A coming-of-age love story that follows an aspiring creator with synesthesia, who must come to terms with an uncertain future, while navigating the pressures of love, family, and his Brazilian culture in Newark, New Jersey. From the colorful mind of Rudy Mancuso comes Música, starring Camila Mendes, Francesca Reale and J.B. Smoove.
Streaming on Prime Video April 4th.
The virtual screening of the film is Wednesday, April 3rd, 7:00pm CT.
This type of screening will allow those that sign-up to watch at home. Winners will receive a link to their email and once they click on it on April 3rd, they will join the virtual screening.
Will Smith and Martin Lawrence star in Columbia Pictures BAD BOYS: RIDE OR DIE. Photo by: Frank Masi
Check out the new title and first teaser for BAD BOYS: RIDE OR DIE.
This Summer, the world’s favorite Bad Boys are back with their iconic mix of edge-of-your seat action and outrageous comedy but this time with a twist: Miami’s finest are now on the run.
The star studded cast includes Will Smith, Martin Lawrence, Vanessa Hudgens, Alexander Ludwig, Paola Nuñez, Eric Dane, Ioan Gruffudd, Jacob Scipio, Melanie Liburd, Tasha Smith with Tiffany Haddish and Joe Pantoliano.
Adil & Bilall helm the action comedy. Their films include Image (2014), Black (2015), and Gangsta (2018), as well as directing Bad Boys for Life (2020). The duo also directed 2 episodes of the fantastic Ms. Marvel (miniseries) for Disney+.
See BAD BOYS: RIDE OR DIE in theaters on June 7.
Will Smith and Martin Lawrence star in Columbia Pictures BAD BOYS: RIDE OR DIE. Photo by: Frank Masi
Cecilia Han stars as the worried mother in the Donnie Yen rescue thriller POLAR RESCUE. Courtesy of Well Go USA
I’ve been a big Donnie Yen fan for years. This martial artist/actor has been a mainstay of Chinese action movies – comedic and dramatic – for decades. For Western audiences, he may be best known for his appearances in several films about China’s legendary real-life hero Ip Man. Besides Yen’s fighting skills, he invariably projects the calm integrity of a Gary Cooper. His latest high-profile role on our screens was the blind, yet super-lethal, and highly-principled assassin co-star in JOHN WICK 4.
Donnie is now over 60. So, like Jackie Chan, his time as a credible action hero may be waning. Preparing for the next phase of his career is the only reason I can imagine for his producing and starring in this rather uninspired family drama, POLAR RESCUE (a/k/a COME BACK HOME).
In POLAR RESCUE, Donnie Yen plays a dad on vacation with his wife and two young kids in the snow-covered mountains. Their bratty son petulantly insists they go to a lake with a “monster” he wants to see. Despite the weather being so bad that the main road to it is closed, dad dutifully tries another route. At a rest stop, the boy wanders off and winds up lost in the sparsely populated region during this harsh winter. Most of the running time covers the search.
Every trope is pulled out of the proverbial hat, from remorse to panic to anger to suspicions, plus media frenzy and various clashes among the principals to prolong the suspense of whether, and in what condition, they’ll find the little jerk… uh, I mean, the missing lad. Yen is sufficiently convincing as a father who variably feels guilty, frustrated and zealously determined to find the boy. Cecilia Han, who has won a handful of awards, is limited to typically marginal poses for a worried mother, alternating between hand-wringing and anger, apart from a few flashbacks to happier times.
The cinematography is excellent, with particularly fine set designs and enhancements of the exterior locations. The problem is the script. Characters and story arcs are too familiar for anyone who’s seen even a few such adventures to feel the desired level of tension. In the brief time before he disappears, the kid was so annoying that I found myself thinking the family might be much happier without him – almost a non-comic RANSOM OF RED CHIEF analog. In that classic tale, the kidnapped boy was such a pain in the ass that the guys who snatched him wound up paying the parents to take him back! That was certainly not the writers’ intent here but they still elicited that reaction in this viewer’s emotional mix.
Yen’s career will surely resume its accustomed quality, regardless of genre. This one unfortunately won’t make his highlight reel.
POLAR RESCUE, in Mandarin Chinese with English subtitles, debuts on Blu-ray and on digital from Well Go USA on Tuesday, Mar. 26.
THIS SPRING, WITNESS HOW ONE SMALL EMBER CAN BURN DOWN EVERYTHING. FROM PRODUCER JORDAN PEELE, UNIVERSAL PICTURES PRESENTS DEV PATEL IN HIS TOUR-DE-FORCE DIRECTING DEBUT, MONKEY MAN. RATED R.
Oscar® nominee Dev Patel (Lion, Slumdog Millionaire) achieves an astonishing, tour-de-force feature directing debut with an action thriller about one man’s quest for vengeance against the corrupt leaders who murdered his mother and continue to systemically victimize the poor and powerless.
Inspired by the legend of Hanuman, an icon embodying strength and courage, Monkey Man stars Patel as Kid, an anonymous young man who ekes out a meager living in an underground fight club where, night after night, wearing a gorilla mask, he is beaten bloody by more popular fighters for cash.
After years of suppressed rage, Kid discovers a way to infiltrate the enclave of the city’s sinister elite. As his childhood trauma boils over, his mysteriously scarred hands unleash an explosive campaign of retribution to settle the score with the men who took everything from him.
Packed with thrilling and spectacular fight and chase scenes, Monkey Man is directed by Dev Patel from his original story and his screenplay with Paul Angunawela and John Collee (Master and Commander: The Far Side of the World).
The film’s international cast includes Sharlto Copley (District 9), Sobhita Dhulipala (Made in Heaven), Pitobash (Million Dollar Arm), Vipin Sharma (Hotel Mumbai), Ashwini Kalsekar (Ek Tha Hero), Adithi Kalkunte (Hotel Mumbai), Sikandar Kher (Aarya) and Makarand Deshpande (RRR).
Monkey Man is produced by Dev Patel, Jomon Thomas (Hotel Mumbai, The Man Who Knew Infinity), Oscar® winner Jordan Peele (Nope, Get Out), Win Rosenfeld (Candyman, Hunters series), Ian Cooper (Nope, Us), Basil Iwanyk (John Wick franchise, Sicario films), Erica Lee (John Wick franchise, Silent Night), Christine Haebler (Shut In, Bones of Crows) and Anjay Nagpal (executive producer of Bombshell, Greyhound).
Serving as executive producers are Jonathan Fuhrman, Natalya Pavchinskya, Aaron L. Gilbert, Andria Spring, Alison-Jane Roney and Steven Thibault.
Universal Pictures presents a Bron Studios production, a Thunder Road film, a Monkeypaw production, a Minor Realm/S’Ya Concept production, in association with WME Independent and Creative Wealth Media.
Being an avid fan of “old school” horror (almost a “monster kid” since I devoured “Famous Monsters of Filmland” magazine, built the Aurora model kits, and scooped up the Super 8 Castle Films abridged versions of the 30s ad 40s Universal classics), I try to keep an open mind to the newer films, even the “sub-genres”. One of those is the “found footage” chiller that probably established itself with its biggest hit THE BLAIR WITCH PROJECT. It opened the floodgates for jittery, shakey phony home video slightly “tweaked” via software trickery. The multiplexes are so bombarded that I almost dread a new one. Oh, but an Aussie filmmaking duo has come up with a new “twist’ that keys right into another bit of nostalgia: classic TV not from the “golden age’ of the 50s, but the often “schlocky” stuff of the 70s. Plus it’s not from daytime or prime time (8 to 11 PM EST). I mean what kid 47 years ago wouldn’t try to sneak downstairs to the massive 19-inch console TV, sit close to the screen so you can keep the volume low (and not wake up the parents), and gaze at the “forbidden fruit” of LATE NIGHT WITH THE DEVIL? Oh, the night school day is going to be rough…
The big “conceit” is the existence of a talk show host who tried to topple the “king of late night” Johnny Carson and his “Tonight Show” on NBC. In the opening prologue, we learn of a seedy “upstart” syndicated network, UBC, and their “jewel”, the live show “Night Owls with Jack Delroy”. Its host (David Dastmalchian) is a slightly awkward Chicago DJ who’s now the headliner in the network’s NYC hub. Naturally, there’s a band and a dweeby stooge/sidekick, Gus McConnell (Rhys Auteri). It hit the airwaves in 1971, and soon…made no headway at all against Johnny. Jack’s constantly on the verge of cancellation, despite the influence of his membership in a private secretive millionaire’s club “The Grove”, until he interviews his wife, Madeleine (Georgina Haig), who is in a losing battle with breast cancer. After she succumbs, Jack leaves his show… temporarily. When he returns Jack decides to set the show apart from the landscape of late night by tackling controversial, often exploitive topics and courting confrontation (telling several guests to “hit the bricks”). This all sets the stage for the unaired Halloween show of 1977. After a twitchy monologue Jack brings out a “speaker for the deceased” Christou (Fayssal Bazzi) whose segment takes a truly dark turn when he’s rushed away to a hospital. Perhaps his exit was spurred on by a heated exchange with magician and paranormal debunker Carmichael Haig (Ian Bliss). But this is nothing compared to the night’s “big get” as Jack brings on scholar/author June Ross-Mitchell (Laura Gordon) and the subject of her book “Conversations with the Devil”, teenager Lilly D’Abo (Ingrid Torelli), the only surviving member of the Abraxas satanic cult. Actually, a demon they worshipped, Lilly calls him “Mr. Wriggles”, can speak through her. Soon the show goes completely “off the rails” when Jack pressures June to set up a “session” with Lilly and Mr. W, mostly to humiliate Haig. From then, the Neilsen Ratings are the very least of Jack’s troubles…
One of the busiest character actors, bouncing in and out of several franchises and genres (he’s in the MCU, the DCEU, Dune, the recent Dracula spin-off, even OPPENHEIMER), Dastmalchian truly gets a chance to shine in the lead role as the in-over-his-head Delroy, employing his comic “chops” in the TV monologue sets before settling into weasily desperation and the dread of his plunge into televised Hell. Perhaps Jack was most comfortable riffing into a radio mike since Dastmalchain conveys a near-constant “flop-sweat” making it clear that this guy would never dethrone Carson. He’s certainly not helped by Atueri as the cringyly awkward “second banana” who is easily rattled and demeaned. One of his main bullies is the producer of the show, Jack’s manager and “right hand” Leo Fiske (Josh Quong Tart) an arrogant, unethical opportunist. Much of that is true for Bliss as Haig, a pompous gasbag who fancies himself as a modern Houdini, though he’s playing his own “con” while flaunting his righteous superiority. Gordon is quite good as the morally conflicted doctor who truly cares for her patient despite the blatant exploitation of her trauma. And as that patient, Lily, Torelli effortlessly goes from a sweet helpful young woman to a taunting harpy who could be the conduit for fiery chaos.
Oh, the Aussie duo I mentioned earlier are the Cairnes Brothers, Colin and Cameron, the film’s writing and directing “tag team”. They truly score a “hat trick” with their third feature as they tread a fine line between satire and terror. Working with their artisans they carefully recreated the tacky period from the polyester suits (and massive neckties) to the TV set furnishings complete with multi-color graphic backdrop walls, and even the “stay tuned, we’ll be right back” art card “bumpers” (supposedly made with AI). Once we settle in and stifle our nostalgic giggles, the story shifts gears into nightmare territory as we become invested in the often caricatured “guests”. There’s even a nice nod to horror flicks of that era with the use of practical effects involving puppetry, prosthetics, and mood lighting (when they go to “commercial” the backstage footage is in docu-style handheld monochrome). Sure, we’re kind of stuck in the studio, but it never feels claustrophobic or “stage” as the feeling of dread increases By the final denouncements, we’re left to ponder the fate of the principals and how or who put everything “into motion”. It all makes for a most interesting exploration of TV talk show terror in the imaginative and audacious LATE NIGHT WITH THE DEVIL.
3 Out of 4
LATE NIGHT WITH THE DEVIL is now playing in select theatres.
Max has released a new teaser for THE PENGUIN, from Warner Bros. Television and DC Studios, debuting this fall. Starring Colin Farrell as Oz Cobb (aka “The Penguin”), the eight-episode DC Studios drama series continues The Batman epic crime saga that filmmaker Matt Reeves began with Warner Bros. Pictures’ global blockbuster “The Batman,” and centers on the character played by Farrell in the film.
The cast includes Colin Farrell, Cristin Milioti, Rhenzy Feliz, Michael Kelly, Shohreh Aghdashloo, Deirdre O’Connell, Clancy Brown, and Michael Zegen.
The series is executive produced by Matt Reeves, Dylan Clark, Colin Farrell, Lauren LeFranc, who writes and serves as showrunner, Craig Zobel, who directs the first three episodes, and Bill Carraro. Based on characters created for DC by Bob Kane with Bill Finger, THE PENGUIN is produced by Reeves’ 6th & Idaho Productions and Dylan Clark Productions in association with Warner Bros. Television, where Reeves and 6th & Idaho are under an overall deal. Daniel Pipski also serves as executive producer.
Zar Amir Ebrahimi as Shayda and and Selina Zahednia as Mona in SHAYDA Photo credit: Jane Zhang. Courtesy of Sony Pictures Classics.
Shayda (Zar Amir Ebrahimi) flees her abusive husband in Iran, along with her six-year-old daughter Mona (Selina Zahednia), and goes into hiding at an international women’s shelter in Australia, in the moving, semi-autobiographical Australian drama SHAYDA.
Set in the 1990s, SHAYDA is partly based on writer/director Noora Niasari’s own childhood experiences, when her mother fled Iran. Zar Amir Ebrahimi gives a charismatic, emotionally moving performance as Shayda, in a touching, emotionally-powerful drama that follows the mother’s and daughter’s journey. Young Selina Zahednia is a charmer as cute, mischievous Mona, effectively portraying her growth in understanding and maturity as they stay in the shelter. The drama premiered at Sundance in 2023, where it won the Audience Award in the World Cinema Dramatic competition, and it was Australia’s official entry for the Oscars.
We first meet the mother and daughter in the airport, where someone from the international women’s shelter is coaching little Mona on what to do if someone tries to lure her on to a plane to return to Iran. It is a chilling introduction to the precarious situation that Mona and her mother Shayda are now in, as Shayda escapes her husband who beat her and has become increasingly oppressive and brutal.
Shayda chose to flee to Australia because she and her husband had attended college there, until the Iranian government pulled her scholarship. Kindly social worker Joyce (Leah Purcell) runs the international women’s shelter where the mother and daughter go to hide, along with other women, mostly from an array of other nations. Secrecy is essential, as the men the women have fled have been known to either try to kidnap their children or attack the women. The secrecy extends to anyone the women may know, as they never know who may give away the location, intentionally or not, which would endanger all the women.
While in hiding in Australia, Shayda starts the process to get a divorce from her husband Hossein (Osamah Sami), which is no simple thing. Meanwhile, she tries to help her young daughter, who is struggling to adjust to life in the shelter. Homesick young Mona doesn’t understand why they can’t just go home, although the six-year-old does have some understanding that daddy hurt mommy. Mona longs to return to her own house in Iran, her own room and a yard to play in, instead of the cramped shelter where she shares a single room with her mother. Shayda tries to cheer her up, encouraging the little girl’s imaginative drawings, or entertaining her by singing or dancing with her to an exercise program on TV.
While Joyce, the woman who runs the shelter, is kind, not all the other women there are friendly, and Shayda does encounter some racism. The situation becomes more tense when Shayda’s husband Hossein follows them to Australia, and even gets the Australian authorities to grant him some visitation rights with his daughter, which forces Shayda to come up with a way to comply while keeping their location secret.
As the Persian New Year approaches, Shayda hears about a celebration planned by other Iranians nearby, and Mona begs to go. Shayda has to weigh the risk against homesick Mona’s emotional well-being.
Writer/director Noora Niasari does a fine job depicting the tight-rope that Shayda must walk to both care for her daughter and keep them both safe from her estranged abusive husband.
Zar Amir Ebrahimi is impressive as Shayda, and really carries the film on the strength of her appealing, nuanced performance. Osamah Sami does a nice job as husband Hossein, turning on the charm with his estranged wife and promising to change, but also pumping his daughter for information while trying to spoil her to win her affection. Young Selina Zahednia effectively portrays a girl who feels conflicted and caught between her parents.
The film is shot with a pared-down realism appropriate for the drama story. Flashes of color and energy come from little Mona’s artwork, and in the festivities and preparations around the Persian New Year, a celebration of renewal and new beginnings that mirrors the changing lives of mother and daughter.
SHAYDA is a touching drama about a mother and daughter journeying to freedom and a new life in a new land, anchored by an appealing, layered performance by Zar Amir Ebrahimi as the lead character.
SHAYDA, in English and Persian with English subtitles, opens Friday, Mar. 22, in theaters.
In 2024, could there be sure a thing as a “hip film studio” that would attract both filmmakers and adventurous filmgoers despite the subject matter or “creatives” (actors, directors, etc.)? From the intense internet “buzz” the answer is a big yes. A century ago it was those Warner Brothers with their urban crime thrillers (before expanding into swashbucklers and tearjerkers). And there are those studios that specialize in a genre as Blumhouse does with horror and the Marvel Studios with their comics properties. Perhaps the last time a studio inspired nearly blind loyalty may have been in the early 90s with Miramax, which introduced us to, among many, Kevin Smith and Quentin Tarantino before one of the founders started the spark that became “Me Too”. Today it is A24, which grabbed the top six Oscars a year ago. Last week saw the release of LOVE LIES BLEEDING. From that quirky crime noir/love story we get this weekend’s equally quirky comic nightmare/fantasy, PROBLEMISTA.
This story, as told by narrator Isabella Rossellini, begins in the wild paradise of El Salvador where an artist named Dolores (Catalina Saavedra) builds elaborate art installations in the jungle inspired by her six-year-old son Alejandro. Over a decade and a half later, he (Julio Torres) moves to NYC to pursue his dream of designing and creating toys for the Hasbro Company (a big rival to Barbie’s Mattel). He rents a room in a run-down apartment with some other artists as he collects a mound of rejection letters from the company. Luckily Mother Dolores encourages him over the phone, but he’s got to keep and hold a steady job or he’ll be deported. Alejandro lands a gig at a cryogenics facility, making sure that the icy chambers are never unplugged. Of course, he knocks the cord out for a few seconds, which alerts his boss who promptly fires him. Luckily he then encounters Elizabeth (Tilda Swinton), the angry wife of the affected client, a “fringe” painter named Bobby (RZA) , who hires him as a personal assistant/gallery scout (to set up a venue to sell these odd portraits of eggs). Alejandro endures her manic mood swings and verbal abuse to get her to write and sign a proof of employment to satisfy the local immigration services office. And he needs the money, which is very slow in arriving. He then turns to many desperate “side hustles” (subletting his room, forcing himself to sleep on the couch in the living room/art studio), eventually answering the “siren call” of “Craigslist”, all in order to make the proper contact who will open up the golden door to toy biz superstardom.
As Alejandro, Torres has almost perfected a flat deadpan delivery that helps to amplify the often absurd situations that almost squash his creative spirit. And yet there’s a bit of the con artist inside him as he tries to bluff his way into the “fancy-schmancy” art circles of the Big Apple. We also get a bit of his tender naive spirit, especially in those hasty (running out of minutes) calls to his “Madre”. Torres is often the “straight man” to the film’s real “scene stealer” Swinton as the loopy “force of nature”, the scatter-brained (her hubby dubbed her the “Hydra”) Elizabeth. She’s almost a second mother figure to Alejandro, though she’s almost impossible to read or predict. But Swinton is also “fierce” as Elizabeth protects the legacy of her beloved Bobby while having an obsessive devotion to the prickly software of “File Maker Pro”. This is another inspired eccentric in Swinton’s ever-expanding resume of roles. In the flashbacks, RZA is the coolest of all creators as the “egg-cellent” Bobby. Saavedra is a warm and supportive mama while Larry Owens is the slithering and seductive embodiment of the opportunity beacon of Craigslist. And there’s a terrific cameo by an A24 actress who was superb in last year’s PAST LIVES, the gifted Greta Lee.
I didn’t mention that Torres is also the writer and director (his first feature) of the film. His tenure on Saturday Night Live and other “sketch shows” comes through in several very clever sequences, from the demonstrations of his weird toy prototypes to a sword & sorcery riff when the “hydra” encounters a bank officer slavishly defending an outrageous overdraft policy (look for an update on it at the end of the credits list). Plus Torres has an eye for excellent locations that showcase some striking visuals, particularly as a transport car that hovers over the skyscrapers. And there are some clever slapstick antics as Alejandro evokes the classic silent clowns (he just needed Buster’s flat hat) as he lugs Bobby’s big paintings all over the town and up countless flights of stairs. Alas, the film doesn’t quite equal the “sum of its parts” as the constant “panic vibe” becomes exhausting as the tale suddenly takes a few very dark and dangerous turns (a stint as a “private housecleaner” is much too creepy). Luckily a charming and witty “flash forward’ ends it all on somewhat of a “high note”, but we’re still left with the feeling that the film might have worked better as a series of SNL sketches or even a streaming one-hour comedy showcase. Still, it will be interesting to see where the career of Torres progresses from the uneven PROBLEMISTA.
Janine (Annie Potts), Peter (Bill Murray), Ray (Dan Aykroyd) and Winston (Ernie Hudson) in Columbia Pictures GHOSTBUSTERS: FROZEN EMPIRE.
Suit up! Even though spring has finally sprung it doesn’t mean that all the spooks and specters are hiding out or in hibernation until the Fall and their holiday Halloween. And you know who you’re “gonna’ call”. Yes, it’s the return of a much-beloved film franchise, opting for an “earlier than Summer” release. Well, they are celebrating a rather big anniversary. Mind you, it’s just a few months short of three years since the last installment/revival/spin-off. No, I’m talking about the original, still-revered comedy/horror hybrid classic which will soon be forty years “young” (well, compared to the evil entities that cross their paths…and “streams”). So, let’s fire up Ecto-1 and see what the new teams and the OGs are up to in GHOSTBUSTERS: FROZEN EMPIRE.
After a wild prologue involving a certain NYC fire station answering the call to the ritzy Adventures’ Club way back in 1904, the “legacy team” is charging out of that same locale in the 21st century. By legacy, I mean the off-spring of Egon Spengler, daughter Callie (Carrie Coon), and grandkids Trevor (Finn Wolfhard) and Phoebe (Mckenna Grace), joined by Callie’s Beau and Phoeb’s former teacher back in Oklahoma, Gary Grooberson (Paul Rudd). They’re all back in the Big Apple and out to contain a long slithery sewer serpent ghost. The ensuing damage earns the ire of Mayor Peck (William Atherton) whose threats of litigation cause Phoebe to be “benched” since she a minor of fifteen. Back at HQ, Gary is concerned with the structural damage around the original spectral containment unit. This prompts the kids to visit “Uncle” Ray Stantz (Dan Ackroyd) who operates a supernatural curio shop with another OK transplant, Podcast (Logan Kim). That same day, Ray gets a client, an anxious cash-hungry guy Nadeem (Kumail Nanjiani) who wants to sell his late granny’s spooky metal orb. Ray then takes the piece to the new ghostbuster research facility in one of the Burroughs (hidden in an old public aquarium) run by Winston Zedemore (Ernie Hudson) and his “right hand” Janine Melnitz (Annie Potts) with an assist from another OK pal Lucky (Celeste O’Connor). Turns out that the orb is a mini-prison for a centuries-old demonic entity that uses fear and ice to try to enslave the globe. When it gets loose, can the combined ghostbusting crews including Peter Venkman (Bill Murray) save the citizens of Manhatten from becoming frozen encased “people-cicles”?
Sure, it’s great that the 84′ team is more integrated into the story than in AFTERLIFE, but it makes all the characters input severely reduced in order to avoid going over the two-hour mark, Still, most of the roster makes an effort to build on the earlier entry. Although Phoebe is put on the sidelines for the second act, Ms. Grace brings more depth to the standard “teen brainiac” as she hurries into adulthood. This lets us in on a secret friendship she’s forged with a (sorry Casper) friendly ghost, more than a century-old teen Melody (Emily Alyn Lind), a chess partner in the pre-dawn Central Park. Their bond is strong though Phoebe knows that will end soon. Rudd exudes lots of his energetic charm as Gary, though the romance with Coon’s Claire doesn’t have the sparks that flew in Oklahoma. Wolfhard is the surly teen who just wants the keys to Ecto-1 and finds a nemesis in a familiar green glutenous ghost. Ackroyd appears to be having a grand time rattling off paranormal trivia and finds a great new screen partner in the always entertaining Patton Oswalt as a translator of ancient languages. The most laughs in the surprisingly somber flick are generated by Nanjiani as the on-the-make slacker who finds that embracing his heroic heritage is more rewarding than cashing in on his heirlooms. He even holds the comedic focus sharing a scene with Murray, who doesn’t seem to be that invested in his two extended cameos (maybe he’s there in tribute to his late co-star and directing pal…and a chunk o’ change). And Atherton remains a perfect patsy and an irritating “wet blanket” as Peck (now that’s a long trek from the EPA to the mayor’s office). Hudson is still an MVP along with (and welcome back) Ms. Potts.
Taking over the director’s chair is a screenwriter from the last film, Gil Kenan who also co-writes this time with Jason Reitman. Wisely he takes the action out of the “dustbowl” and returns to the zany playground of NYC, making it look as though it’s not that different from the ’80s. Plus that nifty prologue and the first “bust” remind us of the pleasures of the whole franchise. Unfortunately, the flick hits a long lull as the “pieces” are put into place for the big effects finale. The idea of an unlikely friendship between “buster” and ghost is intriguing, but it merely becomes a “plot device” to hasten disaster. Back to those effects, the producers do a fairly decent job of replicating the practical effects of the first two flicks with the new CGI tech and manage to make many of the spirits very scary and gruesome. And it’s all put to use in a finale “throwdown” that feels a touch cramped as it’s all within one building rather the bustling streets or the towering skyline, with one character doing the whole superhero shooting power from the fingertips thingee. Speaking of, comic book films have been accused of indulging in too much “fan service”. This film says, “Hold my beer..er..Ecto Hi-C”. We get a phony news report that not only uses footage from those previous flicks but includes the music video and clips from the merchandising commercials (toys, cereals, etc.). Then throughout the film, the Elmer Bernstein music cues are hit hard and often (the piano, then the the therimen, then both with the horns). And like most current franchises, there’s a mid-credits bonus scene that’s just “meh”. But the hardcore fans will be delighted, though any “newbies” seeing this somewhat lackluster outing won’t be shopping for their own jumpsuits and proton packs after taking in GHOSTBUSTERS: FROZEN EMPIRE. On your way out, don’t slip on the “slime”…
2.5 out of 4
GHOSTBUSTERS: FROZEN EMPIRE is now playing in theatres everywhere
For those of us who remember going to the movies in 1977, we were treated to STAR WARS, SMOKEY AND THE BANDIT, THE SPY WHO LOVED ME, AIRPORT 77, THE CAR, ORCA and CAPRICORN ONE. There was a rich wealth of movies to choose from and a time when audiences in their local cinemas would cheer and clap for the heroes. Then on December 14, 1977, coming off the success of JAWS, that director Steven Spielberg’s sci-fi masterpiece graced the screens. CLOSE ENCOUNTERS OF THE THIRD KIND was the filmmaker’s next movie and, along with star Richard Dreyfuss and the magnificent score from composer John Williams, took audiences on a journey of mankind’s first meeting with aliens and let us know we are not alone in the universe.
Close Encounters of the Third Kind was nominated for eight Academy Awards, winning for Best Cinematography by Director of Photography Vilmos Zsigmond (The Sugarland Express).
Turner Classic Movies (TCM) today announced additional talent and programming for this year’s 15th annual TCM Classic Film Festival running April 18– 21, 2024 in Hollywood, including a Q&A with Spielberg and UCLA Film School’s Howard Suber ahead of the director’s cut of the film.
The festival will also include a closing night screening of 1987’s comedy Spaceballs presented by writer and director Mel Brooks.
The lineup for the weekend will also feature:
A Little Romance (1979) with star Diane Lane in conversation with TCM Host Ben Mankiewicz
The Shawshank Redemption (1994) with stars Morgan Freeman and Tim Robbins in attendance
Filmmaker Nancy Meyers introduces the world premiere restoration of one of her favorite movies, North By Northwest (1959), completed by Warner Bros. and The Film Foundation
Director David Fincher presenting a world premiere restoration IMAX® screening of his 1995 thriller Se7en
A cast reunion for Little Women (1994) featuring Trini Alvarado, Samantha Mathis and Eric Stoltz
A world premiere restoration of The Searchers (1956), completed by Warner Bros. and The Film Foundation, introduced by writer/director Alexander Payne
Jeopardy! host Ken Jennings introduces a U.S. premiere restoration of The Small Back Room (1949), restored by The Film Foundation and courtesy of Rialto Pictures
In addition, TCM and Warner Bros. will present That’s Vitaphone!: The Return of Sound-on-Disc. For the first time in more 90 years, six hilarious, often outlandish, Vitaphone vaudeville shorts of the 1920s will be projected in 35mm, with sound played back from their original 16-inch discs on a turntable designed and engineered by Warner Bros. Post Production Engineering Department. In 1926, Warner Bros., with technology developed by Western Electric, introduced Vitaphone, a system of adding high fidelity synchronized sound to motion pictures, using discs mechanically coupled to the movie projector. Vitaphone would usher in the talking picture with the premiere of The Jazz Singer in October 1927. By the early 1930s, though, sound-on-disc would be replaced industry-wide by the less cumbersome sound on film. This replica of a Vitaphone machine, the only in existence, marks the first time modern audiences will be able to experience these films as they did in the 1920s, using discs restored from the era. In attendance to provide context will be Bruce Goldstein, founder and co-president of Rialto Pictures, Warner Bros. post-production engineers Steve Levy and Bob Weitz, and Vitaphone expert Shane Fleming.
