Tag: 20th Century Fox

PREDATOR: BADLANDS – Review

In a flip from the recent Summer movie fare, let’s take a break from the serious “award-bait” cinema of the current Fall/Winter works and head to the multiplex for a big, loud, thrill-packed SF flick. And talk about “flips” this new release turns the usual movie marketing trend on its ear. While some films like COMING TO AMERICA and HAPPY GILMORE had sequels that went straight to streaming decades later, this newest franchise entry in a series that begin all the way back in 1987 is in theatres after the previous two went right to Hulu. Yes, from big screen to small (er) screen then back to the big screen (not that the last two weren’t worthy of a wide run at the multiplex). Oh, and it’s not a remake or rehash, but rather a fresh spin as we span the galaxy with PREDATOR: BADLANDS.


Here’s one bit of “freshness”: this story actually begins on the predator home planet of Yautja Prime where the “runt” (actually just around six Earth feet) of the “hunter clan”, Dek (Dimitrius Schuster-Koloamatangi) is being “put through his paces” by his tutor big brother Kwei (Mike Homik). The training lessons are cut short by a brutal family tragedy, which traps Dek on Kwei’s spacecraft cruiser. Its onboard navigator whisks him away to the savage, distant planet Genna. Dek had been preparing to travel there in order to “earn his cloak” by defeating a beast that had claimed scores of his kin, the towering killer colossus Kalisk. But first, Dek just has to survive the place, since a new unknown danger seems to lurk around every bend. When it appears that he’ll be a meal for the ferocious forest (the tree limbs are alive and hungry) Dek hears a voice calling to him. It is a human-looking woman who calls herself Thia (Elle Fanning). After he heeds her advice and survives the attack, Dek locates her and is surprised to see she’s missing her lower half. Thia explains that she’s a “synthetic” (much like a robot or android) who was damaged and separated from her “team” that was sent to capture the very same Kalisk for her “makers” at the Weyland-Yutani Corporation (yes, the same company creeps from the ALIEN series). She promises to help him if Dek can return her to her ship, where she hopes to connect with her “twin sister” Tessa. Ah, but it turns out that the Kalisk-damaged WY ship is able to repair Tessa and her army of male “synth” drones. Joined by a fiesty local beast dubbed “Bud”, can Dek and Thia survive against Tessa and her team after they are tasked by “mother” to not only capture the Kalisk for the company, but also “acquire” the lone Yautja predator and his weaponry?


What really keeps us invested in this tale filled with special effects wizardry and action-packed chaos are the two terrific performances at its center. Foremost is Schuster- Koloamatangi who informs us of Dek’s inner-turmoil and profound sadness through his body language, since most of his features are CGI augmented (mainly those “pincer” jaws and mouth, though much is also told with those wide yellow-tinged eyes). Sure, he’s got that warrior swagger down, but somehow this predator commands our empathy as he strives to prove himself and shatter his image as an “outcast”, while now being “the hunted”. Talk about your “family issues”. I’ll be interested in seeing this actor in more roles sans alien enhancements. Adding to his surprising humanity is the pairing with Fanning who almost “steals the show” as the chatty and very,very emotional “artificial” (her eyes state “property of WY Co.”). Thia is very funny, as many of her exchanges with Dek simply drip with snark, be she’s much more than a “sassy bot”. Fanning shows us her compassion for the “runt”, while not hiding her own sadness as she yearns to be with her sister. Let’s hope the fantasy settings don’t distract from Ms. Fanning’s talents, which should garner her many supporting actor nominations.

The guiding force behind this excellent “reboot” trilogy (along with the Hulu exclusives PREY and PREDATOR: KILLER OF KILLERS) is director Dan Trachtenberg, who worked with Patrick Aison on the screenplay based on the original film script from Jim and John Thomas. Despite Fox Studios attempts to revive the franchise in 2010 and 2018, the series seemed to be defunct, even after two dust-ups with the ALIEN, he has proved to be this franchise’s Frankenstein, sparking new interest from older fans while capturing so many newcomers. Every aspect of the production is top-of-the-line, from the look of the different planets (Genna seems like Australia on steroids) to the creative weaponry (love the glowing red tether lines) to the immersive booming audio. (really try to see it on a big screen with a superior sound). Who would think that, since its introduction in the original, we’d be rooting for an offspring of the monster trying to whittle down “Ahhnold” and his merry band of mercenaries in the jungle. It’s a “thrill-ride” that doesn’t forget to engage us with the heroes and villains. Plus, I really enjoyed the “borrowing” from the other Fox franchise, adding to their mythos. Here’s hoping that Trachtenberg and company can continue guiding the series in theatres (though his last two are worthy of a Hulu “trial”) after basking in the edge-of-your-seat triumph that is PREDATOR: BADLANDS.

3.5 Out of 4

PREDATOR: BADLANDS is now playing in theatres everywhere

PREDATOR: KILLER OF KILLERS – Review

It’s always great as a reviewer when you can alert folks to a film that’s truly worth their time, a real engaging story full of twists, turns, and often very pleasant surprises. An even greater “stunner” is the fact that it’s the sixth (though some may argue it’s the eighth) installment of a nearly forty-year-old film franchise. Normally, I’d suggest that you would be wise to order tickets early to see it at your favorite multiplex, but I can’t really do that. So, here’s the perplexing and frustrating part: it premieres on a streaming app. However, it’s more than worthy of an IMAX-sized screen. The last time I felt like this was three years ago, with the action/SF/thriller PREY. And, wouldn’t you know it, this is from the very same “shared universe”. By the way, did I mention that it’s an animated anthology? Just another element in the countless delights of PREDATOR: KILLER OF KILLERS. Let the “hunt” begin!

Yes, I did say “anthology”. At least for most of the movie. Each section has its own time period and title. First is “The Shield”, set in the early ninth century. This is a Viking revenge fable focusing on the angry warrior queen Ursa (voice of Lindsay LaVanchy), who is leading a crew of killers, including her own teenage son Anders (Damian C. Haas), on a quest to take King Zoran out, the man who murdered her father. But when they breach his sanctuary, Ursa and her compatriots are not alone. It turns out that the hunters are being hunted by an otherworldly demon, a Predator. We zip ahead about 800 years for “The Sword”, set in feudal Japan. This one’s a tale of family rivalry as a grim shogun pits his two pre-teen sons against each other over the ownership of his estate. One brother triumphs as the other is banished. The years go by, and the father passes on. Before son Kiyoshi claims his inheritance, his prodigal brother Kenji (Louis Ozawa) returns. Ah, but a different Predator silently observes, waiting for his time to strike. Finally, we’re in the 20th century, though at the start of WWII. In “The Bullet”, we meet newly drafted Latino-American (I’m guessing Cuban) John Torres (Rick Gonzales) is a gifted mechanic stationed on an aircraft carrier near Vichy France. He yearns to fly, but his supervisor, Captain Vandy (Michael Biehn), just wants him to make sure the planes are ready for combat, including John’s rickety fighter he’s dubbed “the Bullet”. Several pilots land in damaged planes, telling of a weird, almost invisible “enemy”. Vandy takes his squad into the “danger zone” as John finds something odd embedded in one of the engines. It’s a metal spearhead, unlike anything on this Earth. He then disobeys Vandy’s orders and takes Bullet into the battle. He arrives in time to see several squad members get taken down by a “bogey,” which becomes visible when struck. It’s an attack spaceship piloted by another Predator. When the fight ends, John’s saga is far from over as he finds himself in a locked cell on a vessel along with Ursa and Kenji. The trio, who are unable to communicate, have odd metal collars snapped around their necks and are eventually led off the ship and into an arena filled with the Predator beings. The warlord/MC informs them that they must fight to the death or their collars will explode. But John tries to inspire them to work together. But can this mismatched team survive a giant, savage alien beast and attempt to somehow find a way home?

Speaking of PREY, the same talented director is behind this. Dan Trachtenberg works with co-director Joshau Wassung to create this compelling, original exploration into the mythos of these iconic movie alien a*#kickers. They’ve even taken animation feature storytelling to a new level, expanding on the dramatic possibilities opened up by the “Spider-Verse” films. Yes, there have been many dramatic/ action animated features before (BATMAN: MASK OF THE PHANTASM immediately springs to mind), but this tackles the brutal intensity of any live “R-rated” horror/action epic. While most of the straight-to-home-video films feel close to the “four-color” comic books, this is more akin to the darker balck and white “graphic” magazines from the Warren company (“Creepy”, “Eerie” and “Vampirella”, the “unholy trinity”), though Marvel would “dip their toe” with “Savage Tales” and its ilk. Basically, the carnage is more straightforward, as the Predators chop and dismember with ghoulish glee. Oh, and the creature design is inspired. Yes, each has that “crab-pincer” mouth, but each segment has wild variants with weird weapons. Fighting the Vikings is a Hulk-like, near seven-foot-tall alien (one of the crew calls it “Grendel”), sporting a “repulsor/sonic blaster” for a right claw. In Japan, we get a leaner. graceful sword-wielding hunter with a spear on a whip-like chain. The “battle ace” beast has a smooth dome as it propels all manner of devices (constricting nets, grappling hooks, etc..) from its armored hull. And the animation is superb, though it appeared a bit stiff in the early scenes. Perhaps this was to make the battle energy more impactful (it does). And each “chapter” has a distict tone, with “The Shield” looking dark and chilly”, “The Sword” giving a Springtime feel with the forest landscapes, as opposed to the 1940s early “recruitment poster color” of “The Bullet”. It’s all paced perfectly with an “Easter egg” final shot that will have fans jumping from their couches. And that’s my only real complaint. In a “just world” I’d have been swept up in these sprawling stories by being engulfed in the biggest screens, with booming Dolby-type audio. Nope, this is only streaming, and its quality is on par with any of the other recent franchise entries. Bravo to Trachtenberg and company. Those “trilling/growling” hunters are in great hands. And I anxiously await your next live-action installment in November, PREDATOR: BADLANDS. But for the next few months, fans will be delighted, becoming eager “trophies” for the animated epic PREDATOR: KILLER OF KILLERS.

3.5 out of 4

PREDATOR: KILLER OF KILLERS streams exclusively on Hulu beginning on Friday, June 6, 2025

ALIEN: ROMULUS – Review

Yes, we know that Labor Day is looming, with August nearly half over, which signals the end of the blockbuster Summer movie season of 2024. Well, that doesn’t mean that the studios can’t drop a new installment of a beloved franchise into the multiplexes. And that’s exactly what’s happening this weekend as we see the seventh (not counting a couple of spin-off flicks) entry of this series, more than seven years after the last one. Ah, but the 2017 thriller was a prequel to the original, while this one fits nicely between that first one and its sequel from 1979 and 1986 to be exact. And yet, this has a feeling of “freshness” as it features a young almost unknown cast playing new characters, and a talented filmmaker who has made a splash with bold spins on a couple of film “IPs”. The result is another “space-set” shocker, ALIEN: ROMULUS.


After an eerie prologue that echoes the 79’s opening moments, we’re plopped right onto the mining colony of Jackson’s Star, a dark, dank sunless rock far, far from Earth. One of the workers, a young woman named Rain (Cailee Spaeny) is thrilled that her service contract is nearly up, and she can be transferred to the sunny planet paradise of Yvaga. Ah, but those weasels at the Weyland-Yutani corporation have now added nearly a decade to her “obligation”. A miserable Rain breaks the news to her only “family”, a “Synthroid” (an android) named Andy (David Jonsson). But then a new “opportunity” opens up. An old boyfriend named Tyler (Archie Renaux) invites the duo over to the place he shares with his sister Kay (Isabela Merced), another buddy Bjorn (Spike Fearn), and his girlfriend, a skilled pilot named Navarro (Aileen Wu). Tyler proceeds to outline a plan he has to escape Jackson by blasting off on their spaceship the Corbelan and connecting with an old derelict WY two-part space station, the Romulus and Remus. There they’ll grab several “cryo-pads” in order to sleep during the nine-year trek to Yvaga. Rain doesn’t understand why they’ve invited her until they explain that Andy’s old WY hardware will give them access to the facility. The group finds the old station hovering dangerously near the debris-filled rings of Jackson’s Star. Tyler, Bjorn (who hates robots) and Andy have less than an hour until the station is destroyed by those rings. They find the pods, but they lack the fuel for the trip. As they search for the energy tanks, the station’s power is reactivated, and several frozen “science samples” begin to thaw. Soon the trio is attacked by them, and the aggressive crab-like creatures invade the Corbelan. Things get more complicated when Rain “upgrades” Andy with software from a damaged Synthoid on board. Now he is programmed to adhere to the WY mission objectives and procure and protect the alien research on board at all costs. With time running out, and the creatures evolving, can Rain and the crew somehow survive and escape?


Following up her terrific supporting turn in CIVIL WAR, the charismatic Ms. Spaeny proves that she can also excel in a more action-oriented lead role (much as she did in the title role of PRISCILLA) as the desperate orphaned Rain. Yes, she steps up to the challenge of repelling the hordes of near-unstoppable monsters, but we see that she’s struggling to control the inner panic even as her mind tries to grasp the unfamiliar tech and the weaponry (lots of info on that electronic pulse Gatling gun). But Spaeny also conveys Rain’s empathy and compassion, with her pal Kay and especially with her “big brother” Andy played by Jonsson in a star-making bravura turn. Oddly, the “non-human” may be the story’s most complex character. He’s “damaged goods”, rescued from the scrap heap and programmed to protect Rain mostly with an endless stream of corny “dad jokes”. She even has to step in as the locals bully him. Then Jonsson completely “switched gears’ when a new “chip” erases all of Andy’s old caring self and he’s the biggest threat other than the nasty “beasties”. And though most of the crew are fairly “one-note” types, the young actors invest lots of energy into them with Merced giving Kay a soft, maternal side as she bounds with Rain over her “condition”. Renaux is a capable man-of-action who must protect his sis at all costs. Fearn seethes with a punk hatred for Andy while Wu is a truly tough and focused “space jockey”

Director Fede Alvarez does bring a much-needed jolt of adrenaline after the previous pair of troubled prequels, and tries to get back to the original “haunted house of the cosmos” premise via the screenplay he co-wrote with Rodo Sayagues (inspired by the O’Bannon and Shusett template). He certainly has made the best use of a talented team of artists who recreate much of the then “state-of-the-art” tech with the retro digital screens and especially the uses of practical make-up effects (though there are lots of current CGI to augment the imagery). And as I mentioned earlier Fede has guided two engaging lead performances. But… the other members of the “team” are mostly “fodder” for the endless stream of Xenomorphs (who are especially toothy and slimy). And I must mention the problems I had in understanding their dialogue. The screening was in Imax, so I was surprised at the sound mix, as the background score and effects seemed to “drown out” the thick accents of Tyler and Bjorn. And as many of the Marvel and DC comics-based films have been vilified for moments of “fan service” (Particularly this year’s biggest hit). the screenplay certainly over-indulges in that, repeating classic lines (one that is absurd coming from the assigned character) and even “digitally resurrecting” a beloved actor from an earlier film (it’s listed on IMDB, but I won’t spoil it). It was distracting and somewhat ghoulish (much as the STAR WARS prequels did with Cushing and Fisher). By the time of the third act, the story becomes an often repetive chase reminding me of the countless “retreads’ that the late great Roger Corman flooded the drive-in through his New World studio. By the time a very awkwardly-designed new creature begins its rampage, the movie doesn’t know when or how to finish as we get endings piling on top of each other to the point of exhaustion and frustration (so many levels and corridors on that big station). The hardcore ALIEN fans will certainly feel their chests bursting with excitement, but casual viewers new to the series may be wanting more humanity (I’d love to see a film focused on Andy) and a tightened narrative in this often creative “throw-back” that is ALIEN: ROMULUS.

2.5 Out of 4

ALIEN: ROMULUS is now playing in theatres everywhere

DEADPOOL & WOLVERINE – Review

Wow, can you believe, true believers, that it’s been over eight months since our last multiplex trek into the Marvel Cinematic Universe (MCU)? Really! Sure, there have been a few Disney+ shows, and a Sony “Spidey spin-off” (the infamous MADAME WEB, inspiring so many memes), but it’s nothing like sitting down with your popcorn for a real MCU journey. Aside from the long “lead time” this one is pretty unique as it takes a “side road’ to include the “Fox Marvel movie-verse”. You see before there was a Marvel Studios, the comics giant licensed several of their characters to the established movie studios. After years of legal entanglements, Sony got Spidey (and partnered with Marvel for the Tom Holland trilogy). But the main home for many Marvel stars was 20th Century Fox. They produced three FANTASTIC FOUR features, DAREDEVIL and its spin-off ELEKTRA, and the X-MEN franchise including THE WOLVERINE solo flicks, and the NEW MUTANTS. Oh, I almost forgot the “Merc with a Mouth” DEADPOOL. Well, thanks to a big corporate acquisition five years ago, Disney got Fox and all its various properties. So now the “mutant misfits” are joining the MCU, with brief cameos in the second DR. STRANGE adventure and THE MARVELS. And now comes the ultimate “plunge”, a titanic team-up (and the first “R-rated” MCU movie) of DEADPOOL & WOLVERINE. Are film fans ready for the “snikt” (the sound effect of Logan’s claws) and the snark (from you-know-who)?

After that familiar logo, we plunge back into the madness of the “multiverse” as Wade Wilson AKA Deadpool (Ryan Reynolds) visits the scene of a recent franchise finale. After a brutal battle (set to a breezy pop tune), the story jumps back in time (and to another reality) as Wade deals with a disastrous job interview. From there we pop over to an alternate Wade over on Earth-10005, where he’s a burned-out used car salesman with his old superheroing buddy Peter (Rob Delaney). When they head back to Wade’s pad, his friends are gathered there for a big surprise birthday party. The group includes his ex Vanessa (Morena Baccarin)…awkward. Wade’s relieved when he answers a knock at the door. But it’s a squad of enforcers from the TVA (Time Variance Authority from the “Loki” Disney+ miniseries). After a brief scuffle he’s whisked via a portal to a TVA branch run by Mr. Paradox (Matthew Macfadyen), who scolds Wade for traveling the timeline, but offers him a new “home” as his new device (almost completed), the “Time Ripper” will prune (obliterate) 10005 since they’ve lost the “anchor”, Logan Howlett AKA Wolverine (Hugh Jackman). Wade springs into action, grabbing his TemPad ( a “controller’ that opens “portals”) and traveling through various universes to find a suitable Wolverine. Finally, he finds one ( a pretty surly, violent one, ‘natch) and takes him back to the TVA. Paradox regains the upper hand and informs Wade that this “variant” failed his heroic duties and destroyed his Earth. He then dispatches the duo to the barren hellscape known as the Void, a “dumping ground” for failed “multiverse variations”. Oh, its “ruler” is the powerful cruel Cassandra Nova (Emma Corrin), the twin sister of Charles Xavier, who leads an army of super-beings. Can Wade and Logan defeat her and find a way back to his Earth and thwart Paradox’s plans in order to save Deadpool’s crew?

In his third solo outing in the (co-) title role, Reynolds brings that manic motor-mouthed energy while also giving us a good bit of pathos. Deadpool’s mission is to save his pals and also himself, to prove that he matters and has real value. Plus there’s that unrequited affection for Vanessa to deal with as always. This proves to be a great counterpoint to the greatest “wiseguy” super fella around, who decimates the baddies and the “fourth wall”. And though they’re often at odds (to say the least), Reynolds is a great comedy/action partner to Jackman’s morose mutant. It’s amazing that he’s been with this “berzeker” fr nearly a quarter of a century, and still brings new aspects to the role. Though he gave one variant an emotional send-off this version is weighed down by enormous guilt, and like Wade, he sees this new “quest’ as a redemption. And while Reynolds delivers swift verbal ‘stings”, Jackman growls and pummels with his insults that slice deeper than those shiny claws. it’s interesting that this duo faces off against a villainous twosome. Macfayden is prickly and pompous as an “office overseer” with god-like aspirations. And like many bad guys, his “power play” blasts the doors open for an even greater threat in Corrin as the sadistic desert queen who desires new worlds to subjugate and demolish. With her gleaming pate and wide expressive eyes, she seems to thrive on sliding her slender fingers inside her victim’s skulls. She might be the best MCU menace since Thanos. Kudos must also go out to the comic support work from the devilishly dweeby Delaney as Wade’s fellow “wage slave’ who really misses the “spandex life’ and to the “force of funny nature’ that is the superb Leslie Uggams (hey I recall her CBS variety show that was replaced by the Smothers Brothers) as Wade’s forever cranky and foul-mouthed roommate “Blind” Al. I’d single out some more cast members, but we’d be diving into “spoiler-land”.

(L-R): Ryan Reynolds as Deadpool/Wade Wilson and Hugh Jackman as Wolverine/Logan in 20th Century Studios/Marvel Studios’ DEADPOOL & WOLVERINE. Photo by Jay Maidment. © 2024 20th Century Studios / © and ™ 2024 MARVEL.

And that’s the problem with trying to urge your friends to see this (although most have had their advance tickets for some time). You don’t want to accidentally reveal the movie’s many surprises and delights. As I mentioned earlier, that “fourth wall” is torn down early on, to make way for a virtual skyscraper of witty riffs on the movie biz in general and the MCU in particular (not just biting the “hand” but making a full meal of it). The pace is nearly unrelenting thanks to the expert comic/action direction by Shawn Levy (who also made the great FREE GUY with Reynolds) and the silly-smart script he co-wrote with Reynolds, Rhett Reese, Paul Wernick, and Zeb Welles (this “stew” needed these cooks). Unlike many superhero epics (especially those from the “guys down the street” as Wade says) this mixes its comic book origins with classic slapstick animation. Because of their healing powers, the title duo are almost beefy, “long-underwear” spins on Tom and Jerry, and all those Looney Tunes adversaries. They are dazed for a few seconds, the wounds close and the fight resumes. The laughs are so rapid and plentiful that the audience is nearly exhausted, but Levy then knows when to “shift down’ and get into the emotional core of the heroes and villains. As said earlier, the dramatics is unexpected, but the big stunner is the finale which is a somewhat sweet “s’long” to that whole “Fox-verse” that began with the new century. And aside from saving their friends, this dynamic duo is also defeating the cliche of “superhero fatigue” as they show us that there’s lots of life left in the recently maligned genre. Perhaps a big part of that is that there’s real affection between the two men, since there’s no “versus” in the title ( or “v” or “vs”, as with many monsters along with the two DC titans), but rather a simple (though pretty smart at times) DEADPOOL & WOLVERINE.

3.5 Out of 4

DEADPOOL & WOLVERINE is now playing in theatres everywhere

DEADPOOL & WOLVERINE. © 2024 20th Century Studios / © and ™ 2024 MARVEL.

VACATION FRIENDS 2 – Review

So, is it too late for a quick “vacay”? Sure, most of the schools are back in session, but since Labor Day is only next weekend, why not? And how about bringing along that wild and crazy couple you met a couple of years ago? Well, that could be trouble, though the main character in this comedy sequel believes he has everything under control. Yeah…right. So just what kind of chaos awaits in the Carribean for that quirky quartet (actually a sextet this time) in VACATION FRIENDS 2? Aside from lots of frequent flyer miles, of course.


This farce actually begins in an airport terminal as Marcus (Lil Rel Howery) and his wife Emily (Yvonne Orji) leave their plane from Chicago to get their connecting flight to the Caribbean. Oh, and they’re meeting up with the wild and wacky Ron (John Cena) and Kyla (Meredith Hanger). And they’re bringing along baby Marcus with his new “manny”, former hotel staffer Maurillio (Carlos Santos). All seems to be going smoothly with Marcus’ master plan. They’re all staying in a plush suite in a fancy resort run by a Korean company. Ron and his crew have a return flight after five days, as they believe that Marcus and Emily need some “alone time” to work on their own offspring. Aha! Marcus just needs them gone in order to meet with the reps from the hotel and get a construction contract for their new deluxe resort in the Windy City. And once they land, all is well until Marcus spots the company reps led by the snippy Yeon (Ronny Chieng) near the pool. It turns out that their boss, Mrs. Kim, needs to push up the meeting…to the day after tomorrow. Marcus thinks he can control his pals at a big “get-together” that evening. And then there’s a “party crasher”…Kyla’s widowed papa Reese (Steve Buscemi), just sprung from San Quentin. Whoa! What was he doing there? And what is he doing here? Of course, he’s getting the foursome into lots of trouble in a search for missing drug loot. Certainly everything can be resolved before the big sales pitch meeting. Oh, that optimistic Marcus…

Oh, and he’s a constant “straight man” in this follow-up once more, squandering the sharp comedic talent of Mr. Howery, who deserves to be more than just the literal “butt” of so many silly slapstick gags (as in makes me want to…). When will his skills match the material, ala’ GET OUT? And Cena is the affable “lunkhead”, though not as aggressively dim as the Peacemaker of the DCEU. Yes, he’s giving every dopey punchline more energy than they deserve, but the character is less focused this time. Speaking of energy, Ms. Hanger’s enthusiastic reciting of flat jokes could power a small town. Such dedication is to be rewarded, but her efforts can’t make the abrasive Kyla more tolerable as she displays almost no impulse control. Who’d want to be anywhere near this offensive potty-mouthed “party girl”? Escaping with some dignity is the dazzling Orji, who is given a rather tepid subplot as she constantly reprimands her hubby. Santos is also putting his best foot forward, though his Maurillio seems wildly out of place as he tends to the baby while looking to “score”. As for the VF “newbies”, Chieng is a sneering boorish foe for Marcus, channeling lots of his surly mojo from his role in M3GAN. And the superb character actor Buscemi is under-utilized as the skeevy conman who is used to “break down” Ron’s sunny persona. His Reese’s main mission is to bring in the explosive mayhem.

Well, at least the locales are pretty, with Hawaii subbing for the Caribbean. For this trip, returning director Clay Tarver worked on the script solo. There’s the old expression about “too many cooks”, well this script “stew” cries out for a few more chiefs. The comic set pieces just fall flat and quickly devolve into shouting matches with jump cuts to try and ‘sell” the manic frenzy, all abetted by a music score that tries hard to be amusing. I’ll admit to a couple of mildly entertaining “bits” in the first installment, but the cliches and clunky dialogue (who talks like Kyla) just make this an endurance test for your patience. So, for the love of movies will someone confiscate their passport to prevent a “hat trick” after the vapid VACATION FRIENDS 2?

.5 Out of 4

VACATION FRIENDS 2 is now streaming exclusively on Hulu

WHITE MEN CAN’T JUMP (2023) – Review

So, do you have an appetite for sports films after the entertaining true life-inspired AIR from a few weeks ago (which, BTW, is now streaming on Amazon Prime Video)? To be more specific do you have, as Cheech and Chong most famously proclaimed, a “basketball jones”? Oh, here’s the movie for you! Now unlike the earlier film, this isn’t set in the 1980s, though it has a connection to a previous decade. And it’s not “inspired by true events”. This is more of a rollicking “buddy comedy” and is a remake of a movie from over 30 years ago (the decade being the 1990s). Perhaps it will once and for all either prove this true or false per the still provocative title, WHITE MEN CAN’T JUMP.


Speaking of time, this version starts with a flashback going back only six or seven years. It’s a telling TV interview on a cable sports show profiling high school basketball phenom Kamal (Sinqua Walls), though the interview is dominated by his boasting blustering Papa Benji (Lance Reddick). We then are taken to a big championship game soon after, as Kamal has an off day leading to…an “incident”. Jump forward to now as Kamal works as a delivery driver and shares a small apartment with his mate Imani (Teyana Taylor) and their adorable five-year-old son Drew. She’s tired of styling hair in their home and is saving toward space for her own salon. Towards that, Kamal hangs out with pals Renzo (Myles Bullock) and Speedy (Vince Staples) at the basketball courts of the LA area to “hustle some cash” via “pick-up games”. But this day, an unlikely hoopster hustles them, the goofy “Whole Foods whiteboy”, Jeremy (Jack Harlow). He’s determined to work past the surgery in both (!) knees and try out for the minor leagues. Of course, he keeps that a secret from his live-in girlfriend, Tatiana (Laura Harrier), who wants to be a professional dance director. Jeremy tells her that he’s a personal trainer, and his goal is to move them out of his childhood home (he was literally born there). When he and Kamal clash again at a fitness center, an idea occurs. There’s a big hoops contest in a few weeks with a big cash prize (5 figures), but it’s got an entrance fee of over a grand. They’ll take their “act” on the “road” and accumulate the cash from “ballers” all around the SoCal area. But can these very different personalities mesh together and move past their personal demons to grab the life-changing jackpot?

Though the duo at the heart of the story aren’t major screen veterans they have an easy-going chemistry and a real rapport. Walls as Kamal may have the more compelling backstory, which he conveys just below the surface of his snarling swagger. And in his haunted eyes, Walls conveys the regrets and frustrations of a man whose future should have been “gold”. And some of that is in Harlow’s Jeremy, who keeps plugging along even as his body fights his efforts. Mainly known for his music, Harlow is a terrific screen presence with a great sense of comic timing aided by a wonky, off-kilter line delivery. Taylor is tough and tender as Imani, who also has her dreams but is angered by her role as the “planner” of her family’s destiny. Much as with Harrier, who has a softer side, until she “reads the riot act” to Jeremy when he’s too wrapped up in his goals while dismissing hers. The supporting comedy players are Bullock, who also has a quick quip ready while constantly eating, and Staples as the picked-upon (for his romantic choices) Speedy. Ah, but the real gem here is one of the last big screen performances by the much-missed Lance Reddick who turns Kamal’s blowhard daddy into a strong guiding force and later a tragic inspiration for his son. Few actors could give us such a wide character arc as this gifted man.

In the director’s chair is music video ver Calmatic in her second feature film after recently rebooting another comedy classic from the 90s, HOUSE PARTY. He brings lots of flash and rapid energy to the game sequences, while never ignoring the big dramatic beats in the script from Kenya Barris, Doug Hall, and the original’s scribe, Ron Shelton. The competitions are intense, and so are the passions between the two men and their partners. Some would zero in on the goofball antics of Jeremy and his “fish out of water” persona, but we see how the friendship with Kamal is healing for both of them, especially as Kamal learns to quiet his failure-fueled nightmares. Sure, we didn’t need a “redo” of the Snipes/Harrelson crowd-pleaser, but this “take” has some new things to say and its own retort to that put-down WHITE MEN CAN”T JUMP, because with the right pal, you can soar.


3 out of 4

WHITE MEN CAN’T JUMP streams exclusively on Hulu beginning on Friday, May 19, 2023

CRATER (2023) – Review

With schools finishing up for their big Summer break many of those kids are dreaming of getting away for a while. How about the ultimate “getaway” from …the planet? It’s not that wild of a fantasy, as this new Disney+ adventure flick offers a look at a colony, almost a small city, on the moon, our big destination for over 50 years now. But how do the kids living up there take a break from the indoors (with plenty of oxygen)? Well, for the five kids in this story, they’re itching to sneak away for a fun frolic at a nearby (it’s not really a walk) CRATER.


When the film begins, those kids are sneaking around the transport bay under the dome of an underground lunar colony in the not-too-distant future. The loudspeakers are blaring out an alert that a meteor shower is imminent so everyone needs to seek shelter on the lowest levels. So, why aren’t they taking that express elevator? It all starts with a recent event in the life of one of them, Caleb (Isiah Russell-Bailey). After his widowed father perished in a recent mining accident, Caleb met with one of the colony’s supervisors. Because his pop had amassed enough work hours, Caleb can now be on the next relocation flight to the distant outpost of Omega. It’s a seventy-five-year journey, so he’ll be in suspended animation (think Captain America), and he’s got no choice in the matter. Caleb’s BFF Dylan (Billy Barratt) is crushed by the news but decides he needs to give his pal a great send-off. Along with their buddies, the twitchy, nervous Borney (Orson Hong) and the (literal) big-hearted Marcus (Brady Noon), they’ll “borrow” a land rover and head to the special crater Caleb’s pop had planned to visit with him (he even has the map). That Omega flight is just days away, so they’ll need to go during an upcoming meteor shower alert (which never affects them). But they need the special door access codes, so they’ll have to befriend a new arrival from Earth named Addison (McKenna Grace) whose dad is the new security chief. She agrees only if she can be part of the “expedition”. With scant seconds left, they leave the colony right before total lock down. Now if they can just make it to the crater and back before being caught, or running out of fuel or air. And just what has Caleb’s papa hidden there?

The engaging chemistry of this quintet carries this otherworldly concept. The anchor, and instigator of the action, is Russell-Bailey as Caleb who tries to shield his sadness and put on a brave happy face for his buds who’ll soon be a hazy memory. But it creeps through his eyes especially when the “adult in charge’ delivers the gut punch on top of his loss that he’s out of there much sooner than he thought. Grace continues to impress with her assured line delivery as the “voice of reason” Addison, who secretly aches for connection while not letting the guys think that she’s easily manipulated, so she’s not a “tool for the caper”. Plus she’s a terrific verbal 9and maybe romantic) sparring partner for future “bad boy” Riley played with great charm by Barrett projecting a “super cool” attitude to diffuse his inner heartache. Hong is the group’s comic relief as the easily-spooked jittery whose mind has been filled with wacky lunar legends thanks to a sneaky older brother. Luckily he’s distracted by his concern for Marcus who is given a warm persona by Boyce as he balks against the concerns over a chronic health condition (“I took my pill, okay!”). Plus Scott Mescudi is quite effective as Caleb’s caring dad in the flashbacks.

Director Kyle Patrick Alverez has crafted an engaging pre-teen space opera from John Griffin’s script that evokes memories of the Little Rascals (I can imagine the hand-painted label on their rickety wood-barrel rover) mixed with the mildly tense action of THE GOONIES mixed with the “back story” pathos of THE BREAKFAST CLUB. These are great kids, who are doing something a bit naughty and very dangerous. This idea is best illustrated by an action set piece involving an extra oxygen tank, a long “tie line” and the low, low surface gravity (we know that the fun will soon cease). Plus some of the travel sequences had a nice retro feel, foregoing a lot of CGI for some miniature work that feels like a nice nod to the Gerry Anderson “Supermarionation” ala THUNDERBIRDS ARE GO. After a nice side trek, the final stop makes for a sweet third act which leads to a heartwarming though melancholy yet hopeful epilogue. Some of the scenes might be too scary for the lil’ tykes, but older kids should enjoy sharing a ride with these explorers to discover the wonders of the CRATER.

2.5 Out of 4

CRATER is now streaming exclusively on Disney+

BOSTON STRANGLER – Review

(L-R): Carrie Coon as Jean Cole and Keira Knightley as Loretta McLaughlin in 20th Century Studios’ BOSTON STRANGLER, exclusively on Hulu. Photo by Claire Folger. © 2022 20th Century Studios. All Rights Reserved.

Do you recall what kind of viewing was all the rage when most of us were stuck indoors during the big pandemic a couple of years ago? Well, aside from a fictional fable of a chess whiz, it was true crime streaming TV. Of course, many folks still love to binge these often multipart documentaries. And one has become a docudrama, about that Tiger King. A good number of them concern that thriller staple of the last three or four decades, the serial killer. So when did this “boogeyman” enter the zeitgeist? You could go all the way back to Jack the Ripper. Well, this new film is about his American cousin who was a terror of the early 1960s. he even got the big Hollywood treatment 55 years ago. But here’s a new take in which he’s a supporting player since this story mostly concerns the two intrepid news reporters that aided in the capture of the BOSTON STRANGLER.


This version of the tale actually begins with a murder in a state far away from “Beantown” as Det. DeLine (Rory Cochrane) discovers the horrific aftermath of a disturbance call at an apartment building. From there we jump back a few years to the cold Eastern US streets in early 1963. Loretta McLaughlin (Keira Knightley) is becoming frustrated in her job writing for the Boston Record America. She yearns to be part of the “crime beat’, like Jean Cole (Carrie Coon). Instead, the paper’s editor Jack Maclaine (Chris Cooper) thinks that she (and other female reporters) are better suited to cover fashion shows and test new toasters. But Loretta’s been following a series of murders that have been “buried” from the front page. Since the Summer of 62,’ a couple of (mostly older) single women were found strangled with their pantyhose (looking like a “gift bow”) with almost no evidence or signs of forced entry into their homes. Loretta locates the local “cop bar” and finds a sympathetic ally in Det. Conley (Alessandro Nivola), who thinks his bosses are “dragging their heels”. Finally, Loretta brings her research to Jack, who dismisses it because he doesn’t want to antagonize the police and city hall. But the murders continue, and Jack finally gives her the go-ahead, but she’ll be paired with Jean. As their stories are now front page fodder, Jack decides to promote the pair as his crimebusting Lois Lanes. But will their byline and publicity stills put a target on their backs for the fiend they’ve labeled (replacing “phantom”), the Boston Strangler?

As you might have surmised, the story’s main character isn’t the title one, but rather it’s Knightley as the dogged reporter. We can almost see her Loretta roll her eyes when she’s handed a “puff piece” and later attempt to hide her annoyance at home with her kids and hubby. When she begins really digging, she plows through the sexist barriers that the police and her “higher-ups’ try to block her questions (shades of Hildy Johnson). Extra kudos to Knightly for nailing the Yank accent without drifting into the “caar in the yaard” cliches. Ditto for his ink-stained partner Coon as the seasoned writer Jean. She tries to temper Loretta’s zeal, but slowly we see that Jean’s own passions are re-ignited by the forced pairing. Plus her tenure gives her the chutzpah to go toe-to-toe with her grizzled overseer, editor Jack played with gruff and gravitas by the always compelling Cooper. He’s an old newshound who, bit by bit, sees the need for “fresh eyes” as he goes out on a limb, risking the ire of the owner and city hall, to scoop his rivals. Plus he’s not above a little “razzle dazzle’ as he sees a way to exploit his staff’s “novelty” (the duo as a “sidebar'”is an extra “grabber”). Also a bit terse is Nivola, as the best cop who doesn’t want to “make waves”, but has to get the killer, even if it means tossing “off the record” info to Loretta. We see a growing mutual respect build between the two, even as Conley tells her to tell the station operative that she’s his sister. And of note is Morgan Spector as Loretta’s husband James, who gushes with pride over his wife’s works until he winces as he eats away at her time with him and the kids.

Although it’s been several months since the previous film’s release, this could almost be seen as a “prequel in spirit” to the under-appreciated SHE SAID, as both involve hyper-focused female newspaper reporters. However, this new take on a long, long ago investigation has strong elements of a classic whodunit, while also highlighting the sexist attitudes in the days before the women’s liberation movement. In the newer film, we know who the “perp’ is, while Jean and Loretta wonder who may be “tailing” them, perhaps to add to an ever-growing morgue list. The women are brave, but they know when to skirt danger, as Loretta decline one creep’s invitation to his “lair”. This well-crafted true-crime drama is told with great skill by writer/director Matt Ruskin, eschewing the exploitative tone of the 1968 potboiler. The mood and the settings take us back to the early 60s, from the newsroom alive with a typewriter “symphony” to the cold, dark desolate streets that hide a maniac. Oh, if you think you know the real story from the Tony Curtis flick, well you’re in for lots of shockers. While last year’s movie has a true finality (though the Weinstein case is still active), this one hints that it may be too late for a real “solution”. But with this superb cast and expert execution, there should be a new spot on the list of newspaper crime dramas, alongside ZODIAC, ALL THE PRESIDENT’S MEN, and SPOTLIGHT for BOSTON STRANGLER.

3.5 Out of 4

BOSTON STRANGLER streams exclusively on Hulu beginning on March 17, 2023

AVATAR: THE WAY OF WATER – Review

AVATAR: THE WAY OF WATER

Along with EMPIRE OF LIGHT, this week’s film is also a bit of cinema nostalgia. No, it’s not about the beginning of Hollywood or a particular famous director, nor Like EOL a movie palace. That’s because it has something in common with this year’s (so far) biggest box office earner: it is a sequel several years after the original. Now it doesn’t come close to the 36 years between the TOP GUN flicks, but 13 is a long stretch indeed. That’s when James Cameron followed up the, then, biggest film of all time, TITANIC, with a film that surpassed it (at the time). And now after endless reports and rumors, official and unofficial announcements, the sequel to his SF-fantasy epic is finally here (supposedly the first of at least four follow-ups). So dust off those 3D stereo specs for a return to Pandora in AVATAR: THE WAY OF WATER.


The story does pick up on that said planet, as the human invaders are banished, except a few sympathetic scientists, by the native Na-vi tribes. As for the focus of the first flick, Jake Sully (Sam Worthington in voice and “mo-cap”) is still in his cloned Na-vi body and has started a family with Neytiri (Zoe Saldana), plus he’s the chief of the Omaticaya (forest) tribe. The couple has two teenage sons, Neteyam and Lo’ak along with their pre-teen daughter Tuk. Oh, and they’ve adopted two more. there’s teenager Kiri who is the avatar of late human researcher Grace Augustine (Sigourney Weaver) and an actual human teenage boy who couldn’t be part of the exile, though he’s the son of Jake’s enemy. He prefers the nickname ‘Spider’ (Jack Champion). Things are tranquil until that same enemy, Quaritch (Stephen Lang) actually returns in a Na’vi avatar complete with his still ill-tempered “brain template”., Of course, the Earthers are back with another attempt to colonize Pandora under the command of General Ardmore (Edie Falco). Quaritch is thirsting for revenge and targets Jake. When the kids, except Spider, avoid capture by his forces, Jake decides that they must leave the tribe in order to protect their forest friends. Moving quickly, they dash toward the wide ocean to join the Metkayina, the reef people. Their chief Tonowari (Cliff Curtis) and his wife Ronal (Kate Winslett) hesitantly take them in. Jake doesn’t wish to upset his hosts, but his sons soon clash with Tonowari’s aggressive sons, though daughter Tiserya seems to ‘like” Neteyama. But the underwater explorations of the Sully family may be cut short as the forces of Quartich zero in. leading to a massive battle for the fate of the entire planet.

For most films, I’d delve right into the performances, but this film is quite unique in that aspect. Since so much motion-capture technology is utilized you’d perhaps wish to consider it an animated feature. But that’s not really the case as we do have “un-augmented” performers throughout the film. Weaver and Lang are seen in flashback cameos as is Giovanni Ribisi. Champion has probably the most “live time” as Spider who’s an interesting hybrid of the feral “wild child” of ROAD WARRIOR and ERB’s Korak (son of Tarzan) and Jack Kirby’s 70’s creation for DC, Kamandi (“the last boy on Earth”). Falco’s a formidable general, while comic actor Jermaine Clement is a funny nervous scientist in the big third-act battle. Yet here’s what sets apart the use of CGI enhancements here: the acting performances still shine through. Worthington’s a glowering stern, but fair, father. Salanda’s eyes well with tears as she worries about her “clan”. And Lang’s arrogant sneer is there amidst all the blue skin and cat-like features of the Na’vi.


That’s just the tip of this film’s incredible wizardry and wonders. Pandora’s is as gorgeous as you recall, perhaps even more so in the depth and details of the floating mountains and lush jungle that sparkles with shimmering creatures that seem to float inches from our noses. But then Cameron tops that by setting so much of the second half in the new beautiful blues of the underwater vistas. The characters glide in a beautiful ballet with the astounding creatures (their “scalp tails” connect with seal-like transports) and later dance upon whale-like behemoths. But the creativity’s not limited to the new forms of wildlife. Ardmore has an “upgrade” of Ripley’s exoskeleton from ALIENS, while the other Earth weaponry resembles a rampaging metallic crab. In the oceans, the battleship-sized vessels shoot out torpedoes that are tiny one-manned subs. This just doubles the frustrations of an often trite screenplay with too many bits of clunky dialogue. The environmental themes are hammered home while those inter-family conflicts (sibling rivalries, estrangements, repressed attractions) feel “tacked on” to balance the action set-pieces. And yes, they’re truly awesome, but it wears us down after extended aquatic exploring. Still, Cameron has pushed the boundaries of special effects once more making a trek to the biggest screen available (along with enhanced sound and 3D) a real cinematic thrill ride. He makes Pandora the ultimate movie dreamscape in AVATAR: THE WAY OF WATER.

3 Out of 4

AVATAR: THE WAY OF WATER is now playing in theatres everywhere

ROSALINE – Review

(L-R): Kaitlyn Dever as Rosaline and Sean Teale as Dario in 20th Century Studios’ Rosaline, exclusively on Hulu. Photo courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.

Hey, it’s getting pretty close to movie award season, so what better time to, as they sing in “Kiss Me Kate”, “Brush Up Your Shakespeare”. Now, don’t think that you’re doing homework, since this new film delves into one of the Bard’s classics. Yes, it can be fun even though the cast isn’t singin’ and dancin’ up a storm as in WEST SIDE STORY. Whoops, let the “cat outta’ the bag” with that last aside. Yet, it’s a different take on the tale from what’s been shown so many times before. This new “twist” builds itself around a minor character, much as with Rosencrantz and Guildenstern from HAMLET (who got their spin-off story). Oh but in this one, the title character was only mentioned, never seen in the iconic love story. Finally, we’ll get the “dirt” on the former “bae”. Now everyone will learn that before Juliet, Romeo was romancing ROSALINE.

This film begins on a balcony overlooking Verona as Romeo Montague (Kyle Allen) proclaims his adoration for…Rosaline (Kaitlyn Dever). But much like that other story, this is a forbidden romance as she is also a Capulet. The following morning her dreams of him are interrupted by her Nurse Janet (Minnie Driver) who must get her lady ready for Lunch with a potential suitor her father Adrian (Bradley Whitford) has arranged. Once again, she scares off another much-older rich dullard, annoying papa. Rosaline needs her Romero, yet when he drops the “L-bomb” (as in love) on her later that night, she’s gobsmacked into silence. This prompts a hasty exit from him, though she implores him to join her at the next day’s masquerade. Ah, but another suitor is on tap in a few hours, though this one’s much younger and easier on the eyes. Ex-soldier Dario (Sean Teale) has planned a meal as part of the cruise in his modest boat. Though she gives him a chilly reception, their banter is spirited. Still, she needs to get to shore for the party just as a raging storm erupts. Meanwhile, a masked Romeo searches in vain for Rosaline until he bumps into Juliet (Isabela Merced) and those sparks ignite. Oh, and to make matters worse, she’s Rosaline’s visiting cousin. The next day she sees Romeo on the path to her balcony. Oh oh, he’s veering off to the left…to where? Rosaline follows and catches him locking lips with…ya’ know. After her letters to him go unanswered, Rosaline makes it her mission to bust up those lovebirds. So, she’s doomed to fail….or just maybe….

Carrying the whole enterprise is the snarky, sassy comic performance from Dever which matches her terrific work in BOOKSMART. She’s the audience surrogate in the opening sequence easing us from the flowery speech of the classic play into modern slang and vernacular, though Dever can confidently “talk all fancy”. Dever’s Rosaline is a brilliant whirlwind easily trouncing all the dolts who would put her in “her place”. But there’s still a tender vulnerability to her as she realizes her ideal might not be the “real deal”. And that first love, Romero, is played with “surfer dude ‘tude” by the cluelessly comic Allen. It’s no surprise that he’s distracted by the adorable Merced as the naive starstruck Juliet, who almost floats on a cloud of desire when she speaks of her dreamy paramour. On the other hand, Teale is firmly rooted in his budding interest in Rosaline, never folding before her witty asides, though often bemused by her frantic schemes. Also hiding his amusement at her is Whitford as the irritating but somewhat proud pop. Christopher McDonald is a much-different Capulet daddy, a pompous blowhard constantly duped. Spencer Stevenson scores lotsa’ laughs as Rosaline’s utterly fabulous pal Paris, while Driver displays a flair for deadpan exasperation as the Nurse who gets little respect from the hierarchy. Also turning in funny supporting work are Nico Hiraga, the message delivery guy who seems to always be high, and Alistar Toovey as Tybalt, who never drops his sneering squint.

Generating the energetic pace running on this romp is director Karen Maine, who keeps “all the plates spinning” with skill. Wait a minute, romp? Yes, well there are a few liberties taken with the Bard’s work in the clever screenplay by Scott Neustadter and Michael H. Weber which adapts the YA novel “When You Were Mine” by Rebecca Serle. The period wardrobes are almost as gorgeous as the Italian scenery doubling for Verona. And the comedy is enhanced by the expert selection of bouncy 70s and 80s pop tunes on the soundtrack. Those familiar with the source material will watch with a knowing smile and many chuckles, while this could prove to be a great introduction for the younger set, as it’s hard to think of a more teen-friendly gateway into Shakespeare than the engaging whip-smart “firecracker” called ROSALINE.

Three Out of Four

ROSALINE is now streaming exclusively on Hulu

20th Century Studios’ ROSALINE, exclusively on Hulu. © 2022 20th Century Studios. All Rights Reserved.