BETTER NATE THAN EVER – Review

Rueby Wood as Nate in 20th Century Studios’ BETTER NATE THAN EVER, exclusively on Disney+. Photo by David Lee. © 2022 Disney Enterprises, Inc. All Rights Reserved.

Much like Don Lockwood’s “Broadway Melody” hero in SINGIN’ IN THE RAIN, this title kid’s “gotta’ dance”. And sing. And, well, just be on the stage. Any stage, but one on the “great white way”…someday. Yes, this is another tale of a youngster following his “dream” while trying to survive small-town life. Plus he’s trying to keep that dream alive, protecting it from being crushed by those that just don’t “get it”. In this original Disney feature film, this dreamer’s determined to prove he’s got the “chops” because when his big breaks looms, everyone will realize that it’s BETTER NATE THAN EVER. And he’s not gonna be late.


So when we meet Nate (Rueby Wood) early on a school day morning, he’s prepping for the big cast announcement for his middle school’s big stage musical. Of course, his room is adorned with posters of hit Broadway shows past and present. His older brother Anthony (Joshua Bassett) is more concerned about his football team (and girls) while their parents Sherrie (Michelle Federer) and Rex (Norbert Leo Butz) really try to be supportive of both. Rushing to the school office bulletin board, Nate finds out that he has been cast…as a tree. Not “Honest” Abe (if there can be a Hamilton musical, then..). At least he can share his heartbreak with BFF and fellow “theatre geek” Libby (Aria Brooks). Oh, but she knows something that will lift his spirits. It seems that there will be open auditions this weekend for a stage musical of the film LILO & STITCH…in NYC. Oh, but Nate’s folks are going on a weekend getaway leaving Anthony in charge. Could he get past big bro and board an early bus with Libby to the Big Apple? Perhaps they might be able to pull off the “stay over switcheroo” (“I’m staying at Libby’s” “I’m staying at Nate’s”). And they can grab the early evening bus back home after the try-outs. Of course, they won’t run into Nate’s aunt Heidi (Lisa Kudrow), also an aspiring actress now estranged from sister Sherrie. But can they bluff their way past the show’s talent staff who require a parent or guardian to sign the releases (and hopefully a contract)? Really, can these obstacles possibly block the goals of these two “starry-eyed” kids?

With an energy that could light up all of 42nd street, Wood is a most likable lead. His Nate is warm, endearing, but not overbearingly cloy though he does switch over to Disney cable channel emoting a few times. Oh, and he’s a pretty smooth crooner, matched by his often frenetic footwork. Brooks as Libby is the more calming influence, helping Nate get his feet back on the pavement as he reaches for those stars. Yes, she’s a bit sassy (the “tone” gag is overused) but Libby’s good heart shines through. Federer, Bassett, and real Broadway vet Butz make a solid family support unit. But the movie’s true secret weapon, its MVP is the dependable Kudrow who really gets to exercise her sublime comic timing while exposing her nurturing side as the adult who still hangs on to a bit of the dream that propels her nephew, though her hopes are bruised and battered. Boy, were we spoiled when we got to see this gifted pro on TV every week.

Making his feature film directing debut, Tim Federle (who wrote the screenplay adaptation of his own book) keeps the pace moving, propelling us through Nate’s bouncy glittery world. It really plays like a modern fable with NYC a dreamland with only a few sourpusses (they’ll smile when the singing starts). Here’s hoping families will watch this together so there can be discussions about the safety of secret bus trips (you won’t be a social media sensation). Federle does get in a few good digs at “stage parents and kids” behavior while showing the turmoil of cattle calls. But in the wake of other stage-translated Disney flicks would the main character have a full head helmet (more like a cowl/cap and a bit of makeup so the human face shows)? Despite the story’s often implausible twists and coincidences (look who’s at the auditions down the hall), this is a pleasant bouncy bit of fluff buoyed by the terrific Kudrow who truly helps BETTER NATE THAN EVER earn some kudos.

2.5 Out of 4

BETTER NATE THAN EVER begins streaming on Disney+ this Friday, April 1, 2022

THE CONTRACTOR (2022) – Review

Just a few weeks after the release of the armed forces “dramedy” DOG, Hollywood calls upon another of its “hunkiest” action stars/leading men to don the “camo” and “gear up”. Now there’s no specially trained canines to chase after in this film, but like Channing Tatum’s Briggs, this movie’s focus wants desperately to get “back in” and rejoin his “band of brothers” in the current “hot spot”. If only he was given a road trip/mission like Briggs. That’s the main reason his “title” changes. He’s not “the soldier”, but rather THE CONTRACTOR.


That “warrior” is named James (Chris Pine), who is still considered “wounded”. We first see him in his early morning routine in order to get his body back into fighting shape after taking a bullet to his right knee in his last tour of duty. But the jogging and the weightlifting “reps’ at his cabin “sanctuary” deep in the woods aren’t enough, prompting a few “injection enhancements. Unfortunately, the “docs” at the local military camp are able to detect his “juicing” and Jim is officially discharged from Special Forces. So how will he be able to keep the home he shares with nursing student/wife Brianne (Gillian Jacobs) and their pre-teen son Jack (Sander Thomas)? As the “past due” notices pile up and debt collectors fill their answering machine, James is enticed by a visit with his old “grunt buddy” Mike (Ben Foster). Seems that Mike has been earning loads of cash by offering his “special skills” as a military contractor, who “slips in under the radar”. He puts James in contact with the director of the contracting company, another vet named Rusty (Keifer Sutherland), who offers a nice “gig”. Despite Brianne’s pleading, James gets his gear in working order and joins Mike in an undercover assignment in Berlin. They’ve got to ‘scoop up” a radical scientist that’s creating biological weapons. And though the plan is simple, several things go “sideways’ as James is separated from the team and becomes a “loose end” to be “severed”, As his wound acts up can James keep himself alive and somehow make it back to the states?


Taking a break from the twin “tentpole” franchises that are WONDER WOMAN and STAR TREK, Pine proves that he can get “down and dirty” as a “working Joe”/action hero carrying (he may be in every scene) this grim “grabbed from the headline” dramatic thriller. James is no “super-soldier” as he winces in pain pushing his battered body in the opening “getting back in shape” sequence. But that’s merely a prelude to the agony to come. First up is humiliation and frustration as his military “home” pushes him aside adding extra tension to his actual home as Pine shows us the worry closing in on James as forces “pick him clean”, making him to grasp at any lifeline, no matter how shady. And when the “payday” goes awry PIne shows us how James tries to ignore his old and new wounds while holding on to his moral code which further complicates his survival. As usual Foster is solid as the old cohort Mike who may not be completely open about their new “C.O.” and recruiters. Sutherland slathers on the “fatherly charm” and “gung ho” encouragement as he binds James with a promise of quick moola with little risk. Jacobs is a welcome addition to the story, but her Brianne is later regulated to the cliched “spouse on the phone” when the story shifts into “chase and elude mode”. Though introduced close to the big finale, Eddie Marsan is a welcome supporting player as the mysterious Virgil who comes to the aid of the battered James.

The script from J.P. Davis switches gears from domestic drama to globetrotting thriller, a detour carefully executed by director Tarik Saleh, who knows when to concentrate on character and when to “amp up” the tension and plunge us, alongside James, into the “danger zone”. He makes excellent use of the overseas locales as James and Mike stalk their “target”, then slowly lets us in on the “truth”. The “hand-to-hand” throwdowns are staged and shot effectively, while the “fire fights’ are filled with moments of chaos and calamity. Unfortunately, the real villains and motivations fall “into place” too cleanly and the last act denouncements and showdowns seem too rushed, letting the story seem too familiar to any number of military action “potboilers”. The first-rate cast can’t quite elevate the “plot beats” making THE CONTRACTOR an intermittingly engaging but quickly forgettable modern-day “shoot em up”.

2 Out of 4

THE CONTRACTOR opens in select theatres and is available as a video-on-demand beginning on Friday, April 1, 2022

MORBIUS – Review

Already, it’s been over three months, so who’s ready to return to the Marvel Universe via your nearby multiplex? Now, before the littlest hands “rise up”, be forewarned that this is the “dark, spooky” corner of Marvel. Oh, and technically it’s not the official MCU, but rather the “Sony-verse’ as this is labeled “in association with Marvel”, much as was the Oscar-winning SPIDER-VERSE animated epic and the twin VENOM flicks. But it does tie into our favorite “wall-crawler” as did the former films. To coincide with Spidey’s sixtieth (must be something extra in that radioactive “bite”). we’re getting another villain “spin-off” (insert web-spinning puns). Now, the oozing symbiote was from the 1980s and the “baddie quintet” from December’s blockbuster are all from the 1960s. So what about those swingin’ sparkly 70s? To be precise, 1971 saw a lot of change in the “funny books’ as the Comic Code Authority (a self-regulating group) finally let the monsters rise again. Naturally, Marvel tested the waters by introducing one to face the “amazing y’know”. And now he makes his big-screen debut (after a two-year pandemic delay). So put on your scarves “true believers”, here comes the very thirty vampire known as MORBIUS. As a count named Floyd would say, “ooooo, scary keeds’!”.

After a brief present-day prologue in Costa Rica, we’re whisked back twenty-five years to a childrens’ hospital special unit in Greece where we meet pre-teen Michael Morbius. He’s suffering from a rare blood malady, leaving him very weak and under the care of the kind Dr. Nikols (Jared Harris). We also meet Michael’s newest friend and neighbor (he’s got the bed next to him), Lucian, whom he dubs Milo (after the last occupant of the space). Michael’s already a science whiz, which leads him a couple of decades later to invent life-saving artificial blood. And now Dr. Morbius (Jared Leto) is the “top dog” at the Horizon medical center alongside friend (maybe more) Dr. Bancroft (Adria Arjona). But while Dr. M tends to the kids there, he’s got another project brewing, namely a cure for his own weakened condition. Now because some of his ideas are considered radical, Horizon won’t “foot the bill”, so Michael must turn to Milo (Matt Smith), who’s now a wealthy businessman (though the biz is more than a bit “shady”) and is still tended by Nikols. He really wants that healing “fix” so he hires a cargo ship out of Panama manned by local mercenaries to take Morbius and Bancroft to Central America. Onboard, the two perfect a “serum” which has disastrous side effects for Dr. M. After one of the crew knocks out Bancroft, Dr. M transforms into a powerful bat-like blood-drinking “demon”. When the ship drifts to the coast of Long Island with its crew drained of blood and Bancroft unconscious, two FBI agents, Stroud (Tyrese Gibson) and Rodriguez (Al Madrigal) investigate while searching for the missing Mobius. Meanwhile, he’s roaming the streets of NYC, secretly entering the Horizon lab, hoping to make a cure to his botched “cure” and trying to keep his “inner beast” caged by consuming his own artificial blood supply. But his body seems to crave the “real deal”. Will he turn the Big Apple into his own blood bank? And what about Milo’s mania for the cure? Could this lead to a showdown between childhood pals?

Leto brings some much-needed humanity to his role as one of Marvel’s early anti-heroes (many forget that Hawkeye and the Black Widow originally teamed up against Iron Man) and gives us a look into the conflicted nature of Michael. With dark, haunting eyes, Leto conveys the doc’s empathetic nature, first with young Milo, then with his afflicted child patients, gifting them with a bit of origami. But when the “hunger” overtakes him, there’s a feral intensity in those eyes, showing us that he’ll do whatever it takes to survive. Then the remorse sets in as guilt cast its shadow and Leto’s disturbed doc thinks that he must save the world from himself. Smith is very effective as the “flip side of the coin”, also ailing but with no compulsion about humanity, adding lots of danger to his “dandy” persona from ONE NIGHT IN SOHO. Arjona makes a terrific partner for Leto as the co-worker who challenges him while slowly sliding from the professional to the personal in their relationship. Harris brings lots of father-like compassion to his too-small role as Nikols. Plus Gibson and Madrigal make a good team, call it a “dour cop/wiseacre cop” team as the agents are almost always a few steps behind the monster mayhem.

Hey Marvel-maniacs, here’s the first appearance of Morbius fighting a multi-armed Spidey (don’t ask)!

The horror and superhero elements somehow mesh together under the assured direction of Daniel Espinosa working from the script by Matt Sazama and Burk Sharpless (and based on the Marvel character created by Roy Thomas and Gil Kane). The brief “origin” sequence has a haunting childhood melancholy like a nostalgic nightmare. And that’s the correct way to describe the last part of that origin as the tragic “transformation” turns the cargo ship (check out its familiar name) into a floating deathtrap. Since Morbius becomes a vampire via science and not a magical curse, the effects team has found some interesting ways to twist the horror trope. Morbius in attack mode seemingly bursts into a mass of flying bats or leaves a trail of them in his wake. His speed is slowed down for a few seconds to highlight his animal-like stance and stride. When he must feed his face morphs into the lean angular rodent visage (I thought of the vamps that Buffy dusted on TV). One nice touch is the appearance of ridges in his earlobes when he uses his sonar abilities. Later when he leaps across the city a color trail (the orange jumpsuit) barely catches up to him. Set against the glittering neon cityscape, the visuals are stunning, but it doesn’t quite make up for some of the script’s problems. Nikols is an underwritten enigma, we’re not quite certain of Milo’s true “interest’, and the romance of Morbius and Bancroft feels like a bit of plot motivation. I did enjoy this more than the Venom films, but then I’ve also preferred this character in Spidey’s “rogue’s gallery”, mixing the ferocity of Lee’s Dracula with the romantic sadness of Frid’s Barnabas. And no, he’s not got that dark blue with red highlights open chested suit of the comics, but it’s not really missed in the long run. It’s not at all close to the scope of the last Spider-Man opus but there’s quite a bit of bite in MORBIUS.

3 out of 4

MORBIUS is now playing in theatres everywhere

A Vengeance-Seeking Femme Fatale! LADY SNOWBLOOD Screens April 6th at the Arkadin Cinema & Bar – “Strange Brew”

“People say you can’t wash away the mud of this world with pure white snow. You need asura snow – stained fiery red.“

The Strange Brew Cult Movie night returns at their new home, the Arkadin Cinema & Bar, with a screening of LADY SNOWBLOOD (1973) on Wednesday, April 6th at 8:00 pm. The Arkadin is located at 5228 Gravois Ave, St Louis, MO 63116. The Strange Brew Cult Movie night takes place the first Wednesday of every month at Arkadin Cinema. Films are currently showing on the Backlot Patio (Enter through the Heavy Anchor) and bringing extra lawn chairs is strongly encouraged. Admission: $9.00. Tickets can be purchased in advance HERE.

Yuki’s family is nearly wiped out before she is born due to the machinations of a band of criminals. These criminals kidnap and brutalize her mother but leave her alive. Later her mother ends up in prison with only revenge to keep her alive. She creates an instrument for this revenge by purposefully getting pregnant. Though she dies in childbirth, she makes sure that the child will be raised as an assassin to kill the criminals who destroyed her family. Young Yuki never knows the love of a family but only killing and revenge.

Carl ‘Apollo Creed’ Weathers Will be at FANEXPO ST. LOUIS May 13-15th at America’s Center

“Apollo Creed vs. the Italian Stallion. Sounds like a damn monster movie.”

FAN EXPO St. Louis is the ultimate go-to event for sci-fi, horror, anime, and gaming event in St. Louis that attracts hundreds of thousands of people to America’s Center (701 Convention Plaza, St. Louis, MO 63101). There will be plenty of celebrity guests at FAN EXPO ST. LOUIS (Formerly known as COMIC-CON) May 13-15th including The Shat (!) but the name that excited us most here at WAMG was the legendary star Carl Weathers who will be there all three days. Keep checking back here at We Are Movie Geeks for more info about FANEXPO ST. LOUIS and check check out the event’s site HERE.

Carl Weathers is an actor, television director and former professional football player. He is known for his roles as boxer Apollo Creed in the first four Rocky films (1976–85), George Dillon in Predator (1987), Action Jackson in Action Jackson (1988), and Chubbs Peterson in Happy Gilmore (1996) and in Little Nicky (2000), and Combat Carl in the Toy Story franchise. He also portrayed Det. Beaudreaux in the television series Street Justice (1991–93) and a fictionalized version of himself in the comedy series Arrested Development (2003–19), and voiced Omnitraxus Prime in Star vs. the Forces of Evil (2017–19). He has a recurring role as Greef Karga in the Star Wars series The Mandalorian (2019–).

As a football player, Weathers played from 1970 to 1971 for the Oakland Raiders of the National Football League and from 1971 to 1973 for the B.C. Lions of the Canadian Football League.

Kevin Costner and Judd Nelson in FANDANGO Available on Blu-ray April 12th From Warner Archive

“There’s nothing wrong with going nowhere, son. It’s a privilege of youth.”

Kevin Costner and Judd Nelson in FANDANGO (1985) will be available on Blu-ray April 12th from Warner Archive. Order it in advance at The Warner Archive Store HERE

FANDANGO: (fan-dang-go) 1. A lively Spanish dance. 2. The music for this. 3. A foolish act.

Academy Award winner Kevin Costner and Judd Nelson star in this story about five young men about to graduate from college in the summer of 1971, who take one last, wild trip across West Texas before facing their lives as adults–which will include marriage, careers, and service in the war in Vietnam–in this heartfelt and adventurous coming-of-age story. Kevin Reynolds (Waterworld) made his feature film directorial debut with this fan favorite.

SPECIAL FEATURES:

  • NEW 2022 1080p HD Master!
  • BD50
  • Aspect Ratio:16×9 1.85:1 WIDESCREEN
  • COLOR
  • Audio Specs DTS-HD Master Audio 5.1 Surround
  • 91 Minutes.
  • Includes Theatrical Trailer (HD)

Landmark Theaters Presents RetroREPLAY at the Plaza Frontenac Tuesdays in April – WIZARD OF OZ, CABARET, GREASE and MAMMA MIA!

“I’m going to be a great film star! That is, if booze and sex don’t get me first”

The Wildey isn’t the only place in town to see old movies on Tuesday nights! Landmark’s The Plaza Frontenac Theatre (210 Plaza Frontenac, in the Plaza Frontenac Shopping Center, Frontenac, MO, 63131) has announced RetroREPLAY for Tuesdays in April. Tickets are only $7 and can be purchased in advance HERE

Here’s their schedule:

April 5th – THE WIZARD OF OZ at 1pm and 7pm.

April 12th – CABARET at 1pm and 7pm

April 19th – MAMA MIA! – 1pm and 7pm

April 26th GREASE – 1pm and 7pm


ROBOCOP – 4K Ultra HD 2-Disc Limited Edition Collector’s Set Available April 12th From Arrow Video

“Excuse me. I have to go. Somewhere there is a crime happening.”

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ROBOCOP 4K Ultra HD 2-Disc Limited Edition Collector’s Set will be available April 12th From Arrow Video

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RoboCop, from Orion Pictures, marked director Paul Verhoeven’s (Flesh + Blood) Hollywood debut & now the future of law enforcement is back in a definitive 4K Ultra HD presentation packed with hours of brand new bonus features & exclusive collectible packaging.

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4K ULTRA HD BLU-RAY LIMITED EDITION CONTENTS

  • 4K restoration of the film from the original negative by MGM, transferred in 2013 and approved by director Paul Verhoeven
  • New artwork by Paul Shipper
  • Director’s Cut and Theatrical Cut of the film on two 4K (2160p) UHD Blu-ray discs with Dolby Vision (HDR10 compatible)
  • Original lossless stereo and four-channel mixes plus DTS-HD MA 5.1 and Dolby Atmos surround sound options
  • Optional English subtitles for the deaf and hard of hearing
  • Six collector’s postcards (Limited Edition exclusive)
  • Double-sided fold-out poster (Limited Edition exclusive)
  • Reversible sleeve featuring original and newly-commissioned artwork (Limited Edition exclusive)
  • 80-page Limited Edition collector’s booklet featuring writing on the film by Omar Ahmed, Christopher Griffiths and Henry Blyth, a 1987 Fangoria interview with Rob Bottin and archive materials (some contents exclusive to Limited Edition)
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DISC 1: DIRECTOR’S CUT

  • Commentary by Paul Verhoeven, executive producer Jon Davison and co-writer Ed Neumeier (originally recorded for the Theatrical Cut and re-edited in 2014 for the Director’s Cut)
  • Commentary by film historian Paul M. Sammon
  • Commentary by fans Christopher Griffiths, Gary Smart and Eastwood Allen
  • The Future of Law Enforcement: Creating RoboCop, interview with co-writer Michael Miner
  • RoboTalk, conversation between co-writer Ed Neumeier and filmmakers David Birke (writer of Elle) and Nicholas McCarthy (director of The Prodigy)
  • Truth of Character, interview with star Nancy Allen
  • Casting Old Detroit, interview with casting director Julie Selzer on how the film’s cast was assembled
  • Connecting the Shots, interview with second unit director and Verhoeven collaborator Mark Goldblatt
  • Analog, featurette on the special photographic effects, with interviews with Peter Kuran and Kevin Kutchaver
  • More Man Than Machine: Composing RoboCop, tribute to composer Basil Poledouris with film music experts Jeff Bond, Lukas Kendall, Daniel Schweiger and Robert Townson
  • RoboProps, tour of super-fan Julien Dumont’s collection of original props and memorabilia
  • 2012 Q&A with the Filmmakers, panel discussion featuring Verhoeven, Davison, Neumeier, Miner, Allen, star Peter Weller and animator Phil Tippett
  • RoboCop: Creating A Legend, Villains of Old Detroit, Special Effects: Then & Now, three archive featurettes from 2007 featuring interviews with cast and crew
  • Paul Verhoeven Easter Egg
  • Four deleted scenes
  • The Boardroom: Storyboard with Commentary by Phil Tippett
  • Director’s Cut Production Footage, raw dailies from the filming of the unrated gore scenes, presented in 4K (SDR)
  • Theatrical trailers and TV spots
  • Image galleries
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DISC 2: THEATRICAL CUT

  • Commentary by director Paul Verhoeven, executive producer Jon Davison and co-writer Ed Neumeier (originally recorded for Theatrical cut of the film)
  • Isolated Score tracks (Composer’s Original Score and Final Theatrical Mix)
  • Edited-for-television version of the film, featuring alternate dubs, takes and edits of several scenes (95 mins, SD only)
  • Split screen comparisons between the Director’s Cut and Theatrical Cut, and the Theatrical Cut and edited-for-TV version
  • RoboCop: Edited for Television, compilation of alternate scenes from two edited-for-television versions, with outtakes newly transferred in HD.

Watch the Scary New Trailer For DUAL starring Karen Gillan and Aaron Paul – In Theaters April 15th

DUAL, in Theaters April 15th, stars Karen Gillan, Beulah Koale, Theo James and Aaron Paul.

Check out the scary trailer:

Upon receiving a terminal diagnosis, Sarah opts for a cloning procedure to ease her loss on her friends and family. When she makes a sudden and miraculous recovery, her attempts to have her clone decommissioned fail and lead to a court-mandated duel to the death. Now she has one year to train her body and mind for the fight of her life.

The Skyview Drive-in in Belleville, IL Opens This Weekend With MORBIUS, UNCHARTERED, THE LOST CITY and SCREAM

The wait is over! Drive-in season has begun! The Skyview Drive-in in Belleville (5700 N Belt W, Belleville, IL 62226) opens this weekend! On April 1st-3rd, the Skyview will be showing MORBIUS and UNCHARTERED on screen one and THE LOST CITY and SCREAM on screen 2. The shows start at 8pmThe Skyview’s site can be found HERE