first-timer Merlin Crossingham (apropos moniker). They prove that an all-ages film can keep the whole family enthralled and engaged. These cartoon cutups have been around since 1989 and they still feel fresh, exciting, and hilarious. With this creative team in place, “firing on all cylinders”, let’s hope this will be the first of many new “inventor adventures”, though it’ll be tough to equal, let alone top, the wild, warm, and wacky WALLACE & GROMIT: VENGEANCE MOST FOWL.

4 Out of 4 stars

WALLACE & GROMIT: VENGEANCE MOST FOWL streams exclusively on Netflix beginning on Friday, January 3, 2025

Get Ready For The Christmas Holiday Travel – Taron Egerton And Jason Bateman Star In Trailer For Netflix’s CARRY-ON

Carry-On. Taron Edgerton as Ethan Kopek in Carry-On. Cr. Netflix © 2024.

“One bag for one life.”

Add this to your list of holiday films coming out in December – specifically December 13th, 2024 .

Directed by Jaume Collet-Serra and written by T.J. Fixman (the Ratchet & Clank video games) & Michael Green (Logan, Blade Runner 2049), CARRY-ON follows a young TSA agent as he fights to outsmart a mysterious traveler who blackmails him into letting a dangerous package slip onto a Christmas Eve flight.

CARRY-ON director Jaume Collet-Serra specializes in this kind of one-location thriller; he previously directed Non-Stop and The Commuter.

The CARRY-ON cast had help keeping the film’s airport dynamic realistic: a pair of bona fide TSA agents. “We had two amazing LAX TSA advisors on this movie who gave us so much great information on anything we needed,” Collet-Serra told Netflix. “They put our actors through proper TSA training before we shot the movie, and they were on set to advise us if anything didn’t look realistic.”

The Netflix movie began production in October 2022.

The score is from composer Lorne Balfe.

Carry-On. Jason Bateman as Traveler in Carry-On. Cr. Netflix © 2024.

For Collet-Serra, Egerton and Bateman were a match made in heaven. “We all wanted this to feel incredibly realistic, like the events of this movie could happen to any of us on any given day at any airport, and Jason and Taron delivered brilliant performances that helped ground our movie and make it feel real,” Collet-Serra tells Tudum.

EMILIA PEREZ – Review

All through cinema’s history we’ve seen countless stories of characters who want to “start over” and “reinvent themselves”. Often they’re wanting to atone for past behaviors (as in the recent GOODRICH or WILD HEART), while others make a radical change in appearance (way back to NOW VOYAGER). This weekend’s “buzzy” new Netflix release encompasses both in an unorthodox way, since it’s a “full out” musical, and proves to be quite a showcase for the superb talents involved. It’s also a “message” movie, a domestic drama, and a nail-biting crime thriller. The latter is the starting point as this tune-filled fable focuses on a ruthless drug kingpin (accent on the king) who yearns to become the “queen” named EMILIA PEREZ.


But first we encounter another woman. Rita Moro Castro (Zoe Saldana) is a frustrated lawyer in Mexico City where the bigoted hierarchy of her firm have put her “on the bench”, writing speeches to the jury delivered by an ill-prepared, male co-worker trying to get acquittals for guilty lowlife clients. Then things radically change when she gets a phone call from someone powerful who wishes to pay her very well for her services. A clandestine “meet on the street” takes a scary turn when somebody covers her head with a hood and pushes her into a dark SVU. She meets her employer, the notorious head of the big national drug cartel, Juan “Manitas” Del Monte, who doesn’t want Rita’s legal skills, but rather needs her to do the “legwork’ to find the best doctors (not in Mexico or the US) that can transition him into a woman. After the search concludes (and secret overseas accounts for Rita are in place). Castro joins the Del Monte clan for a secret “farewell party”. There she meets Mrs. Del Monte, Jessi (Selena Gomez), who doesn’t know of her husband’s wishes. Rather, Rita tells her that she and her two young sons must relocate to Switzerland as Manitas stays behind to broker a deadly cartel war. While the family and Rita head to the Alps, the surgeries begin in Israel for Manitas. Several years pass, and Rita is now living and working in London. A statuesque Spanish-speaking woman approaches her at a dinner party. She introduces herself as Emilia Perez (Karla Sofia Gascon), then whispers to Rita that she has a new job for her. It is the former Manitas. She wants Rita to bring Jessi and her sons back from Europe to live in her Mexico City mansion where Emilia will pose as the aunt of Manitas. The “reunion” happens, and all seems to go well as Jessi buys into the “family connection” (including the faked demise of Manitas). But then she reaches out to a former flame, the dangerous Gustavo (Edgar Ramirez), while Emilia starts a charity which leads to a romance with an abused widow named Epifania (Adriana Paz). Can Emilia maintain her new life and leave her old brutal criminal past behind her? And can Rita avoid being caught up in the impending “clash”?

Although she’s not in the title role, Ms. Saldana absolutely steals the film as the “by the book” lawyer who is swayed (by loads a’ cash) into the underworld. She expertly conveys the full range of Rita’s emotions, whether ethically conflicted, frustrated (as a cloddish male co-worker mangles her words), or terrified . I’m referring to her first “meeting” of Emilia as she believes that she’s a “loose end” to be severed. Ah, but we get the full range of her talents as Saldana displays a rubbery, fierce grace in the musical numbers, especially with one set at a charity ball, using the rich patrons as props. Truly an performance worthy of many awards. I was not aware of the career of Ms. Gascon, so I was delightfully surprised at her work, starting as the sinister Manitas growling threats while pleading for help, but then showing a tender side with his two sons. Much of that quality is there as the maternal Perez, who wants to heal her homeland while exploring a new type of romance with the sympathetic Paz as Epifania. More recently honing her comedic chops as part of the trio in “Only Murders in the Building”, Gomez returns to her musical roots and delves into some heavy dramatics as the often bewildered Jessi. She gets a couple of engaging dance numbers, but she’s at her best as she rebels against the smothering Perez to pursue a steamy romance with Ramirez as the macho manipulative Gustavo.

This unique cinema experience comes from veteran director Jacques Audiard whose screenplay adapts his opera libretto, which sprung from the novel Ecoute by Boris Razon. Audiard works in a dark gritty color palette, particularly on the mean dangerous streets of Mexico City (Rita is engulfed by the darkness). There’s a lighter look in the blissful confines of the Perez home, which switches with the desert hellscape of the missing murdered. The background dissolves away for the musical numbers, though these aren’t glossy MGM-inspired Technicolor fantasies. Especially powerful is a haunting ballad about the “lost souls” sung by floating heads of the families and friends against a dismal black limbo. But he does indulge in a bit of movie “camp” as Rita gets a tour of a sparkling “surgery spa” in Thailand. Big kudos to the musical talents of songwriter Camile, the score of Clement Ducol, and the choreography by Damien Jalet. This word be a compelling story if it just focused on the gender “transition”, but the powerful look at the real-life kidnapping epidemic, and the parental conflicts make this an outstanding and important artistic statement. There are lots of secrets and compassion in the the life and legend of EMILIA PEREZ.

3.5 Out of 4

EMILIA PEREZ is now playing in select theatres