Tag: 20th century studios

SEND HELP – Review

After last weekend’s brutal winter storm, aren’t you dreaming of a getaway to a tropical island where you’re not wrenching your back shoveling snow or scraping ice off of your car’s windshield? Ah, but what if it’s deserted, with little to no chance of leaving (if only that old boat that’s got “S.S. MINNOW” painted on its side didn’t have that nasty hole in it hull)? And forget about any rescue ships arriving. Perhaps you’re not alone, at least that makes things more bearable. But what if it’s that co-worker you can’t stand? Or trust? These are all things to ponder while basking away in the warmth of your multiplex while watching at least one of these “stranded castaways” make several attempts to SEND HELP.

One part of that duo is introduced in the film’s opening scenes, Linda Liddle (Rachel McAdams). She’s a thirty-something single lady who spends most of her evenings devouring episodes of the TV series “Survivor” with her pet bird, when she’s not prepping for the next day. She’s “workin’ 9 to 5” as a bean counter “cog” at a big investment firm downtown. Its owner has just passed, leaving the company to his arrogant, entitled son, Bradley Preston (Dylan O’Brien). Linda’s all prepared to be appointed the new vice-president, due to her skills, seniority, and a promise from the late Mr. Preston. But naturally, the VP promotion goes to one of Bradley’s “frat bros”. Linda confronts Bradley, who really wants to axe her. However, he’s told of her invaluable “number-crunching”, so she’s spared. This also gets her an invite on the private jet to Bangkok to help seal the deal on a big merger. But these skies are far from friendly, as a storm cripples the aircraft, plunging it into the sea. Linda survives and awakens on the shore of what appears to be a large, lush, deserted island. As she has been researching and training to audition for her fave TV show, she’s in her element. And…she’s not alone. Further down the beach is her injured boss Bradley. Linda tends to the wounds of the ungrateful CEO, while locating food and building a shelter. The two clash, as it becomes clear that in this place, Linda is the boss. Can they work and live together? And does Linda really want to be rescued and return to her dreary life slaving for the obnoxious BP?

As you’ve probably guessed, this is basically a two character study, though enlivened with plenty of action and suspense. At the heart of it is Linda Liddle superbly brought to life by the talented McAdams. Though she’s mainly known for dramas, she expertly delivers her best comedy performance since the original MEAN GIRLS (that can’t be 22 years ago). She’s endearingly awkward and klutzy in the story’s first act, establishing Liddle as socially inept and dripping with “flopsweat” through her “bargain basement” attire. I was reminded of Michelle Pfieffer’s Selina in BATMAN RETURNS. And like her, trauma changes Liddle (the plane crash here) into someone completely different, full of purpose and drive. And often very intimidating. McAdams succeeds at turning our chuckles into gasps, almost reaching through the screen to pull us in (I’m guessing the 3D version works well). Luckily she’s got a superb scene, and island, partner with the versatile rising star O’Brien. I sang his praises a couple of years ago for his remarkable recreations of young Dan Aykroyd in SATURDAY NIGHT. Since then, he was also compelling in TWINLESS (but let’s forget ANNIVERSARY, shall we). As with McAdams, his take on Bradley is a comic horrible boss straight out of many workplace romps in act one. We even see some of his snark and venom-spewing attitude in his beach rescue. Somehow, O’Brien is able to turn it around, and have us in his corner, for a bit. Then we see that his seeming change of heart masks plenty of dark intentions. His vulnerability his another mask to cloud his cruelty. These are two charismatic screen actors in top form.

And who’s “pulling their strings”? Why, it’s none other than the glorious genre movie-making mastermind Sam Raimi. Actually, he’s got his fingerprints all over it, delighting and engaging us with his manic storytelling style, full of dark, almost pitch black, comic set pieces (somehow the plane crash is harrowing and hysterical), heightened by his still energetic compositions that careen from big close-ups (that tuna fish on Linda’s chin) to the sweeping island panoramas (take in the ragged cliffs). Those paying close attention will be rewarded by several of his endearing “call backs” (look at the office wall and the parking garage) that clearly set this in the quirky “Raimi-verse”, much like his last foray in the “Marvel-verse”. Be forewarned that he doesn’t hold back on the blood, guts, and mayhem (yes, there are native wildlife in the tall grass). And there are still lots of narrative “tricks” up the sleeve of this directing “prankster” as he makes good “pop pulp” out of the clever, twisty script from Damian Shannon and Mark Swift. Plus, two of Raimi’s stalwarts, cinematographer Bill Pope (making both the gleaming offices and lush beaches glisten) and composer extraordinaire Danny Elfman lift the film up with their artistry. Couple that with some vibrant visual effect magic and startling stunts and Raimi, along with McAdams and O’Brien, bring lots of energy (Sam’s been at this for five decades now) and a very entertaining take on cinematic castaway tropes (a nice mix of the Hanks classic, along with SWEPT AWAY and MISERY) in SEND HELP.

3.5 Out of 4

SEND HELP opens in theatres everywhere on Friday, January 30, 2026

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

THE HAND THAT ROCKS THE CRADLE (2025) – Review

Did you think that the only movie remakes out this year were THE ROSES and THE TOXIC AVENGER (not counting the three live-action remakes of animated features)? Of course not, since the trailer for THE RUNNING MAN seems to be attached to nearly every movie at the multiplex. That one’s nearly three weeks away, so how about a “re-do” of a film that’s not quite as old as the Arnold classic? Now streaming is a new spin, truly earning the often noxious marketing phrase “re-imagining”, on a kinda’ campy thriller from 1992 (naw, it can’t be over 30 years away). So what has changed, and what remains for this take on THE HAND THAT ROCKS THE CRADLE?


For one thing, the 2025 “model” begins with a flashback, probably about 15 years ago, as a blonde pre-teen watches a two-story suburban home go up in flames (and we hear the screams of those trapped inside). Then we’re back in the present as very pregnant lawyer Caitlyn (Mary Elizabeth Winstead) is taking on a new pro bono client at a free legal advice center. Former child care worker Polly (Maika Monroe) is dealing with a shady landlord. Soon after their meeting, Caitlyn goes into labor, and gives birth to a baby girl, Josie. As the weeks progress, it becomes clear that Caitlyn has “too much on her plate” with the new addition, rebellious pre-teen daughter Emma (Mleiah Vega), and returning to her law firm. Hubby Miguel (Raul Castillo) implores her to hire some domestic help. Almost on cue, Caitlyn soon bumps into Polly. The two hit it off and the harried new mom gets the info and a solid reference for the ex-client (who lost her apartment). Polly is a welcome addition, attentive to Josie, and bonding with Emma. And then things go “sideways”. Everyone gets food poisoning (could Polly have spiked the main course). Then Polly breaks a big house role, giving Josie retail formula rather than Caitlyn’s breast milk. Eventually, Polly moves into the guest house next to the pool, but things don’t get back to normal. Are Caitlyn’s prescription meds (for a mental health condition) not working (another concern for Miguel), or did Polly tamper with them? Is it postpartum paranoia, or does the seemingly sweet Polly have a secret agenda?

Much like the original, this take really relies on of the power dynamic “tug-of-war” between the two main characters, and the film’s producers have cast two very interesting actors who have had great experience in the thriller genre (or genre films in general). The biggest emotional arc is given to Caitlyn, and Winstead expertly lets us see her growing mania after establishing the lawyer/mom as a “hands on” parent with a complex past. At just around the half-way point, Winstead takes her energy from stroll to trot to a furious, frantic gallop that pulls us along in her wake. This contrasts well with Monroe, perhaps best known for her lead in the indie horror gems IT FOLLOWS and LONGLEGS, who almost makes Polly a blank slate, her dead-eyed stare during confrontations with Winstead allow us to project all manner of sinister schemes onto her. However, we get to see a bit of her darkness at a dinner party when verbally chided by Caitlyn’s old best pal Stewart, played by the always engaging Martin Starr (forever Bill Haverchuck, class of 82′). He’s a sneering elite, who reveals a kind heart not only with Caitlyn (oops, don’t want to spoil). Castillo does his best with the underwritten role of the often thick hubby, who is either a witness or impediment to the long-awaited “throw-down”.

Taking the directorial reigns from the late, much-missed Curtis Hanson is Michelle Garza Cervera, in her second feature after many shorts and TV episodes. She keeps the pace steady, eschewing any flashy effects, save for the opening flashback. There’s a good use of LA locales, though Cervera is often a bit heavy-handed in contrasting the “haves and have-nots”. The often radical “re-imagining” is engineered by screenwriter Micah Bloomberg, who strips away many of the problematic elements (there’s no Solomon here in any form) of the 92′ story from Amanda Silver. And yes, many of the cheesy camp of the first is excised, but some interesting ideas are explored (Polly seems more into seducing Caitlyn than Miguel). Making first daughter Emma a few years older provides a chance to explore the often tumultuous clashes with mothers (another power struggle). Still, time hasn’t been kind to the subject manner since basic cable TV has been “strip-mining” the original film countless times over the years, with endless variations of the “wife/mother defending her happy home against the twisted interloper” (much as with the many clones of FATAL ATTRACTION). That’s a shame, since the two leads are such an interesting pairing, and are worthy of a more original tale than the still-familiar THE HAND THAT ROCKS THE CRADLE.

2 Out of 4

THE HAND THAT ROCKS THE CRADLE is now streaming exclusively on Hulu

SPRINGSTEEN: DELIVER ME FROM NOWHERE – Review

We must be “all in” for the end-of-the-year awards season as we’ve got a new big biographical film of a music superstar from an acclaimed director. Last year, Christmas Day to be exact, filmgoers got to do a deep dive into the 60s musical odyssey of Bob Dylan with James Mangold’s A COMPLETE UNKNOWN. Though it didn’t garner as many awards (and box office) as BOHEMIAN RHAPSODY in 2018, it still racked up lots of critical raves (and even a Sag Best Actor for its star Timothee Chalomet). Now, like that earlier biopic, this one showcases another rising young star who is best known for an acclaimed TV show. Oh, but the big difference is that this is set a couple of decades later, at the start of the 1980s. Still, there’s a lot of musical “common ground between “Mr. Zimmerman” and SPRINGSTEEN: DELIVER ME FROM NOWHERE. As “the Boss” might say, “One, two…”.

After a brief black and white prologue with our young hero riding his bike through the means streets of Long Branch, New Jersey, the story jumps ahead to the splashy color of 1981 as fans are left breathless after the final concert number from Bruce Springsteen (Jeremy Allen White) at a packed arena. As he winds down backstage, his trusted manager Jon Landau (Jeremy Strong) tells him that after a few post-concert dealings (including an interview with “Creem” magazine, remember it), his rental home on a lake in Colts Neck, New Jersey is ready. After he settles in there, the Boss contemplates his next album while recalling his turbulent early life with dutiful mother Adele (Gaby Huffman) and his boozing, abusive father Douglas (Stephan Graham). Later, in an effort to “blow off some steam” he joins the local rockers at The Stone Pony bar/music venue in Asbury Park. As he leaves, Bruce runs into an old high school buddy, who introduces him to his sister Faye (Odessa Young), a single mother working at a nearby diner. She gives him her number, in case he wants to “hang” sometime. Chilling back at his lake house, he does a bit of channel “surfing” and stumbles upon the 1973 Terrence Malick classic BADLANDS. Bruce is riveted, heading to the library to gather more info on the film’s inspiration, killer Charles Starkweather, then returning home to jot down lyrics and strum on his guitar. He has an epiphany: the new song collection “Nebraska” will have no polished studio sound. He brings in his audio-tech Mike Batlan (Paul Walter Hauser) to record a demo tape using very low tech (cassettes). When Landau meets Columbia Records’ Al Teller (David Krumholtz), the exec is stunned by Bruce’s subject matter and his rules. There will be no singles, right after Bruce landed a single on the Billboard top ten. But Jon and Bruce persist. Meanwhile, the Boss struggles to get “the sound” just right while the process dredges up brutal memories from childhood. Can a burgeoning romance with the “hometown gal” vanquish the inner demons inside the rising rock and roll superstar?

Wow, in this film you get two (yes two) great Jeremys heading the ensemble. First, of course, is White, who we’ve not seen on the big screen since 2023’s THE IRON CLAW (though he continues to cook up a storm on TV’s “The Bear”). Without the use of prosthetic makeup, but with a little color “tweaking” in his curly mane, he makes us believe that he’s the “Boss”. He’s got that confident strut as he wields that guitar like a gladiator’s broadsword before the adoring throngs. But he’s more Clark Kent as leaves the backstage door, trying to blend in with the “average Joes”. However, White shows us his simmering intensity, whether achieving his artistic goals, struggling to put the right words in his battered notebook, or clamping down on his childhood monsters. Plus, he projects an almost boyish charm during his “downtime” with Faye. The other J is the superb Mr. Strong (so wonderful in last year’s THE APPRENTICE) as the laser-focused Landau. He’s Bruce’s strong right hand, whether he’s dealing with the press or anxious record execs demanding more “hits”. Strong’s stare seems to burrow into White’s brain, forming a connecting line of creative thought. The two actors’ performance anchor the tale. But then they have a great supporting cast. Young exudes a sexy “tough gal” persona as the smitten, but steadfast (not putting up with any “Boss BS”) as Faye. Hauser provides a few needed laughs as the perplexed but hard-working audio geek, Mike (he questions, but never refuses Bruce’s needs). The other big emotional role may be Graham as the stoic papa Stephan who lashes out in order to “toughen up” his boy, while casting a dark shadow that looms over the crumbling house, leaving Hoffman as mama Adele as the sole bright light in the lad’s life. Krumholtz is also funny as recording bigwig Teller, while the great Marc Maron shines with just a few lines as audio mixer Chuck Plotkin.


The acclaimed filmmaker is director/screenwriter (adapting the book “Deliver Me from Nowhere” by Warren Zanes) is Scott Cooper (CRAZY HEART), Wisely, he decided to focus in on an important year or two in Bruce’s life, rather than giving a full “life story” (though we do have those 1957 snippet flashbacks), to not get into the cliché biopic “checklist” (then he did this, then that, then…) which gives the personal drama more room to “breathe”. Also, it allows Cooper to really explore the creative process of an artist, which is usually a “stumbling block” (always a problem with stories about writers). At times, Bruce seems rigid and too unwavering, but Cooper shows us that it’s a quest for purity in the music’s intent. The era of the early 80s is painstakingly recreated with nods to pop culture and a big ode to the power of cinema, not only BADLANDS (young Bruce watches a 1950s cult classic with his pop). The pace is rather languid, with bursts of the remarkable rock and folk anthems. At times that measured pace is sidetracked by the romantic subplot, (it somewhat evaporates by the final act) which doesn’t add much to the story of the creation of an album. And a few fans may wish there were more recreations of the marathon concerts, but Cooper gives us enough of a taste to convey the power of Mr. S. But in those final moments, Cooper provides a positive message about seeking help from mental health professionals (might nudge those struggling to see a “rock god” getting back on track) It’s not a bombastic tune-filled spectacle, but rather a powerful, intimate portrait of a man exploring new artistic territory while exploring his own past. That power of creation fuels SPRINGSTEEN: DELIVER ME FROM NOWHERE.

3.5 Out of 4


SPRINGSTEEN: DELIVER ME FROM NOWHERE is now playing in theaters everywhere

SWIPED (2025) – Review

Feels like it’s been a while since moviegoers have gotten a feature about a real-life invention that had a pretty big impact on the world, or society in general. Sure, they briefly touched on the origins of the kids’ toy superstar BARBIE in that recent blockbuster. Plus, we’ve gotten films about shoes (AIR), tech devices (BLACKBERRY), other toys (THE BEANIE BUBBLE), and a computer game (TETRIS). Predating all of them (can it be 15 years old?) is the Oscar-winning story of a website, THE SOCIAL NETWORK. So, when do we get another movie about an online “game changer”? And that leads into this new flick about another website that’s perhaps best known as a phone “app”. I’d tell you its name, but you can probably guess it from this movie’s title, SWIPED.


Now, the story’s real focus is actually a fast-talking (and fast-thinking) tech innovator with the “superhero alias” sounding moniker, Whitney Wolfe (Lily James). We first encountered her about a dozen years ago as she crashed a big “tech bro” bash on the Santa Monica pier. She’s trying to raise interest (and funds) for her website that matches volunteers with charities. After several “strike outs”, she makes a connection with Sean (another cartoony-but-real name) Rad (Ben Schnetzer), who tells her to drop by his development firm, Hatch Labs IAC Incubator. Naturally, she’s there a few hours later before Sean arrives. But he’s got a big meeting with a potential client for his restaurant rewards app Cardify. Sean figures she can pose as his “gal Friday”, but Whitney surprises him by helping “seal the deal”. She becomes part of his team, proving invaluable once again when Cardify “flatlines”. At a big pitch meeting, several staffers bounce around ideas for a dating site/app, but it’s Whitney who comes up with the perfect name for it: Tinder. But they need to spread the word, so she travels to her old college sorority at SMU with work pal Tisha (Myha’la) and due to her people skills, hustle, and quick thinking, the app sweeps the school. Back in LA, the company’s celebrations get a boost from Sean’s new hire, his old pal Justin (Jackson White). Despite her better judgement, Whitney begins seeing him socially. But her rising profile threatens Justin, as he and Sean squeeze her out of the publicity swirl around the company and the increasingly popular app. Things take a dark turn when the board ignores complaints about graphic photos posted, and when Justin becomes possessive after Whitney breaks off their relationship. Soon, she must make a stand and a decision: stay and fight for what she’s due, or leave and start over.

Ms. James is establishing herself as one of the busiest actresses working today. It was only a few weeks ago that I was enjoying her work in the little-seen gem of a thriller RELAY (really, catch it when it starts streaming). Here she gets a chance to really flex her skills in comedy, romance, and some heavy drama (with a few thriller elements this time, too). James has us rooting for Whitney from beginning to end, making us invested in very tough choices. She gets great support from Myha’la who encourages, but speaks up when “her girl” fumbles the ball in not helping her “sisters’ climb the corporate “ladder”. As for the fellas’, Schetzner is a cool, affable partner/boss until fame makes him “flip a switch”, surprisng us with his cool, aloof ‘tude. Ditto for his “bro” Justin, played with easy-going “puppy dog” charm by White until he’s threatened by Whitney and goes right into the “ex from Hell” mode. But Wolfe does encounter a nice “dude” outisde the office in Andrey Andreev played by Lily’s former “Downton Abbey” TV series co-star Dan Stevens. He’s a somewhat daffy ultra-rich tech mogul out of Eastern Europe who tries to “poach” Whitney for his dating site Badoo. not for her looks but for her keen creative input and expertise. A few other familiar faces pop up in brief supporting roles, including Joely Fisher, Clea DuVall, and that “silver fox” Dermot Mulroney.

Director/co-screenwriter Rachel Lee Goldenberg has crafted a mostly inspiring true tale for young women trying to break into the male-dominated tech industry. But it’s also a cautionary tale, which shifts so abruptly in tone in its second act, that some viewers may get a touch of cinematic “whiplash”. The lead-up and launch of Tinder plays much like a light-hearted romp, as Wolfe works the college kids and charms her open-minded boss in a frothy modern workplace comedy. This even extends to the sweet at first) flirtation with Justin. Then the d#*k pics flood the servers, and the darkness begins. Almost all the fellas seem to have drunk from a water cooler filled with Dr.Jekyll’s old “Mr. Hyde mix”. This leads to the big nosedive as we wait for Wolfe to “pull up” and stick the landing. Really, the soured office romance often plays like a made-for-cable-TV Lifetime flick. Of course, we do get a token “good guy” to not paint every male as a leering, abusive goon (and yes, I know that women in past office-set films were either bubble-headed bimbos or shrews, but this still stings a bit). These tonal shifts and pacing problems ultimately take the needed zip and good intentions away from the true life story of SWIPED.

2 Out of 4

SWIPED streams exclusively on Hulu beginning on Friday, September 19, 2025

EENIE MEANIE – Review

Now, before the Summer of 2025 officially comes to a close, how about one last ride in a suped-up classic car with the law in hot pursuit as you cause thousands of dollars in property damage (other cars included). Hold up, they’re not sneaking that final FAST & THE FURIOUS flick into the multiplex unannounced. Oh, we have that to look forward to (or perhaps dread is more accurate). It seems that SUPERMAN wasn’t the only film zipping through the streets of Cleveland last year (both needed a year’s lead time). However, you’ll not be able to hear the screeching tires through Dolby Theatre’s speakers since this is a premiere streaming movie. And its title harkens back to the classic nursery rhyme, making us wonder if catching “by the toe” is possible when the driver’s nickname is EENIE MEANIE.

The story starts with a flashback when 14-year-old Edie defied the law (not the first time) by meeting her folks at a neighborhood “watering hole” and driving the sloshed pair home in the family car. Flash forward 17 years, as adult Edie (Samara Weaving) is partying a bit hard herself at the bachelorette party of her BBF “Babygirl” (Kyanna Simone). Edie’s got a full day ahead of her and starts it by waking up late, earning the ire of her boss at the bank. Naturally, a gang of crooks barges in, with one thug conking her on the head with his gun (which Edie tried to grab away from him). She wakes up in the doctor’s office, who tells her that she and her unborn child will be fine. WTF, pregnant?! Could it have happened during a brief “visit” with her now ex, bungling petty criminal John (Karl Glusman)? Now, Edie’s got to get to her junior college classes, but she goes past her bus stop in order to confront John at his sketchy apartment complex. When she arrives, he’s getting worked over by some “legbreakers”. Ignoring her first impulse to “dash”, she rescues him with the pair escaping in a stolen car. John brings her in on his latest scheme (she doesn’t give him her big news), which “goes South”. In order to cool things down, the duo begs forgiveness of the local crime boss (who has a soft spot for Edie, dubbing her “Eenie Meanie”), Nico (Andy Garcia). Seems that John has cost Nico a big “earner,” and the replacement fee is three million bucks! But Nico has a plan for them. The local casino’s having a big poker tournament with a three-million-dollar cash prize. No, John’s no good with cards, but Edie’s great with cars. Huh? Turns out that the cash prize will be put inside a classic Dodge Charger, which Edie will have to drive out of the crowded casino. The backup crew is all set, but can they possibly pull off this big “broad daylight” score, especially if John “gums up the works”? And when will Edie drop the big “baby bomb” on that doofus?

In the title role, Weaving does an engaging job of making many action film clichés feel fresh. Aside from putting her own “spin” on the “wheel man” role, she conveys the inner struggle of a young woman at a true crossroads. She’s got to leave her fun and footloose twenties and really plunge into adulthood as a prelude to motherhood. And though life has thrown a lot, a whole lot, at her, Weaving never makes Edie a victim, even as she talks about being put “in the system” and later, in the “joint”. I look forward to her future films (especially a sequel to READY OR NOT). She dominates the screen so confidently that it’s tough for co-star Glusman to shine. And though he thoroughly dives into his role, John’s more than a bit shallow. He’s a dimbulb for the first hour or so, getting naked or beaten up (or both) in order to liven up the pace and provide some cheap laughs. I’m sure Glusman could make him more sweet and endearing, like a destructive puppy, but the script doesn’t provide that. Which causes us to actively root against him and Edie getting back together. Garcia is very compelling and quite funny as the aging but still tough-as-nails “mini-kingpin”, whose gravelly voice goes up an octave when talking to his surrogate daughter Edie. Her real papa is played by the always entertaining Steve Zahn in the opening sequence, frantically warning Edie about a police stop, and later as we see him with his “start over” family facing a very different future. There are also several gifted comic actors in smaller roles. First there’s Randall Park, whose fate sets the big caper in motion, then Mike O’Malley as Nico’s sardonic best bud/caregiver, and Marshawn Lynch as the flashy getaway driver rival to Edie.

This film comes from writer/director Shawn Simmons, who’s truly going “all out” for his feature film directing debut as he mixes comedy, wild car stunts, and a touch of character drama. And some of it works very well, especially in creating the unique character of a woman “wheel man” in the same league as BABY DRIVER and DRIVE. He also makes excellent use of the grimy, mean-looking streets of Cleveland. Yet, much of the material feels worn and listless. What doesn’t really help is the story’s radical change in tone during the flawed final moments when a major character almost becomes an evil clone of the person we’d seen in the previous 80 minutes (I thought of that classic Trek tale “Mirror, Mirror”). A “tacked-on” rose-colored epilogue just doesn’t fit with that big reveal. The racing fans will enjoy seeing some of their favorite “muscle cars” careening past the squad cars, but aside from Ms. Weaving, there’s little that really puts the “pedal to the metal” in the uneven exploits of EENIE MEANIE.

2 Out of 4

EENIE MEANIE streams exclusively on Hulu beginning on August 22, 2025

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

QUIZ LADY – Review

So, how accurate are some of those old sayings? Well, in the case of “You can pick your friends, but you can’t pick your family”, well…yes, 100 percent. That’s especially true with siblings, going all the way back to Cain and Abel. Sure brothers battle, but is that ditto for sisters? This weekend’s new comedy uses that as its “springboard”. These two ladies couldn’t be more different or argumentative, Fortunately, they’re both hilarious, and their characters are played by two talented actresses. You see, the elder is a party gal while the other is saddled with the title QUIZ LADY.


We first meet the aforementioned QZ as a timid eight-year-old indulging in her favorite weekday activity, watching the live TV show “Can’t Stop the Quiz” hosted by true hero Terry McTeer (Will Ferrell). And she pretty much aces all the questions despite her older sister indulging in lots of teenage drama (boys, friends, dresses, etc.). And just a few years later she storms out of the house, as lil’ sister focuses on that program. Cut to her today and her grown-up adult self, Anne Yum (Awkwafina). She’s now living in a duplex building next to her cranky older neighbor Francine (Holland Taylor), and still never misses CSQ, though she now shares it with her aging pooch, Mr. Linguine. The next morning, like clockward, she’s off to her nine-to-five cubicle job as an accountant. Her routine is disrupted one day as she gets a call at work. It seems that her Mom has “booked” from the nursing home. Anne dashes down there just in time for an unexpected (and very unwanted) reunion with big sis Jenny (Sandra Oh). After some bickering, they learn that Mom is actually in Macao with her new beau. Then things get really complicated when her “loan shark” Ken (Jon Park) dognaps Linguine to ensure the sisters clear her eighty grand debt. But Jenny’s got a plan: Anne has to win the dough on CSQ! But she’s painfully shy and wants to go unnoticed and blend into the background. Can the two stop their verbal sparring long enough to get to the TV studio and get the beloved doggie back home?

Now here’s a great new comedy team-up! Though she’d be considered the “straight” partner of the duo (much like Bud Abbott). Awkwafina elicits lots of laughs as she commits to a constant shoulder slump while trying to dash past anyone who might spot her. This makes her annoyance about unwanted fame work so well. And it’s a terrific “set-up” for her loopy, loose body language under the influence of “relaxers” given by the human wrecking ball that is Ms. Oh as the no-filter big sis Jenny. Unlike lil’ sis, she’s confident with little talent or smarts to back it up, even comparing herself to Oprah as she tosses off her hair extensions. In the supporting but certainly pivotal role as the master TV MC, Ferrell tones down his usually manic persona, giving McTeer an endearing dorky quality echoing his SNL work as the great Trebek in their “Celebrity Jeopardy” sketches and killing it with awkward attempts at humor (to a contestant: “I see you’re from Kentucky. Did you ride here on your horse?”). Plus he’s got a great comic rapport with Jason Schwartzman as the unctuous, smarmy long-time CSQ champ Ron Heacock, flashing his way too bright “pearly whites”. Taylor brings her decades-old sitcom skills to bear as the always irritated and noisy next-door neighbor. Kudos also to the fabulous Tony Hale as the owner of a motel in Philly who really tries to stick with his Ben Franklin cosplay (“Does thou have a major credit card?”).

This sprightly-paced, candy-colored farce is helmed by Jessica Yu, squeezing every ounce of yucks possible from the screenplay by Jen D’Angelo. There are terrific satiric jabs at celebrity culture, workplace politics, and even at society’s stereotypes of Asians (when a trucker yells, “Learn to drive”, Jenny calls him racist until he leans out of the driver’s side window and, well you can guess). Not only does Yu elicit wonderful work from the lead duo, but she peppers the whole film with funny folks including a loving cameo showcasing a recently “taken too soon” comedy icon. Sure it is a smart script, but the film’s not too sophisticated for some well-executed slapstick and plenty of subtle sight gags. Yes, the idea of a long-running TV game show being broadcast live feels far-fetched (though Regis did it for several weeks twenty years ago), but it just adds to the silly comedy chaos and family bonding at the happy heart of QUIZ LADY.

3 Out of 4.

QUIZ LADY is now streaming exclusively on Hulu

NO ONE WILL SAVE YOU – Review

Wow, can you believe that Halloween will be here in just over five weeks? Oh yes, it’s time to get in the mood with a creepy thriller mostly set at night but stretches well past dawn. Okay, we’ve got some of the essentials for a modern “chiller-Diller”. There’s a big house near the woods, far away from any neighbors. Check. Its sole occupant is a single young woman. Double check. Naturally, there are eerie shadows passing by the windows at night, accompanied by strange noises. Yup, a hat trick! Must be a distant cousin of Jason or Michael. Let’s put the brakes on, because this menace is much more sinister…and otherworldly. Now if he (or it) could “use its words”, I’m sure it would utter a variation of this dire warning to the home’s solitary occupant: NO ONE WILL SAVE YOU.

This modern “terror tale” begins in that swell country house just at the edge of a forest at around daybreak (much like a Thomas Kincaid painting print). It’s another quiet morning for twenty-something Brynn Adams (Kaitlyn Dever), the only resident of the place. Strolling into the front yard, coffee in hand, she notices an odd bare spot in the lawn, resembling a crescent. Strange, but not as weird as her postman, who tosses a big box at her mailbox (nix on a porch drop off). Seems pretty cruel. At least its contents weren’t damaged. It’s the newest miniature shop addition to her expanding tiny toy town display. Then it’s off to her sewing machine to finish a dress, wrap it, and stuff it into a large manilla envelope. With that and another package, she drives her SUV to the main street of her “picture perfect” nearby village. Oh, but there are no friendly waves or “hellos” from those on the sidewalks, only stares and hushed comments. After popping her mail in the boxes in front of the post office, it’s off to the cemetery for a picnic lunch…at her mother’s gravesite. When Brynn notices some mourners gathering down the trail, she quickly gathers her basket and drives home. Following writing a letter to her old friend Maude, a few minutes practicing ballroom dancing to an old LP, and a nice dinner (with plenty of vino), it’s bedtime. Brynn’s slumber is soon interrupted by odd noises and fleeting shadows across the windows. These aren’t caused by kids pulling a prank, or burglars. The silhouette in the moonlight reveals the outline of a creature she’s never seen. This “thing” takes out the house’s electricity, shuts down the car, and disables the phone (yes, she’s got a landline). Can Brynn evade it or will she have to fight for her life? And what if it’s not alone?

What may seem like a very simple story is elevated by the bravura performance of the gifted Ms. Dever. Though she’s recently made a name for herself in the area of light comedy (“Last Man Standing” on TV, BOOKSMART and ROSALINE on the big screen), Dever builds on the dramatic gifts she spotlighted in early works like SHORT TERM 12. Mind you, she was a terrific “team player” in those efforts and has a few supporting players here, but this is foremost Brynn’s story. She’s in almost every scene and Dever confidently carries the film, drawing us into the sheltered life of this young woman. In the opening scenes, Brynn appears to be a quirky eccentric with interests more fitting of a person two or three times her age. Miniatures? Ballroom dancing? But from Dever’s wide eyes and bright smile, she conveys the joy these unique hobbies bring her. It’s not until the “outsiders” intrude that her inner struggle begins to seep in. Brynn appears to be content in that big two-story house all to herself until she leaves the driveway and gives a hesitant wave to a neighbor, who merely sneers. How will she ever get a dance partner? Brynn’s a woman of mystery until she’s thrust into the role of “scream queen” and “action heroine”. Dever superbly shows us the panic in her eyes, soon tempered with her survival instincts. We can almost hear her brain going into overdrive, pushing past the raw shock, and scrambling for weapons or a hiding spot. Coupled with Dever’s athleticism we’re made to feel as though we’re sprinting right alongside her, as she encounters each new threat. Oh, and she does this with perhaps only a handful of words.

That’s right, there are only two or three lines of dialogue in the whole film, essentially making this a modern “silent movie”. Imagine the Best Picture Oscar winner THE ARTIST mixed with the classic Twilight Zone episode “The Invaders”. Plus there’s a big element of mystery at the story’s core. Just what happened to make Brynn an outcast, a despised pariah, in this Mayberry-like burg? And this backstory isn’t ignored once Brynn’s fighting for her life. It all comes together smartly thanks to the script and direction of Brian Duffield, in only his second feature (after several screenplays). Sure, there are “jump scares”, but they feel “earned” and not cheap tactics to keep us awake. Also, the unexpected twists and turns in the plot keep us guessing from scene to scene. Luckily Mr. Duffield has enlisted an army of talented craftspeople, from the sound crew to the special effects team, to the skilled art department who have enhanced the classic look of the aliens (culled from years of “abduction” testimonies) and made them the “stuff of nightmares” (these are some evil ETs). All abetted by the cinematography of Aaron Morton and a riveting music score by Joseph Trapanese. Some may be put off by the lack of dialogue and the big “open for interpretation” finale, but those last moments should spark some interesting post-viewing conversations. That won’t happen outside the multiplex, unfortunately. Like two films that premised on this app last year, PREY and BOSTON STRANGLER, NO ONE WILL SAVE YOU is most worthy of a theatrical release. Catch it now, then perhaps savor it with some leftover candy as Halloween dies down.


3.5 Out of 4

NO ONE WILL SAVE YOU is now streaming exclusively on Hulu

THE PRINCESS – Review

Joey King in 20th Century Studios’ THE PRINCESS, exclusively on Disney+/Hulu. Photo by Simon Varsano. © 2022 20th Century Studios. All Rights Reserved.

Many of you might be wanting to take a break from the big studio action blockbusters with wall-to-wall bone-crunching stunts and feats of physical derring-do. Well, if you see this title popping up on your streaming services, you might believe that it’s a sweet bit of fairy tale fantasy and a relaxing change of pace for your movieviewing. Um…think again, becuase, this royal heir would stun and surprise at a tea party for the “Disney divas’. After watching this you’ll know that there are few medieval movie heroines quite like THE PRINCESS.

Now, when we first meet her, she’s doing the whole “Sleeping Beauty” bit as she sleeps on a fancy feather bed in a room at the top of a castle tower. At least it’s not a glass coffin like Snow White. Ah, but as soon as she awkens,we realize such a fate could be in the cards for the Princess (Joey King). She recalls an altercation ending with her being forced to inhale some form of sleeping salts (no, not a magic potion). Before she can gather her memories she hears heavy footsteps outside the door. When they enter, the Princess transforms into a whirling dervish of punches and kicks, using every object at hand to take down this deadly duo even though her hands are in manacles. Somehow she has to evade all the guards at every level in order to return to the rest of her royal family. many many feet below her. Mother, father, and kid sister Violet are being watched over by the evil schemer Julius (Dominic Cooper). He’s a diplomat from another country (we’re never given exact locations) who decides that the best way to take the throne is by marrying the Princess. And thanks to his secret army of goons led by his deadly “consort” Moira (Olga Kurylenko), he pressures the royals into a last minute wedding, which ends when the bride, the Princess, refuses (leading to the gassing and imprisoning). As she works her way down, flashbacks show us how the daughter of one of the king’s foreign advisors, Linh (Veronica Ngo), trained her in all manner of self-defence skills, which horrifies the King. He had been hoping for a son to take the throne, which inspired the master plan of Julius. But even with her considerable fighting knowledge, can the Princess save her family, and defeat the army of killers that infests the once peaceful kingdom?

Previously known for her work in teen romcoms and a few horror flicks, Ms. King can now add action star to her fairly long film resume. She flings herself into combat with wild abandon, bouncing from one attacker to another as though she’s changing dance partners in a most intricate musical number. Which she is, in a way. Since the settings aren’t especially vast, King needs to be in view, though I’m sure the stunt team really “earned their fees”.Sure, she seems super-human at times, but King shows us the panic in her eyes as she scans the area for a possible weapon. And those eyes water and her mouth contorts in agony when the punches hit their target. Cooper doesn’t have nearly as much to do as his Julius twirls his mustache while screaming orders at his endless henchmen supply, but he does the whole usurper role well, with a a true mania for deviltry. The real “dirty work’ is left to Kurylenko who’s the proper “flipside” of King as the sneering dominating dispenser of pain as she becomes more of a “tigress with a whip”, which packs an extra ‘sting’ when a sharp hook emerges from its tip. Ngo is also quite impressive as the mentor turned partner in the big kitchen “rumble” and during the frenetic finale.

Vietnamese filmmaker Le-Van Kiet keeps the film moving at a break-neck pace almost from the opening moments, only occasionally slowing down to give us a bit of backstory via flashbacks and the Princess peering in on Julius and Moira from the labyrinth of walkways behind the castle’s chambers. In favor of the big fights and escapes, the screenwriters have eschewed much of the period and historical details. As I mentioned, no countries are named along with the monikers of the royal family (other than Violet). the lead is always her royal title. The look of the film balances the decorative with the deadly, especially the weaponry. Aside from the whips’ spring hook, there’s a great spin on the classic crossbow. Along with the swords and spears, the guards use a long-handled sledgehammer device with one end looking like a steel fist. Of course, the story requires a big suspension of disbelief as the heroine has an endless supply of energy coursing through her petite frame, as the film often resembles a medieval KILL BILL or JOHN WICK, as countless cuts and punctures barely slow her down. For the viewer, well it gets a bit exhausting and mind-numbing even at a taut 90 or so minutes. But for the action enthusiast, they’ll get their kicks (and punches and swordplay) here watching THE PRINCESS, a lady in no need of a Prince Charming to rescue her, though it’d be great if he brought some bandages and linament.

Two Out of Four

THE PRINCESS is now streaming exclusively on Hulu