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.

HIM – Review

As I mentioned in another recent review, the studios are shifting with the change of seasons. With Fall a few days away, most would be releasing their big “awards-bait” prestige projects. Ah, but this week’s new big release doesn’t fit into that strategy as much as it meshes with two other staples of the cooler temps. First, it’s set in the world of high-stakes pro football (yes, the 2025-26 games have already begun). Oh, and Halloween is just a few weeks away (most stores have had the “spooky aisles” set up since late August). Really, a “horror sports flick”? I can recall a few thrillers like the original STRANGERS ON A TRAIN and THE FAN. Plus, the musical classic DAMN YANKEES has its supernatural Faustian main plot. And, of course, there’s the hockey mask-wearing J. Voorhees. So, it’s time that the “passers of pigskin” get their chance to terrify in HIM.

The title pronoun may just refer to Cameron Cade, who we first meet as an obsessive football fan who’s only seven or eight years old. He’s “glued to the tube” for all the games played by his fave USFF team, the San Antonio Saviors, who are led by their star quarterback (and Cam’s idol) Isaiah White (Marlon Wayans). The story springs ahead via a montage of images of Cam grabbing headlines on the field in high school and college. Unfortunately, Cam’s papa passes away before the pro teams begin “sniffing around”. Luckily, his devoted mama, Yvette (Indira G. Wilson) is his “rock”. While tossing a few balls late at night on his old high school field, Cameron (Tyriq Withers) is gravely injured by a masked assailant (perhaps dressed in a mascot costume). After a major surgery and lots of rehab, Cam appears to be nearly healed of his massive brain injury. But can he resume his quest for “gridiron glory”? Thanks in part to his aggressive agent/manager (Tim Heidecker), the Saviors will give him a most unusual “try-out”. Cam will travel down to the home/training compound of his idol, Isaiah (who may be in his final season), who will see if he’s ready to be their new quarterback. The White “estate” covers several acres in the desert, cut off from the adoring throngs, although several scary fanatics hover near the fence. There Cam also meets the “doc” (Jim Jefferies) and the flamboyant “online influencer”, Isaiah’s wife, Elsie (Julia Fox). Cam is put through grueling physical torments during a series of exercises that take a dark, sinister turn. Cam soon realizes that Isaiah’s not just interested in prepping his body for life in the “pros”. The increasingly intense White may be trying to possess Cam’s soul.

Withers is truly put through all manner of dramatic and physical “paces” as the often confused, but still “laser-focused” young Cameron. He’s a compelling presence as he looms over most of his castmates, searing into them with his questioning, expressive eyes. Most importantly, he draws us in to see Cam’s pain and torment. The cause of much (almost all) of it is Isaiah, played with pitbull-like ferocity by Wayans. He’s eager to break out of the comedy genre, so this screen vet nearly devours anyone vying to share the screen with him. Certainly, he gets our rapt attention even as his methods are murky and muddy. Luckily, many of the supporting players bring some much-needed humor to relieve the tension. Fox is a zany, quirky online “gadfly” as she hawks her new-age trinkets and attempts to be a nurturing matriarch to Cam, while still leading an unending line of grinding strippers. Heidecker puts a hyperbolic spin on the JERRY MAGUIRE-super sports broker trope, careening like a mad dervish after downing a massive mocha. The best laughs are generated by stand-up superstar Jefferies, who delivers doses of surly snark along with whatever’s really in his ever-present hypo (probably not vitamins).

Justin Tipping, in his sophomore directing effort, really seems to be “going for it” as he throws every flashy effect and editing flourish “at the wall” to see if the visuals can “stick” onto the script he co-wrote with Zack Akers and Skip Bronkie. And it is exhausting, making us more weary than any film under 100 minutes should. The MTV-inspired cuts and razzle dazzle create a heady fever dream while keeping us as perplexed as Cam. The heavy, clunky religious riffs seem to be pointing to White as Satan’s recruiter, though Isaiah would appear to be equally content with eliminating this new “GOAT”. As for the horror aspects, there are a few effective “jump scares” along with lots of gooey gore and even several X-ray enhanced set pieces (tackling skeletons). But all the sound and fury (and N-bombs, pounding music beats, and gyrating groupies) don’t tell us anything new about the “quest for success”. The revelation about the wealthy owners (wow, they’re actually evil monsters) feels like the retread of familiar cliches. It all leads to an off-the-rails finale that results in a big fumble and eventual defeat for the ultra-hyper HIM.

1 Out of 4

HIM is now playing in theatres everywhere

WALTZING WITH BRANDO – Review

Sure, the sun is still making temperatures rise, but it’s the big late-in-the-year awards season for the studios (with just a few days before the official start of Fall). So what’s a favorite subject for the somber, serious flicks vying for the gold? Of course, they turn to the “biopics’, with actors portraying real people (OPPENHEIMER being a most recent example). This weekend’s new “limited” release “straddles” two “sub-sets” of that genre. First, it’s a story of a well-known show-biz personality, some might say the greatest, most influental actor of his generation. But, it doesn’t cover his entire life, “cradle to the grave”. Rather, this film is set during a five or six year segment of his storied career. Oh, and it’s told from a “non-celeb” (often called a “civilian”). Most recently this was done with ME AND ORSON WELLES and MY WEEK WITH MARILYN. Now, don’t be fooled by the title, WALTZING WITH BRANDO is not a ” toe-tapping” musical (though Marlon plays a “mean” bongo).

After a brief bit of archival footage “wizardry” of the “real” Dick Cavett chatting with Marlon Brando (Billy Zane), we’re whisked into the world of a hard-working young family man, Bernard Judge (Jon Heder), toiling as an “up and coming” architect for a Los Angeles design firm in 1969. His boss introduces him to hotel magnate Jack Bellin (Rob Cordry), who plans to build a state-of-the-art resort in Tahiti. They want Bernard to travel there and scope out the proposed locale. Oh, and he’ll need to make an offer to the owner of this spot, a twelve-island atoll called Tetiaroa. After a long plane ride, Bernard arrives and charters a boat to said spot. The captain won’t go ashore due to the jagged coral reef surrounding it. No problem, Bernard will swim in since he’s a great water athlete. Naturally, he’s battered by the rocks and is washed ashore. Luckily, a local family brings him in and tends to his wounds. At their compound/home, Bernard meets the “big papa” and owner of the islands, none other than the Oscar-winning Mr. Brando. Though he’s reluctant at first, the superstar warms to Bernard and tells him of his plans to turn one of the islands into his permanent home, far away from Hollywood, a village (including that resort) that will not harm the local environment. Over the next few years, Bernard devotes all his energy (and time away from his own family in LA) to making Marlon’s dream happen, while he keeps the “river of cash” needed for the project by taking several high-profile and high-paying roles in several iconic 1970s films, including that (his words) “gangster movie”.


Even though his name isn’t in the title, the film’s focus is indeed the hapless “audience surrogate” everyman Bernard played with an uptight, bewildered demeanor by Heder (forever NAPOLEAN DYNAMITE, though being a comic icon is “sweet”). Much like the comedy heroes of the silent era (Harold Lloyd comes to mind), he enthusiastically plunges headfirst into the unknown, AKA island life. Mainly, Heder plays a sincere “straight man” to the many exotic eccentrics, so he comes off rather bland and not especially compelling. On the other hand, the “leader of the loonies” is played with considerable energy and offbeat charm by Zane, who really seems to be channeling (even becoming an eerie doppleganger) for the world-famous thespian. It’s very entertaining to see him recreate those flicks (yes, even Don Vito), but his greatest role may be “the merry prankster” who delights in shocking and confusing all in his path. Zane has charisma to spare, though his take makes the star an affable, enigmatic mystery. An actual Oscar-winner joins in this action, none other than Richard Dreyfuss pops in for a couple of scenes late in the story, as Marlon’s long-suffering “money manager” Seymour Kraft, who serves primarily as a roadblock to Bernard’s island obsession. Ditto for Tia Carrera’s loopy, leering Madame Leroy in a goofy seduction sequence. She’s a temptation for Bernard, much like the breezy German bombshell Michelle, a stewardess with lots of free time played by Camille Razat. And the always reliable Cordry puts his comic timing to good use as the bombastic lodging tycoon, an unlikely partner for Marlon in his “planned paradise”.


Director Bill Fishman helms his own screenplay adaptation of Bernard’s memoir, and makes a gorgeous “travelogue” of the exotic Tahiti (quite “vacation fodder”). It’s an interesting chapter in the actor’s life (perhaps a “second act’ after his breakthrough in the previous decade), but the plot just seems to lurch and stumble from one big “event” to another, bouncing around through those five or so years with an off-kilter momentum (long after the opening Cavett sequence we reverse to see Brando with Johnny Carson, to illustrate his stance on the civil rights movement). And way too much time is spent on wacky hijinks involving the locals and their slapstick building efforts (submerged tractors and possible angry ghosts). Zane’s superb impersonation is the main selling point in the marketing, even though the forced melodrama involving Bernard and his family simply doesn’t pay off. Neither does the odd decision for Heder to break the fourth wall in order to provide the “back story” for Brando and the future of the islands. Plus, there’s a rather dull final act that’s not livened up by another bit of whimsy from the title subject before the inevitable pre-credit update captions. And that’s a stumble that doesn’t make WALTZING WITH BRAND) a graceful gaze at old Hollywood.

2 Out of 4

WALTZING WITH BRANDO is now playing in select theatres

SWIPED (2025) – Review

Feels like it’s been a while since moviegoers have gotten a feature about a real-life invention that had a pretty big impact on the world, or society in general. Sure, they briefly touched on the origins of the kids’ toy superstar BARBIE in that recent blockbuster. Plus, we’ve gotten films about shoes (AIR), tech devices (BLACKBERRY), other toys (THE BEANIE BUBBLE), and a computer game (TETRIS). Predating all of them (can it be 15 years old?) is the Oscar-winning story of a website, THE SOCIAL NETWORK. So, when do we get another movie about an online “game changer”? And that leads into this new flick about another website that’s perhaps best known as a phone “app”. I’d tell you its name, but you can probably guess it from this movie’s title, SWIPED.


Now, the story’s real focus is actually a fast-talking (and fast-thinking) tech innovator with the “superhero alias” sounding moniker, Whitney Wolfe (Lily James). We first encountered her about a dozen years ago as she crashed a big “tech bro” bash on the Santa Monica pier. She’s trying to raise interest (and funds) for her website that matches volunteers with charities. After several “strike outs”, she makes a connection with Sean (another cartoony-but-real name) Rad (Ben Schnetzer), who tells her to drop by his development firm, Hatch Labs IAC Incubator. Naturally, she’s there a few hours later before Sean arrives. But he’s got a big meeting with a potential client for his restaurant rewards app Cardify. Sean figures she can pose as his “gal Friday”, but Whitney surprises him by helping “seal the deal”. She becomes part of his team, proving invaluable once again when Cardify “flatlines”. At a big pitch meeting, several staffers bounce around ideas for a dating site/app, but it’s Whitney who comes up with the perfect name for it: Tinder. But they need to spread the word, so she travels to her old college sorority at SMU with work pal Tisha (Myha’la) and due to her people skills, hustle, and quick thinking, the app sweeps the school. Back in LA, the company’s celebrations get a boost from Sean’s new hire, his old pal Justin (Jackson White). Despite her better judgement, Whitney begins seeing him socially. But her rising profile threatens Justin, as he and Sean squeeze her out of the publicity swirl around the company and the increasingly popular app. Things take a dark turn when the board ignores complaints about graphic photos posted, and when Justin becomes possessive after Whitney breaks off their relationship. Soon, she must make a stand and a decision: stay and fight for what she’s due, or leave and start over.

Ms. James is establishing herself as one of the busiest actresses working today. It was only a few weeks ago that I was enjoying her work in the little-seen gem of a thriller RELAY (really, catch it when it starts streaming). Here she gets a chance to really flex her skills in comedy, romance, and some heavy drama (with a few thriller elements this time, too). James has us rooting for Whitney from beginning to end, making us invested in very tough choices. She gets great support from Myha’la who encourages, but speaks up when “her girl” fumbles the ball in not helping her “sisters’ climb the corporate “ladder”. As for the fellas’, Schetzner is a cool, affable partner/boss until fame makes him “flip a switch”, surprisng us with his cool, aloof ‘tude. Ditto for his “bro” Justin, played with easy-going “puppy dog” charm by White until he’s threatened by Whitney and goes right into the “ex from Hell” mode. But Wolfe does encounter a nice “dude” outisde the office in Andrey Andreev played by Lily’s former “Downton Abbey” TV series co-star Dan Stevens. He’s a somewhat daffy ultra-rich tech mogul out of Eastern Europe who tries to “poach” Whitney for his dating site Badoo. not for her looks but for her keen creative input and expertise. A few other familiar faces pop up in brief supporting roles, including Joely Fisher, Clea DuVall, and that “silver fox” Dermot Mulroney.

Director/co-screenwriter Rachel Lee Goldenberg has crafted a mostly inspiring true tale for young women trying to break into the male-dominated tech industry. But it’s also a cautionary tale, which shifts so abruptly in tone in its second act, that some viewers may get a touch of cinematic “whiplash”. The lead-up and launch of Tinder plays much like a light-hearted romp, as Wolfe works the college kids and charms her open-minded boss in a frothy modern workplace comedy. This even extends to the sweet at first) flirtation with Justin. Then the d#*k pics flood the servers, and the darkness begins. Almost all the fellas seem to have drunk from a water cooler filled with Dr.Jekyll’s old “Mr. Hyde mix”. This leads to the big nosedive as we wait for Wolfe to “pull up” and stick the landing. Really, the soured office romance often plays like a made-for-cable-TV Lifetime flick. Of course, we do get a token “good guy” to not paint every male as a leering, abusive goon (and yes, I know that women in past office-set films were either bubble-headed bimbos or shrews, but this still stings a bit). These tonal shifts and pacing problems ultimately take the needed zip and good intentions away from the true life story of SWIPED.

2 Out of 4

SWIPED streams exclusively on Hulu beginning on Friday, September 19, 2025

NAKED AMBITION (2025) – Review

Here’s a terrific new release that dispels that old, certainly now outdated, thought that watching a documntary was “homework”. This one’s a brisk, breezy romp through the fringes of pop culture that makes a sharp turn into an exploration of the changing attitudes towards the societal roles of women. So, yes, sex does play a big part. Mainly, it’s a portrait of an artist (that label may have irked and offended the intellectual elite then, but few would question it now). That artist in question is a photographer named Bunny (born Linnea) Yeagar who actually went from being a model in front of the camera to staging and snapping pics of, sometimes referred to as, “pin-up queens”. These ladies were usually clad in bikinis (which Bunny popularized), exotic attire, and sometimes in the “all together,” which gives a multiple meaning to this doc’s title, NAKED AMBITION.

The locale for Bunny’s life story quickly shifts from her birth in a chilly Pittsburgh suburb to sun-kissed Miami in the late 1940s. After winning several beauty pageants, she became a very busy photo model for several magazines and newspapers originating from Florida. That “ambition” started early as she embraced the big swimsuit sensation, the bikini, and enhanced them with her own design (one was comprised of plastic daisies). A new career opened up when she took a night class in photography at a vocational school. Bunny began taking pics of herself (perhaps these are the earliest “selfies”), then directed her BFF Maria Stinger (now there’s a great model moniker) in some very popular “men’s Magazine” spreads before expanding her “roster”. Seems that women were more comfortable with her behind the lens, rather than the leering men who formed “camera clubs”. Then, in 1954, through her photo mentor Irving Claw (another great name), Bunny met her muse, the bubbly brunette with the “bangs”, Bettie Page. These pics of Ms. Page, especially those taken at a wild animal “safari” park, became staples of pop culture when she was “rediscovered” through the Dave Stevens art of the Rocketeer graphic novels. Those shots attracted Hugh Hefner, and soon Bunny was a staple of his fledgling Playboy magazine. In the doc, we’re introduced to Bunny’s first husband, Arthur, a former cop, who becomes her business partner and the father of their two daughters, Cherilu and Lisa. We learn how Bunny took side “gigs” in the movies (with Sinatra) and later crooned as a lounge singer. But with the huge cultural shift in the late 60s, the public passed up the camp “cheesecake” for pornography (even parting ways with Playboy) and Bunny was adrift until a new appreciation in the late 1990s that led to new hardcover book collections and several gallery shows (at the Warhol). In the film’s epilogue, we’re told that Bunny shot on film right up until her passing at age 85 in 2014.

Director Dennis Scholl and Kareem Tabsch are two talented cinema “tour guides” for this chronicling of a remarkable life. Yes, there are the usual “talking heads”, but those interviewed offer some great insight into Bunny’s technique, including several working photogs, historians, and the modern “glamour gal” icon Dita Von Teese. And there’s some archival interview, though Larry King’s “chestnut” tale of a fan encounter doesn’t add much, ditto for the recollections of Hef. However, the audio-only stories from the real Page are quite engaging, as are the contrasting views of Bunny’s daughters (Lisa embraces her mom’s legacy while the more conservative Cherilu is somewhat embarrassed). The best parts of the docs are the incredible collages of the campy cheesecake pics that somehow still resonate a sweet innocence since most of the models are smiling, some even in “mid-laff”, conveying the high spirits of those optimistic days nearly 70 years ago. The filmmakers also address the big societal changes, first with Bunny’s friendship with a famous photo “buff”, Sammy Davis, Jr, who had to hide in the back seat when the two cruised around Miami before a “model shoot”. And later Bunny tries to get more “provocative” with the free-spirited “hippie chicks” in the late 60s. Plus, we get to view some grainy, faded home movie footage (I imagined the film disintegrating right after the digital transfer) and some adorably stiff and awkward films of an “actual photo session”. Scholl and Tabsch don’t shy away from the “tough times” as we learn of the demise of Bunny’s depressed hubby and their trumped-up obscenity bust. Luckily, the story ends on a triumphant note, despite the clash between the daughters and some estate problems, as Bunny gets her well-earned praise and appreciation from her peers. Her story, as told in the engaging NAKED AMBITION, is pretty close to “picture perfect”.

3 out of 4

NAKED AMBITION is now playing in select theatres

TWINLESS – Review

Now this new film would be tough to categorize for anyone trying to recommend it to other moviegoers, let alone the writers for theatre chain websites. And that’s a good thing, since the multiplex really needs to have some fare that can’t be “pigeonholed” into a select “by-the-numbers” genre. Though many might not enjoy that, I really get a kick out of stories that throw me a “curve” or just keep me “off balance”. As a movie “Mulligan’s stew”, this dramedy/mystery/romantic character study with some sexy “spice” makes a tasty meal as you find out just what is the meaning of its provocative title, TWINLESS.

We’re “clued in” early on in this story when we hear some noise (tires screeching, a thud) from a fatal accident on a busy urban street, just “off camera”. From there, we’re taken to a graveside funeral service for a young man in his late twenties named Rocky. The mourners are stunned to see the departed’s twin brother in attendance, Roman (Dylan O’Brien), next to his mother, Lisa (Lauren Graham). Back at Rocky’s apartment, the two clash while going through his things before she heads back home. Roman remains in the city, and to calm his anger issues, attends a meeting of a support group for people who have lost their identical twin. There, he strikes up a conversation with Dennis (James Sweeney). During their talk, Dennis tosses out a casual joke about his sexuality (he’s gay). Straight Roman tells him that his brother Rocky was “out and proud”. The two exchange numbers after going to a nearby diner. Although they’re quite different (Dennis is much more cultured, but less confident), Roman reaches out to him, and the two become “hang buddies”, even grocery shopping together (not being alone in the store is a great comfort to Roman). The story pivots to show us that Dennis did actually know Rocky, one of many secrets withheld from Roman. Things get even more complicated when he begins dating the bubbly receptionist at Dennis’ work, Marcie (Aisling Franciosi). Can Dennis continue keeping Roman in the dark, or will Marcie somehow “spill the beans”? And what about his growing attraction for the “unattainable” twinless sibling?

The story’s dense plot works due to the considerable talents of the film’s two lead actors. Perhaps the tad more complex one is anchored by the superb rising star O’Brien (so good as Dan Ackroyd in last year’s SATURDAY NIGHT). He’s tasked with making us invested in the often volatile Roman, who is sweet as a “dems’ and dose'” bro, but can’t quite stop his fist when rage takes over. And yet, O’Brien brings lots of vulnerability to him, as Roman flails about, feeling lost without his twin, Rocky. And yes, we get to see O’Brien in a completely different persona in the flashback scenes of the departed sibling (distinctly different vocal delivery and body language). But that’s not to say that the gifted Sweeney is “treading water” around O’Brien. He also gets us cautiously on Dennis’ side, even as we know that the truth must be revealed. Sweeny shows us that he’s also more than a bit broken by his obsession and yearning for connection, while hiding behind an aloof attitude. Franciosi is the sweet, nurturing “counter-balance” to the duo as she does her best to be a cheerleader for Dennis even as her feelings for Roman emerge. But Franciosi makes her more than “the girlfriend” or even a “third wheel,” as she shows us the “steel” interior around Marcie’s candy-coated exterior. Big kudos to Ms. Graham for her work in just a couple of scenes as the “walking wounded” mother who seems to be sidelined by her all-consuming grief.

Oh, I was surprised to see that aside from co-starring, Sweeney also directed the film from his own script (his second solo feature). And he does a splendid job in twisting the narrative almost into knots, even making us wait nearly twenty minutes to see the title and opening credits. He also deftly shifts the focus from Roman (who dominates the prologue) to the quirky Dennis, who we see doing mental gymnastics to try and disguise his deceptions (love the impromptu British accent). Sweeney injects suspense into the narrative, as we wait for the big reveal and wonder about the character’s reactions. In his direction, Sweeney makes some interesting visual choices, best shown in his clever staging (split screens) of a big Halloween party sequence at Marcie’s and later in a revealing trip into a “day-glo” adult amusement center, which throws the main trio off-kilter. He also disorients us with some early graphic sex scenes before slowing the pace for more emotional intimate interactions, broken up by an “out-of-nowhere” bit of street violence. So for more adventurous filmgoers, this is a movie with strong characters, and an unpredictable script told with surprising visual confidence. That and a terrific young cast makes TWINLESS a true original.

3 Out of 4

TWINLESS is now playing in select theatres

CAUGHT STEALING – Review

And now I believe we’re officially in the Fall movie season, as the newest project from one of the most acclaimed “indie” filmmakers of the last twenty-five years or so releases his newest work into theatres, not just in the “art house” cinemas, but in multiplexes everywhere (and maybe a few drive-ins). That’s because it’s a much more general audience “accessible” than many of his previous projects. For one thing, it boasts a stellar cast headed by a “rising star”. And it’s in the “area” of one of the most popular genres, one that’s usually abundant in the summertime, the “crime thriller”, mixed with a few quirky comedy touches. It’s based on a popular novel, actually part of a “series” whose “double meaning” title becomes apparent while watching CAUGHT STEALING.

After a bright and sunny prologue at the final moments of a big high school baseball game, we’re sent to the grimy Lower East Side streets of NYC circa 1998. Twenty-something Hank Thompson (Austin Butler) has a pretty great life “slingin’ suds” at a rowdy “dive bar”. The best part of his gig is “last call” when his gorgeous EMT girlfriend Yvonne (Zo Kravits) waits for him to lock up. From there, the duo heads to his grungy walk-up apartment. In the hallway, they run into Hank’s punk-rocker (mohawk and spiked leather jacket, natch’) Brit neighbor, Russ (Matt Smith). He’s gotta’ fly home to see his dying Dad, so he asks Hank to take care of his cat, Bud. No prob. After some “sexytime”, Yvonne leaves for work in the morning as Hank nurses one of many nasty hangovers. Seems he’s trying to numb the pain of a painful memory. A call to his mother in Patterson, CA eases his head as they bond over a love of the San Francisco Giants baseball team. Later, he accosts two tough-looking Russians trying to break into Russ’s place. The thugs think that Russ gave Hank something they want. He tells them that he has nothing aside from Bud the cat, which earns Hank a severe beating from the two. Waking up in a hospital bed, he tells Yvonne that he can’t wait to be discharged. Back at his place, Hank is interviewed by Narcotics Detective Roman (Regina King), who informs him that Russ is into some shady business with the Russian mob, and he’s also involved with two “scary monsters”, the vicious Hasidic Drucker brothers (Liev Schreiber and Vincent D’Onofrio). After they leave, Hank uncovers a key that Russ left. He heads back to the bar to hide it, but begins a “bender” that leaves him unable to recall what he did with it. This doesn’t sit well with the Russians, who return with their equally violent boss, a Puerto Rican club owner named Colorado (Benito A Martinez Ocasio, AKA pop music superstar “Bad Bunny”). Can Hank escape them as he tries to cut through the drunken fog of the previous night? And if he does lose them, what will happen if the Drucker brothers catch up to him? And when will that darn Russ return?

That rising star I mentioned earlier would be the very charismatic Mr. Butler, who is steadily building an interesting movie resume after his breakthrough as Elvis. He is the reluctant hero with roots in classic noir cinema. Hank is a fairly good guy who is plunged into the dark netherworld of 90s drug gangs. But he’s not without his own darkness. Butler shows Hank’s inner torment as he wakes up from memories of a not-so-long-ago time when his poor judgment took away everything from him. But there’s little time for pity, or for boozy amnesia, as the walls close in. Through his expressive eyes, Butler shows us how Hank must drink in his new situations while formulating a plan at near light speed. He’s also terrific in the lighter moments, especially in the crazy, flirty chemistry-fueled scenes with the bubbly Kravitz as his sexy voice of reason, Yvonne. She truly cares about Hank, which exacerbates her frustration with his lifestyle choices, revved up after that hospital stay was cut short. Another calming influence is King, whose tough but still tender cop may be just the guide to get Hank past this nightmare alive. Smith brings some angry, funny energy as the Cockney rocker who fights to keep his 80s style while adoring his kitty. Schreiber and D’Onofrio are very compelling as the brothers whose religious adherence and attire juxtapose with their murderous intent and ruthlessness. They seem reasonable at times, until they see an opportunity to strike with deadly force. At least they’re sweet with their Bubbe, played by the always endearing Carol Kane as the stern and nurturing matriarch, though there’s a touch of menace in the advice she offers to Hank.

The filmmaker of this intricately layered bit of “pulp fiction” is the man behind many “offbeat” cinematic “trips”, Darren Aronofsky. Here he’s working with Charlie Huston’s screenplay adaptation of his novel of the same name. For the most part, Mr. A keeps us firmly on “ground level” with few “flights of fancy” or flashy flourishes (he makes good use of slo-mo and drones). He keeps us right with Hank as we can almost smell his sweaty panic as he races through a very dirty and dangerous NYC (really wonderful location work). And as I mentioned, Darren puts a unique spin on several tropes of the classic noir thrillers of the 40s and 50s. With a flawed hero struggling to keep “afloat” while straining to recall a boozy night, the story riffs on films like D.O.A., DETOUR, and AFTER HOURS (which makes the casting of its star Griffin Dunne as Hank’s biker/hippie boss a great “nod”). I should mention that the folks behind the marketing are doing the film a disservice by selling it as a wild comic “caper” romp, since Mr. A doesn’t shy away from the brutality and “ick” factor around alcohol abuse (yes, Hank rarely makes it to the “porcelain throne”). Yes, there are a few sluggish sequences prior to the big action, with twists, finale, but it delivers all the thrills, though not as deftly as the recent RELAY (more stunts and explosives with this new one). Aronofsky appears to be working very well out of his “arty” comfort zone with the gritty thriller CAUGHT STEALING.


3 Out of 4

CAUGHT STEALING is now playing in theatres everywhere

EENIE MEANIE – Review

Now, before the Summer of 2025 officially comes to a close, how about one last ride in a suped-up classic car with the law in hot pursuit as you cause thousands of dollars in property damage (other cars included). Hold up, they’re not sneaking that final FAST & THE FURIOUS flick into the multiplex unannounced. Oh, we have that to look forward to (or perhaps dread is more accurate). It seems that SUPERMAN wasn’t the only film zipping through the streets of Cleveland last year (both needed a year’s lead time). However, you’ll not be able to hear the screeching tires through Dolby Theatre’s speakers since this is a premiere streaming movie. And its title harkens back to the classic nursery rhyme, making us wonder if catching “by the toe” is possible when the driver’s nickname is EENIE MEANIE.

The story starts with a flashback when 14-year-old Edie defied the law (not the first time) by meeting her folks at a neighborhood “watering hole” and driving the sloshed pair home in the family car. Flash forward 17 years, as adult Edie (Samara Weaving) is partying a bit hard herself at the bachelorette party of her BBF “Babygirl” (Kyanna Simone). Edie’s got a full day ahead of her and starts it by waking up late, earning the ire of her boss at the bank. Naturally, a gang of crooks barges in, with one thug conking her on the head with his gun (which Edie tried to grab away from him). She wakes up in the doctor’s office, who tells her that she and her unborn child will be fine. WTF, pregnant?! Could it have happened during a brief “visit” with her now ex, bungling petty criminal John (Karl Glusman)? Now, Edie’s got to get to her junior college classes, but she goes past her bus stop in order to confront John at his sketchy apartment complex. When she arrives, he’s getting worked over by some “legbreakers”. Ignoring her first impulse to “dash”, she rescues him with the pair escaping in a stolen car. John brings her in on his latest scheme (she doesn’t give him her big news), which “goes South”. In order to cool things down, the duo begs forgiveness of the local crime boss (who has a soft spot for Edie, dubbing her “Eenie Meanie”), Nico (Andy Garcia). Seems that John has cost Nico a big “earner,” and the replacement fee is three million bucks! But Nico has a plan for them. The local casino’s having a big poker tournament with a three-million-dollar cash prize. No, John’s no good with cards, but Edie’s great with cars. Huh? Turns out that the cash prize will be put inside a classic Dodge Charger, which Edie will have to drive out of the crowded casino. The backup crew is all set, but can they possibly pull off this big “broad daylight” score, especially if John “gums up the works”? And when will Edie drop the big “baby bomb” on that doofus?

In the title role, Weaving does an engaging job of making many action film clichés feel fresh. Aside from putting her own “spin” on the “wheel man” role, she conveys the inner struggle of a young woman at a true crossroads. She’s got to leave her fun and footloose twenties and really plunge into adulthood as a prelude to motherhood. And though life has thrown a lot, a whole lot, at her, Weaving never makes Edie a victim, even as she talks about being put “in the system” and later, in the “joint”. I look forward to her future films (especially a sequel to READY OR NOT). She dominates the screen so confidently that it’s tough for co-star Glusman to shine. And though he thoroughly dives into his role, John’s more than a bit shallow. He’s a dimbulb for the first hour or so, getting naked or beaten up (or both) in order to liven up the pace and provide some cheap laughs. I’m sure Glusman could make him more sweet and endearing, like a destructive puppy, but the script doesn’t provide that. Which causes us to actively root against him and Edie getting back together. Garcia is very compelling and quite funny as the aging but still tough-as-nails “mini-kingpin”, whose gravelly voice goes up an octave when talking to his surrogate daughter Edie. Her real papa is played by the always entertaining Steve Zahn in the opening sequence, frantically warning Edie about a police stop, and later as we see him with his “start over” family facing a very different future. There are also several gifted comic actors in smaller roles. First there’s Randall Park, whose fate sets the big caper in motion, then Mike O’Malley as Nico’s sardonic best bud/caregiver, and Marshawn Lynch as the flashy getaway driver rival to Edie.

This film comes from writer/director Shawn Simmons, who’s truly going “all out” for his feature film directing debut as he mixes comedy, wild car stunts, and a touch of character drama. And some of it works very well, especially in creating the unique character of a woman “wheel man” in the same league as BABY DRIVER and DRIVE. He also makes excellent use of the grimy, mean-looking streets of Cleveland. Yet, much of the material feels worn and listless. What doesn’t really help is the story’s radical change in tone during the flawed final moments when a major character almost becomes an evil clone of the person we’d seen in the previous 80 minutes (I thought of that classic Trek tale “Mirror, Mirror”). A “tacked-on” rose-colored epilogue just doesn’t fit with that big reveal. The racing fans will enjoy seeing some of their favorite “muscle cars” careening past the squad cars, but aside from Ms. Weaving, there’s little that really puts the “pedal to the metal” in the uneven exploits of EENIE MEANIE.

2 Out of 4

EENIE MEANIE streams exclusively on Hulu beginning on August 22, 2025

NE ZHA II – Review

As we reach the end of the big Summer cinema season of 2025, feature animation fans have had a variety of entries to savor. Though the biggest hits have been the “live action” adaptations of HOW TO TRAIN YOUR DRAGON and LILO & STITCH, mind you, the filmmakers utilized realistic computer techniques to render the latter’s title co-star and the winged beasties of the former, there have been a few fully “created from pencil and computer” flicks. Near the start of the year, we saw a hit family film based on the DOG MAN book series, while in the last few weeks, we’ve been treated to another visit from the SMURFS and those BAD GUYS. Perhaps the greatest work may be an extension of a long-running live-action series with PREDATOR: KILLER OF KILLERS. One segment of it was set in feudal Japan. Now, if that piqued your interest in more furious martial arts action, then that indie powerhouse A24 has just the movie for you. They’re releasing to theatres the dubbed-into-English box-office blockbuster (the biggest one in China ever) sequel NE ZHA II.

And it hits the ground running, and leaping, and punching. From that previous film, we see that the demon-like Ne Zha and angelic Ao Bing are without bodies. Luckily, Master Taiyi Zhenren is overseeing the villagers of Chentang Pass, who are mixing up a gelatinous goo that will form their new physical body “hosts”. Unfortunately, Bing’s forming body is destroyed while defending the town from an attack by three of the Dragon Kings. But his spirit is sent into the body of Zha. His parents, Lady Yin and Li Jing, send him with Taiyi aboard his flying pig on a quest to regain his immortality and split up the personalities. But they’ll have to face a series of trials and tests set up by Wuliang of the heavenly Chan set in order to acquire the needed magic potion for Bing. Ah. but things get complicated as his nefarious father, Ao Guang, actually the Dragon King of the East Sea, is preparing an attack, leading an army of undersea hybrids. Several decptions and double-crosses culminate in a battle for the planet with an advancing heavenly army and a fiery cauldron that creates elixers to confront the dragon forces and the increasingly more powerful Ne Zha.

To say that the film is visually stunning doesn’t really describe the amazing artistry that went into this. It’s told in now-traditional computer animation with incredible attention to detail along with some glorious effects (fire, oceans, etc.), and superb character design, especially the snake-like sea dragons. Unfortunately, that’s most of what stayed with me after the very lengthy 143-minute runtime. The story seems to be zipping in several directions all at once, making it jumbled and confusing. The only “big name” voice actor in this English “dub” is the always compelling Michelle Yeoh as the ethereal beauty Lady Yin. The other vocal talent often sounds as though they’re playing “catch up” with the exaggerated mouth movements. It’s especially the case with the motor-mouthed Taiyi (often a gluttenous bufoon) and the ill-tempered at times Ne Zha, who resembles so many anime tots. What really surprised me was the barrage of bodily fluid and functions gags (literally) that really try to elicit strained laughter or “gross-ou” groans. I did enjoy one comedy sequence in which Yin and Jing try to come up with the “perfect image” of Ne, going from muscle-bound behemoth to cuddily cute ragmuffin. This film is an interesting look at an action-adventure cartoon tale (well, the battle with the marmot tribe is pretty good) that may fascinate animation aficionados, but the average filmgoer may be baffled and a little dumfounded (maybe “brain-numb”) by the “eye candy” on display in NE ZHA II.

1.5 Out of 4

NE ZHA II is now playing in select theatres

RELAY – Review

Ah, now here’s a real “under the radar” gem. Usually, the quirky modern-day ‘B” pictures are dropped into the multiplex in late Winter or mid-Fall. So, we’re almost past the Summer blockbuster season, the studio “wise men” (two words not often next to each other) are arriving well in advance of the December holidays with a gift for us. This one’s full of razzle-dazzle tech twists and intricate machinations, mixing in elements of crowd pleasers like THE EQLUAIZER (movie series and TV shows), THE STING, THREE DAYS OF THE CONDOR, with a sprinkling from the IMF team for a spicy kick. There are no big action set pieces, but there is plenty of tension when you dive into the wild world of RELAY.


Much as with a Bond flick or Indiana Jones, we’re dropped into the conclusion of a recent “operation” involving the lead character in the film’s opening moments. It seems that everything’s gone according to plan as he observes a rich CEO getting his “just desserts” while his former employee vanishes into the night. We’re then whisked away to the start of another case. A jittery young woman cautiously enters the towering home of an NYC law firm. Sarah Grant (Lily James) was a top researcher/scientist at a major “bio-agricultural” company. She sounded the alarm about a new “insect-resistant” wheat that has the possibility of dangerous, even deadly side effects. The company fired her and insisted she turn over all the research. Sarah left with the files, but is having “second thoughts”. She’s being harassed and threatened, spurring a desire to return the docs rather than “blow the whistle”. Now she fears that her old bosses will “tie up loose ends”.The lawyer who hears her declines to take her as a client. Instead, he scribbles down the number of a person who acts as an “intermediary” to broker the “info exchange”. When she calls the number, she speaks to a rep at the Interstate Relay Service, a company that translates phone calls for the hearing impaired. The messages are not recorded, nor are they kept on file. Typing in at another location is the “barterer,” who we later learn is named Ash (Riz Ahmed). They establish an ID “passcode phrase” (“Cash or credit?” “Check”) and he gives her strict instructions (do it right or I’ll walk away) on how to get the files to him, along with payment, and who to contact at her old job. He keeps a copy of the files forever in a secret safe and makes copies to send to the feds and media in case the company goes after her. But first, she’s got to move to a much safer place, namely an incredibly secure high-rise apartment building. Somehow her move leaks out, and a dark van is parked across the street. Inside is a well-armed “cleaner squad” headed by a man going by “Dawson” (Sam Worthington), who gets her client’s Relay calls from Ash. Will things go according to his elaborate plan? And what happens when the exchanges between Ash and Saeah take a more intimate turn?

In referring to this as a modern “B” movie, I didn’t wish to imply that the stellar cast is anything other than “A+”, particularly the two main leads. First, there is the interesting and intense Ahmed, who has been so great in supporting roles (NIGHTCRAWLER) and terrific as the main focus (acting students will study his work in SOUND OF METAL). For a moment, I thought he was following up on that film due to Ash’s use of the relay service, but it’s a way to avoid making a personal connection. Through those immersive dark eyes will look into the soul of an emotionally wounded, haunted man who must stay in control at all times. This quality doesn’t help him away from work as he sits silently at AA meetings. Ahmed wants to become invisible as he flits from one shadow to the next. But then someone flips the light switch, and we see his defensive cocoon slowly begin to crack. Taking a hammer to it is the ethereal charisma of Ms. James, who lets us see, in her vocal delivery and body language, Sarah go from vulnerable victim to staunch champion of her own destiny. She’s overwhelmed by dealing with the rapid, specific details from Ash, though soon she’s bobbing and weaving like a trenchcoated spy. Their engaging chemistry has us rooting for them to connect beyond the “case”. That’s complicated due to the dead-eyed killers headed by the gravel-voiced Worthington. Every line is spat out like venom, though we can get a glimmer of his reserved respect for his worthy opponent’s intellect. However, he lets us know that he’ll bash in that skull housing that brain, if he gets a chance. I should mention his also intimidating “second-in-command” Rosetti played by the captivating Willa Fitzgerald (who burnt up the screen last year in the fantastic STRANGE DARLING), who is both slinky and sinister as she pursues both Sarah and Ash.

As for the filmmaker who keeps “all the plates spinning”, here’s a big “Welcome back to the big screen” for David Mackenzie, whose last theatrical feature (aside from the Netflix showcase OUTLAW KING) was another engaging thriller, 2016’s HELL OR HIGH WATER. Working from an endlessly clever script from Justin Piasecki (no surprise that it was on the 2019 “Blacklist” of most-liked unproduced screenplays), Mackenzie almost turns the Big Apple into another character, as every street lamp or crowded walkway could lead to a fatal showdown. We’re guided to familiar locales made mysterious with bystanders giving the “stink eye” before possibly lashing out at Sarah or Ash, or maybe walking past. And even though they’re kept apart, Mackenzie and Piasecki convey the longing and yearning for contact that’s denied. Somehow, they make the relay service jargon somewhat “steamy” (at the end of every reply, rather than “stop” in telegrams, they say “go ahead”). I can’t give away too many details of Ash’s “playbook”, I will say that he uses state-of-the-art tech (lots of “burner phones” while making considerable use of the much maligned under-appreciated USPS. Yes, I’m talking about the post office, as Ash gets their tracking numbers, while dropping some unique postal trivia (when this film was shot, there were active post office service centers inside the gate area of a few major airports). As I mentioned, there aren’t elaborate stunt sequences, but many of the near-misses and “drops” will have you on the edge of your seat. That’s before you fall off of it during the stunning, whiplash-inducing finale reveal. There’s been little fanfare about this engaging entertainment (so many talk shows are taking early Labor Day breaks), so I hope that word will spread on this original film that takes its inspiration from so many classic thrillers (could Ash be a 21st-century spin on the Scarlet Pimpernel). Moviegoers will be well rewarded for their effort (it may be tough to locate at the multiplex) and time (clocking in at under two hours) with the cinematic and storytelling delights of RELAY.

3.5 Out of 4

RELAY is now playing in select theatres

HIGHEST 2 LOWEST – Review

Even though the sweltering temps haven’t abated, it seems that the 2025 Summer movie season is nearing an end with the return of one of the most acclaimed filmmakers working today. Yes, this is an award contender premiering in August. Oh, and this director is “doubling down” with a “re-working” of a film from one of the true “masters of international cinema”. And did I tell you that this is the fifth collaboration between the filmmaker and a two-time Oscar-winning actor? It all appears to get all the “boxes checked” for the big nominations and the critics’ lists. So, with this elite “pedigree”, just how does HIGHEST 2 LOWEST really “stack up” (is it more the latter than the former)?

In the story’s opening moments, we’re whisked around and about the gleaming towers of Manhattan. On the balcony of one of them is a man barking into a cell phone. Speaking of “stack”, he is David King (Denzel Washington), chief executive and co-founder of the music label “Stackin’ Hits”, and he’s putting all his “ducks in a row” in this life-changing “deal”. But first, there are family obligations. His beautiful wife Pam (Iifenesh Hadera) needs this year’s contribution to a local charity. Her “radar” goes on as David suggests just half the usual “check”, for now. Then it’s on to their teenage son, Trey (Aubrey Joseph), who goes with dad to his elite basketball camp (one of the coaches is Rick Fox). There, Trey meets with his BFF Kyle (Elijah Wright), who happens to be the son of David’s personal chauffeur, Paul Christopher (Jeffrey Wright). He’s late because he’s gathering the proper papers for the big business “play”. After “touching base” with other company execs, David returns to his lush penthouse apartment to share the big news with Pam. He’s taken out loans, set up several accounts, and called in lots of favors in an attempt to acquire sole ownership of his recording empire. As she processes this news, David takes another call, thinking it’s a possible investor. He’s stunned when the unknown caller informs him that he’s grabbed Trey, and ransom instructions will soon follow. The police are called, while Paul realizes that his son Kyle hasn’t returned yet and isn’t picking up his calls. As the NYPD set up a command center in the dining room, another call occurs. The voice informs David to put together over 17 million dollars in Swiss currency, with drop-off details to come. David assures Pam that he will pay, while a new development has the police scurrying. A patrol car has picked up Trey and is bringing him home. He tells the stunned group that Kyle was grabbed instead. When David gets a new call from the criminal, he boasts that his son is safe, that he has Paul’s son. Nonetheless, the “voice” still insists on the ransom money; otherwise, he’ll murder Kyle. Paul doesn’t have the funds, while David balks at paying, since it would almost wipe out the needed capital for his company’s takeover. Will he make this huge sacrifice for his old friend’s boy? His decision plunges the affluent David into the seedy, crime-ridden underbelly of the Big Apple…

In case we all needed to be reminded of true movie star charisma, Mr. Washington easily delivers that quality from that slow tracking drone shot in the film’s opening minutes to the final fade-out. As King contemplates his “power move”, Washington displays a jovial swagger as he prepares for that day. When it takes that awful turn in the evening hours, we see the darkness consume him as he strains to keep control as his life crumbles. And as a deadly decision weighs on in shoulders, Washington allows us a glimpse of King’s vulnerability as the world seems to turn against him. He then taps into all those qualities in the rousing finale, when David dives into the abyss to demand justice. He’s got a great rapport with the stunning Hadera, who makes the perfect life partner for David. She’s his sounding board and fierce beacon of empathy. They’re a true power couple, though the more volatile pairing is with the always wonderful Wright as Paul. He’s been beaten down by life after losing his wife and spending too many years in the system. Wright gives him an inspiring dignity, pushing back at the police who suspect him (such “side-eye”), while struggling against despair as his beloved son is taken from him. Kudos are also due to the main law-enforcement trio of John Douglas Thompson, LaChanze, and the surly, snarky Dean Winter (“Mayhem” in a superb TV ad series). The biggest “find” may be the fiery performance of rapper A$AP Rocky as fledgling “wannabe” Yung Felon. He’s got an unpredictable energy that gives Washington a chance to reveal another facet to King.

The entire cast is stellar, guided by an elder cinema statesman who is still a “firebrand” after nearly 40 years of films, Spike Lee. He, along with screenwriter Evan Hunter, has put a remarkable spin on a classic crime film from 1963 by Akira Kurosawa, HIGH AND LOW, which he adapted from the novel by Ed McBain, “King’s Ransom”. They’ve taken most of that story’s structure and used it as a reflection on current society, from hip hop culture to the smothering, all-surrounding online community. Lee is in full command as he makes use of a few of his stylistic tropes (the “slow-rolling close-up” is here), an eclectic music soundtrack (the opening song is a strange stunner), and background images that reflect and comment on the characters. Plus, he and cinematographer Matthew Libatique give us a very vibrant NYC, more vivid than most recent flicks. What may surprise most filmgoers is the humor that finds its way into a dark tale of teen kidnapping, while not taking away the “high stakes” involved in the terrible crime. It’s tough stuff, for sure, but Lee sprinkles in lots of levity, even as we worry about the fate of the Kings and the Christophers. For fans of the “source” film, Lee takes a sharp “left” from that story’s third act, which gives the drama and social commentary an added heft. My only problem is the use of the musical score as a smothering “blanket” for many of the pivotal plot sequences, hammering in the emotional “stakes”. It’s a minor quibble with such a thought-provoking and entertaining film, proving that there’s still lots of juice and enjoyment in the fifth collaboration of Lee and Washington. Now they’re truly “stackin’ the hits” with the compelling HIGHEST 2 LOWEST.

3.5 Out of 4

HIGHEST 2 LOWEST is now playing in theatres everywhere