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

BIG BOLD BEAUTIFUL JOURNEY – Review

Colin Farrell and Margot Robbie in BIG BOLD BEAUTIFUL JOURNEY. Courtesy of Sony

BIG BOLD BEAUTIFUL JOURNEY, from AFTER YANG director Kogonada, has two beautiful people, played by Margot Robbie and Colin Farrell, who meet at a wedding and then find themselves on an inexplicable, fantasy journey that leads through childhood memories and might lead to love. Big certainly describes the budget and high-quality production values for this romantic fantasy, and beautiful certainly describes the lush photography, scenery and colorful costumes but bold is another matter when it comes to the story itself. While there will be audiences who fall for this romance, for this reviewer, and many others, the title should have been more like “Big Boring Beautiful Hallmark Movie.” This contrived, leaden romance is one of those cases where the film feels longer, much longer, than it’s actual about two-hour running time.

It certainly is a beautiful film to look at, and it is stylishly and artistically shot. One cannot fault the cast, which includes Kevin Kline and Phoebe Waller-Bridge along with Margot Robbie and Colin Farrell in this fantasy tale. But the tale is very tall, and not entertaining or profound as it hopes to be, and admiring its beauty fades as the couple roll down the seemingly endless road.

The main characters are drawn to each other at the wedding but both have rocky romantic histories that make they hesitate. However, the film begins a bit earlier, when Colin Farrell’s character leaves his house in the big city to drive hundreds of miles to attend this wedding. Getting a late start, Colin Farrell’s character rushes down the street to his car, planning to drive there, only to find himself staring a “boot” attached to his tire. Luckily, he turns around to see a poster on a brick wall advertising a car rental, and decides to call. The car rental tucked away is in nondescript warehouse, which he has to be buzzed into. Inside, he sees two people at a table and exactly two cars at the far end of the space. The two people, played by Kevin Kline and Phoebe Waller-Bridge, ask him a series of questions as if he is auditioning for an acting part instead of renting a car, and then offer him only one car, a 1984 Saturn, take it or leave it. With little choice, he takes it.

If you find that intro enchanting, and have a particularly romantic bent, you may like this movie but my reaction was that it all felt very contrived and a bit stage-y, rather than magical. After this strange start, things are a big more rational of a bit but it eventually returns to this fantasy world with one foot in the realm of stage, as the two strangers embark on a journey conducted by the car’s GPS voice. Writing this now, it seems that all this could have easily been played for Monty Python-style laughs had the director chosen that, but instead, everything has a ponderous seriousness to it, with many more sentimental tears than laughs.

The car’s magical GPS directs them to stop at various points along the road, where they go through a series of doorways that lead to youthful memories. At each stop, they encounter a door, sometimes just a door in a frame, in the middle of nowhere. But when they go through it, both are transported back to one or the other’s childhood, with lessons to be learned and insights to be gathered.

However, the film does have a few rare moments of fun, such as Colin Farrell, transported back to high school in his adult form, singing and dancing in the school production of the musical “How to Succeed in Business Without Really Trying.” He’s surprisingly good, and enough so, that one might wish the movie would linger there a bit longer, instead of returning to its deadening slog. Alas, it doesn’t happen.

Yet despite the premise of a fantasy journey through memory to explore the chance of romance, there is a surprising lack of any believable romantic chemistry between these two leads. The film focuses more on hesitancy and fear, based on past experiences, than a longing for love. One gets the sense the characters are only trying to convince themselves that they can put up with the other. Hardly a “bold” romantic story of two people falling in love.

A big ambitious romance needs at least give audiences the feeling of passionate attraction between the two leads but that never develops here, for whatever reason. In fact, in the end, the film philosophizes that just being content with a partner is good enough. Not much big or bold in that, not matter how beautiful the film or the leads look.

BIG BOLD BEAUTIFUL JOURNEY opens Friday, Sept. 19, in theaters.

RATING: 1.5 out of 4 stars

DOWNTON ABBEY: THE GRAND FINALE – Review

(L to R) Laura Carmichael stars as Lady Edith, Harry Hadden-Paton as Bertie Hexham, Elizabeth McGovern as Cora Grantham, Hugh Bonneville stars as Robert Grantham and Michelle Dockery as Lady Mary in DOWNTON ABBEY: The Grand Finale, a Focus Features release. Credit: Rory Mulvey / © 2025 FOCUS FEATURES LLC

It has been a good, long run but DOWNTON ABBEY: THE GRAND FINALE is the final bow for the British world of the aristocratic Crawley family and their servants, which fans have followed through several seasons on British TV (and PBS here) and then three movies, which have continued the saga.

Series creator/writer Julian Fellowes followed up his successful film GOSFORD PARK and followed the lead of earlier British series “Upstairs, Downstairs” in crafting this tale of a likable noble family in Yorkshire and their equally appealing servants, but made it so much more, by following the changes in Britain in the early 20th century. Starting in 1912 and ending in 1930, the tale of the Crawley family is set in a period of great change in Britain for both the aristocratic class and, with expanding democracy and opportunities, for the people who worked for them.

So many things came together just right in this series to make it both entertaining and engrossing. Julian Fellowes’ great writing and historical research, and a great cast, made this combination of historic storytelling, family drama, and character-driver stories (spiked with plenty of humor) into a surprisingly enjoyable ride, even if costume drama is not your cup of tea. Add to that the incomparable late Maggie Smith as the Dowager Countess, whose smart, snappy comebacks and biting, sharply observed comments, became the highlight of many an episode. The mostly British cast was outstanding, included American ex-pat Elizabeth McGovern and Hugh Bonneville, and launching the careers of Michelle Dockery and Dan Stevens, and others. Plus there were all those fabulous British manor house locations and wonderful early 20th century fashions (especially in the 1920s), and it made for great escapist fun. The popular TV show was such a hit that the actual manor house where it was filmed, Highclere Castle, became a tourist destination.

But the time finally comes to say goodbye, and DOWNTON ABBEY: THE GRAND FINALE is a good an exit as one could hope for. In this final chapter, the Crawley family is in a kind of holding pattern, as Lady Mary is poised to take over the estate from her father, Lord Grantham, Robert Crawley (Hugh Bonneville), but with dad a bit reluctant to let go. But there is something else to deal with: visitors from America. Lady Grantham, Cora Crawley’s (Elizabeth McGovern) brother Harold Levinson (Paul Giamatti) has arrived from the States, with a friend Gus Sambrook (Alessandro Nivola), a financial advisor of sorts, and some bad financial news. While the British Crawleys’ fortune survived the Crash, the brother has not done as well. The brother’s American companion is charming if bold, and is also in Britain to see his horse race at Ascot, while helping the brother with his financial mess after the stock market crash.

While the Crawley’s try to sort out Harold’s financial mess, there are subplots aplenty, with is a little scandal with Lady Mary, a truce of sorts from oft- battling sisters, and updates on all the characters’ lives. The story lets us check in with the family, daughters Lady Mary Talbot (Michelle Dockery) and Edith, Lady Hexham, and son-in-law Tom Branson (Allen Leech), as well as beloved servants, Anna (Joanne Froggatt) and Bates (Brendan Coyle), and butler Mr. Carson (Jim Carter) and housekeeper Mrs. Hughes (Phyllis Logan), and more. There are also returns of earlier characters who have gone on to other things, like Thomas Barrow (Robert James-Collier), now a theatrical director, and movie star Guy Dexter (Dominic West), who have arrived with playwright Noel Coward (Arty Froushan).

Fellowes weaves the story elements together well, and director Simon Curtis gives us plenty of eye candy with elegant fashions, particularly on Michelle Dockery as Lady Mary, and shots of gorgeous locations and period decor, as the aristocratic Crawley family makes the rounds of upper crust London, back home at Downton Abbey, and capped with a trip to Ascot. Meanwhile, the servants’ lives are working out well, with many set to retire to comfortable cottages and with their newfound spouses, and a country fair sequence near the end lets everyone mingle.

This final chapter captures all the charm of the series, TV and film, and even gives a grand outing at the Ascot races as a last big splashy fling, and ties up all the stories nicely. In fact, this third film is better than the last one as storytelling. The show’s creator Julian Fellowes cleverly sets this final chapter in 1930, not long after the stock market crash of October 1929 that began the Great Depression but before its effects are yet widely felt. That choice puts the characters in a comfortable bubble, where they are unaware of the economic hardships ahead, although viewers are aware that the old high life is coming to an end. The early 1930 time period allows the audience to enjoy a bit more of the fashions and fun of the Downton Abbey world before the darkness of the 1930s Great Depression really descends on their world.

While there are twists and surprises, some tight spots and difficult moments, enough to give the film some tension, things are generally tied up nicely by the story’s end, leaving the audience satisfied that the characters’ lives, while profoundly changed, will go on, with no need for a sequel.

DOWNTON ABBEY THE GRAND FINALE opens in theaters on Friday, Sept. 12, 2025.

RATING: 3 out of 4 stars

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

YADANG: THE SNITCH Review

A scene from YADANG: THE SNITCH. Courtesy of Well Go USA

The Korean crime drama YADANG: THE SNITCH is longer on plot and shorter on action than most of those I’ve reviewed. The title gives you the same word in two languages. Protagonist and narrator Lee Kang-soo (Kang Ha-neul, best known here from Season 2 of ”Squid Game”) is framed for drug possession, imprisoned, then given the chance to work off his sentence by informing, and eventually turn ratting out drug dealers into a career. His benefactor is an ambitious prosecutor, Goo Gwan-hee (Yoo hae-jin). Their efforts are variably appreciated and hindered by a top cop, Oh Sang-jee (Park Hae-joon). All three deliver fine performances.

The first two enjoy a long string of successes until something goes sour. The intertwining of the massively-profitable drug trade with law enforcement and politics makes for a mare’s nest of players and shifting alliances that many might find hard to follow. (OK, I confess that I did.) Friends become foes, and vice versa, often in ways that may not be clear to viewers. It’s not a casual binge for those who care about plot-lines. Writer Hyo-seok Kim put most of the emphasis on character arcs and plot twists, rather than titillation or splashy action in this dialog-heavy script.

One other performer stands out as particularly sympathetic. Chae Won-Bin’s Um Su Jin is a popular young actress who starts using drugs and winds up in the middle of the plans and conflicts among the male leads. Her role as an ingenue who gets in over her head may be the most moving part of the film, despite relatively brief screen time.

There’s little sex or nudity; considerable drug usage and drinking – voluntary and otherwise; several scenes of gruesome violence. The result is a solid film requiring some concentration that may or may not linger in one’s memory.

YADANG: THE SNITCH, in Korean with English subtitles, debuts on digital Platforms from Well Go USA on Tuesday, Sept. 9, 2025.

RATING: 2 out of 4 stars

Win A Family Four-Pack Of Passes To The St. Louis Advance Screening Of GABBY’S DOLLHOUSE: THE MOVIE

DreamWorks Animation elevates its global smash streaming series into its first ever cinematic adventure with Gabby’s Dollhouse: The Movie.

Since the debut of the Gabby’s Dollhouse series in 2021, kids around the world have been having one big sprinkle party with Gabby and her friends on Netflix. Created by celebrated storytellers Traci Paige Johnson and Jennifer Twomey, Gabby’s Dollhouse is a mixed media preschool series that unboxes a surprise before jumping into a fantastical animated world full of adorable cat characters that live inside Gabby’s dollhouse.

In the new film, Gabby (Laila Lockhart Kraner, reprising her role from the series) heads out on a road trip with her Grandma Gigi (four-time Grammy Award winner Gloria Estefan) to the urban wonderland of Cat Francisco. But when Gabby’s dollhouse, her most prized possession, ends up in the hands of an eccentric cat lady named Vera (Oscar® nominee Kristen Wiig), Gabby sets off on an adventure through the real world to get the Gabby Cats back together and save the dollhouse before it’s too late.

GABBY’S DOLLHOUSE: THE MOVIE opens in theaters September 26.

BRING YOUR CAT EARS, GRAB SOME POPCORN AND JOIN GABBY FOR HER BIGGEST ADVENTURE YET… AT THE MOVIES!  DREAMWORKS ANIMATION PRESENTS GABBY’S DOLLHOUSE: THE MOVIE.  PINCH IN TO THEATERS SEPTEMBER 26TH.

The special advance screening is at 11AM on Saturday, Sept 20th at The Galleria 6 Cine (Doors Open at 9:30am).

ENTER HERE TO WIN A FAMILY FOUR PACK OF PASSES: http://gofobo.com/ZnbFb02830

RATED G.

Laila Lockhart Kraner as Gabby in DreamWorks Animation’s Gabby’s Dollhouse: The Movie, directed by Ryan Crego.

Gabby’s Dollhouse: The Movie is directed by Ryan Crego (executive producer of Home: Adventures with Tip & Oh, I Heart Arlo), who earned a Children’s and Family Emmy nomination for his television feature Arlo the Alligator Boy. The film is produced by Steven Schweickart, who has served as a production supervisor or co-producer on some of DreamWorks Animation’s biggest blockbusters including How to Train Your Dragon, The Croods and most recently, Kung Fu Panda 4, which has earned almost $500 million worldwide. The film is executive produced by Jennifer Twomey and Traci Paige Johnson, based on the Gabby’s Dollhouse series created by them.

In 2024, according to Nielsen, the Gabby’s Dollhouse series was the ninth-most-viewed streaming original series. Netflix expanded the series to 100 total episodes, and the 11th season debuted on Netflix in February 2025.

Rooted in a growth mindset, Gabby’s activity-based episodes encourage flexible thinking and learning from your mistakes. The Gabby’s Dollhouse series has been in the Top 10 in TV in 63 countries on Netflix and has become a top preschool brand around the world, inspiring an award-winning toy line, publishing, home, apparel, and more, as well as original music, a top-rated app and a growing YouTube channel visited by millions of fans weekly. Additionally, Gabby’s Dollhouse continues to expand through Universal Destinations & Experiences theme parks, global fan experiences, live events and more.

Win Passes To The St. Louis Advance Screening Of HIM

WHAT WOULD YOU SACRIFICE TO BECOME THE GREATEST OF ALL TIME? 

FROM OSCAR® WINNER JORDAN PEELE AND MONKEYPAW PRODUCTIONS, PRODUCERS OF THE LANDMARK HORROR FILMS GET OUT, US, CANDYMAN AND NOPE, COMES A CHILLING JOURNEY INTO THE PURSUIT OF EXCELLENCE AT ANY COST. UNIVERSAL PICTURES PRESENTS HIM. 

ONLY IN THEATERS SEPTEMBER 19TH. 

https://www.himmovie.com

The St. Louis screening is at 7PM on Wednesday, Sept 17th at B&B Creve Coeur West Olive. (6pm Suggested Arrival) 

ENTER HERE FOR PASSES: http://gofobo.com/atupF37968

RATED R.

Please arrive early as seating is not guaranteed.

L to R: Director Justin Tipping, Tyriq Withers (as Cam), Producer Jordan Peele, and Marlon Wayans (as Isaiah) on the set of HIM, from Universal Pictures. Parrish Lewis/Universal Pictures

From Oscar® winner Jordan Peele and Monkeypaw Productions, producers of the landmark horror films Get Out, Us, Candyman and Nope, comes a chilling journey into the inner sanctum of fame, idolatry and the pursuit of excellence at any cost, featuring an electrifying dramatic performance from Marlon Wayans (Air, Respect).

HIM stars former college wide-receiver Tyriq Withers (Atlanta, the upcoming I Know What You Did Last Summer) as Cameron Cade, a rising-star quarterback who has devoted his life, and identity, to football. On the eve of professional football’s annual scouting Combine, Cam is attacked by an unhinged fan and suffers a potentially career-ending brain trauma.

Just when all seems lost, Cam receives a lifeline when his hero, Isaiah White (Marlon Wayans), a legendary eight-time Championship quarterback and cultural megastar, offers to train Cam at Isaiah’s isolated compound that he shares with his celebrity influencer wife, Elsie White (Julia Fox; Uncut Gems, No Sudden Move). But as Cam’s training accelerates, Isaiah’s charisma begins to curdle into something darker, sending his protégé down a disorienting rabbit hole that may cost him more than he ever bargained for. 

The film features a dynamic supporting cast including alternative comedy legend Tim Heidecker (First Time Female Director, Us) and Australian comic Jim Jefferies (The Jim Jefferies Show), plus MMA heavyweight fighter Maurice Greene and hip hop phenoms Guapdad 4000 and Grammy nominee Tierra Whack, all three in their feature film debuts.

HIM is directed by Justin Tipping (Kicks) from an acclaimed Black List screenplay by Zack Akers & Skip Bronkie (creators of the sci-fi crime series Limetown) and by Justin Tipping. The film is produced by Ian Cooper (Nope, Us), Jordan Peele (Candyman, BlacKkKlansman), Win Rosenfeld (Candyman, Lovecraft Country) and Jamal M. Watson (Hala, Sprinter) for Monkeypaw Productions and is executive produced by David Kern and Monkeypaw’s Kate Oh.

Ethan Hawke Is Even More Terrifying As The Grabber In Brand New Trailer For Scott Derrickson’s BLACK PHONE 2

In 2022 Universal Pictures and Blumhouse’s horror phenomenon THE BLACK PHONE, from writer-director Scott Derrickson, received widespread critical acclaim and earned more than $160 million worldwide. In his review, WAMG’s Jim Batts says: “Derrickson is a skilled “spookster”, relying on quick cuts and those wanting their “fright fix” will be more than sated.”

Here’s your first look at the brand new trailer for BLACK PHONE 2. The highly anticipated follow-up opens in theaters October 17.

Four years ago, 13-year-old Finn killed his abductor and escaped, becoming the sole survivor of The Grabber. But true evil transcends death … and the phone is ringing again. 

This looks so much like a slasher film from the 80’s and another instant classic entry into the genre. Derrickson’s recent movie, THE GORGE, streamed on Apple TV+. In here review, WAMG’s Cate Marquis writes: “THE GORGE is an entertaining, fast-paced sci-action flick with an appealing couple at the center and plenty of action, plus enough of an original idea that it could have had a big screen release.”

Check out some of his other films here: https://www.wearemoviegeeks.com/2025/02/movies-to-see-before-you-watch-scott-derricksons-the-gorge-on-apple-tv-february-14/

Director Scott Derrickson on the set of The Black Phone.

Four-time Academy Award® nominee Ethan Hawke returns to the most sinister role of his career as The Grabber seeks vengeance on Finn (Mason Thames) from beyond the grave by menacing Finn’s younger sister, Gwen (Madeleine McGraw). 

As Finn, now 17, struggles with life after his captivity, the headstrong 15-year-old Gwen begins receiving calls in her dreams from the black phone and seeing disturbing visions of three boys being stalked at a winter camp known as Alpine Lake. 

Determined to solve the mystery and end the torment for both her and her brother, Gwen persuades Finn to visit the camp during a winter storm. There, she uncovers a shattering intersection between The Grabber and her own family’s history. Together, she and Finn must confront a killer who has grown more powerful in death and more significant to them than either could imagine.

The Grabber (Ethan Hawke) in Black Phone 2, directed by Scott Derrickson.

From returning visionary writer-director Scott Derrickson, BLACK PHONE 2 is written again by Derrickson & C. Robert Cargill, based on characters created by Joe Hill. The film is produced by Jason Blum, Derrickson and Cargill. The executive producers are Joe Hill, Adam Hendricks and Ryan Turek.

The cast includes Oscar® nominee Demián Bichir (The Nun, A Better Life) as the supervisor of the camp, Arianna Rivas (A Working Man) as his niece, Miguel Mora (The Black Phone) as the brother of one of The Grabber’s victims, and Jeremy Davies, returning as Finn and Gwen’s father, Terrence. Other new cast members include Maev Beaty (Beau is Afraid) and Graham Abbey (Under the Banner of Heaven). 

https://www.blackphonemovie.com

Ethan Hawke as The Grabber in Black Phone 2, directed by Scott Derrickson.
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