Tag: 1990s

THE SMASHING MACHINE – Review

Now, just two weeks ago, I reviewed the rare movie hybrid, a sports/horror flick called HIM. As it nears the end of its deservedly brief theatrical run, another sports film hits the multiplex. However, its subgenre is one that is most familiar in cinema history, the sports “biopic”. To be even more specific, this is a dramatic profile of a fighter. If you’re thinking about pugilists like LaMotta (of RAGING BULL) fame or Muhammad Ali, then you’re in a different arena. No, this week’s new release is set in the world of MMA (Mixed Martial Arts), a backdrop in action flicks going way back to 1980’s THE OCTAGAN. In more recent years, diverse actors, from Kevin James to Halle Berry, have flexed their fists and feet on the canvas. Now an action flick superstar, who first gained fame in another fighting ring, gets a chance to show off his dramatic skills (along with his impressive pecs) as the athlete dubbed (in an acclaimed HBO documentary) THE SMASHING MACHINE.

Yes, that’s the intimidating nickname of Mark Kerr (Dwayne Johnson). We’re first introduced to him as he’s being interviewed at a UFC match in the late 1990s. The undefeated champ is asked how he’d feel if he lost a match. It’s something he’s never thought about, so he’s truly at a loss for words. Later, after another victory, we observe him grabbing an extra vial or two of painkillers. Luckily, he can’t hide it from his devoted but often annoyed (Mark doesn’t “open up”) girlfriend, Dawn (Emily Blunt). In search of bigger cash prizes, Kerr joins, along with old wrestling pal and trainer Mark Coleman (Ryan Bader), the rival UFC league in Japan, PRIDE. Ultimately, Kerr’s substance abuse takes its toll as he loses focus in the ring, with one big bout ending as “No Contest”. Finally he enters a rehab facility as Coleman’s star begins to rise as a solo MMA star. When Kerr completes the “program,” his sobriety puts an even greater strain on his relationship with Dawn. But he’s still a big draw at PRIDE, so Kerr is back at the training gym, guided by his mentor Bas Rutten (himself). But will the strain of addiction, paired with a chaotic home life derail his chances at a big championship event that could have him facing his old buddy Coleman?


The film truly rests on those (really, really big and broad) shoulders of Johnson, who utilizes his considerable charm and charisma, which propelled him on the big screen, making us believe him as this worldwide champion. And then he surprises (he’s “gone A24”) us by plunging into the darkness of this “sporting life”, showing us how the affable Kerr “cons’ the medical system with his infectious grin and “gentle giant” persona. Kudos to Johnson for getting out his “comfort zone” of the overblown action “tentpoles” (in some of them he looked a tad “unconnected”, to the point of “phoning it in”) to explore the psyche of the laser-focused competitor. Perhaps he’s at his best early on as Kerr describes the “rush” of delivering a knockout blow. Matching him in intensity is the versatile Ms. Blunt, who makes Dawn more than Kerr’s “eye candy” housemate, and keeps us “off kilter” as she lashes out over being on the “sidelines” and viewed by her beau’s team as a flitting “distraction” from battle. By the big “blow-up” in the third act, Blunt makes her a volatile “wild card’ in a verbal (and nearly physical) throw down reminicent of Albee’s George and Martha. In his first acting gig, Bader is very compelling as “friend to the end” Coleman, making us wish for a greater “dive” into his story, aside from a few brief minutes of him playing with his adorable offspring. Also solid is Rutten as, well, Bas Rutten, a tough but nurturing guru for Kerr, in and out of the ring.

Much like the creative parting of the Coen brothers, this is the first film from writer/director Benny Safdie after a long cinematic collaboration with brother Josh. And as I noted, he turns Johnson and Blunt into a potent screen team (we know her dramatic chops, but he’s doing a big career shift). It’s a shame that they’re not in service to a more compelling script. Focusing on three or four years in Kerr’s “sports rise”, we don’t get a chance to see him in his “hungry years” during the “climb”. In other ways, the story needs more ‘space”. We only see him enter and exit the rehab center, with no scenes of his “steps”. And often Kerr is so stoic, it makes us wonder what his motivations are (especially when he’s fixated on a demolition derby match), though it gives us a chance to appreciate the subtle, but superb make-up work of Kazu Hiro, chipping away at “the Rock”. Plus, the film’s pacing somewhat “lurches” from interchangeable matches (it’s often difficult to ID the fighters as they become “pretzels”) to another screaming match at the Kerr casa in Phoenix. The often overbearing (drowning out dialogue) music score (two ill-timed Elvis tunes and a “jackhammer” jazz drum solo during the big matches) doesn’t aid the film. Yes, there are a few interesting sequences, particularly when Kerr sweetly explains his job to a grandma in a doctor’s waiting area, or when he takes his pal to “press the flesh” with his Tokyo fans, but the script feels like it’s “spinning its wheels” until the big “updates” prior to the end titles. Fans of the two principals will be pleased with their taut performances, but many will find that there are more than a few hints of “rust” and strain in THE SMAHING MACHINE.

2 Out of 4

THE SMASHING MACHINES opens in theatres everywhere on Friday, October 3, 2025

CAUGHT STEALING – Review

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

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

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

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


3 Out of 4

CAUGHT STEALING is now playing in theatres everywhere

MONSTER SUMMER – Review

Yes, even though we’re a few weeks into Fall the box office is still ruled by kid-friendly flicks about CGI-animated robots (top two on the charts last weekend). And this new release hopes to follow, though it’s actually a “kid-flick” about a group of teens starring a pack of young thespians (and a couple of older vets too). Plus they’re embarking on an adventure just perfect for spooky October (and no they don’t have a big cowardly pooch). Now the Little Rascals (or Our gang) trekked through many haunted abodes, but that theme didn’t really invade features until the 1980s with THE GOONIES and those underdogs in THE MONSTER SQUAD (a cult fave). In the last couple of years, the Ghostbusters have included several youngsters, but there are no “proto-packs” around for the minors trying to survive a MONSTER SUMMER.

After a bone-chilling prologue, the title card sends us to a pleasant Summer day in 1997 on a bucolic island just off Martha’s Vineyard. Noah (Mason Thames) spends much of his school vacay time in the treehouse just in the back of the boarding house run by his widowed mother (Nora Zehetner). He submits his story to the local newspaper editor (Kevin James) who rejects his criminal conspiracy articles because they scare away the tourists. But he can take his mind off his dashed reporting dreams on the baseball diamond with his teammates and pals, Sammy (Abby James Witherspoon), Ben (Noah Cottrell), and home run hitter Eugene (Julian Lerner). After their latest victory, they decided to sneak into the barn of the local cranky recluse (who may have offed his family), Gene Carruthers (Mel Gibson). But that night things take a creepy turn when Eugene takes a moonlight swim with Noah’s crush Elle. After spotting someone in a hooded robe on the dock, he’s pulled down into the depths where a bright white light surrounds him. That next morning Eugene is acting like a zombie. Then Noah meets his mom’s new border, a gray-haired eccentric elder named Miss Halverson (Lorraine Bracco), who bikes around the village dressed in a black robe and slouch hat. Hmmmm. Luckily he makes a connection with Gene after several more strange events. Could Noah and his pals, and all the island kids, be the target of a witch-like monster? What a story that’ll make, if he can survive…

So despite the presence of an Oscar-winning actor, the main focus, with the most screen time, is the energetic Thames (so good in THE BLACK PHONE) as “junior Kolchak” (google it) Noah. He’s a good kid with big dreams though his zeal for the truth (and a great scoop) often overrides his common sense (hence the frequent “B & E”). Still Thames gives Noah a real vulnerability, especially when a plan backfires and affects his beloved mother. And he’s a pretty effective sidekick to the grizzled, world-weary Gene played by Gibson as a beaten-down version of his LETHAL WEAPON Riggs (minus loads of the “crazy”). Sure, this is a “step up” from his constant stream of “straight to Redbox” action potboilers, but it’s tough to see him regulated to being a teenager’s “muscle”. He’s much better utilized than the still engaging Bracco who mostly slinks around the crime scenes with a suspicious glare. The rest of the “kid crew” are also a great “backup” and “sounding board” for Noah, in addition to being the “voice of reason’ and sanity. The biggest mystery of the movie may be the odd Southern drawl and big Panama-style hats sported by James as “newshound” from Nantucket. huh?

In his sophomore feature film directing effort, actor Daniel Henrie has put a lot of passion into this “teen mystery”, though his affection for the aforementioned “kid gang classics” often zooms past sweet homage toward cinematic larceny. The main target may be Spielberg himself (talk about going for the “big gun”), as the references and unsubtle winks begin to pile up. With the setting near Martha’s Vineyard, we know that some nods to JAWS will happen (as much of the 75 thriller was shot there), but it’s jarring when the opening beach “campfire’ sequence is lifting nearly shot by shot. Of course, the skeevy editor is the Amity Island mayor who doesn’t want to risk the loss of cash from the “Summer guests”. Plus the main theatre on the island is running HOOK (perhaps nonstop for six years). And an easy laugh is achieved by the casting of an adult actor from an adored 90s “kid comedy”. Plus the setting of 1997 feels a bit off as tech was creeping in more than the story allows (no cell phones and a clacky manual typewriter). then there’s the air of making Gibson more “family-friendly” after DADDY’S HOME 2 (this won’t be the needed “career rehab”). Perhaps the script needed a few more passes as a botched reveal scene wouldn’t play in any straight-to-homevid Scooby-Doo feature. Still, it adheres to its PG-13 rating with some slight scares and a peril-packed finale that is stretched a bit thin. Taking the kiddos to this as a respite from shopping at Spirit Halloween may feel like a good plan, though the memory of this MONSTER SUMMER will vanish well before the big spooky holiday.

1.5 Out of 4

MONSTER SUMMER opens in theatres everywhere beginning on October 4, 2024

THE SUPREMES AT EARL’S ALL-YOU-CAN-EAT – Review

Okay all you music biopic fans, just keep reading the title past the first two words. This should give you a hint that it’s not the “rags to riches” tale of the 60s talented titanic trio from Motown. Actually, this story is set quite a distance from Detroit. way down in North Carolina. And yes, much of the flashback sequences are set in the 1960s, but the title refers to a nickname given to three childhood friends. And if you’d guess that the ploy revolves around their “ups and downs”, romances and challenges, well you’re perhaps familiar with the novel this film is based upon…or you picked up the gist of it from the poster. So, get those tissues ready to wipe away the tears inspired by THE SUPREMES AT EARL’S ALL-YOU-CAN-EAT.

After a brief flash-forward, the film focused on three middle-aged women strolling toward the aforementioned eatery. Then it’s a whiplash-inducing flashback to the birth of the three. We then zoom ahead to 1968 as the free-spirited Odette (Kyanna Simone) cheers on best pal Clarice (Abigail Achiri) at her piano recital. Afterward, at Odette’s house, the duo discuss Clarice’s plans to become a big recording artist in NYC, post-high school graduation. But first, they’ll meet their beaus at the town gathering spot, Earl’s. Not so fast as Odette’s mama insists that they drop off a cooked chicken at the home of classmate Barbara Jean (Tati Gabrielle), whose mother has just passed away. The girls protest, but agree to a quick “side trip”. At Barbara Jean’s squalid shack, the girls are alarmed by her “handsy” stepdad and they whisk her away. Seeing the trio at his diner’s entrance, the owner, “Big Earl”, dubs them “The Supremes”. After telling him of BJ’s dire situation, Earl offers up his absent daughter’s (she’s in college) bedroom. All this occurs after Clarice meets up with her fella’ Richmond (Xavier Mills), who has a “roving eye”, and his pal, and prospective beau for Odette, the stoic, almost silent, James (Dijon Means). In the next few years, Odette and Clarice settle down with Richmond and James, while Barbara Jean is courted by the older Lester (Cleveland Berto) as she engages in a secret romance with the white busboy at Earl’s, Ray AKA “Chick” (Ryan Paynter). The film breaks up the flashbacks to the present day of 1998 as Clarise (Uzo Aduba) deals with the affairs of hubby Richmond (Russell Hornsby), Barbara Jean (Sanaa Lathan) drifts back into alcoholism due to the tragic loss of hubby Lester (Vondie Curtis-Hall), and the usually strong Odette (Aunjanue Ellis-Taylor) tries to keep a major health crisis secret from her pals and policeman hubby James (Mekhi Phifer). Can this lifelong friendship survive this very difficult time or will they disband like their musical namesake?

The film benefits greatly from its strong ensemble cast. Or should I say dual casts, as we have strong performances from both teenage and middle-aged versions of the characters? It’s established early on, that the main focus of the story (she is the narrator) is Odette played by the compelling Ellis-Taylor (so amazing in KING RICHARD and the underseen ORIGIN). This matriarch is truly a force of nature, not to be crossed, as Ellis-Taylor owns the role, showing both her grit and compassion, and allowing her vulnerability in the final act as she deals with a scary diagnosis. And those traits are echoed by Simone, whether she’s ranting over potential BF James (and his silence) or standing up to BJ’s abusive stepdad (a very tense moment). Aduba also nails the most complex character “arc” as she goes from denial (over her hubby’s infidelity) to finding the strength to face her fears head-on. Much of that is set up very well by the buttoned-up Achirir. Lathan as Barbara Jean also must save herself from that Egyptian river as she plunges into the bottle, but fights to admit her addiction. She’s almost in a constant daze, more of a numb hangover until her pals deliver a much-needed “wake-up call”. Equally forceful is the work by Gabrielle who goes from a mousy “doormat” to a confident woman facing so many difficult choices and skirting danger in a romance that could prove fatal. It helps that she has sizzling chemistry with the smoldering Paynter as that “forbidden fruit”. And though they don’t get as much screen time the other men are also splendid though Curtis-Hall’s time is very brief, and Hornsby doesn’t get the chance to expose the inner motivations of his “serial cheating”. Plus it’s great to see Julian McMahon as another 1998 version of a pivotal character.


Director Tina Mabry keeps the pace rolling along despite the many “bumps in the road” via the screenplay adaption of the Edward Kelsey Moore book she co-wrote with Gina Prince-Bythewood. The different calamities and upheavals come so fast and furious that the film feels like a mini-series shoehorned into its close to two-hour runtime. It strives to be a mix of FRIED GREEN TOMATOES, WAITING TO EXHALE, and any number of senior girl group “sisterhood is power” features (just as THE FABULOUS FOUR is leaving the multiplex). The subplots need a bit of breathing room. There’s an attempt to “lighten the mood” by stopping the plot for clunky comedy bits involving snobby classmate Veronica (just like the one from Riverdale) and the self-absorbed cartoonish second wife (and widow) of Earl, Minnie, who even snares the mid-credits scene. The eras are well recreated in fashion and settings (furniture and autos), though racial tensions of 68’s are reduced to a cliche truck-drivin’ redneck who avoids any brutal epitaphs. This is a shame because, as I mentioned earlier, the cast is so good, but they can’t work miracles with several overwrought and mawkish sequences. Perhaps the streaming option works best for the sometimes soap-opera “basic cable TV” histrionics that permeate throughout THE SUPREMES AT EARL’S ALL-YOU-CAN-EAT.

2.5 Out of 4

THE SUPREMES AT EARL’S ALL-YOU-CAN-EAT streams exclusively on Hulu beginning on Friday, August 23, 2024

TREASURE – Review

(L-R) Stephen Fry, Lena Dunham, and Stefan Zbigniew Zamachowski in TREASURE. Photo Credit: Bleecker Street and FilmNation

Lena Dunham and Stephen Fry play a daughter and her Holocaust-survivor father, on a trip to his native Poland in the 1990s, in the dramedy TREASURE. The trip is the daughter’s idea, and her plan is to learn about her family history, something her father and late mother always refused to talk about. Angry and frustrated at her parents’ refusal to share anything about their past, she plans to visit sites related to dad’s family and life to learn about the family she knows nothing about. Her father has steadfastly refused to talk about it, and with the death of her mother, she figured going to their home country of Poland was the only way. Unsurprisingly, revisiting Poland is not something dad wanted to do but he goes along, pretty much uninvited, to “protect her,” as he puts it. What he is protecting her from is a little unclear.

This pair couldn’t be more different in temperament, and have a prickly relationship. The daughter, Ruth (Lena Dunham), is grim, humorless, and no-nonsense, a New York-based music journalist, a vegan with rigid habits, who doesn’t seem to enjoy travel and worries about her tight budget. Dad Edek (Stephen Fry) is a joyful, outgoing fellow, who stops to flirt with most women he meets along the way and tells everyone they meet that his daughter is rich and famous, although she is neither. He refuses to be serious, at least on the surface, and Dad does his best to distract his daughter, to delay things, waste time, and send her on the wrong track, even trick her, to keep her from her mission. He is sometimes helped by a local taxi driver (Stefan Zbigniew Zamachowski) that the pair have picked up at the airport and turned into a kind of tour guide, after dad refuses to board the train his daughter had booked for the trip.

Julia von Heinz wrote and directs this dramedy about family, memory and Poland in WWII and in post-communist 1990s. The story is emotional, and often funny. At first, the situation seems a bit forced, contrived and awkward, but as the story unfolds, the film improves and becomes more believable. Fry and Dunham soften and deepen their characters, and both father and daughter work through some issues. Zamachowski as the driver provides a mediator between battling father and daughter, and adds his own comedy touches or serves as a comic foil, while supplying information about the post-communist Poland as they travel.

Ruth is there to investigate her family’s history, not to have fun, so she goes about his trip like a woman on a mission, or working an assignment. But her trip does include some educational tours, mostly because she has so few clues from her parents, both to learn about Poland and the Holocaust. The film does note how odd it is to have such tours of sites like Auschwitz. As admirable as it is to educate people, with the aim of “never again,” it is still seems strange and unsettling to have them as tourist sites. However, Ruth is mostly there to learn about her family. She has done some research and also visits places like a family cemetery and a one-time family home. But the closer she gets to the family sites, the more smiling, fast-talking dad seems desperate to derail her search.

Both Dunham and Fry are good, with Fry especially charming and funny. Early one, some odd-couple humor feels forced, but as things go along, the film improves as Fry’s and Dunham’s characters become more relaxed. Fry’s Edek is quite a plotter but slowly becomes less a hindrance, even revealing why he has been so secretive all these years. The film touches on true-history subjects, such as giving insight on how neighbors turned on their Jewish friends and neighbors, exploiting the Nazi occupation for their own advantage. Eventually the meaning of the title is revealed, in a twist that brings father and daughter together at last.

TREASURE debuts streaming on demand on Tuesday, July 30.

RATING: 3 out of 4 stars

I SAW THE TV GLOW – Review

Okay, the big Summer blockbusters are coming in “hot”, but there’s no reason for the offbeat “indies” to sit on the sidelines till the Fall. At least that must be the intent of the fine folks at A24, who are still basking in the box office of their biggest hit, CIVIL WAR. Ah, but this one is a true “test” for the studio’s fervent fans. It’s a truly “out there” ode to several small screen touchstones for ” 90’s kids”. In fact, you could probably have an interesting game (just not in the theatre, please) of “checking off” winks and nods to some “cult faves”. Oh, but there’s much more happening in this exploration of suburban teen life as its young hero seems to be energized by the tube’s warmth as he swears that I SAW THE TV GLOW.


That “hero” is the main focus, twelve-year-old Owen (Ian Foreman), who lives a fairly sheltered life in a small town in New York state. Due to his social awkwardness, stoked by over-protective parents. he’s glued to the big tube TV on weekends in 1996. While “binging” the shows on the “Young Adult” cable network. Owen absorbs several promo commercials for the tween supernatural serial “The Pink Opaque”. This bit of “forbidden fruit” (it airs past his bedtime, at 10:30 p, before the channel reverts to old black and white shows), He’s obsessed with it. Then on election day, he finally gets his wish. Tagging along with his mother Brenda (Danielle Deadwyler), Owen meets a slightly older young woman (he’s 7th grade, she’s 9th) who is a “super fan” of “TPO”, the dark moody Maddy (Brigette Lundy-Paine). Though at first dismissive (“You’re a baby!”) she takes pity on him and allows him to sneak over to her home for a Saturday night “sleepover” (Owen tells Mom that he’s at the home of an old male buddy). Owen is hooked, and when the story jumps two years, high school freshman Owen (Justice White) is “devouring” VHS tapes of TPO that Maddy leaves for him in the school’s photography dark room. After the death of his mother Brenda, Owen’s only relief from grief seems to be the passion for the program’s “mythology” he shares with Maddy. But when the series ends its run, she begins to drift into that fantasy world. Could Owen eventually join her in an escape from the cruelties of the upcoming 21st century?

Taking leave of his role in two big film franchises (“Jurassic World” and “Dungeons & Dragons”), Smith delivers a compelling performance, effectively going from 15 to 23 to a frail 43 (health issues take a real toll) as the shy, unsteady Owen. Smith conserves his energy in order to show that the real joy in Owen’s life comes from his escape into the world of TPO. But there’s still that child-like clumsiness and an aching vulnerability when he is humbled by the true monsters lurking around his life. In a way, Smith shows us that Owen is a true hero just by surviving and making it through every day. Plus he builds on the great work in the first act, by his young version played with a sweet sadness by Foreman, who yearns for any connection outside his stifling home life. His lifeline comes via an unlikely “big sister” Maddy, who is given a real rough edge by the talented Lundy-Paine. Though she is kind to Owen, there’s an underlying anger oozing from Maddy’s dark eyes. Lundy-Paine, through her often rigid body language, conveys the character’s disgust with her settings ignited by her mania for the show she wants to enter. Deadwyler, so wonderful in TILL, is another loving matriarch here, though her screentime is far too brief. It’s an extended cameo, though much longer than the scenes with actors from the original shows that inspired the story (Nice to see you, A.B.).


Writer/director Jane Schoenbrun has crafted a sometimes engaging, but often baffling exploration of teenage loneliness and the ways that the media can reach into their psyche. The time period is expertly recreated with exacting homages to several TV shows from 25 years ago. Many viewers will latch on to the details of TPO that are inspired by Nick at Night (here called the YAN) and their half-hour tween supernatural series. An even bigger influence seems to be the video version of “Buffy the Vampire Slayer” even down to the credit font, the name of its creator (Joss Whedon becomes Josh Pemberton), the Tara character (with a baseball bat rather than a stake), and the fandom “catchphrases (“big bad”, “monster of the week”). all given a VHS grain and static. This is somewhat fun, but the story gets bogged down by the oppressive smothering atmosphere of the late 90s “Anytown USA” with empty shopping carts hovering outside to a loud garish kids’ arcade and pizza palace. The story meanders, stopping the drama for a self-indulgent music performance, and baffling bits of weirdness (is this really happiness are we inside somebody’s head). Plus there seems to be no life for Owen and Maddy outside their media mania, no insight about their classes, and just a glimpse of family. The sequences of Owen breaking the fourth wall to narrate and update feel clumsy, as do the extreme time jumps and the abrupt ending, making this feel more like a filmed foray into experimental theatre (especially as extras “froze” in the finale). The “tele-tributes” are fun, and the lead performances are very good, but I SAW THE TV GLOW frustrates more than it enlightens, though I wouldn’t mind seeing a full “ep” of “The Pink Opaque”.


2 Out of 4

I SAW THE TV GLOW opens in select theatres on Friday, May 17, 2024

DRIVE-AWAY DOLLS – Review

Although many parts of the country are still in the “deep freeze”, many folks are looking ahead to the big thaw and traveling during Spring Break. And it’s only natural that the multiplex will have a new roadtrip romp to get everyone “in the mood”. Oh, but this film differs from those we’ve seen in previous years. First, it’s set in that far-off land of 1999 (yikes, a quarter century already). And rather than a couple of teenage male buddies (or even a group as in LOSIN’ IT), it’s focused on two twenty-something young women. Perhaps, it’s a riff on WHERE THE BOYS ARE, and you would be very wrong as they don’t care about such a location (ahem). Plus it should be of interest to Cinephiles as this is the first solo directing effort for one half of a much-lauded filmmaking team. He’s actually behind the steering wheel along with these DRIVE-AWAY DOLLS.


It all begins just before Y2K when a quirky guy known as “The Collector” (Pedro Pascal) is relieved of a mysterious silver-metallic carrying case in the dark “mean streets” of Philadelphia. Meanwhile, in another part of town, we meet the two “dolls”. Prim uptight Marian (Geraldine Viswanathan) is meeting up with her best pal Jamie (Margaret Qualley) at their favorite “ladies only” bar. Marian’s planning a road trip to Tallahassee, Florida, and Jamie is in the mood to leave town after a very nasty breakup with girlfriend/policewoman Sukie (Beanie Feldstein). Jamie suggests they go to an auto broker to sign up for a “drive-away”, a “one-way” vehicle to be handed over to the owner at the desired destination. The owner of the shop, Curlie (Bill Camp), is delighted to hear of their trip south and hands over the keys. But then he’s shocked when “the Chief” (Coleman Domingo) and his surly “goons’, Flint (C.J. Wilson) and Arliss (Joey Slotnick) show up for a Tallahassee car a bit later. It seems that Curlie had gotten a “tip off” call before the women came in, and surely nobody else was going to that Florida locale! While Chief runs off to do some “damage control”, the two thugs try to catch up with the car. But why do they want It? Could it involve that stolen case? And how does it connect to the ambitious ultra-right-wing Senator Gary Channel (Matt Damon)? Can the lusty wild Jamie and the shy nervous Marian stay out of trouble and two steps (and many miles) ahead of those violent vicious “leg-breakers”?

A truly talented and very “game” ensemble really makes this zany farce soar. Naturally, we should begin with the “doll duo” themselves. Qualley, so memorable as the “Manson groupie” hitchhiker in ONCE UPON A TIME IN HOLLYWOOD, brings a manic playful energy to the untamed Jamie, sort of a human Tazmanian Devil driven by a hunger for pleasure rather than food. And mimicking her mum’s (Andie MacDowell) Southern twang is just a big fun bonus. Fortunately, Qualley shows her softer side, mainly in the story’s final act as her devotion and affection for Marian come to the forefront. As that (somewhat) “straight lady, Viswanathan (who many of us saw as the “randy” promgoer in BLOCKERS) gives a real dignity to what could’ve been a cliche “Debbie Downer” sidekick, becoming the voice of sanity and logic to the impulsive Jamie. She really shines in an early flashback scene as she awkwardly deflects a male co-worker’s advances, which strengthens her eventual “loosening up” before the final fadeout. Popping up just in time to give the film a shot of comic adrenaline is the scene stealer, Ms. Feldstein. As Sukie, she projects complete fearlessness, demanding to be treated with respect, pushing back when shoved (and bringing the “pain”). Current Oscar nominee Domingo is truly a “smooth criminal” even as his patience is stretched to the “limit”. As for his “flunkies”, Slotnick is the more reasonable, thinking he can use his armchair psychology as a way to squeeze out info, while Wilson will have none of that chatty “stuff” and is always the “bull in the china shop”. The always dependable and delightful Mr. Camp is an endearing “sourpuss” as the curmudgeon Curlie. And though his role is a slightly expanded cameo, mainly for the last big “showdown”, Damon is terrific as a guy who’s just not comfortable doing the necessary “dirty work”.

And just who was I referring to as one-half of a celebrated directing duo? Well, it’s none other than Ethan Coen in his first feature film directing gig, after a couple of dozen films working with his brother Joel (who went solo three years ago with THE TRAGEDY OF MACBETH). Oh, he also co-wrote the loopy script with long-time collaborator (and spouse) Tricia Cooke. Mr. Coen brings a manic almost cartoony energy to the story making it truly zip and zing throughout its tight and taut 84-minute runtime. While many will make comparisons to “The Dude”, it feels like a gleefully politically incorrect riff on BLOOD SIMPLE (with the main duo unaware of the sinister forces circling them) and RAISING ARIZONA (an LGBT flip on Ed and HI perhaps) along with odyssey themes of O BROTHER, WHERE ART THOU?. Yes, the bizarre thugs have become an indie staple, but they feel invigorated, perhaps due to the late 90s themes and their interplay. Strange, since those Coen classics are from the 80s (and not dated a bit) and the 60s play a pivotal part of the plot with some eye-popping psychedelic “flashback foreshadowing”. Yes, the laughs are plentiful (for those not easily shocked or offended), but the big surprise is the unique and changing relationship of Jamie and Marian, who start off as a traditional bickering “odd couple” until their bond deepens with unexpected tenderness. It’s a road trip that ends with something much more than a change of venue, though things do get much brighter for them in the “sunshine state”. Filmgoers will be glad to go on a goofy and often glorious getaway with this pair of DRIVE-AWAY DOLLS.

3.5 Out of 4

DRIVE-AWAY DOLLS opens in theatres everywhere on Friday, February 23, 2024

THE BURIAL – Review

Tommy Lee Jones as Jeremiah O’Keefe and Jamie Foxx as Willie Gary in The Burial. Photo: Skip Bolen © AMAZON CONTENT SERVICES LLC

End-of-the-year movie awards season is in full swing as we see the release of a film focused on a profession that has had a complex Hollywood history. Often these characters are heroes or villains, with minimal “grey area”. It’s not the police or politicians or even used car dealers. This weekend’s new release is set in the courts, and it’s not basketball, rather the lead is a lawyer. Many times they’re portrayed as sleazy, corrupt “ambulance-chasers”. Or they’re noble ” seekers of the truth” ala’ ninety-plus defender of the innocent Perry Mason, who made a huge impact on TV after becoming an icon in “dime novels”, early “talkies”, and radio. But this film isn’t from the pen of his creator Gardner or the current courtroom scribe, Mr. Grisham. It’s taken from the 25-year-old headlines and news reports, making this work a docudrama. Even though several moviegoers may believe it’s a horror story, it does figure into the case, due to its title THE BURIAL.

It all begins in a Florida church where flashy successful personal injury attorney Willie Gary (Jaimie Foxx) keeps the congregation riveted with his “rags to riches” testimony. From there we see him in another “pulpit” as he delivers his closing summation in a trial that nets his plaintiff $75 million from a trucking firm. Hmm, now who’s the older gentleman watching intently from the court audience? We soon find out as Mr. Gary gets a most surprising visit in his opulent office from a young Biloxi lawyer Hal Dockins (Mamoudou Athie) and his client, that same trial spectator, Jeremiah O’Keefe (Tommy Lee Jones). Gary listens to Hal as he recounts O’Keefe’s story. He’s a respected member of the Biloxi, Mississippi community who owns several funeral homes and a “pre-need” insurance company. All’s well until he gets a visit from the state. It seems he must have a minimum amount in savings assets to keep his license and O’Keefe doesn’t have the funds. He consults his longtime local lawyer Mike Allred (Allan Ruck) who recommends that he sell a couple of his funeral homes. Allred then arranges for them to meet Ray Loewen (Bill Camp), whose Canadian funeral services company wants to expand further into the States. After a fancy seafood dinner on Ray’s yacht, they strike a deal for three O’Keefe locations with the verbal promise that Loewen will let Jeremiah keep his insurance services at them. An “open-ended” contract is signed, and the Loewen company stalls on the finalization, causing Jeremiah to close down much of his chain after his license is pulled. Jeremiah thinks that Mike is too eager to settle for a meager amount, so he turns to Hal who runs a tape of a TV piece on Gary. But Mr. G is reluctant since he’s never taken a contract case, nor has he had a white client. And that five million seems paltry. But Hal convinces him and soon Gary brings his team to Biloxi via his private jet (“Wings of Justice”) to face off against the Loewen legal team led by the fierce and formidable Mame Downes (Jurnee Smollett). Has Willie “the giant slayer” met his match? Will his streak of court victories finally snap as he enters this unfamiliar territory?

The film’s power is primarily due to the compelling and quite different performances of the Oscar-winning lead actors. The more flamboyant (of course) role showcases the skills, comic and dramatic, of the fabulous Mr. Foxx (okay, fantastic too). Foxx makes a “full meal” of the larger-than-life, but very real, Mr. Gary. He’s the hero we want to root for, despite his flashy swagger, as he delights in deflating the “fat cats”. And yet, Foxx shows us his softer side, as he feels the pangs of self-doubt when the courtroom ceases to be his “showroom”. A big part of his concern stems from the unlikely bond with O’Keefe who is given gravitas and dignity by the subtle and superb Mr. Jones. This is one Biloxi boy who won’t take folks talking “down” to him, nor will he be “bulldozed” by Gary or the funeral “kingpins”. Jones’ quiet draws us in and gives real power to this dramatic duo. As the defense attorney Downes, Ms. Smollett is a most worthy and smart adversary, unafraid to “mix it up” with the “boys” while preparing to use every ounce of her law-school savvy. What a pleasure to see the always enjoyable Mr. Ruck (how many decades after playing the BFF of Ferris) as the old pal of Jeremiah who tries to hide his wounded ego to help the case. He even gets a turn on the witness stand, with Ruck conveying every manner of emotion during a brutal “cross-exam”. Every good story needs a great villain, and Camp is more than up to the task making Ray the dead-eyed face of greed and deciet. His annoyance at being in court during the big third act almost steals the movie. There’s also solid support from Athie as the amiable young lawyer who learns to take a stand and become the hard-working “brains” behind the “dream team”. And it’s great to see TV and screen vet Pamela Reed as Mrs. O’Keefe who provides moral strength to her hubby while being as pivotal a partner to him as Gary.

In her third feature film, director Maggie Betts, who co-wrote the screenplay with Doug Wright adapting the article by Jonathan Carr, guides this incredible ensemble and somehow makes funeral contract law an engrossing story element. Yes, it is the main plot, but it’s not overshadowed by the big personality of Foxx’s Gary. Though many scenes outside the court occur in offices and conference centers, there’s no claustrophobia. That is until the characters come into intense disagreements, giving the pace a needed “spark”. Unfortunately, the film needs a bit more of it as it battles a midpoint “lull” as Foxx is pushed to the sidelines. Luckily this leads to a rousing finale, but much of that infectious early energy is drained. This is offset somewhat by the tender sequences involving the O’Keefes and the Garys (despite the chaste verbal flirtations with Ms. Downes). Plus it’s hard to disparage a real “David vs. Goliath” story with a crackling last-act showdown ( and bucking the court film trend of lengthy final summations). Despite the troubles with the flow of the story, fans of Jones and Foxx will dig (sorry) THE BURIAL. Court adjourned!

3 out of 4

THE BURIAL is now playing in select theatres and streams exclusively on Amazon Prime Video

THE BEANIE BUBBLE – Review

Well from the sea of pink still filling multiplex lobbies all across the country it appears that moviegoers are wild about toy property-based movies. Perhaps we can officially call it a genre. And this new film could be a “sub-genre” as it details the creation of a beloved plaything in, well not a docudrama, but more like a “docu-comedy”. This new flick is perhaps closer to TETRIS (same producers), with elements of AIR and BLACKBERRY. Making it more engaging is that it was something of a pop culture “craze”, maybe even a “fad”. And it also benefits from a cast with some major comedy “creds”. They’re all involved with the tiny dolls that collectors thought were a big investment, which, in turn, created and inflated THE BEANIE BUBBLE.


That refers, of course, to the Beanie Babies, a 1990s sensation spearheaded by company spokesman (and face of the fad), Ty Warner (Zach Galifianakis). But, this isn’t a standard “bio-pic” about the man on the “tags”. Instead, the film is focused on three women who made a big impact on his personal and business life. The structure jumps about through a decade or so timeline, so I’ll zero in on the first of the ladies, Ty’s neighbor in their high-rise apartment building, Roberta AKA Robbie (Elizabeth Banks). She’s rushing between her job as an auto mechanic and her duties at home where she tends to her wheelchair-bound hubby. Then Ty befriends her and brings her into his fledgling toy business, a niche stuffed version of Himalayan cats. Robbie proves to be a superb saleswoman and is pivotal in the idea to make smaller animals plushes that aren’t stuffed to the seams with foam. Maybe more like the “beans” in beanbag chairs, though very ‘floppy”. Soon she and Ty are a real “couple” as the line grows. Enter med student Maya (Geraldine Viswanathan) who is hired on as an intern. Ty enlists her to “work the desk” at a toy trade show. There he sees her using a “hook” to reel in retailers. Maya cons them with stories of investors making tons of money by scooping up these “limited edition” variants whose value increases (y’know like Action Comics #1). Besides having the “gift of gab”, Maya is forward-thinking and designs a Beanie site for the just emerging worldwide web. This is also fueled by another burgeoning site, eBay. The expansion, and fractured relationship with Robbie, leads to Shelia (Sarah Snook), who is a lighting designer working on Ty’s big fancy new mansion. After a terse first meeting, Ty begins to romantically pursue the single mother of two adorable preteen girls (who contribute ideas for new Beanies). The lives of all four intertwine as the stock keeps rising and Maya awaits the inevitable collapse. Ah, but those critters are too cute, so it can’t happen, right?

And since they inspire the “chapter headings” for the story, I’ll start with the trio of talented actresses involved. Banks, who has an impressive directing resume, is a true force of nature as the tough but also kind-hearted Robbie. We see the conflict across her furrowed brow as the lure of wealth attached to Ty begins to dissolve a very difficult marriage. It’s clear that Robbie yearns to spread her wings despite the stifling pangs of painful guilt. When Ty shows his true nature, Banks makes Robbie a seeker of justice and equality. Much of that could apply to Viswanathan as the initially bright-eyed and eager Maya, who also has a dream beyond the medical career her parents have planned for her. There’s the delight in her smile as an idea blossoms and bears fruit, mainly in her early internet ambitions. And then Ty squelches them, and Maya must find her own way out before the kingdom crumbles. Much of that escape applies to Snook as Shelia, who fortifies a wall between her and the amorous Ty, only to have it be slowly chipped away by his charm and flattery, plus his bond with her beloved daughters. She’s isolated from his shaky company dealings, but eventually, Shelia has to tell him that she’s not in need of a new child, especially a “man-child”. And as the man in the center of their stories, Galifianakis gets to showcase his dramatic skills alongside his impressive comedic “chops”. His version of Ty is a swaggering peacock, always looking in mirrors to see if a “touch-up” is needed (and even suggesting one for his future stepdaughter), while looking to promote himself and gobble up all the glory (and cash). He even believes that his ego can stop the gradual downslide started by public disinterest. Mr. G truly immerses himself in the role, trading in his scruffy beard for a black pompadour and big dark-framed glasses, offset by a variety of wild pastel suits and ascots.


Unlike the aforementioned AIR and TETRIS, this isn’t a story of triumph, but the sharp direction and a clever script keep us engaged in this rags-to-riches-to-rags cautionary fable. Co-helming the film (with director Damiian Kulash) and penning the screenplay adaptation of the Zac Bissonnette book is Kristin Gore. And yes, she’s the daughter of former veep Al Gore, who is branching into features after a long stint on the writing staff of the witty TV series “Futurama”. She smartly juggles the timeline and switches the focus from one woman to the other until it all seems to converge and intersect in surprising ways. Sure, there are laughs garnered by the fashions of the 90s along with the “ancient” tech (the long screech while you’re sent to the world wide web), and the use of actual archival news footage of retail riots, but Gore really gets to the emotional heart of the characters (Shelia’s “wake-up” rant to Ty). It all makes for a briskly paced true-life romp that has us rooting for the heroines even as we know of the product’s eventual fate. THE BEANIE BUBBLE is bursting with terrific acting and insightful dialogue. You could say that it is not at all over-stuffed.

3 Out of 4

THE BEANIE BUBBLE is now playing in select theatres and it streams exclusively on AppleTV+ beginning on Friday, July 28, 2023.

BLACKBERRY – Review

Hmmm, I wonder if this new release completes a “movie hat trick”? Now, that’s because it’s the third film this year to center around the creation of a popular product from the not-too-distant past (really the trio spans roughly a dozen years, from 1984 to 1996). First out of the gate was the surprisingly effective TETRIS, the tale of the popular computer/video game, from AppleTV+. It was soon topped by Amazon’s AIR, the all-star story of Nike’s pursuit of rookie NBA phenom Michael Jordan and the best-selling shoe baring his name. Jump ahead to now (and 12 years in the movie timeline) and IFC brings us a “docu-dramedy” all about a communications device that became the hot “it” gizmo, but is now almost a blip in the “hand-held” history. And rather than being referred to by a litany of letters and numbers, this combo of soft and hardware went by the fruit-based moniker of BLACKBERRY.


Its “origin” story design begins with its creator, but rather on an ambitious “company-man” named Jim Balsille (Glen Howerton) at a major Canadian tech firm. On this particular morning in 1996, he’s pumped up for a big confab with some foreign investors. Oh, but first he’s forced to deal with a couple of “gizmo geeks” from Research In Motion out of Waterloo, Ontario. Doug Fregin (Matt Johnson), in full “frat-bro” regalia fumbles with some display posters, while the “brains”, inventor Mike Lazaridis (Jay Baruchel) explains his hand-held, phone-like “pager-hybrid” that allows folks to check and answer emails and text messages. Naturally, Jim thinks the idea will never work, and hustles the two out before the “money men” walk in. And then Jim ignores a direct edict from the “big boss” and is promptly canned. He fumes back at his tiny home while watching hockey on TV before Jim thinks back to those ill-prepared nerds. The next day he drives to RIM, which seems more like a raucous college dorm, and offers to sell their device and erase their bank loan debt (it seems a big router sale went south) if he is made co-owner with 50% of the company. Doug balks, but Mike is interested in this abrasive “lifeline”. Soon they’re sweating through the weekend on a non-working prototype with calculator parts in order to meet with a major company in NYC on Monday morning. Its CEO John Wodman (Saul Rubinek) scoffs, saying this “BlackBerry thingee’ ” would eat up cellular minutes, but Mike has an idea to use free wifi and to make the messages use data rather than minutes. And once Mike works his magic, the “BB’ is a sensation. But success comes at a price as Doug is eased out, Mike becomes a “suit”, and Jim raids the other big software giants, luring execs with shady profit-sharing deals. Everything seems great until they all see the online rollout of something called an iPhone. Jim and Mike believe it to be just a bump in the road, but could it possibly derail the whole BlackBerry future?

Providing the needed energy to propel fairly familiar themes is the bravado performance from Howerton, perhaps best known as part of the ensemble of the cult TV cable comedy “It’s Always Sunny in Philidelphia”, as the power-hungry Jim. He’s almost the “love child” of ENTOURAGE super-agent Ari Gold and Gordon Gecko of WALL STREET. Jim’s a bald ball of fury, looking to acquire as much as possible while seething with revenge for anyone who slights him. But he’s the “human steamroller” needed by the timid folks at RIM, and he becomes the “tough love” mentor of Baruchel’s Mike, who yearns to keep his creation pure and close to his heart. Ah, but there’s the devilish imp of Jim on his shoulder and soon he’s emulating his fashion sense before agreeing to overseas production, Still, Baruchel’s furrowed brow and downcast eyes convey his “turn to the dark side”, Part of that is Mike’s rebuke of the best pal (and “shoulder angel”), Doug who Johnson portrays as a twister of exasperated comedic chaos in a headband and unwashed T-shirts and tank tops. Sure, he’s a bit dim though his affable nature gives him the ability to “see through” the conniving Jim. There are also some choice supporting roles for a bevy of screen vets. Michael Ironside (forever the king of the SCANNERS) is the glowering hulk brought in by Jim to “crack the whip” on the fun-loving staff, while Cary Elwes shines as the arrogant smug rival to Jim. And the aforementioned Rubinel has the proper surly gravitas as the kingpin-like “gatekeeper to riches”.

Hey, I forgot to mention that the actor playing Doug, Matt Johnson, is also the film’s director and the co-screenwriter (he and Matthew Miller adapted the book, “Losing the Signal” by Jacquie McNish and Sean Silcoff). Talk about doing a terrific job as a “multi-tasker”! He brings the comedy with his recreation of that 90s tech mania and the free-wheeling playful vibe of RIM (they take turns with a toilet plunger for the monitors), complete with the annoying beeps and buzzes of joining the internet. Yet, Johnson’s not merely a polished pop-culture satirist as he takes us down a dark pathway of greed and deception. This provides a very suspenseful final act as the main characters face the consequences while the feds encircle them, not to mention their annoyed partners. Hubris fuels a clever modern take on the “rags-to-riches-to-rags” cautionary saga making for a punchy, brisk two hours, You may not have ever owned one, but you should enjoy the tart and tasty BLACKBERRY.

3 Out of 4

BLACKBERRY is now playing in select theatres