Author Archives: Jim Batts

About Jim Batts

Jim Batts was a contestant on the movie edition of TV's "Who Wants to be a Millionaire" in 2009 and has been a member of the St. Louis Film Critics organization since 2013.

THE SOCIAL RECKONING – Review

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To the surprise of very few moviegoers, it’s sequel time at the ole’ multiplex. Ah, but this film is fairly unique, since it’s based on actual events. That’s happened with biographies, going back to THE JOLSON STORY and JOLSON SINGS AGAIN (almost the best sequel title after BREAKIN’ 2: ELECTRIC BOOGALOO), but this is closer to THE GUNFIGHT AT THE O.K. CORRAL and DAY OF THE GUN, in that it’s a “follow-up”, a “what happened later” exploration. And while those movies spanned ten years, there are sixteen years between these two. And the principals are still in the news. None of the cast members of the 2010 film return, but its Oscar-winning screenwriter is back, and sitting in the director’s chair. After THE SOCIAL NETWORK comes THE SOCIAL RECKONING.

The film’s main story is structured almost as a novel, but one that has us “flipping back the pages”. The prologue is the kind of uncomfortable police interaction so common on streaming video websites, as two officers encounter an angry, possibly inebriated young woman (Portia Doubleday) waiting for a tow service for her stalled vehicle along a dark, rain-soaked highway. Next chapter: It’s 2029, and we meet a data engineer named Frances Haugen (Mikey Madison), who doesn’t get a chance to ask a question or voice her concerns (on several index cards) during a big tri-monthly staff meeting. On the way back to her desk, she brings her inquiry up to a supervisor, who quickly dismisses her. Around the same time, East Coast reporter Jeff Horwitz (Jeremy Allen White) arrives at the West Coast offices of the Wall Street Journal, where Bureau chief Kris (Betty Gilpin) tells him that he’ll be covering the high-tech world (but the guy can’t use a map app to get him there on time). Later, Jeff and his aides send out some email “feelers’ about Facebook “worries”. The “bait” is taken by Frances, who meets with Jeff in a public park. She is alarmed about how the site’s algorithms direct users to several radical “outrage’ groups in order to increase their site usage (some folks stay on for over nine hours a day). Jeff needs this explained, and he still begs her for more evidence, but the young woman is jittery and hesitant. It’s the first of many clandestine meetings. The timeline shifts to 2021 during the preparations for testimony before a Senate subcommittee. In a huge, brightly lit, sterile room, Facebook CEO Mark Zuckerberg (Jeremy Strong) is being coached by a media consultant named Maya (Wunmi Mosaku). She’s also brought in a former investor, now critic, Charlie Garrigan (Bill Burr), to throw a few “curveballs” at the stoic, prickly billionaire. The film continues to skip and backtrack during those years to highlight Jeff’s research, Frances becoming bolder, and the often volatile policies at the home of the popular website, before everything collides on a fateful January day prior to a major congressional hearing.

Well, I should begin with the casting choice that has been at the forefront of the film’s media blitz. When Jesse Eisenberg declined to return after scoring an Oscar nom for his last turn as Zuckerberg (and passing on a huge paycheck), Strong stepped up, since he’s played versions of real people before (his Roy Cohn in THE APPRENTICE is superb). In his take, the older Mark is a mix of socially awkward, stiff-postured, prickly, and defiant, with a “my way or the highway” bluster and superiority (he has no time for lessers). And yeah, we get that “Data’s other brother” vibe (something for the Trekkers). Sure, Strong’s doing a bit of parody, but he draws us in, becoming the focus of any scene. The other casting “coup” may be the big-screen return of 2025 Oscar winner Madison, playing someone with little in common with her ANORA. However, Frances wins us over, despite her many quirks (those “warmers”) and impatience (I flashed to Jimmy Fallon on SNL as IT guy, “Moooove!”). Aside from the fear-based reluctance, Frances feels a loyalty to the company, much like to a person who had good intentions but has wildly strayed from them. This makes her burst out of her paranoia bonds more powerful as she “puts herself out there”. There’s also a nice chemistry, but not romantic, between her and White as the “tech fumbler”, who is also playing “catch up”. Still, there’s that reporter’s dogged determination to get the story, which propels him and endears us to him, even as he pushes Frances and his pair of overworked interns. Kudos to stand-up comic, now film actor, Burr, who is a great verbal sparring partner for Strong. Plus, there are great supporting turns by Mosaku as the very patient (she’s tested) “media coach, Gilpin as the demanding, but still compassionate editor, Billy Magnussen as the sneering FB “tech-bro”, and Doubleday as the product of online “radicalization”.

That writer-turned-director is Oscar-winner Aaron Sorkin, who doesn’t quite have the same visual flair as David Fincher, but crafts the scenes around his “rat-a-tat,” sometimes “too smart,” dialogue. Iconic Golden Age filmmaker Frank Capra is referenced here, though many of the Frances and Jeff exchanges remind us of Howard Hawks and his newspaper classic comedy HIS GIRL FRIDAY (again, minus the “lovey-dubby”). But, like Capra and Hawks, Sorkin has passion in many scenes that recreate events that were watched with horror on our “devices”. And there are several plot contrivances (Frances has dinner next to a family discussing online bullies), along with a final scene “call back” that will induce a “c’mon” jolt, but it’s refreshing to see a talent using his art to comment and perhaps “sway” , much like many of the films of Oliver Stone. This helps to make the wild “re-imaginings” more palatable. Sorkin does try for some visuals that highlight character, like the warm, cozy wood and brick apartment of Sarah and the frigid, cool blues and wide expanses of Mark’s “workspace” (some could be the HQ of a Bond mastermind). Plus, Sorkin conveys the rainy Northwest in constant Fall mode, while making Puerto Rico a non-stop party (Canada stands in for both). But the main delight of the film is that whip-cracking script, often peppered with almost too many “factoids” (it’s his “calling card”), and the solid acting ensemble that make THE SOCIAL RECKONING worthy of a theatre night rather than a download.

3 Out of 4

THE SOCIAL RECKONING is now playing in theatres

VERITY – Review

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So, after book-based movies in 2024 and 2026, which author now has a second film adaptation this year? If this were the 1980s or 1990s, you’d guess that it was Tom Clancy, John Grisham, or the amazingly prolific Stephen King (there’s a new limited-series version of “Carrie” streaming in a couple of weeks). Well, the “cinema scribe” of the moment appears to be Colleen Hoover. It started with IT ENDS WITH US two years ago (though the lawsuits and legal battles occupied the gossip websites into this year). Next in 2025 was REGRETTING YOU (well, I regretted seeing it). Only a few months ago, theatres got REMINDERS OF HIM (what’s with the double R’s). Now, with the final few months of 2026, we get another page-turner (or, for some, a “stomach-turner”) turned into a flick full of very true, really, “big-time” movie stars, with one Oscar-winner in the title role of the mysterious VERITY.

In the opening moments, we get a whirlwind montage that tells us of the popularity of the best-selling author of very dark romance-thrillers, Verity Crawford (Anne Hathaway). Look, she’s sitting down with Gayle King, and she’s scarfing down chicken wings with Sean Evans. And then we meet another writer at the other end of the spectrum. Lowen Ashleigh (Dakota Johnson) is at a tiny bookstore, reading from her new short story collection to a trio of distracted listeners. She dashes out into the street and gets a call from her agent, imploring her to “wear something nice” to the meeting they have at a big NYC publishing house. On the way, she has a “meet weird” with a sullen, handsome stranger. When Lowen arrives for the “sit-down”, she’s surprised to see that man again. He’s Jeremy Crawford (Josh Hartnett), the husband of Verity. After signing an NDA, Lowen is told that Verity has been in an accident and cannot finish her new trilogy, so a ghostwriter is needed. After some prodding from her agent (who “ups” her “price”), and since she’s moving out of the apartment she shared with her recently deceased mother, Lowen accepts the offer. She will stay in the Crawford home in order to go through notes and outlines and get the first new novel organized. Jeremy greets her at the mansion tucked away in the snowy forests of Vermont. Lowen also meets his adorable six-year-old son, Crew (Brady Wagner), along with his catatonic mother, Verity. She cannot speak or move and is assisted by her somber nurse, Anna (Irina Dvorovenko). Lowen learns about the recent passing of Crew’s twin sister, Harper, from the still-grieving Jeremy (this may have contributed to Verity’s state). In going through V’s office, Lowen finds another manuscript, a biography, that hints at sinister machinations. Lowen is drawn into the couple’s web of deceit as she deals with her growing attraction to Jeremy. And then there’s the possibility that Verity may not be as helpless or as hopeless as they think…

Though she’s not playing the title character, Johnson carries the film as the main focus, Lowen (mmm, this character names…). She shows us the humiliation of an artist who’s just not connecting in that intro in the almost empty bookstore. And this is compounded by her recent loss, so Johnson conveys this with a hesitant delivery and stiff body language. The energy level rises a bit as Lowen embarks on her new mission in the woods, and her interest in her host. The almost ageless Hartnett projects a smouldering intensity, only relieved by his affection for lil’ Crew (again, the names…). His Jeremy seems like the lonely royal in an almost empty castle, recalling his past tragedies. And now we should talk about that title role, played by the ever-stunning Hathaway. In the flashback “media blitz,” she’s cool and calm, dutifully reciting her patter and platitudes. Happily, Hathaway gets to “cut loose” in the flashback that covers her steamy, passionate romance with Jeremy, which then shifts into her darker demeanor when it appears that Verity is far from the “picture-perfect” matriarch. And even though she’s giving us the present-day frozen stare, Hathaway draws us into Verity’s despair. Wagner is adorably shy, while Dvorovenko is subtly shady and sullen as the not-so-nice nurse.

So, this is actually from the talented filmmaker (and writer/actor) Michael Showalter, the same filmmaker who helmed gems like THE BIG SICK and THE EYES OF TAMMY FAYE, amongst many others? Well, he’s in an uphill battle with a convoluted, lackluster story source that would test anyone. It has the promise of being a creepy modern noir with a touch or two of MISERY, but that is squelched by some truly turgid dialogue, ludicrous staging (the first meeting of Lowen and Jeremy is so absurd that I thought it was a daydream), and glacier-slow pacing (like a turtle swimming in molasses). The hackneyed plot trudged on and on, with some silly erotic fantasies (right out of so many “skinamax” 2 AM fodder) failing to enliven this “trudge”. It’s a low bar, but this is the worst of the Hoover movies, since they’ve wasted so many gifted talents, mainly Showalter and the luminous Hathaway (a shame we couldn’t get a good “throwdown” with her and Johnson in a nightmare sequence). The locations are splendid, especially this lakeside estate built around boulders (maybe this is near the home of THE ROSES). And kudos for the costuming (oh, that red dress on Verity), but that’s about all I’ll remember from this overwrought and often ridiculous fluff. A sudsy, glossy soap opera mystery can be campy fun, but verily, VERITY is so very, very far from that; it’s an irritating ordeal.

1 Out of 4

VERITY opens in theatres everywhere on Friday, October 2, 2026

FUNNY MONEY: THE DANE COOK STORY – Review

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Looks like 2026 is shaping up to be a great year for documentaries. Now, don’t groan. They aren’t the cinematic version of “eating your vegetables” or “homework”. No, they’re going to be a big part of end-of-the-year top ten lists, not to mention “awards talk”. And this just might be the year that one or two of them crack the Oscar Best Picture list (it can now have as many as ten contenders). YOU CAN SEE EVERYTHING got lots of energized “buzz” at a recent film festival, plus I’ll be praising BOORMAN AND THE DEVIL when it gets a wide release. One of the most popular “doc genres” is the chronicling of a “true crime”, though I really enjoy the bios of “show folk” (really “jazzed” for upcoming ones of Martin Mull, Norm McDonald, and Maria Bamford). Well, this new “non-fiction flick” actually combines the two (“You got celeb in my crime…you got crime in my celeb”). And like that beloved candy, there’s much to savor in FUNNY MONEY: THE DANE COOK STORY. Let’s unwrap this tasty treat…


As the title states, this is the story of stand-up comedy superstar Dane Cook. The opening, like much of what follows, is the funny fella’ talking to us (the camera, really). We get lots of biographical info with faded photos and scratchy 8mm home movies, segueing into blurry home video. Even though he was a child of divorce, Cook made the best of it, with the help and support of his “best pal” and idol, his half-brother Daryl. Always a fan of comedy, Dane entered the world of the open-mike in 1990, during the big stand-up “resurgence” via cable TV, videotapes, CDS, and a slot at nearly every bar with a spotlight and a brick wall. As his star was rising, things weren’t going well for “bro Daryl” in his job as a prison guard. During an altercation, he was sliced with a metal can “shiv” and almost bled out. Dane facilitated a career change, putting him on the “payroll” as head of his security team. Then Daryl became his business manager, just as Dane broke into movies, put a recording on the top of the Billboard chart, and filled arenas and stadiums (a second show was added to MSG). When Dane decided he now needed the services of a big talent agency, Daryl tried to talk him out of it. Then, the unthinkable happened. Dane went to apply for a bank loan in order to purchase a plush estate (no more rentals), and the rep “lowered the boom”. Only “crumbs” were left in the accounts that Daryl had set up for him. Dane was getting “fleeced” by his beloved “bro”. This leads to a cross-country chase for him, as Dane, with his “financial forensics team,” makes some shocking and often absurd discoveries about this “crime spree”.

Separately, this show biz “rise-to-fame” fable and the true tale of greed and deception would be compelling enough, but in this expert blending by documentary vet Bret Harvey (with writing collaborator Pollyanna Hardwick-Brown), the result hits on all emotional cylinders. Though I was unfamiliar with the body of Dane’s work, I found the story of his childhood (lotsa’ “hard knocks,” for sure) and his career ambitions very enlightening, especially the story of him grabbing an absent comic’s “slot”. Then there’s the endearing bond he has with his older stepbrother (Dane still taps into those old emotions). We get “talking head” interviews with childhood buddies of both men, along with their sister. And then there’s Erika, Daryl’s ex-wife (his second missus), who also spins quite a tale. She’s “tough to read” as we wonder if she’s a “co-mastermind” or a very, very naive “dupe”. But her “side” is needed since we never hear from Daryl himself, other than old videos and a haunting final phone message. Yes, it’s heartbreaking, but often quite hilarious, even with the zany scheming of the guilty (you may never think of spaghetti sauce and Bagel Bites in the same way again). Still, much like Dane, we’re left wondering about the “crime”. It’s one thing to “skim”, but he tries to take it all. Perhaps due to his years at the mic, Cook is quite an engrossing storyteller as he pulls us into his astounding career highlights (he passed on auditioning for SNL, but later hosted), then guides us into a dark quagmire of lies and larceny. Still, somehow he can find the laughter bursting through the tears. Kudos to him and filmmaker Harvey for taking us on the wild, wacky, and heartbreaking ride of FUNNY MONEY: THE DANE COOK STORY.

3 Out of 4

FUNNY MONEY: THE DANE COOK STORY is now streaming as a Video On Demand via all major outlets and apps

HEART OF THE BEAST – Review

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James Belmont (Brad Pitt) and Odin in Heart of the Beast from Paramount Pictures.

As Fall begins, and with the big awards “heavy hitters” still a few weeks away, the multiplexes could use a good dose of “star power”. Or should I say “Pitt” power? Yes, the Oscar winner returns after burning up racetracks around the globe in F1: THE MOVIE. His newest release doesn’t try to emulate that one’s high-octane thrills and spectacle, nor its shiny CG sheen. Oh, but it’s not a “drawing room” drama, since it has lots of action, suspense, and unexpected “pathos”. It’s an offbeat “movie meal” crafted by Brad’s FURY director. This time they’re not steering another tank in WWII since they’re in the modern day as the duo, along with an amazing canine co-star, journey into the HEART OF THE BEAST.

After a brief fast-forward, we’re introduced to the story’s focus: retired Army Special Forces vet James Belmont (Brad Pitt) and his furry “brother in arms” combat canine Odin (Uber), a frisky, dark-haired German Shepherd. James has landed his single-engine floatplane on a lake deep in the Alaskan wilderness. It’s part of their “much-earned” “downtime” in order to deal with the aftereffects of wartime in the Middle East. Their shared wounds are both mental (PTSD flashbacks) and physical (“Odie” lost a leg, and both are scarred). Luckily, the fishing is great, and the quiet is calming…until a chatty hiker (J.K. Simmons) breaks into their solitary “bliss”. Over campfire beers, their “guest” warns James about a fast-moving storm. By morning, the duo is alone once more. Their supplies are loaded into the plane, and, using his piloting skills, the plane breaks past the dark clouds. Then, the unthinkable happens: James is struck with a health emergency (his “ticker” seems to be having an “episode”). They crash to earth, with the plane sinking to the bottom of a lake. After the two reunite, James retrieves some supplies. They’ve no choice but to hike through the wilderness, nearly sixty miles, to reach a road. Can these devoted friends survive the brutality of nature, the weather, and the wildlife before their supplies and strength run out? This could be the greatest battle these wary soldiers have ever faced.

It would be tempting to say this film is a “one-man show”, but really it’s a “one-human show”, with Pitt flexing his emotional acting chops as the “walking wounded” Belmont. For much of the story, he’s stoic, especially when interacting with the “interloper”. Oh, but Pitt “flips the switch,” giving us an energized and engaged James when bonding with Odie. Pushing past his “matinee idol” smoulder, Pitt exposes his vulnerable side when protecting and caring for his animal “soulmate”. It’s joyous to see him taking risky roles so many decades into his film career. Simmons provides some needed levity as the “party crasher’ who helps fill us in the “backstory” of JB and OD. As for the latter, Uber (and his team of stunt dogs and doubles) melts our hearts with his soulful, brown, watery eyes as the challenges of the trek reopen his own past traumas. He’s the “protector” that we’re rooting for James to protect and heal all of their pain.

The aforementioned director who worked with Pitt a dozen years ago is David Ayer. With this work, he’s coming off of a couple of well-received Jason Statham “bone-crunchers”. This one gives Ayer more of a challenge for his filmmaking abilities. He’s balancing the gorgeous scenery with several harrowing stunt sequences, while always reminding us of the emotional commitment in the story’s duo. Much of what works is due to the structure of the script by Cameron Alexander (one of the 2017 “Blacklist” screenplays). It combines elements of other great “sole survivor against nature” films like THE REVENANT and ALL IS LOST. Oh, but it’s not one “soul” since Ayer keeps us emotionally connected to Odin and his plight. The gorgeous location work, with New Zealand doubling for Alaska, almost makes us forget about the long trek…until Ayer reminds us with a raging river to cross and hungry wildlife ready to pounce. As if the incredible plane crash wasn’t enough for our heroes. This leads to a story problem for many who may have a tough time accepting Belmont’s stamina and strength sustaining him over his cardiac “glitch”. Maybe it’s his adrenaline “amping up” in response to the possible loss of Odie ( a little “suspension of disbelief” perhaps is warranted). If you can get past this, you’ll be rewarded with a journey full of terror and surprising tenderness. It’s this love and devotion that propels and powers the HEART OF THE BEAST.

2.5 Out of 4

HEART OF THE BEAST is now playing in theatres everywhere

FORGOTTEN ISLAND – Review

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Even though Summer vacations are a not-too-distant memory as Fall begins, that’s not stopping the multiplex from taking us around the world, with movies set in faraway lands. And like last week’s charmer, SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM, this is animated, too. No, we’re not back in the northern U.K.; rather, we’re headed to the warmer climes of the Philippines. Oh, and it’s not told in stop-motion clay-figure animation, but in glorious, gorgeous CGI, with some brief detours into “classic” 2-D. Plus, we’re treated to a terrific introduction to the local customs and mythology. But, not to worry, kids, it’s far from a dry historical lecture. That’s because there are laughs a’ plenty, with the magic and monsters (maybe a bit scary) found on FORGOTTEN ISLAND.


This fantasy fable focuses on two young women, whom we meet during their early grade school years. The raucous, uninhibited “Jo” Yuson gets a bit too energetic and destructive during her class presentation (with a “splash zone”) all about her Grandma Lola’s time on the legendary island of Nakali, home to strange creatures. While waiting outside the principal’s office, Jo meets the shy, bookish, bespectacled Raissa. The duo quickly bond, and after a visit to the home Jo shares with Lola (voice of Dolly De Leon), they decide to become BFFs, cementing the bond with friendship bracelets. Through the years, the two become inseparable, spending many hours on the nearby beach, in search of the magical “sand dollar” that will open a portal to Nakali. Finally, the end of high school nears; Lola has passed, and Jo (H.E.R.) bounces from job to job in the local mall’s food court. But Raissa (Liza Soberano) has big, big plans: she’s been accepted to Caltech and will be flying off to America. Jo tries to convince her to stay, but settles for one last night together on the beach before the flight early in the morning. And, who would have guessed it, they find that mystical sand dollar (or does it find them). A glowing portal entrance appears in the sand and draws the duo into a dark void. They wake up hours later in Nakali, with no idea what they did after arriving. Plus, the sand dollar is missing, so they’ll have to retrieve it in order to make Naissa’s flight. Luckily, they meet Raww (Dave Franco), a “were-dog (were-aspin, actually)”, who tries to help “fill in the blanks”. Unluckily, they’re pursued by the very angry (Raissa has her wings) Manang (Lea Salonga), a vampire-like demoness. In their frantic search for a way home, Jo and Raissa team up with many exotic creatures and friendly demons and explore several cultures of Nakali. It’s all wondrous, but the clock’s ticking, and Manang’s not far behind. Will they make that flight?

Usually, I begin my critique of the actors involved, so I’ll tell you that both H.E.R. and Ms. Soberano are splendid as the two leads, capturing the emotional bond of the BFFs. Franco brings lots of frenetic energy to the “teen-dog”, while Salonga is quite intimidating as the vindictive vamp. I should also single out the wonderful work of Jenny Slate (yes, Marcel the shell with shoes on) as the memory-craving, cat-like demon Batiba and Manny Jacinto doing an infanilized riff on his “The Good Place” TV role os the baby demon, the massive, three-eyed blue Bungi.Kudos also to Ronny Chieng as the adorably angry king Truffle Wuffle, Jo Koy at “tree royalty” Datu, and Kevin McCann as the vain, silly aquatic hunk, not “merman”, but Mermahn (many might think him a parody of Jason Momoa’s Aquaman in the DCEU, but I thought of Prince Namor, the Sub-Mariner from classic Marvel Comics).

Yes, they’re great, but the real stars of this film are the legions of talented artisans that lent their considerable talents to making a masterpiece that’s bursting with creativity and visual splendor. At the forefront is the excellent directing team of Joel Crawford and Januel P. Mercado, following up on their much-better-than-expected PUSS IN BOOTS: THE LAST WISH. Yes, that was terrific, but this is a major step forward, matching the animation innovations we’ve seen in the “Spider-Verse” films. There is a tactile, textured quality that’s not overdone to the point of being live-action mimicry, although the rich camera techniques expand on iconic movies like THE MATRIX and AVATAR. For dramatic and comedic emphasis, characters suddenly shift into Anime tropes and pop with manga-inspired line drawings. This leads to several superb 2D “hand-drawn” (though probably using the “Flash” methods) sequences (Raww’s “version” of the first meeting with his two new pals). Speaking of that fuzzy fellow, he’s the source of some great slapstick as parts of him go from human to “weredog” to tiny pooch puppy. That’s just a small sample of the astounding “physical acting” and movement showcased. There’s a wonderful bit of visual emoting from an intense karaoke singer at Raissa’s graduation party 9those poses) to the vamp vixen as she stalks and struts as her body literally breaks in two (I like the crazed frozen smile of Batiba, also). The dazzling color scheme immerses us inside, not only in Nakali, but also in the streets of the women’s home village. And yes, this is a wonderful intro to the culture and its wonderful mythology. Plus, the musical choices are excellent, mixing new tunes with pop classics. Everything is so engaging, but I wish that the editing could be a bit tighter, as a third act “recap” should have been trimmed of a couple of set pieces (save them for a special edition disc). It’s a minor quibble, since this is such an invigorating, phantasmagorical journey that not only rewards the eyes and ears, but also fills our hearts with the joys of lifelong friendship and devotion. And that’s what makes FORGOTTEN ISLAND truly unforgettable.

4 Out of 4

FORGOTTEN ISLAND is now playing in theatres everywhere

RESIDENT EVIL (2026) – Review

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Okay, let’s continue on with the Halloween-themed films this weekend (yeah, it’s still nearly six weeks away). Now, this one’s not specifically set during the holiday, and it’s definitely not for families (as the old joke goes, unless it’s Addams or Manson), like those punkin’ luvin’ sheepies. However, this is also an “IP”. The new Shaun film comes from a nearly twenty-year-old TV show. This one’s a bit more convoluted. It was a computer game first introduced thirty years ago, then a movie series six years later, followed by several more. Off the theatre screens since 2019, the studio behind it thinks that it’s overdue for a “reboot” or “re-imaging”. And what better director for the project than the man behind one of the surprise horror hits of last year (it even scored an acting Oscar). So, is there still life (or afterlife) in the world of RESIDENT EVIL?


In the opening moments, we’re introduced to a bedraggled, frazzled medical courier named Bryan (Austin Abrams). He’s making an organ delivery at a Colorado hospital during a cold, snowy night. He’s eager to clock out and head home to his girlfriend (she just told him over the phone that she’s “preggers”), but a doctor pleads with him to make one more delivery to a hospital in Raccoon City. And since it’s “double overtime”, Bryan agrees, despite his lack of snow chains on his clunker of a car. The combination of icy conditions and his ongoing “convo’ with his “bae” leads to him striking a woman who dashes out of the forest. He skids to a halt and gets out. Walking back, Bryan sees her body’s snow imprint, but…no body. He follows her footprints and finds her lying in the snow, wearing a cocktail dress and barefoot. After an encounter with a local policeman, Bryan heads away to a distant farmhouse. He’s chased by the watchdog, whose head explodes into a tangled mass of razor-sharp fangs and writhing tentacles. Just what has happened? Somehow, Bryan must find a way to reach a research hospital in downtown Raccoon City. But could this desperate delivery take Bryan into a horrific hellscape teaming with mutated monsters bent on making him one of their own? What a way to earn a couple of overtime bonus bucks!

Unlike many action game movie adaptations, this centers on one character, who’s in nearly every scene. Luckily, the talented Mr. Abrams is more than up to this formidable task. His Bryan is the ultimate “everyman”, thrust into a situation well past his abilities and “skill set,” as his ongoing mantra may be, “I’m not good with (fill in the blank)”. This “wage slave” would be having the most stressful night of his life, even without the slimy horrors lurking in every shadow. Abrams shows us how his heart is with his ladylove, as their relationship jumps to the new, higher level of parenthood. His voice cracks as he struggles to say the right words. And then the world goes “wonky”. With his frantic body language and darting eyes, Abrams conveys Bryant’s panic as he must concoct a defensive strategy very, very quickly. And with his humanity, we also get his “keep going” courage and his snarky sense of humor that prevails (his “f-bombs” hit on target, more than his bullets). It’s wild to think that Abrams will be in more deadly danger as the lead in WHALEFALL next month. Here, he does get a few other terrific actors to share his panic. Of note is the hilarious Paul Walter Hauser as a shadowy “secret spook” named Paul (yes, but his unsaid last name could be Ex Machina, as he “spills the beans” on the cause of this “s#*storm”) in a couple of brief scenes, who has us wanting more (he and Bryan are a superb team). And in the final moments, we get some chaotic chuckles from Zach Cherry as an exasperated head genetics geek. But still, this is Abrams’ “showcase”.


So, who’s this horror movie “wonderkind” who has been given the keys to this decades-old IP? Why, it’s director Zach Cregger (“Mr. WEAPONS”), who co-wrote this script with Shay Hatten. Sure, he gives us lots of excellent “jump scares” and “edge-of-your-seat” suspense sequences, while maintaining an overriding vibe of impending doom. That’s not what surprised me. I was not expecting the humor, as I may have laughed more than I gasped (frequently on both counts). Now, I’ll admit that I’ve never played the game, nor have I seen any of the previous flicks (it seemed like one screen in the multiplex always had one), as I went in “fresh”, so I’m not one of the critical “gamers” who are kvetching online about the jokes. And I enjoyed Cregger’s “spin” that plays on how one of us would try to survive in a “mutant monster-verse”, figuring out weapons and security (padlocks are tougher than we’ve been led to believe). Speaking of the creatures, they’ve found a great balance between the CGI and practical effects, which reminded me a bit of the work of Rob Bottin (1982’s THE THING) and Chris Walas (1986’s THE FLY). They’re truly the stuff of “body horror” nightmares. My only quibble may be the ending, as it feels like a bit of a downbeat detour to Bryan’s jolt-fueled journey. Ah, but this is a full banquet of terror and thrills with a tasty side dish of gags (in every sense), giving a new saucy, spicy spin to the plague-filled play(or slay)ground of RESIDENT EVIL. At least it’ll remind you to tip those delivery workers.


3 out of 4

RESIDENT EVIL is now playing in theatres everywhere.

SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM – Review

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You wouldn’t think so by the broiling temps, but the Fall season officially begins in a few days. And helping to push us into the Fall movie season is this family flick that centers on the big holiday. No, Thanksgiving is a couple of months away. This is a big Halloween movie that’s for “all ages”, despite that arbitrary “PG” rating. Unlike the big CG-produced features this year, like TOY STORY 5, HOPPERS, and those MINIONS, this is “old school” stop-motion animation puppetry, before Laika’s WILDWOOD opens next month. And this is a sequel, the latest in a trilogy by that “crazy crew from across the pond”, Aardman Animations. The main stars aren’t Wallace & Gromit, nor the birds of CHICKEN RUN, though the principal setting is a farm. A few months ago, these fluffy lil’ critters were darling detectives, so why can’t they figure in a monster movie satire? So, let’s get our “tricks n’ treats” with SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM. Boo! Baaa!


In a bucolic farm just outside of the quaint little village of Mossingham, that sheep, Shaun (voiced by Justin Fletcher), and his flock are secretly growing prize pumpkins for the big upcoming Halloween festivities. The crop is looking fantastic until the Farmer (John Sparkes) crashes through the patch while trying to ask the pretty local veterinarian (Nina Sosanya) to the town’s big Country and Western-themed dance, the “Halloween Hoedown”. It’s a gloopy gourd massacre, but the tiniest sheep, Timmy (Fletcher, again), saves the seeds. Ah, but Shaun has an idea. He discovers an old, dusty science book for kids, which inspires him to create a salve cream to supercharge and stimulate the seeds. Scrambling to find a container for his formula, Shaun grabs an empty bottle of hair growth gel from the Farmer. The pumpkins are swelling up, but the Farmer, wanting to restore his lush locks for the vet, uses the “quick-grow-goo” on his shiny pate. And it works on him, too. Ah, too well! Soon, he’s covered in hair, resembling a sasquatch. When the townfolk spot him, they immediately go into angry and scared “mob mode”, complete with torches and pitchforks. Shaun and his sheep pals have to rescue him and provide a cure before he’s shipped off to “Bigfoot Island”, while also dealing with those now gargantuan orange behemoths that threaten to destroy the farm and the village.

Though I’ve listed some voice actors, this funny flick is basically told in pantomime, harkening back to those olden, golden days of silent screen comedies. Their lines are basically gibberish and accented “mumbles”. And that’s what is showcased here: the superb visual design, from the main characters to the lush backgrounds (a great early gag involves a false painted bit of scenery which had me fooled). The always-blinking eyes are so expressive, paired with the superb physical acting of everyone (terrific “poses” abound). Happily, the “tactile” qualities of this variant of “claymation” isn’t completely “smoothed over” with too many pixels (as with the greats like Ray Harryhausen, there’s the feeling of the figures being gently guided by human hands). It all blends, thanks to the witty, satirical script by Mark Burton and Giles Pilbrow and the directing team of Steve Cox and Matthew Walker, based on the TV series begun in 2007 by Nick Park and Bob Baker. All the classic monster movie tropes are given their due. Shaun goes into full “mad scientist” mode, as a mix of Baron Frankenstein and Doctor Jekyll, with appropriate lighting effects. And the people of the village seem more Transylvanian than British (love the obnoxious “influencer”). There’s even a brief segment done in classic 2D animation with a touch of finely inked children’s book illustration. This is truly excellent “all-ages” entertainment, with sumptuous sight gags along with the parody bits for the elders, and a brisk 80-minute runtime for the “wee ones” (since it’s not too scary, this might make a great “first movie in a theatre experience”). After the triumph of the last Wallace & Gromit romp a couple of years ago, this zany comic adventure reminds us of the joyous cinematic gems from Aardman’s awesome artisans. So, yes, SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM is far, far from “baaad”. It’s an animation sensation.

4 out of 4

SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM is now playing in select theatres

MAYDAY (2026) – Review

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This weekend’s big streaming premiere harkens back to a movie staple of the 1980s, the “mis-matched” buddy action comedy. And, appropriately enough, it is set in the 1980s. Another exercise in nostalgia, you’d think. Well, it’s a bit more complex than that since a big chunk of it deals with the then still “very frigid” Cold War between the US and the Soviet Union (a bit like that 81′ classic STRIPES). As for the “buddies”, we get a most unusual pairing of actors (and acting “styles”). Toss in much of the main plot of 2001’s BEHIND ENEMY LINES, chill, and then cool off with an irreverent road trip that starts with a frantic distress call of MAYDAY.

It is 1987, the last couple of Cold War years, when we meet Navy fighter pilot and “hot shot”, Troy “Assassin” Kelly (Ryan Reynolds). After helping out another pilot when his jet malfunctions, Troy stops off to visit his ailing papa Harold (David Morse). Troy wants to spend the evening with him, but Dad insists that he join his flyer pals for a night on the town. Their revelry is cut short when they run into their C.O. (Clark Johnson), who wants a private “word” with Troy. He’s going to be the “second seat” or co-pilot on a “hush hush” trek into Russia to snap some photos of a “secret operations base”. However, things go “sideways” when enemy jets attack. The Air Force’s main pilot is killed, and Troy must eject when the “spy plane” is destroyed. Flaming debris rips his chute, causing him to plummet into a snowy Russian forest. Before he blacks out, Troy sees an approaching man with a rifle. When Troy comes to, he’s tied to a bed inside a cabin. His wounds have been treated by his “rescuer”, ex-KGB Nikolai Ustinov (Kenneth Branagh). Ah, but he’s not going to take Troy to the military or the police. It seems that “Nick” adores everything about the ole’ US of A, with posters adorning his walls and a very illegal VHS “bootleg” of TOP GUN always playing on his TV. The place is warm and cozy, but Troy wants to get home. Nick insists that his former comrades are on the hunt for him, so Troy’s best escape plan is to steal an “untappable” airwave telephone and contact the US Embassy in Moscow, many miles away. But he can’t do it alone. Can these two former foes work together to escape the quickly advancing agents of the USSR and avoid an “international incident” that could heat up the COLD WAR?

And so how are these two “action buddies”? Surprisingly good, it turns out. Who’d ‘thunk it? Maybe it’s because they both “eased” a touch out of their “comfort zones”. That’s certainly the case with Reynolds as he softens his motor-mouthed wiseguy persona and makes us really connect to Troy’s plight. He’s the ultimate “fish out of water’ and that’s near the boiling point. Still, Reynolds’ Troy is steadfast, determined, and caring, particularly in the opening scenes with his hospitalized Pop. And Reynolds shows us that Troy gradually warms to his “enemy/healer/guide” Nick, subtly played by the talented Branagh. In past roles, he’s often overwhelmed his roles with bombast and bravado. Here, he shows us the quiet intensity and intelligence of a man hoping to atone for his past while reaching for a brighter new life in that utopian ideal of America (he so wants a Big Mac). Branagh also stuns in the complex “close quarters” combat sequences (can he really be in his 60s?). The film provides him with a great arch-nemesis in the current KGB overlord Volkov, played by Marcin Dorocinski with a constant menacing sneer. He’s disgusted by the warming relations with the US, and sees the capture of Kelly as a way to get Russia “back on track”. Opposing him is Nick’s estranged daughter Anna, played by “Borat’s daughter”, the compelling Maria Bakalova (also great in THE APPRENTICE as the first wife of DJT). She doesn’t hesitate to help Troy in his escape plan, but still questions her papa’s motives, while we see her yearning to reconnect with him. Morse is solid as Kelly senior, as is Johnson’s Troy’s military patriarch. Kudos also to Louis Cancelmi as the humorless Air Force “a-hole” and the hilarious Jacob Hanlon as Gorgo, the lad with the frozen “sour and sinister gaze”.

This is another solid entertainment from the writing and directing duo of Jonathan Go;dstein and John Francis Daly (forever Sam Weir on the one-season TV classic “Freaks and Geeks”). After their last flick, the “better-than-it-deserved-to-be” 2023 Dungeons and Dragons reboot, the team has returned to a more grounded reality with this action-character-driven comedy. And the action is indeed very good, going from the amazing aerial acrobatics in the first act (“Maverick”-worthy), with a nail-biting sky attack, to a dazzling barroom brawl, and a harrowing chase aboard a moving train. Sure, we’ve seen these types of set pieces before, but there’s a terrific vitality to this new “take” mainly thanks to Reynolds and especially Branagh. The Cold War paranoia is expertly recreated, down to a brief ideology debate between Troy and Nick. The film has some great location work, with Canada and Hungary seemingly subbing for Russia. So much of this is truly engaging, though a trip into 80’s action fantasy-overkill involving a big parade just doesn’t mesh with the deft blending of thrills and laughs in the earlier segments. Still, this remains a solid, briskly paced, well-acted nostalgic ride filled with engaging twists and turns that deserved a slot at the multiplex. You’ll give your big-screen home streaming set-up a terrific workout and a cinema showcase for the often marvelous MAYDAY.

3 Out of 4

MAYDAY streams exclusively on Apple TV on Friday, September 4, 2026

BUDDY (2026) – Review

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Well, that’s a coincidence. This last weekend of Summer sees another feature film with its roots in Children’s TV pop culture. While the Looney Tunes crew originated as short subjects in movie theatres, when TV arrived, these seven-minute epics had a long-time Saturday morning slot on network TV, while being part of the content for many local “kiddie shows” hosted usually by members of the “news team” (in my area, the longest airing was “Cactus Pete”). This other flick explores the world of puppet shows and other “live-action” programs centering on actors in big puffy costumes that were a staple on “edu-tainment” programs, usually on weekday afternoons on PBS affiliates. Oh, the other big difference between these two movies is that the other one is a satirical comedy while this one is almost purely parody-horror. Yes, you read that right. And, like many other horror icons like Michael, Jason, and Freddy, he’s also best known by his first name. It’s BUDDY.

Oh, and that’s the name of the TV program, “It’s Buddy”.The film’s first moments are the show’s opening titles, introducing the energetic preteen human children cavorting with a six-foot-tall plush orange unicorn. In this bright, shiny pastel-colored world, everything seems to be alive, from the mailbox to the furniture, and even a backpack named “Strappy” that belongs to a young girl named Freddy (Delaney Quinn). There are also some “peripheral adult” humans like Mailman Miles and Nurse Nancy. However, the main”players” are Freddy and her pre-teen pals Wade, Oliver, and Josh. Oh, Buddy is their fuzzy lil’ toy that comes to life and “life-sized” (voiced by Keegan-Michael Key) when the kids speak his name. In this episode, the kids are throwing a big “dance party”, which excites everyone except for the surly (maybe he’s edging closer to being a teen) Josh, who would rather read his SF book. Buddy takes him aside and tries to gently prod him into some dance moves. When Josh balks, Buddy pushes him “off-camera”. On the next episode, there’s a new character in the opening, Hannah. When Freddy and Wade ask Buddy about Josh, Buddy tells them that he’s gone to “Diamond City”. Later, Freddy spies Josh’s book in “Trashy”. And when they see Buddy with Nurse Nancy, the kids know that something is very wrong. Can they escape Buddy’s “slay ground”?The story then switches to the “real world”, as a busy mother, Grace (Cristin Miloti), begins to unravel as she has flashes of a different reality. This concerns her hubby Ben (Topher Grace) and her two sons. These dark thoughts culminate when the TV pops on to reveal a beckoning Buddy, an image Ben doesn’t see. And there’s nothing about this show online. Can she, along with Freddy and her pals, escape the warm, lingering long hugs from this orange “play(slay)mate”?

Most of the heavy human “dramatics’ are handled by two actresses. The one in “reality ” is the talented Ms. Milioti (so wonderful in the HBO limited series “The Penguin”) as the distraught and extremely confused Grace. She is a “woman on the edge” and Milioti draws us into her fearful realizations, while also venting her frustrations when being casually dismissed. In the TV world, it’s Quinn as the increasingly frightened Freddy. She’s the first to see that all is not “sweetness and fun” in their backyard setting. Yet Quinn gives her an inner strength and intelligence that keeps us in her “corner”. Topher Grace uses her sitcom-honed comic timing as Ben tries to understand and stifle this “disruption”. Without spoiling this inspired casting, another one of the trapped humans is played by a cult TV fave who’s a beloved star’s sibling (hint hint). And his fellow traveler is a snarky puppet voiced by a two-time Oscar-nominated actor. But the best vocal performance is Key in the title role (with Sergey Zhuravsky in the big suit), who switches from an all-too-sweet “sing-song” cadence to threatening passive-aggressive menace that is quite chilling.

Much like this year’s big hits OBSESSION and BACKROOMS, this is “high concept horror” on a grand scale, orchestrated by another filmmaker from the online short film arena. Casper Kelly made a big splash with his remarkable 80’s sitcom spoof TOO MANY COOKS a dozen years ago, so he was more than adequately prepared for this deep, deep dive in 1990’s kids’ TV. Crafting the screenplay with Jamie King, they capture the brightly lit, candy-colored fakery of that era, mixing elements of “Pee Wee’s Playhouse”, “Thomas the Tank Engine”, and, well, let’s call him “Purple-saurus Rex”, complete with a quartet of kids a bit too mature for the show’s intended audience. So they have the “look” down pat, but is this an SNL-style TV spoof skit that’s stretched too thin for a feature? This is a fairly brisk 96 minutes, helped by the jumps between the “TV world” and the “real”. And there’s a sustained creepy vibe, heightened by the artificiality of the settings, especially the songs and “hi-jinks”. And, as the online ads promise, it is gory, more than earning its “R” rating, though that is exaggerated to excess. Kudos to the use of practical effects, though some CGI is used sparingly. Kelly and King’s script takes several interesting and unexpected twists and turns that lead to a finale that inspires a deeper dive to explore the hints of a dark, sinister conspiracy. Sure, making fun of that old 90s PBS saccharine slob is an easy target, but there are enough scares, shocks, and gags (in every sense) to warrant a big warm cinema hug for our new movie pal BUDDY. Just remember to smile and do what he says…or else.

3 out of 4

BUDDY is now playing exclusively in theatres

COYOTE VS. ACME – Review

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The summer cinema season (un)officially ends this weekend, not with a whimper, but with a bang. And a boom. And a crash. And a “Meep, meep”. Yes, at last, it’s the movie that a certain studio (hint: rhymes with “Barner Wothers”) could not kill, though they really, “weallee twied…huhuhuh!”. Now, this was supposed to have been a release for the Summer of 2023, but a funny thing happened on the way to the multiplex (As Mr. Kimball would say on “Green Acres”, ” Not funny ha ha, but more funny-weird and sad”). So, did it take a wrong “toin” at Albuquerque? Nope, the studio “suits” didn’t think it had an audience, so it would have more value banished to a vault, never to see the light of day, as a “tax write-off”. Well, I’m hoping that fans of classic comedies and cartoons will prove them wrong and reward the fine folks at Ketchup Entertainment (who also saved THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE) by seeing, in a theatre, COYOTE VS. ACME (cue “The Merry-Go-Round Broke Down, Mr. Stalling).

The story starts way back in 1992, late at night inside the massive Acme factory. One of its research and development scientists (a familiar face for Golden Age film fans) is trying to expose a nefarious scheme by his employers. Sadly, his cover is “blown”. Jump to now, where it’s (funny) business as usual on the almost-deserted desert roads in New Mexico. Wile E. Coyote is trying, and failing, to catch that lightning-fast Road Runner with gadgets from, yup, the Acme catalog. The battered and hungry critter retreats to his cave and tosses the new device onto a huge pile of useless products. As he concocts a new “bird trap”, something on TV captures Wile’s attention. It’s a commercial for the law firm of Avery, Jones, and Maltese (IYKYK), who specialize in cartoon-related mishaps, promising compensation for all manner of defective gizmos. The blueprint is shelved as Wile embarks on a journey to, of course, Albuquerque. There, Kevin Avery (Will Forte) shuffles into the law office, well past noon. His passion is gone, despite the prodding of his eager, ambitious intern/niece Page (Lana Condor). Their principal clientele is indeed cartoons that want compensation from Acme. But burnt-out Kev is a “settler”, preferring to settle for peanuts ($200 or so), rather than go to court. However, the Coyote strolls in and “upends” everything. He brings his magic “bottomless” bag full of hundreds of failed Acme stuff, and tricks one of the staffers into registering all of them in the lawsuit. Kevin is more than a bit annoyed, since the “swag” ups the suit to thousands of bucks. He’ll honor his “unhinged” client by heading to the Acme offices and asking for a bigger-than-usual payout. In the company’s conference room, Kevin’s rival, Acme’s hotshot “mouthpiece,” Buddy Crane (John Cena), presents a fairly generous settlement form. But instead of signing it and collecting a big check, Wile rips it to shreds. The trial is on. As Kevin and Paige prep for its start, they stumble upon a vast dark conspiracy, making them a target for the mega corporation’s CEO, Foghorn Leghorn, and his “fixers” (“wed” by a “widdle” “yewoah” birdie). And, “that’s not all folks!”…

Not to diminish the animated icons involved, but I’ll first discuss the flesh-and-blood acting ensemble. The heavy lifting is from SNL vet Forte, whose role may have the most interesting “arc”. His Kevin is just “going through the motions’ in his life, always opting for the less-challenging route. Forte’s almost a “humanized” yawn or a lurching hangover, But then he’s revived, much to his dismay, and jolted by this “desert mongrel”. This gives Forte a chance to shine, going from bewildered snark to a gradual quest for new purpose. This may be his best feature performance since NEBRASKA, though he was also terrific as TV’s “The Last Man on Earth”. Not having streamed any of her “To All the Boys..,” shows, I was unfamiliar with Ms. Condor, who is impressive as the naive go-getter Paige. She’s a terrific irritant to Forte’s Kevin, but we see that she’s not a “goody-two-shoes” when the threats from the Acme goons excite her (“a danger rush”). They’re an engaging team. After so many “nice guy” roles (well, the Peacemaker’s not that upstanding), it’s refreshing to see Cena as an all-out baddie. He makes Buddy the ultimate bolo-wearing, blustering fratboy bully (aw, don’t hoit da’ boid’!). He has an excellent toadie sidekick in P.J. Byrne (he’s almost part ‘toon as he just bounces back for more abuse). The best “deadpan” performances come from the near-stoic Martha Kelly as Kevin’s partner, the off-kilter Dottie, and Luis Guzmán as Judge Troppogrosso, who will not put up with any of these wacky shenanigans in his courtroom. As for the “non-fleshies”, the uber-talented Eric Bauza is a marvel as most of the Looney legends (check out the recent HBO shorts he voiced), while Candy Milo handles most of the lady Looneys and Jim Cummings provides great grunts and slobbers for a real “devilish” delight.

It appears that the third time feature-directing is the “charm” for David Green, who deftly navigates the chaos created from the script crafted by Samy Burch, Jeremy Slater, and James Gunn (yes, Mr. DC Studios) adapted from the 1990 New Yorker article by Ian Frazier. Happily, it is an adoring love letter to those geniuses who toiled away in the old “Termite Terrace” creating those enduring seven-minute masterpieces. Many scenes can barely contain the “eye candy” as so many supporting and “one-shot” characters dot about (blink, and you may miss a quickie cameo by an MGM star). Though I had lots of praise for 2022’s CHIP ‘N DALE: RESCUE RANGERS satiric retooling, this film is even closer in spirit to the sublime WHO FRAMED ROGER RABBIT (now 38 years old..”paleeze”). But this time around, the “toons” aren’t “second-class” citizens that must stay in the “Toontown ghetto”. They live and work right alongside us. As for their “look”, the animators have recreated and revived them with loving care, emulating all those classic creators (mostly Clampett and Jones homages). And unlike those SPACE JAM flicks, they’re not “over-rendered” with every strand of hair or fur delineated. It’s that classic 2-D “cell” outline with a subtle shadow overtone. The highlight being the lead toon, whose delightfully detailed body language (and a “limited number of signs”) evokes the classic silent film comedy stars. That “varmit” also creates a couple of wonderful “Rube Goldberg” inspired inventions (oh BTW, you really should check out the children’s book series inspired by Rube, lavishly illustrated by the award-winning Ed Steckley; we now return to our regularly scheduled review, already in progress…) We always know the moods of the “plantiff”. Still. I don’t wish to take away from the human cast who greatly aid in making the cartoon feel “real” (Bob Hoskins would be pleased). My only complaint is some listless CGI crowd characters (what’s with the lil’ brown duckie near the end) and the “vewy” mediocre rendition of one of the few human-like cartoon icons. Yes, the laughs are frequent, but though it might seem a cliché, this really has “heart” as Kevin learns to care and the whole WEC/RR dynamic is explored and almost explained (it’s a real relationship). Many moviegoers may go due to the whole “forbidden fruit” trope (“Nobody’s gonna’ say I can’t see somethin’!”), but they’ll also be rewarded by the surprising acting, artistry, and ideas that abound in the “escaped entertainment” of COYOTE VS. ACME. Court dismissed, or as a pantless pig would say, “That’s all folks!!”

3.5 Out of 4

COYOTE VS. ACME is now playing (finally) in theatres everywhere