Author: 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.

REMINDERS OF HIM – Review

And now, borrowing from the sports world, here’s a fairly remarkable literary/cinematic “hat trick”. For the third year in a row, the multiplex becomes a “book club” with the new movie adaptation of a novel by Colleen Hoover. She’s the best-selling author of IT END WITH US (released in 2024, though the legal theatrics seem to drag on and on and…) and last year’s regrettable REGRETTING YOU. Perhaps Ms. Hoover wants to be as prolific in the 2020’s as Nicholas Sparks was for the first two decades of this century, though she got a lot of typing ahead of her. The results of these movie interpretations have been mixed (US) to downright scathing pans (YOU). So will she and the filmmakers hit that cinema “sweet spot” with REMINDERS OF HIM (Hoover has a thing with title pronouns)? Okay, here goes…chapter one…


Actually, the story’s opening is a return, or a homecoming. Keena Rowan (Maika Monroe) takes a taxi into the picturesque village of Paradise, Wyoming. Well, this is after the driver pauses for her to uproot one of those roadside memorials. She is able to rent a room at the somewhat squalid Paradise Hotel after putting up a big deposit, because the landlady tries to give everyone a “second chance” (and a kitten). Yes, Keena has just been released from prison. This makes her employment search even more difficult. Cut to our introduction to Ledger Ward (Tyriq Withers), a former pro-footballer (let go by the Broncos after his arm “blew out”) who also returned to Paradise to run a bar. He lives across the street from old friends Grace and Patrick Landry (Lauren Graham and Bradley Whitford), who are raising their late son’s adorable five-year-old daughter Diem (Zoe Kasovic), almost like an adored niece to him. After a day “pounding the dusty pavement”, Keena is stunned that the old bookstore/ coffee is now a “watering hole” owned by, yup, Ledger. The two exchange a bit of flirty banter while she exits through the back door. She’s stunned again by the sight of a battered orange pickup truck. It’s then that its owner, Ledger, discovers that Keena is the former girlfriend of his deceased BFF, Scottie Landry (Rudy Pankow). Ledger had loaned his truck to him during his short NFL stint. Naturally, the banter soon ends. The next morning, he’s gobsmacked when he sees her marching toward the Landry house to finally meet her daughter. Yes, she had been sent up the river after that fatal crash (the courts determined that she was driving under the influence) while only a few weeks pregnant. Soon after giving birth, the baby was taken away to Scotty’s folks. Ledger prevents her from making a scene, but is a bitter reunion inevitable (it’s a tiny town)? And what will become of the blossoming attraction between the duo connected by tragedy?

Can it really be a dozen years since Ms. Monroe appeared on my “radar” in the indie horror gem, IT FOLLOWS? Oh yes, and she’s been fairly busy in genre films, whether it’s more horror like last year’s LONGLEGS, or thrillers like (again, 2025) the remake of THE HAND THAT ROCKS THE CRADLE, or sci-fi with that silly INDEPENDENCE DAY sequel (whew). She can do wonders with very little in the way of a script, and here she proves more than up to the task of carrying a romantic drama. We see how life has battered Keena through Monroe’s down-turned gaze and her deliberate body language and slow gait. But when Keena begins her quest to reunite with her baby, Monroe is energized and dynamic, then gives way to a “softer side” as Keena cautiously lets love back into her heart. Here’s hoping for an even greater variety of lead roles for her. Withers weathers (see what I did) last year’s dreadful horror/sports mash-up mess HIM, to become a strong, complex lead as Ledger, a man trying to deal with his own past issues while being stretched in a dozen different directions at once by the people he cares so deeply about, but still full of charm and grit. Almost as much of it as Pankow as the doomed and endearing Scotty. As his folks, Whitford, as “Nono” Landry, is trying to leave his loss behind until Keena pops back. Ditto for Graham, as his still-healing wife, as she tries to protect her granddaughter, now the only physical part of her only child. Much has been made of the screen debut of country crooner Lainey Wilson, who does well in the small (only a few minutes) role of Keena’s boss/buddy. Amid the turmoil, Monika Meyers provides some comic relief as Keen’s special needs co-worker/ neighbor, Lady Diana.


With her second theatrical feature film, director Vanessa Caswill keeps the pace flowing, though she leans heavily into prolonged close-ups to convey the budding attraction (and they are attractive) of the principals. Plus, she makes great use of the stunning visuals with Canada (again) subbing for its southern neighbor. But then there’s the script, which hammers the dramatic conflicts, veering into melodrama, and gives way to cloying heart-tugging. frequently in the dialogues with Diem and the earlier-mentioned Diana, going to the “cute well” till it’s nearly dry. I did find it interesting that Hoover, adapting her novel with Lauren Levine, opted to leave the big city, lush settings of US and YOU to focus on those struggling to get by, though the under-constructed home of Ledger seems far too opulent. Still, fans of her work will probably be pleased while the rest of us ponder just how this “basic cable TV’ terajerker “escaped” into the multiplex (those literary roots, I suppose). But the potent chemistry between the engaging Monroe and Withers smooths out much of the potboiler tropes of REMINDERS OF HIM (sound of paperback closing).


1.5 Out of 4

REMINDERS OF HIM opens exclusively in theatres on Friday, March 13, 2026.

HOPPERS – Review

At last, the cruel, cold winter is giving way to a fast-approaching Spring (at least for most of the country). And what do many young men’s (and ladies’) fancies turn to, other than a amor? Why, going back to nature, naturally (see what I did there). Well, it just so happens that for their 30th (wow) feature film, those digital animation gurus at Pixar have fashioned a story about going back to nature in the most literal and fantastical way possible. Wth a bit of science fiction magic, this movie’s young heroine can comingle and even communicate (stop me before I launch into that catchy tune, “If I Could Talk to the Animals”) with the woodland critters that she’s watched from afar. Yes, that includes frogs, though they’re not the story’s main focus, nor are they the inspiration for this flick’s title, HOPPERS.


As this modern fable begins, we meet the aforementioned heroine, Mabel, in the Beaverton grade school system (she’s maybe eight or nine) as she embarks on her mission (and not the first attempt) to liberate the many “class animal pets” from their cages, aquariums, and other “jails”. She’s soon sent home with her mom, who, in turn, takes her to her adored grandmother Tanaka (voice of Karen Hule). To calm down the child, they sit on a big rock near a pond in the forest behind Granny’s home. Mabel is spellbound as she watches the water with a beaver dam at its center. Fast forward about ten years or so, as now 19-year-old Mabel (Piper Curda) still enjoys the tranquility of that sweet spot, even though Grandma” T has passed on. But the quiet is soon shattered by a noisy construction crew, determined to complete a big highway and pave over the place. It’s the dream project of Mabel’s constant nemesis, the affable Beavertown mayor, Jerry Generazzo (Jon Hamm). Since all the wildlife has left the pond, it’s fair game for the “improvement”. After failing to get enough signatures on a petition to stop them, Mabel heads over to the college (she’s a frequent “class-skipper”) to enlist the aid of Professor “Sam” Fairfax (Kathy Najimy), who explains that a single beaver could bring back all the animals. Mabel decides that she’ll try to lure and trap a beaver…and it works! One shows up, but he ignores the bait and scampers away to the Prof’s campus lab!


It turns out that, to observe the wildlife, Sam and her two aides have created a robotic beaver connected to a device (looks like one of those big “oldie” hair dryers) that can transfer(or the “hop”) the consciousness from a sleeping human subject to the “bot”. Oh, and the facimilile can talk with and understand all the critters. Of course, Mabel “borrows” the gizmo and literally “high-tails it” to the forest. There she learns of the woodland society, ruled (in a nice way) by the “king of the mammals”, a beaver named George (Bobby Moynihan). Mabel bonds with him and convinces George to unite with the other royal leaders (birds, bugs, fish, and reptiles) to stop the impending construction destruction. But when a decision is made to eliminate the “Human King,” Mabel must try to save her arch enemy, all while avoiding Sam and her staff’s attempts to retrieve their device, and wake up the sleeping real Mabel. Suddenly, there’s more at stake than saving that “watering hole”!

After hitting a major bump in their “original” film slate (yes, I don’t count the big sequels) last Summer with ELIO, Pixar comes roaring back with this truly “all ages” cartoon comedy classic. Oh yes, it brings the laughs, but they haven’t neglected the heart (Mabel and Granny’s super-strong bond), and even a message sneaks in (we’re never pummelled by the ecology themes). Again, the studio doesn’t showcase lots of “big name superstars” for the marquee and marketing value, instead opting for a solid cast at the microphone, though a certain “multiple-Oscar-winner” spreads her “wings” (hint, hint). Curda’s an energetic lead hero with lots of “spunk”, while Moynahn makes the most out of his good-natured charm that we saw during his stint on SNL (and he’s not the only “8H’ vet). Leading man Hamm flexes his comedic chops and continues to be a big audio asset (this is his fourth toon gig). I thoroughly enjoyed Najimy even as some of her Peggy Hill (TV’s “King of the Hill”) seeped in, especially as Sam is flummoxed by Mabel (“No! This is nothing like AVATAR!!”). And kudos for all the cartoon voice vets in the incidental animal extras. Oh, and speaking of “ear candy”, what a terrific bouncy score from kids’ TV icon (“Pee Wee’s Playhouse”) Mark Mothersbaugh!


So, which of the gifted minds in Emoryville concocted this bit of delirious entertainment? Hard to believe that this is the theatrical feature directing debut of Daniel Chong (creator of TV’s “We Bare Bears”), who co-wrote the screenplay with Jesse Andrews (ME AND EARL AND THE DYING GIRL). Sure, there are some “lifted” elements, like the earlier-mentioned AVATAR mixed in with lots of DR. DOLITTLE (all incarnations), but they take the old trope conflict of nature versus commerce, and give it a refreshing spin (the bulldozing baddie is really a fairly nice fella). The script is truly lifted to the heights and beyond by the superior visuals that truly dazzle. The Pixar “pack” has really “upped” the level of sophisticated animation acting here. A third act sequence with Jerry being “taken over” has facial exaggeration and body movement that harkens to the works of “toon masters” like Bob Clampett and “Tex” Avery (I think it would work very well without the audio). I must mention the interesting “coding” of the critters. When Mabel is in the “device,” the animals have big eyes with lots of prominent white while gesturing wildly. But to those in “reality”, the wildlife isn’t nearly as wild, as they move with a slower pace, and the eyes are more or less dark brown dots. The design and some “takes” of the humans seem to be influenced by anime (much like what we saw in LUCA and TURNING RED). The overall look of all the characters is lots of fun (now I can call out the “eye candy”), and they mesh expertly with the lush backgrounds (that’s one beautiful forest). Again, this is “all ages” entertainment at its zenith, delivering a great original Pixar “fix” before another big sequel in a few months. I suppose I should end this by saying film fans should run, no walk briskly, rather than hop to the multiplex for HOPPERS.

3.5 Out of 4

HOPPERS is now playing in theatres everywhere.

EPiC: ELVIS PRESLEY IN CONCERT – Review

You’d think that Aussie director Baz Luhrmann would’ve had his fill of “the King” after making his big-budget Oscar-nominated biopic of ELVIS nearly four years ago. And you would be so wrong. And Presley fans (and scores of fanatics), along with general movielovers are all the richer for it. Turns out that Baz wanted access to all the footage from the two Elvis concert films from the early 70s, and was probably gobsmacked by the 68 boxes of 35mm (and some 8mm) film delivered from deep within the vaults of Warner Brothers. We do get an overview of the man’s life and career, but the main focus is on the legendary performing tenure begun in 1969 at the International Hotel in Las Vegas. All the hi-tech cleaning and polishing only add to the legend, and truly earn the main title of EPiC: ELVIS PRESLEY IN CONCERT. Lace up those blue suede shoes…

The taut ninety-minute documentary/concert deftly combines both cinema elements. Baz assembles little “sidebars” that pop up almost like chapter bookends here. There’s a section devoted to his adored “Mama”, initial cultural impact (an explosion almost) with a TV preacher’s warning of the “beat” that summons Satan, his Army stint, the “Colonel”, his romances (yes, Priscella’s there), and many other milestones. Plus, there’s a montage of his often silly (“See Elvis karate chop a tiger!”) later movies that prompted the big 1968 “comeback” TV special. But the real “meat” is the preparations for the big Vegas concert with several unlikely tunes that were considered. It’s interesting to hear the King’s take on a couple of Beatles tunes, along with a Simon and Garfunkel classic. And yes, he’s in excellent “voice”, this being some of his most polished vocal stylings. The rehearsals and preparation scenes build to the big Vegas opening, in which Elvis almost “reinvented” himself and began his new era of live-performance spectacles.

For some viewers, this new reworking of long-thought lost footage will reinforce their perception of this icon, while for the unfamilar much of this may be a revelation or a discovery. We see long hours in minimal facilities to tweak the sound, in order to go beyond the “flash and glitter”. Oh, but there is plenty of that, though. His gaudy, often loud fashion ensembles are on full display, making us think of how it’s the male peacock who attempts to dazzle the ladies. Dazzle is a restrained turn for Elvis’ magnetic appeal to the hordes of enraptured women fans of every age. He is their idealized lover, even if there’s a hint of danger. One great bit has Elvis zeroing in on one of his most prominent female backup singers, which inspires both fear and quivering desire. That’s just one of the scenes of his “clownin””, as we witness him cracking up over his persona. There’s a darkness to one of the “jokes” as Elvis inserts some drug references to one of his tunes, strange since he’d get a “drug buster badge” from then President Nixon less that a decade before he was felled by his addiction. Ah, but that feels like the distant future as we see the celeb-packed audience at that first Vegas concert. Why, he’s visited in his dressing room after the show by Sammy Davis, Jr. and Cary Grant! Oh, to be a fly on the wall to hear what they discussed, or at least to have better microphones trained on them. This is also an incredible time capsule of that time when beehive hairdos (or don’ts) ruled the skies, probably blocking a lot of the audience, who “dressed to impress”, perhaps to garner a glance or a quick smooch from their idol (he does love to wander through the smothering crowds). Yes, these are fun, happy snippets of kitsch, but there’s still some tragedy as Elvis mentions his interest in touring the world, though he would never venture beyond North America. My only complaint about Baz’s passion project is that some songs are cut short in order to avoid a long running time for the IMAX venues. Yes, I wanted more, but what’s there is really great. Oh, and don’t leave when the end credits begin. There’s a brief shot of E flanked by his “Memphis Mafia” as he briskly strolls down the hotel staff corridor past their cafeteria. In his bright blue jumpsuit, he looks like he popped in from Mount Olympus, making us wonder how this rock and roll deity existed on this planet with us. Sure, the music is still wonderful, but the whole mystique is what makes this time-traveling trip so memorable in the truly EPiC: ELVIS PRESLEY IN CONCERT. And yes, sadly, Elvis has left the building…

3.5 Out of 4

EPiC: ELVIS PRESLEY IN CONCERT is now playing exclusively on IMAX screens. It expands to theatres everywhere on Friday, February 27, 2026

CRIME 101 – Review

Though it may seem that way, Spring and Summer aren’t the only release seasons for “high octane” action-packed crime thrillers. And this new mid-February release proves it. It’s packed with cops, gun-wielding “robbers”, and roaring car chases through congested Los Angeles. Yes, it’s very “street-level,” which is a big “change of venue” since the three main leads are multi-film Marvel Cinematic Universe vets, so no powers, just keen skills. And, no, it’s not about them passing on their talents to eager college students in big lecture halls. The triple numbers in the title refer to a very busy California freeway, which is the “route” favored by the main criminal, hence its moniker, CRIME 101.


The story starts in the pre-dawn hours as the three principals begin their “prep” for the day. Sharon Combs (Halle Berry) applies her make-up (almost like “war paint”) to charm another rich jerk into signing an insurance contract with her prestigious “protection” firm. Groggy police detective Lou (Mark Ruffalo) stumbles about in the dark until he begins his bathroom “constitutional” while scrolling the online news concerning another jewelry courier hijacking. And finally, there’s Mike (Chris Hemsworth), who scrubs every loose bit of skin and hair off his body before donning his work attire: crisp white shirt, black suit with tie, and a gun. Using some spiffy high-tech gizmos, he intercepts a big diamond transfer from a grungy downtown shop to swanky Beverly Hills. Mike always displays his weapon, but never fires, as he tries to grab the goods without gunplay. But this morning is different when he nearly takes a bullet. It’s his “come to Jesus” moment, contemplating his future while making an almost clean getaway. Soon, Lou is called in with his partner Tllman (Corey Hawkins) to comb the crime scene. Later, Lou will present his theory on a lone hijacker making hits along the 101 freeway to an uninterested squadroom (and a “by-the-books” captain). As for Sharon, she almost “seals the deal” with the wealthy client, then heads to the office for a staff meeting where she’s assigned that same robbery, while her morning “gig” is handed off to the newly-hired, much younger saleslady. Oh, and the higher-ups tell Sharon that they need to table her promotion request (“Let’s put a pin in it”). As the “heat” starts to die down, Mike makes the “ice” tranfer to his long-time connection/ fence Money (Nick Nolte). They discuss the unplanned gunplay during the last job, with Mike stating that he wants “out” after the next score. Money then meets with another “staffer”, Ormon (Barry Keoghan), a violent biker with a hair-trigger. Money thinks Mike has lost his “nerve” and assigns that next job to him. Plus Money thinks that Mike is planning his own “big score” and orders Ormon to tail him and scoop up the “spoils”. He’s right, as Mike’s “side project” before he “gets out of the game” will involve Sharon, and eventually Lou and the deranged Omron. Could this truly be Mike’s “last score”, in more ways than one?

Well, this is quite a dramatic turn from the main trio’s heroic roles in the MCU. The story’s real center is the mysterious Mike (if that is his real name) played with heavy gravitas by Hemsworth. There’s nothing of the affable “thunder god” to be found in the somber, stoic “soldier thief” as his pre-job ritual is almost like donning a uniform before battle. With his clipped delivery and downturned eyes. Hemsworth conveys that Mike is not only on the run from the law, but he’s trying to escape his troubled past. We do get a glimpse of his vulnerability and his yearning for human connection through his blossoming romance with Maya, played by the talented Monica Barbaro (superb as Joan Baez in A COMPLETE UNKNOWN). She’s trying to pierce his protective hide, but Mike can’t doff his emotional armor. His “Javert”, Lou has his own internal conflicts. Ruffalo tones down his usual superior intellectual persona to convey the “working stiff” quality of this beaten-down “seen it all” cop, who, like Mike, also has a yearning to break free of his dodrums that have inspired too many bad habits (smoking, boozing, being out of shape), and feeling the need to start anew after an unexpected end to his marriage. Unfortunately, we only see his wife in a diner break-up scene, so the talented Jennifer Jason-Leigh is woefully underutilized (maybe much of her work is on the cutting-room floor). What a pleasure to see Ms. Berry again, here using her acting skills to give us a seasoned professional (her maturity factors in quite a lot) who is a cog caught in the gears of a greedy, chauvinistic machine that seems to delight in squandering her spirit until she’s pushed aside for a shiny, new model. Berry shows the sparkle in her eyes when a chance to break out of the “boys club” appears as a way to end her frustration. The film’s real “wild card” is Keoghan, who makes Ormon an unpredictable demon of destruction, a devil in punk-ish bleached-blonde hair. Nolte is settling into these veteran character roles well, as he croaks out sinister threats and orders. Hawkins is very good as Lou’s cynical buddy partner, who wants to avoid his career path. And this serious tone is lightened a touch by the comedic performance of Tate Donovan as the “too much dough for his own good” millionaire “mark”.

They’re all directed by Bart Layton, who also adapted the Don Winslow novella, though it feels like this is from a weightier tome. Maybe that’s due to the pacing problems, which contribute to it needing a good twenty-minute trim. There are too many little subplots that don’t really contribute much, especially as Lou deals with lots of either disinterested or downright dirty cops right out of SERPICO-style flicks. And the whole crumbling-marriage asides feel distracting from the cat-and-mouse action sequences. And they are pretty solid as Mike zips his sleek cars (especially a cherry green classic Mustang) all around day and night LA (the latter is a great backdrop for a pursuit of cycle-soaring Ormon). Luckily, this superb trio of actors keeps our interest high even as the end results fail to emulate (and it really tries) the cool caper crime flicks like THIEF, HEAT, and DRIVE (and maybe BABY DRIVER, too). So, all the fans of furious, fast auto exploits will get their adrenaline fix before the big Summer action blockbusters, but their patience and endurance will be sorely tested by the fuzzy, meandering of the many detours of the slickly made (the familiar LA locations are given a high-gloss sheen) CRIME 101.


2.5 Out of 4


CRIME 101 is now playing in theatres everywhere

SCARLET – Review

2026 is turning out to be a big year for those fans of the bard, but then, William “Big Bill” Shakespeare has never really had a bad year in popular culture, and we’re not talking years, but centuries. And not merely on stage, the first venue for his works, but in the movies. Now, many films are “line-for-line” adaptations, while others have used his themes as a “starting point”, much like WEST SIDE STORY, which has had its “progeny” (GNOMEO AND JULIET). Of the scribe’s plays, it’s “Hamlet” that seems to be this year’s big “inspiration”. Though it was technically a 2025 release, it’s almost a “sure bet” that HAMNET will snag some Oscar gold. That story of the “melancholy dame” has even been translated into animation. Yes, way back in 1994, there was THE LION KING (which got sequels and a CGI “live-action” remake), but now it’s getting another animated “spin”, though it’s closer to anime. And there’s a “gender swap” too, as its title character is a princess named SCARLET.


As the story begins, Princess Scarlet (voice of Man Ashida) is wandering alone through a dusty desert. The desolation ends when she is dragged down a watering hole by gnarled, claw-like hands. An elderly woman appears to tell her that she is in the “Otherworld”, a limbo-like region for the recently deceased, before their journey ends either dissolving into “nothingness” or basking in the heavenly afterlife of “Infinite-land”. Scarlet screams at the old woman, explaining that she can’t be dead, which prompts her to think about her past life. In 16th-century Denmark, she is the only daughter to kindly King Amulet (Masachika Ichimura), a widower who weds the cruel Gertrude (Yuki Saito). She plots with the king’s envious brother, Claudius (Koji Yakusho). Soon their plot to seize the throne succeeds when Amulet is framed for criminal misdeeds and is executed. A distraught Scarlet devotes herself to becoming a fierce fighter, with fists and swords. The conflict erupts at a big celebration ball when we see that a potion is poured into a goblet. Cut to Scarlet writhing in agony, then back to the Otherworld as she frees herself. Along the barren landscape, she encounters strangers from many eras (bandits with guns, camel caravans, etc.). Then, somehow, she bonds with a paramedic, a young man from modern-day Japan named Hijiri (Masaki Okada). He wants to continue healing others, while Scarlet embarks on a trail of revenge when she learns that Claudius and several of his underlings are also in this weird place. Can this mismatched duo work together in order to enter the Infinite-land, or will Scarlet’s uncle triumph? And is there a chance either or both will return to the land of the living?

This imaginative spin on a classic was written and directed by Mamoru Hosoda, who gifted moviegoers with another unique artistic interpretation a few years ago with his “Beauty and the Beast”-inspired BELLE. Huzzah to his dedication to classic drawn animation, which he has cleverly integrated with modern tech to provide detailed textures to figures and backdrops. It also stylistically separates the two “worlds” that Scarlet occupies. The real Denmark has a linear look resembling a children’s book illustration from early in the last century. The “in-between” Otherworld has a more “lived-in” appearance as each traveler carries the dust, dirt, and “mileage” of their journeys. Hosoda also provides a nice “tribute” to a couple of celebrated cartoon “gizmos” from the Fleischer Brothers Studio, a rival to Disney from the 1920s to the 1940s (the creators of Betty Boop, who also made the first screen incarnations of Popeye and Superman). At a couple of points in the story, we’re treated to elaborate dance numbers with characters whose renderings seem to be drawn over live footage of dancers, much like the use of “rotoscoping” (tracing over film of live actors) as used by many “Golden Age” US studios. Also, for heightened dramatic effect, Hosoda utilizes photographs and miniature sets, much as the Fleischers did by framing their clear cartoon drawings against tiny sets on a turntable (an early 3D feel). But these flourishes would falter without the superb storytelling and the expertly crafted staging and movement (concise acting and gesturing), from the quiet moments of the romance between Scarlet and Hijiri to the violent battle set pieces (the princess is quite a fighter). Yes, there are some tropes here from the anime world (the principals scream with wide-open mouths), but it never detracts from this fable of the afterlife. For lovers of animation who want something beyond the usual slapstick and adorable animals, Scarlet is quite an engaging cinematic fantasy.

3 out of 4

SCARLET opens in select theatres on Friday, February 6, 2026

THE MOMENT (2026) – Review

With all the talk recently about a certain feature documentary’s box office take being bigger than any recent “concert doc”, it appears that filmgoers will get another cinematic “front-row seat” this weekend. Yes, it’s a feature documentary all around the preparations leading up to the first venue (building sets, creating effects, rehearsals, etc.), but we see very little of the big show, other than a pre-end credits montage. Oh, and it’s really a “mockumentary”, though it mixes real celebs with fictitious characters. However, those actual people are playing a “satiric” spin on their personas, much like in the recent Spinal Tap sequel, and HBO’s classic “The Larry Sanders Show” and the “future classic”, “The Studio” on AppleTV+. But it’s no surprise considering the film’s focus, as this snarky pop diva uses a new (to her) media to capture THE MOMENT.

That person is the Britain-born Charlie XCX (born Charlotte Emma Aitchison), who is at the center of a multi-media frenzy back in 2024 after proclaiming the warmer months as “the Summer of Brat”. We get a quick collection of clips with puzzled news anchors trying to figure out its meaning. That doesn’t concern her label, Atlantic Records, as they want to keep this “blitz” going well into the fall, while its creator wants to move on. But she’s got an arena tour coming up, so Charlie enlists her BFF Celeste (Hailey Benton Gates) to design the look of the big concerts. But that’s not enough for her exec at the label, Tammie (Rosanna Arquette), who sends two of her reps to guide the singer. First, they push her into doing a “cross-promotion” with a credit card company (the neon lime green plastic would appeal to the “young LGBT” demographic). But the label is really excited that they enlisted “hot’ filmmaking genius Johannes Godwin (Alexander Skarsgard) to document the backstory of the tour. Charlie’s feeling the pressure and decides to take a quick “recharge” trip to a swanky foreign locale. Unfortunately, Johannes makes a “power play” and takes the creative control of the show away from Celeste. After an encounter with another big media superstar at the resort, Charlie goes ahead with the new direction, tossing her original “vision”, and causing a strain with her pal. During this turmoil an international scandal erupts that puts Charlie XCX in the center of a cultural firestorm. Could this cancel the tour and extinguish her new “heat”?

I know I sound like a tired old “boomer”, but I had no knowledge of Charlie until her hosting gig last season on SNL. She did an excellent job there, which may explain her terrific comedy “chops”. She knows how to sell a joke effortlessly, and when to ramp up the energy (and that’s to match the overall frantic feel). I also saw her in a small role in the recent 100 NIGHTS OF HERO, so she can excel in character roles. I’ll be interested in seeing her follow-up work, either comedic, dramatic, or even an all-out musical (it seems she’s been making music shorts for nearly 15 years). The other pleasant surprise here is the “go-for-broke” funny turn by the usually stoic Skarsgard as the pretentious, bewildered film “visionary”, who has no end of hackneyed ideas and concepts (“you’ll be on wires, floating above your fans”). We get the impression that Johannes has done no real research on Charlie, as he implores her to engage in “crowd work” (“Happy to see you, where are you from?”). Now, this actor should be in an action film or superhero parody. Also very strong in the film, in more of a straight drama turn, is Gates as the dedicated artist who is sincerely concerned about how Charlie is handling fame. Her silent expressions as she realizes that her talents are being tossed aside provide the film with a touch of tragedy. I keep on thinking that if Emma Stone needs someone to play her sister in a flick, well… Screen vet Arquette also scores some laughs as the always annoyed “lady boss”. And we get great supporting work from Jamie Demetriou as “buried in his cell phone” aide Tim, Kate Berlant as snarky makeup artist and confidant Molly, and the bubbly Rachel Sennott as a hard-partying version of herself. Oh, I must commend Arielle Dombasle, who steals her single scene as a holistic masseuse with no patience for Charlie’s toxic “aura”.

The almost non-stop chaos of this flick is directed (perhaps conducted is more appropriate) by Aidan Zamiri, who also co-wrote it with Charlie and Bertie Brandes. Those with weak stomachs, be prepared for the extensive use of handheld cameras giving a real “fly on the wall” style, but also adding to the frenetic tension, making us yearn for a quiet spot (like Charlie’s talk with her oblivious driver). The plot is a wonderful satiric take on the constant bombardment by all of the media (talk about sensory overload). And the manic need to stay hip and relevant. And there’s a lot of that Spinal Tap ridiculousness, from the concert staging to the fervent fan worship. Kudos also to the script team for taking us in plenty of unexpected directions and not tying up the major conflicts with a dainty “let’s hug” bow. Going in with no expectations, this was quite a nice surprise during the winter doldrums. You could say that now in the movie world, Charlie XCX is enjoying THE MOMENT.

3 out of 4

THE MOMENT is now playing in theatres

SEND HELP – Review

After last weekend’s brutal winter storm, aren’t you dreaming of a getaway to a tropical island where you’re not wrenching your back shoveling snow or scraping ice off of your car’s windshield? Ah, but what if it’s deserted, with little to no chance of leaving (if only that old boat that’s got “S.S. MINNOW” painted on its side didn’t have that nasty hole in it hull)? And forget about any rescue ships arriving. Perhaps you’re not alone, at least that makes things more bearable. But what if it’s that co-worker you can’t stand? Or trust? These are all things to ponder while basking away in the warmth of your multiplex while watching at least one of these “stranded castaways” make several attempts to SEND HELP.

One part of that duo is introduced in the film’s opening scenes, Linda Liddle (Rachel McAdams). She’s a thirty-something single lady who spends most of her evenings devouring episodes of the TV series “Survivor” with her pet bird, when she’s not prepping for the next day. She’s “workin’ 9 to 5” as a bean counter “cog” at a big investment firm downtown. Its owner has just passed, leaving the company to his arrogant, entitled son, Bradley Preston (Dylan O’Brien). Linda’s all prepared to be appointed the new vice-president, due to her skills, seniority, and a promise from the late Mr. Preston. But naturally, the VP promotion goes to one of Bradley’s “frat bros”. Linda confronts Bradley, who really wants to axe her. However, he’s told of her invaluable “number-crunching”, so she’s spared. This also gets her an invite on the private jet to Bangkok to help seal the deal on a big merger. But these skies are far from friendly, as a storm cripples the aircraft, plunging it into the sea. Linda survives and awakens on the shore of what appears to be a large, lush, deserted island. As she has been researching and training to audition for her fave TV show, she’s in her element. And…she’s not alone. Further down the beach is her injured boss Bradley. Linda tends to the wounds of the ungrateful CEO, while locating food and building a shelter. The two clash, as it becomes clear that in this place, Linda is the boss. Can they work and live together? And does Linda really want to be rescued and return to her dreary life slaving for the obnoxious BP?

As you’ve probably guessed, this is basically a two character study, though enlivened with plenty of action and suspense. At the heart of it is Linda Liddle superbly brought to life by the talented McAdams. Though she’s mainly known for dramas, she expertly delivers her best comedy performance since the original MEAN GIRLS (that can’t be 22 years ago). She’s endearingly awkward and klutzy in the story’s first act, establishing Liddle as socially inept and dripping with “flopsweat” through her “bargain basement” attire. I was reminded of Michelle Pfieffer’s Selina in BATMAN RETURNS. And like her, trauma changes Liddle (the plane crash here) into someone completely different, full of purpose and drive. And often very intimidating. McAdams succeeds at turning our chuckles into gasps, almost reaching through the screen to pull us in (I’m guessing the 3D version works well). Luckily she’s got a superb scene, and island, partner with the versatile rising star O’Brien. I sang his praises a couple of years ago for his remarkable recreations of young Dan Aykroyd in SATURDAY NIGHT. Since then, he was also compelling in TWINLESS (but let’s forget ANNIVERSARY, shall we). As with McAdams, his take on Bradley is a comic horrible boss straight out of many workplace romps in act one. We even see some of his snark and venom-spewing attitude in his beach rescue. Somehow, O’Brien is able to turn it around, and have us in his corner, for a bit. Then we see that his seeming change of heart masks plenty of dark intentions. His vulnerability his another mask to cloud his cruelty. These are two charismatic screen actors in top form.

And who’s “pulling their strings”? Why, it’s none other than the glorious genre movie-making mastermind Sam Raimi. Actually, he’s got his fingerprints all over it, delighting and engaging us with his manic storytelling style, full of dark, almost pitch black, comic set pieces (somehow the plane crash is harrowing and hysterical), heightened by his still energetic compositions that careen from big close-ups (that tuna fish on Linda’s chin) to the sweeping island panoramas (take in the ragged cliffs). Those paying close attention will be rewarded by several of his endearing “call backs” (look at the office wall and the parking garage) that clearly set this in the quirky “Raimi-verse”, much like his last foray in the “Marvel-verse”. Be forewarned that he doesn’t hold back on the blood, guts, and mayhem (yes, there are native wildlife in the tall grass). And there are still lots of narrative “tricks” up the sleeve of this directing “prankster” as he makes good “pop pulp” out of the clever, twisty script from Damian Shannon and Mark Swift. Plus, two of Raimi’s stalwarts, cinematographer Bill Pope (making both the gleaming offices and lush beaches glisten) and composer extraordinaire Danny Elfman lift the film up with their artistry. Couple that with some vibrant visual effect magic and startling stunts and Raimi, along with McAdams and O’Brien, bring lots of energy (Sam’s been at this for five decades now) and a very entertaining take on cinematic castaway tropes (a nice mix of the Hanks classic, along with SWEPT AWAY and MISERY) in SEND HELP.

3.5 Out of 4

SEND HELP opens in theatres everywhere on Friday, January 30, 2026

H IS FOR HAWK – Review

I would say that it’s unusual for a somber set-in-the-UK drama based on a memoir (yes, it’s all true) to be released three weeks into the new year, well past awards noms deadline, but further research has revealed that this did get a one-week run in a US theater last month to be considered for the accolades. And so far, bupkis (we’ll see early Thursday morning). Of course, that’s no reflection on this film’s quality or merits. Still, its title suggests a whimsical “nature-bonding” story ala THE PENGUIN LESSONS or countless canine sagas. Now, that species connection factors in, but the heart of the story is a woman’s emotional journey in H IS FOR HAWK.


The woman at this story’s center is a research (mostly science history) fellow at Jesus College, Cambridge named Helen Macdonald (Claire Foy). On a blustery day in 2007, she’s birdwatching in the nearby countryside. As she heads home, she phones her photojournalist father Alisdair (Brendan Gleeson) with news that she spotted a pair of goshawks (a rare sighting). Dad cuts the call short as he must head to a London assignment. That evening, at her on-campus housing home, Helen meets another academic, Christina (Denise Gough) for dinner. On the way out, Helen gets a phone call that changes everything: her adored papa succumbed to a fatal heart attack in the city. Helen’s life goes into a tailspin, indecisive about pursuing a three-year position in Germany, which squelches her new romance. She then has an epiphany and knocks on the door of an old friend named Stu (Sam Spruell). Years before, both had been ardent members of a falconry society. He’s still involved (his bird is perched in his kitchen), so Helen asks him for intel on getting back in. But she doesn’t want a falcon. Instead, Helen wants to train the more difficult, spirited goshawk. Stu hooks her up with a seller, and soon the bird she names Mabel is taking up her every spare moment. Quickly the bond between the two becomes so intense that Helen is neglecting her classes and ignoring calls and visits from friends. And then the school administrators tell her that this type of “pet” isn’t allowed in college quarters. Can Helen continue to train and hunt with Mabel? And could this be a way for Helen to escape her grief rather than facing it and moving forward with her life?

This exploration into the art and skill of falconry becomes a compelling showcase for the gifted Foy. We’ve seen her excellent supporting work in films like FIRST MAN and WOMEN TALKING, but we’ve really not seen her carry the emotional weight of a film’s lead performance (though I’m told she was excellent as Queen Elizabeth II in the streaming series, “The Crown”). Foy shows us the vibrant, engaged Helen in the early scenes of her birdwatching and lecturing her class, but with her loss we see the light in her eyes suddenly dim. Not even a romantic online fling brings that spark back, until Mabel literally swoops in. Then Foy shows us another side of Helen, with an overriding obsession that almost seals her off from the world. It’s a tricky balancing act as Helen elicits our sympathy while often frustrating us, and Foy is more than up to the complex challenges. Happily we’re treated to several flashbacks of her opposite the always engaging Gleeson as her lovably gruff, but warm and encouraging papa, perhaps a near perfect “girl dad”. It’s quite a contrast to Helen’s maternal connections with her mum, played with subtle restraint and grace by Lindsay Duncan. We see that the loss of her soulmate has drained her, though she also yearns to share the grief with her increasingly distant daughter. Spruell is strong as Helen’s her birding buddy Stu as he tries to help train Mabel while attempting to calm the always anxious Helen. Speaking of pals, Gough (so wonderful on another streaming show, “Andor”) is also very effective as co-worker confidant Christina, who wants to be a “lifeline” to her floundering chum as she tries to understand her increasing withdrawl into mania.

The impressive ensemble is guided by director Phillipa Lowthrope, working from Emma Donoghue’s screenplay adaptation of Helen Macdonald’s acclaimed memoir. Lowthrope keeps us engaged, as the backdrops suddenly switch from ancient academia to the glories of the countryside. And those scenes of Helen working (she insists that they’re partners in the hunts) with the gorgeous, intense (her glare) Mabel truly soar. A sequence in the deep woods of Mabel swooping in on a very unlucky rabbit is haunting (there’s a drone crew in the credits that were really “on their toes”). While these scenes are worthy of any lauded nature docuseries, it’s the very human drama at the center of the story that’s truly compelling. This is such a well-crafted exploration of the impact of mourning on someone grieving, though it offers no easy fixes. In less works, the introduction of an “animal partner” would be the needed “remedy”, but here we see how the distracting fixation can cut a person out of the human (rat) race. Some viewers may be a bit put off by the rather open-ended finale, but life can’t always be “wrapped up in a bow” to facilitate a desired “happy ending”. That idea and the winning performance of Foy really enables H IS FOR HAWK to spread its wings and take flight.

3 Out of 4

H IS FOR HAWK opens in select theatres on Friday, January 23, 2026

MERCY (2026) – review

Screens! Aargh! There’s the bane of modern life, for many in the older generations (guilty, as charged), and the source of a new challenge to parents (as they must battle their offspring over “limiting screen time”). Well, according to this new thriller set in the not too distant future, the “screen reliance” will only strengthen. That’s because, in this story’s plot, they can literally be the deciding factor between life and death. By legal execution. Yes, this is a science fiction-tinged tale of crime and really quick punishment. And with this “ice cold” tech advance, there’s little room on the legal system’s “hard drive” for even a gigabyte of MERCY.


Before the mystery really kicks in, we’re treated to a brief prologue explaining this radically new and improved (?) world of 2029. It seems that crime was overwhelming the “city of angels” with entire “ever-expanding” blocks cordoned off as “red zones”, packed with the dregs (addicts, career criminals) of society. To stem the tide, the court system is given an extreme “overhaul” for those accused of capital crime (mainly murder). Every device (phones, security cameras, monitors) are linked to the “cloud” so that when a suspected assailant is observed, the police scoop them up, and whisk them to the monolith Mercy building in downtown LA. They are strapped to a chair in front of a huge screen that lets them interact with an AI judge (and no jury of their peers). They are given 90 minutes to reduce the probability of guilt icon to 92%. If that number can’t be reached, the prisoner is given a lethal shock through that chair. As the backstory ends, the main action shifts to a large empty room where a groggy Chris Raven (Chris Pratt) awakens in that dreaded chair. He is then told by digital Judge Maddox (Rebecca Ferguson) that he is accused of killing his wife Nicole (Annabelle Wallis). Raven is stunned, since he has no memory of that or of being arrested. Oh, and he’s a cop, the police detective that brought in the first person to be tried and found guilty by Mercy (which has reduced the murder rat, so far, to 68%). Things don’t look promising for him as he sees various screen grabs of him getting into a heated argument with her before “falling off the wagon” and being violently subdued (hence the poor recall) at a local “watering hole”. That ninety-minute clock is ticking fast, so Raven gets “up to speed” by contacting his AA sponsor Rob (Chris Sullivan) and his angry teen daughter Britt (Kylie Rogers), who discovered her mom’s body. With help on those mean streets from his current LAPD partner Jaq (Kali Reis) can Raven untangle this twisty “frame job” before his “trial time” runs out, and he is roasted and toasted by “ole’ Sparkey’?

Though he’s “the guy in the chair”, Pratt ably holds our interest, communicating the plight of Raven though his vocal intonations and facial expressions (no body language to read here). Plus, he’s not cruising by with his engaging charm, giving us the dramatic heft missing with much of his post-Starlord roles in direct-to-streaming shows. He can even keep us in doubt as to Raven’s guilt (most of the time). Now “the lady on the big monitor screen” (accented in black naturally), is the terrific Ferguson who we just saw reacting to screens in A HOUSE OF DYNAMITE. Here’s she’s almost as limited as Pratt, since the AI judge is incapable of expressing any emotion (to a point). Yet, she intimidates with her strict adherence to protocols (and her programming), and stubbornness with Raven (raising the guilt percentage ruthlessly), though she almost smiles when called “your honor”. Sullivan embodies the caring sponsor/pal who wants to help, but thinks Raven is guilty. Ditto for Rogers, though she’s full of rage and tears. And much of that is true for Reis, who will fly into the fire for her partner, despite her pessimistic persona. There’s also some strong supporting work from Kenneth Choi as raven’s former partner and BFF, along with Jeff Pierre as a slippery stranger with a link to Raven’s wife.

Now, here’s a nifty idea on the police procedural/crime “whodunit”. Perhaps it may be the only months away dystopian future that recalls MINORITY REPORT, ROBOCOP, and the various incarnations of JUDGE DREDD (comics and films) that makes the plot seem fresh. That cynical take on tomorrow’s lawmen even provides a knowing satirical wink at the current political climate. The use of the various screens is pretty inventive as we watch Raven furiously figuring out a way to exonerate himself while tracking down the killer. Director Timur Bekmambetov juggles the various images (much like his last computer thriller PROFILE), with some reality TV-like dust-ups and some nifty gadgets (there are single-sized police copter/drones). Unfortunately he tosses these elements aside in the last twenty or so minutes to indulge in some “destruction porn” out of the FAST & FURIOUS franchise, with a dash of THE BLUES BROTHERS (I image Michael Bay telling him to “reign it in” a bit). Any semblance of subtlety and drama is replaced by near non-stop carnage and urban mayhem. It’s quite exhausting, and a real shame since there are some interesting concepts and commentary for much of MERCY.

2 Out of 4

MERCY is now playing in theatres everywhere

28 YEARS LATER: THE BONE TEMPLE – Review

Whew, now that is a really quick turnaround for a sequel (they way it sprinted to theatres in just a little over six months, you’d think that it had contracted the “rage”). Usually there’s at least a year between franchise entries, even if they were shot at the same time as the WICKED flicks or even more, like the last two “impossible missions” (who knows if or when we’ll have to endure the conclusion to FAST X). Then, this isn’t your usual “tent pole”, since the original sprinted out in 2002, its first sequel in 2007, then the follow-up last June. That installment was both a box office and critical hit, so a different director and much of the same cast are hoping that audiences will be eager to get out of the January chills and warm themselves by the fiery furnaces of 28 YEARS LATER: THE BONE TEMPLE.


When we last saw the preteen loner Spike (Alfie Williams), he was saved from a rage-infected pack by a group of track-suit wearing, platinum-haired young men and women. But as we see in the opening sequence, Spike might have gone from the “frying pan into the fire”, as he must face off against an older young man as his “initiation” into the group called “the Jimmies”. Watching over the duel is their leader, Sir Jimmy Crystal (Jack O’Connell), in his thirties, making him a veteran of the “plague” world. He “fancies” himself to be the son of “ole’ Nick” AKA Satan. Somehow, Spike triumphs, is dubbed the newest “Jimmy”, and is forced to join them in deadly attacks on human survivors on the mainland, encounters that end with Sir Jimmy orchestrating acts of barbaric cruelty. Meanwhile, Dr. Ian Kelson (Ralph Fiennes) is still tending to the title “Bone Temple”, or “memento mori” dedicated to the dead, the bone towers flanking a massive spire of human skulls. Kelson’s daily routine is broken up by visits (more like roaring attacks) from the hulking “alpha” of the infected, whom he dubs “Samson” (Chi Lewis-Parry). Those encounters turn into a game as Kelson waits until the giant is nearly upon him before using a long tube to blow a dart full of his special sedative, that renders Samson docile. The doctor soon comes to the conclusion that Samson actually welcomes the “rest” and often joins him for a brief “nap”. Kelson then begins to experiment on Samson and somehow is able to counteract the “rage”. However, his research may soon be disrupted when he and his sanctuary are discovered by the Jimmies. What happens when the worlds of these survivors clash? Who will claim the land, Sir Jimmy, Dr. Kelson, or perhaps Samson?

Probably the greatest performance from the last entry was from the gifted Fiennes as the somewhat still sane medical man, somehow learning to adapt to the hellscape of the plague -ridden countryside. Here he actually builds on that work (last time we didn’t meet him until well past the halfway mark), adding some new “layers” to this lonely soul. He shows us that Kelson is yearning for a real human connection, even if it’s with a “zonked out” behemoth. Plus, we get to see a bit of his eccentric side, as his main joy comes from his love of his 80s pop records. Fiennes captures our attention in every one of his scenes (he’s got a long overdue date with Oscar). His character’s “inverse” may be the charismatic O’Connell as the cunning, cruel, and still a bit charming Sir Jimmy. He may be the “wildest card” in the twisted pack of Jimmies, who has a teen idol’s swagger while putting a Manson-like spell on his faithful followers. After his splendid work last year as the “boss vamp” in SINNERS, O’Connell is quite the engaging movie monster. Williams commands our interests and elicits our sympathies as Spike, still a boy, as he tries to survive this world and his still painful family loss. Luckily, he’s got a caring surrogate “big sis” in the enigmatic Erin Kellyman as “Jimmy Ink”, the gang’s “enforcer” who has freed herself from the “cult” of Sir Jimmy. Kudos also to the compelling physical presence of Lewis-Parry who gives some unexpected vulnerability, showing us that like the Frankenstein monster, he could have his cloudy savagery cleansed by a bit of kindness.

Earlier I mentioned that this installment boasts a different director. Taking the reins from Danny Boyle is the versatile, visually elegant Nia DaCosta (after last year’s “chamber drama” HEDDA). She clues us in, with the searing brutality of “Spike’s test” that this second act of a planned final trilogy, won’t dance around its violent, visceral origins. In other words, the blood does flow, like a red storm over the gorgeous green English countryside. The screenwriter of last June’s entry, Alex Garland, does return with a tale that echoes several horror survival themes, showing us how the uninfected humans can be more deadly than the screaming charging hordes. We’re even given an “origin story” set at the beginning s of the “rage”, reminding us that these mindless monsters were exactly like us. What really surprised me this time was the unexpected bursts of very dark, nearly pitch black, humor, especially in the final showdown. Ah, but it’s not really “final” as an epilogue promises another glorious glimpse into this altered Earth. Let’s hope our next visit, probably not a quick seven months wait, will be as well produced and as full of conflict and compassion as 28 YEARS LATER: THE BONE TEMPLE.

3.5 Out of 4

28 YEARS LATER: THE BONE TEMPLE opens in theaters everywhere on Thursday, January 15, 2026