Tag: Amazon MGM

CRIME 101 – Review

Though it may seem that way, Spring and Summer aren’t the only release seasons for “high octane” action-packed crime thrillers. And this new mid-February release proves it. It’s packed with cops, gun-wielding “robbers”, and roaring car chases through congested Los Angeles. Yes, it’s very “street-level,” which is a big “change of venue” since the three main leads are multi-film Marvel Cinematic Universe vets, so no powers, just keen skills. And, no, it’s not about them passing on their talents to eager college students in big lecture halls. The triple numbers in the title refer to a very busy California freeway, which is the “route” favored by the main criminal, hence its moniker, CRIME 101.


The story starts in the pre-dawn hours as the three principals begin their “prep” for the day. Sharon Combs (Halle Berry) applies her make-up (almost like “war paint”) to charm another rich jerk into signing an insurance contract with her prestigious “protection” firm. Groggy police detective Lou (Mark Ruffalo) stumbles about in the dark until he begins his bathroom “constitutional” while scrolling the online news concerning another jewelry courier hijacking. And finally, there’s Mike (Chris Hemsworth), who scrubs every loose bit of skin and hair off his body before donning his work attire: crisp white shirt, black suit with tie, and a gun. Using some spiffy high-tech gizmos, he intercepts a big diamond transfer from a grungy downtown shop to swanky Beverly Hills. Mike always displays his weapon, but never fires, as he tries to grab the goods without gunplay. But this morning is different when he nearly takes a bullet. It’s his “come to Jesus” moment, contemplating his future while making an almost clean getaway. Soon, Lou is called in with his partner Tllman (Corey Hawkins) to comb the crime scene. Later, Lou will present his theory on a lone hijacker making hits along the 101 freeway to an uninterested squadroom (and a “by-the-books” captain). As for Sharon, she almost “seals the deal” with the wealthy client, then heads to the office for a staff meeting where she’s assigned that same robbery, while her morning “gig” is handed off to the newly-hired, much younger saleslady. Oh, and the higher-ups tell Sharon that they need to table her promotion request (“Let’s put a pin in it”). As the “heat” starts to die down, Mike makes the “ice” tranfer to his long-time connection/ fence Money (Nick Nolte). They discuss the unplanned gunplay during the last job, with Mike stating that he wants “out” after the next score. Money then meets with another “staffer”, Ormon (Barry Keoghan), a violent biker with a hair-trigger. Money thinks Mike has lost his “nerve” and assigns that next job to him. Plus Money thinks that Mike is planning his own “big score” and orders Ormon to tail him and scoop up the “spoils”. He’s right, as Mike’s “side project” before he “gets out of the game” will involve Sharon, and eventually Lou and the deranged Omron. Could this truly be Mike’s “last score”, in more ways than one?

Well, this is quite a dramatic turn from the main trio’s heroic roles in the MCU. The story’s real center is the mysterious Mike (if that is his real name) played with heavy gravitas by Hemsworth. There’s nothing of the affable “thunder god” to be found in the somber, stoic “soldier thief” as his pre-job ritual is almost like donning a uniform before battle. With his clipped delivery and downturned eyes. Hemsworth conveys that Mike is not only on the run from the law, but he’s trying to escape his troubled past. We do get a glimpse of his vulnerability and his yearning for human connection through his blossoming romance with Maya, played by the talented Monica Barbaro (superb as Joan Baez in A COMPLETE UNKNOWN). She’s trying to pierce his protective hide, but Mike can’t doff his emotional armor. His “Javert”, Lou has his own internal conflicts. Ruffalo tones down his usual superior intellectual persona to convey the “working stiff” quality of this beaten-down “seen it all” cop, who, like Mike, also has a yearning to break free of his dodrums that have inspired too many bad habits (smoking, boozing, being out of shape), and feeling the need to start anew after an unexpected end to his marriage. Unfortunately, we only see his wife in a diner break-up scene, so the talented Jennifer Jason-Leigh is woefully underutilized (maybe much of her work is on the cutting-room floor). What a pleasure to see Ms. Berry again, here using her acting skills to give us a seasoned professional (her maturity factors in quite a lot) who is a cog caught in the gears of a greedy, chauvinistic machine that seems to delight in squandering her spirit until she’s pushed aside for a shiny, new model. Berry shows the sparkle in her eyes when a chance to break out of the “boys club” appears as a way to end her frustration. The film’s real “wild card” is Keoghan, who makes Ormon an unpredictable demon of destruction, a devil in punk-ish bleached-blonde hair. Nolte is settling into these veteran character roles well, as he croaks out sinister threats and orders. Hawkins is very good as Lou’s cynical buddy partner, who wants to avoid his career path. And this serious tone is lightened a touch by the comedic performance of Tate Donovan as the “too much dough for his own good” millionaire “mark”.

They’re all directed by Bart Layton, who also adapted the Don Winslow novella, though it feels like this is from a weightier tome. Maybe that’s due to the pacing problems, which contribute to it needing a good twenty-minute trim. There are too many little subplots that don’t really contribute much, especially as Lou deals with lots of either disinterested or downright dirty cops right out of SERPICO-style flicks. And the whole crumbling-marriage asides feel distracting from the cat-and-mouse action sequences. And they are pretty solid as Mike zips his sleek cars (especially a cherry green classic Mustang) all around day and night LA (the latter is a great backdrop for a pursuit of cycle-soaring Ormon). Luckily, this superb trio of actors keeps our interest high even as the end results fail to emulate (and it really tries) the cool caper crime flicks like THIEF, HEAT, and DRIVE (and maybe BABY DRIVER, too). So, all the fans of furious, fast auto exploits will get their adrenaline fix before the big Summer action blockbusters, but their patience and endurance will be sorely tested by the fuzzy, meandering of the many detours of the slickly made (the familiar LA locations are given a high-gloss sheen) CRIME 101.


2.5 Out of 4


CRIME 101 is now playing in theatres everywhere

MERCY (2026) – review

Screens! Aargh! There’s the bane of modern life, for many in the older generations (guilty, as charged), and the source of a new challenge to parents (as they must battle their offspring over “limiting screen time”). Well, according to this new thriller set in the not too distant future, the “screen reliance” will only strengthen. That’s because, in this story’s plot, they can literally be the deciding factor between life and death. By legal execution. Yes, this is a science fiction-tinged tale of crime and really quick punishment. And with this “ice cold” tech advance, there’s little room on the legal system’s “hard drive” for even a gigabyte of MERCY.


Before the mystery really kicks in, we’re treated to a brief prologue explaining this radically new and improved (?) world of 2029. It seems that crime was overwhelming the “city of angels” with entire “ever-expanding” blocks cordoned off as “red zones”, packed with the dregs (addicts, career criminals) of society. To stem the tide, the court system is given an extreme “overhaul” for those accused of capital crime (mainly murder). Every device (phones, security cameras, monitors) are linked to the “cloud” so that when a suspected assailant is observed, the police scoop them up, and whisk them to the monolith Mercy building in downtown LA. They are strapped to a chair in front of a huge screen that lets them interact with an AI judge (and no jury of their peers). They are given 90 minutes to reduce the probability of guilt icon to 92%. If that number can’t be reached, the prisoner is given a lethal shock through that chair. As the backstory ends, the main action shifts to a large empty room where a groggy Chris Raven (Chris Pratt) awakens in that dreaded chair. He is then told by digital Judge Maddox (Rebecca Ferguson) that he is accused of killing his wife Nicole (Annabelle Wallis). Raven is stunned, since he has no memory of that or of being arrested. Oh, and he’s a cop, the police detective that brought in the first person to be tried and found guilty by Mercy (which has reduced the murder rat, so far, to 68%). Things don’t look promising for him as he sees various screen grabs of him getting into a heated argument with her before “falling off the wagon” and being violently subdued (hence the poor recall) at a local “watering hole”. That ninety-minute clock is ticking fast, so Raven gets “up to speed” by contacting his AA sponsor Rob (Chris Sullivan) and his angry teen daughter Britt (Kylie Rogers), who discovered her mom’s body. With help on those mean streets from his current LAPD partner Jaq (Kali Reis) can Raven untangle this twisty “frame job” before his “trial time” runs out, and he is roasted and toasted by “ole’ Sparkey’?

Though he’s “the guy in the chair”, Pratt ably holds our interest, communicating the plight of Raven though his vocal intonations and facial expressions (no body language to read here). Plus, he’s not cruising by with his engaging charm, giving us the dramatic heft missing with much of his post-Starlord roles in direct-to-streaming shows. He can even keep us in doubt as to Raven’s guilt (most of the time). Now “the lady on the big monitor screen” (accented in black naturally), is the terrific Ferguson who we just saw reacting to screens in A HOUSE OF DYNAMITE. Here’s she’s almost as limited as Pratt, since the AI judge is incapable of expressing any emotion (to a point). Yet, she intimidates with her strict adherence to protocols (and her programming), and stubbornness with Raven (raising the guilt percentage ruthlessly), though she almost smiles when called “your honor”. Sullivan embodies the caring sponsor/pal who wants to help, but thinks Raven is guilty. Ditto for Rogers, though she’s full of rage and tears. And much of that is true for Reis, who will fly into the fire for her partner, despite her pessimistic persona. There’s also some strong supporting work from Kenneth Choi as raven’s former partner and BFF, along with Jeff Pierre as a slippery stranger with a link to Raven’s wife.

Now, here’s a nifty idea on the police procedural/crime “whodunit”. Perhaps it may be the only months away dystopian future that recalls MINORITY REPORT, ROBOCOP, and the various incarnations of JUDGE DREDD (comics and films) that makes the plot seem fresh. That cynical take on tomorrow’s lawmen even provides a knowing satirical wink at the current political climate. The use of the various screens is pretty inventive as we watch Raven furiously figuring out a way to exonerate himself while tracking down the killer. Director Timur Bekmambetov juggles the various images (much like his last computer thriller PROFILE), with some reality TV-like dust-ups and some nifty gadgets (there are single-sized police copter/drones). Unfortunately he tosses these elements aside in the last twenty or so minutes to indulge in some “destruction porn” out of the FAST & FURIOUS franchise, with a dash of THE BLUES BROTHERS (I image Michael Bay telling him to “reign it in” a bit). Any semblance of subtlety and drama is replaced by near non-stop carnage and urban mayhem. It’s quite exhausting, and a real shame since there are some interesting concepts and commentary for much of MERCY.

2 Out of 4

MERCY is now playing in theatres everywhere

ANOTHER SIMPLE FAVOR – Review

This week’s big streaming feature film release could be compared to the return of an unexpected Fall romance from several years ago, seven to be precise. This movie captured my heart, along with my critical sensibilities. when it seemed to appear seemingly out of nowhere, with little fanfare or hype. Yes, I was, and remain, a fan of the filmmaker and one of the lead actors, but this was a real step out of their “comfort zone” with an engaging murder mystery full of snark and satire, along with fabulous fashions. That movie, A SIMPLE FAVOR, nabbed a spot on my top ten list of 2018. And now, almost everyone is back for a sequel, but is that magical spark still there? Will I have that same frothy fun and romance with ANOTHER SIMPLE FAVOR? Or was the original “just one of those things, just one of those crazy flings…”?


In the opening sequence, much has changed in the sleepy California suburb. “Home lifestyle vlogger” Stephanie Smothers (Anna Kendrick) has expanded her “brand” and is the author of a true-life murder mystery novel based on her past experience there (y’know, the first flick). She’s doing a “reading” from that work at the town’s bookstore with her “mom pals” there along with a small audience, under the guidance of her aggressive manager Vicki (Alex Newell). All is pretty normal until someone arrives late, Sasshaying up the aisle (as if it were a fashion show runway) is none other than Emily Nelson (Blake Lively). Seems a pack of high-powered lawyers have gotten her released from prison, just in time for nuptials to her new wealthy fiancé (who paid for the legal team). Emily wants Stephanie to be her maid of honor at the big wedding ceremony…in Capri. Steph balks, but Emily insists, saying that her law squad could sue her for libel and slander unless she agrees to go. Luckily, Steph’s son Miles is off to Summer camp, so …bon voyage. Actually she boards (with Vicki in tow) the private jet of the wealthy, perhaps “connected” family of Emily’s beau, the hunky, handsome Dante Versano (Michele Morrone). Upon landing, they’re whisked away to a fancy hotel where Steph meets him and reunites with Emily’s ex (and her former “fling”), the boozing Sean Townsend (Henry Golding). He’s brought along his son with Emily, Nicky (Ian Ho). At the big pre-wedding reception, we meet the Versano matriarch Portia (Elena Sofia-Ricci), who detests Em and her pals. But she’s got a surprise for her future daughter-in-law. She’s flown in her dingy mother, Margaret (Elizabeth Perkins), and her pushy sister, who Em hasn’t seen in thirty years, Aunt Linda (Allison Janney). With the “players in place, the “game” soon begins with multiple murders that point to Stephanie. Has Emily set up the whole event as a way to exact revenge on her former friend who helped send her to the slammer years ago?

Well, the two leads haven’t missed a “beat”, effortessly going into that verbal ‘dance” they aced so well way back in 2018. Yes, Kendrick is still a delightful snarky “hot mess”, as she doles out the “burns” while trying to grasp all the chaos swirling about her. She gets us back on her “side” even as she has to go into the cliche drunk/stoned bits in the story’s troubled (more about that later) second half. Lively as Emily is still the epitome of swaggering super-confidence (I mean, look at those wild outfits that she “works” expertly), though there’s more than a hint of sadness in the veiled threats she utters casually to Kendrick, perhaps to always keep her off-balance. Her character is a supermodel who’s always ready to strike. As for the supporting players, the real standout may be Ricci, who is constantly “shooting daggers” at the “Americans” as she spews venom through her perfectly clenched teeth. Morrone is a prime “Euro-stud” with a smouldering but dangerous stare and primo product-filled hair and white linen tailored suits. He’s the opposite of Em’s “ex,” who Golding plays as an ever “open wound” in need of constant liquid medication in a thankless expendable role. Ditto for the rest of Emily’s “side” with the talented Perkins reduced to playing a dotty, daft unfiltered harridan (think of a really nasty Sofia of “The Golden Girls”) and the usually superb Oscar-winner Janney who has to bark out threats while doing a variation of the old villainous “mustache-twirling”. They’re both such gifted actresses, saddled with subpar material. And then there’s Newell, whose Vicky may be the standard “fish out of water American doofus”, but his stint as the comic relief reactor is marred by constant “mugging” and a delivery right out of a 70s sitcom, maybe due to some misguided direction. But happily, we do get some brief early scenes with Steph’s “Greek chorus” back home led by the terrific Andrew Rannells. Plus, we get a new comic character from an energetic screen newcomer, Taylor Ortega.

So, I’m reminded of that old phrase from WWII, “Was this trip really necessary?” when thinking about this flick. Well, I’m not so sure if it was needed. All the right elements are back, including comedy movie master Paul Feig and the original screenwriters. Mind you, the first act is lots of fun with the reunion of Steph and Em. fraught with fun and danger. Unfortunately, the film soon goes “off the rails” when the murder mystery kicks in. We’re given a “heads up” with a bizarre flashback to a recent mystery with Steph, that may be there to plant some doubt on her sleuthing skills, but just serves little function till a quick final act nod. Part of the problem may be the often conflicting acting styles, with Feig giving a bit too much “leeway” with some of the performance “choices”. And this is the director who guided Melissa McCarthy in her best movies, really. Maybe this is a way to “sell” the script. to make the muddled plot revelations, with each new “twist” trying to “upend” the previous one to the point of exhaustion (for us, the audience). Maybe this is meant to be a dark, satirical “soap opera”, with triple-crosses, and “ret-cons” of storylines in the first flick which induce migraines rather than laughs. Plus, we get some “travel cliches” including “mafia mirth” and even a chase on a Vespa, of course. Sure, the location work is spectacular, a great “tourism pitch” in those long shots, and those wild fashion styles are still fun (Em wears a hat that’s bigger than a stingray), but it’s not enough to smooth out the story glitches where we’re meant to see Emily as a naughty “scamp’ rather than the mudering mastermind “diva deviL’. So, to answer my earlier question, no, this isn’t the same delicious romp from 2018, so perhaps it’s best to leave that movie romance there, even though Kendrick and Lively are a different kind of dynamic duo of crime comedy, they just can’t deliver the charm and laughs with ANOTHER SIMPLE FAVOR.

2 Out of 4

ANOTHER SIMPLE FAVOR streams exclusively on Amazon Prime Video beginning on May 1, 2025

THE FIRE INSIDE – Review

Well, it seems as though we’ve arrived at another end-of-the-year inspirational true-life sports story award contender. Last year it was THE BOYS IN THE BOAT and THE IRON CLAW. And both of them have an Olympic connection to this new film (the latter just touched on the gold in its first act). But that’s where the comparisons end as this story happened less than twenty years ago. Oh, and the “biggie”, is that this film concerns a young (mostly high school-age) African-American woman. Now her coach plays a big role here, though it is in support of her journey. But the biggest difference is that that journey doesn’t end with the medal ceremony, all wrapped up nicely with the star-spangled ribbon. No, she forges ahead due to her courage, skills, and determination fueled by THE FIRE WITHIN.

The film begins with a flashback to a few years after the start of the 21st century. A pre-teen girl dashes through the snowy, mean streets of Flint, Michigan until she reaches her destination, the boys’ athletic club. Former pro-fighter Jason Crutchfield (Brian Tyree Henry) is teaching the fundamentals of boxing to a group of rowdy young men. He sees the quiet young girl, who has shown up before and tried to step into the ring. Jason implores her to leave to no avail. Okay, maybe a little time lying on the canvas will send her home. The boys are hesitant until Jason convinces one named Lil’ Zay to spar with her. And to Jason’s shock, she lands a few solid hits. Later that night he drops her off at home where she’s the main caregiver to her little brother and sister while Mom parties, and Papa’s in prison. The years pass and Jason continues to coach her as Claressa Shields (Ryan Destiny) gains a fierce reputation and a nickname, “T-Rex”. Oh, and a secret boyfriend, now teenage Zay (Idrissa Sanogo). She confides in him, telling of being touched by one of her many “uncles”. Things explode when she returns home while Mom is entertaining. A “playa” gets aggressive and she decks him prompting Mom to send her out into the streets. Luckily Jason finds her and gets his wife Mickey (De’ Adre Aziza) to set her up in one of their old empty bedrooms (the kids have long flown from the next). Jason spends every minute he’s not installing cable lines to train her for a local competition, which leads to an Olympic tryout. Soon Claressa is off to compete in China without him as he’s not officially sanctioned. After she barely makes the “cut”, working with a new coach, Jason gets the funds to join her at the 2012 London Olympics as a sideline “supporter”. The real trials and struggles for Clarissa begin after the torch is snuffed and she must try and help her family when the limelight fades.

The film’s success really relies on the shoulders of the lead actress. Happily, the very talented Ms. Destiny is more than up to the task. Yes, she has sass and ferocity to spare, but she also has the talent to make Claressa a fully rounded human being rather than a symbol on a pedestal. She defies the groomers, bristling at the ‘suggestions to tone down her interview replies (“It’s true, I like to knock people out”) and their pleas to “glam’ herself up (she’s stunned to see another boxer doing a fighting stance while looking like she’s “made up” for a fashion magazine cover). But we also see her vulnerable side as she tells Zay of her painful abuse trauma past and later as she tries to ease her inner pain by bonding with her surrogate family. It’s truly a star-making turn, enhanced by pairing her with a stage and screen vet, Henry. As Jason, he’s the warm, caring fatherly figure that Claressa so needs, though he’s no cuddly pushover. He knows when she’s “playing’ and doesn’t hesitate to call her out. Henry shows us that he’s got a deep respect and love for his protege, while also trying to temper his frustrations with her stubborn spirit (perhaps he sees a lot of his own qualities in her). Plus we get the impression that he also believes this is a shot at glory, as we see him wistfully looking at a grainy VHS tape of his past bouts. This truly dynamic duo elevates the film above and beyond the standard “fight picture”.

Of course their work would mean little without the expert guidance of Rachel Morrison, in (and this is surprising) her feature film directing debut (after several TV dramas). She captures the grimy dangerous and desperate vibe of Flint (not much has changed in the 35 years since ROGER AND ME) especially the dire home life of the Shields household (filthy dishes and an always empty fridge). Morrison switches from the urban drama to the shiny glitz of Olympic competition, putting us right alongside the fighters as their sweat splashes against the lens. As I mentioned earlier, while other sports flicks would finish with the big bout, Morrison is back on those Michigan streets to show us that happy endings require continued passion, Credit must also go to the script by Oscar-winning filmmaker Barry Jenkins providing some thought-provoking commentary on the battle against sexism (the female athletes get a third of the “stipend” that the males get) in the world of amateur and pro sports. My only complaint is that the final minutes feel a tad truncated as the pre-end title info cards must do a lot of “heavy lifting’ to round out the second shot of glory for Claressa, and her most recent endeavors. But the tale presented here is most engaging. avoiding many cliches of the genre but still delivering an inspiring denouncement. Perhaps for others seeking a near unattainable goal it will light THE FIRE INSIDE.

3 out of 4

THE FIRE INSIDE opens in theatres everywhere on Christmas day, 2024

THE ORDER (2024) – Review

During the pandemic lockdown and in the frigid months of more recent years, many home viewers became hooked on “true crime” stories that were once the lifeblood of broadcast TV news “magazine” shows, but now have entire cable networks devoted to them. And the streaming apps are simply bursting with documentaries and “limited” series that are comprised of recreations and “talking head” interviews. While motion pictures had been the showcase for non-fiction law enforcement tales, recently we’ve seen more of the “over the top” “stunt-heavy” action blockbusters. Now, in between the year-end family fantasies and the somber “Oscar bait”, here’s a nifty thriller that evokes the feel of those zippy “B pictures”. Ah, but there’s a twist in that much of the story still resonates today, several decades later (much like the upcoming SEPTEMBER 5, which you’ll be hearing about soon). Yes, on a cold day almost four years ago, the country was dealing with the legacy of THE ORDER.


A murder in a dark wooded area begins this fable set in the 1980s, just a couple of years into the Reagan presidency. Soon after, a veteran FBI agent named Terry Husk (Jude Law) takes on a new assignment in sleepy Coeur d’Alene, Idaho. After setting up in an empty office space, he checks in with the local police. A counterfeiting operation and bombs planted at synagogues and porno theatres may be linked to the local branch of the white supremacist group, the Aryan Nation. The sheriff is hestitant to help Husk, but young officer Jamie Bowen (Tye Sheridan) is eager to guide him. The film shifts focus to Bob Mathews (Nicholas Hoult), who is living a double life. He has a pregnant girlfriend, Zillah (Odessa Young) while maintaining a home with his wife Debbie (Alison Oliver), and young son Clinton. Or maybe it’s a “triple life” as Bob is the leader of a ‘splinter group” from the Nation called “The Order” which has been robbing banks and armored cars. As the crimes of the group become more violent, Husk brings in some FBI backup led by old partner Joanne Carney (Jurnee Smollett). But Bob is also getting more help as he enlists new recruits to his “crusade” as they plot their biggest score yet while also perpetrating the assassination of liberal radio talk show host Alan Berg (Marc Maron). He is aware of Husk and his crew as the men engage in a deadly game of “hide and seek” that finally explodes in a savage showdown.

Playing against his still dashing leading man looks, Law dives deep into the role of a lawman whose only real passion is for bringing the outlaws in, even at the cost of his health and all of his relationships. With his droopy Wyatt Earp-stache’, Husk seems to be living off nicotine paired with booze-infused caffeine despite his body’s distress signals (a long surgery scar in the middle of his chest and his gushing, ill-timed nose-bleeds). He’s truly a flawed hero, the grim dispenser of justice, though his loneliness seeps through (he reaches out to a family that has fled). But he’s the man for the job, the perfect pursuer of Bob Maxwell, played with wide-eyed zeal by Hoult. Unlike Husk, he remains a family man despite his split loyalties, though neither woman can tear him away from his goal of reshaping his homeland. Hoult goes into full “alpha dog” mode making us understand how he can lead his minions take on the “feds”. This makes Husk’s crew even more essential. Sheridan almost bursts with youthful energy as the small-town patrolman so eager to be “on the line” and stop the bigots tarnishing his “heartland”. And Smollett is all grit and steely determination as the agent who has a past with Husk and will call him on his “B.S.” without hesitation. But she has to temper her passion, especially as she “puts the hurt” on Mathews’ kin. Special kudos for the compelling Mr. Maron who puts a warm, human spin on this early casualty of the culture war.

Director Justin Kurzel doesn’t go for showy camera angles or flashy stunts and CGI bombast. He keeps the film moving at a crisp efficient pace, balancing the quirky character moments (Husk leans too hard on a witness and drenches him in nasal plasma) with suspenseful crime set pieces, bringing sweaty chaos to bank jobs and armored car shakedowns. But thanks in part to the screenplay by Zach Baylin (adapting ” The Silent Brotherhood” by Kevin Flynn and Gary Gerhardt), it’s the quiet moments that leave us with a chill down our spine. During a big picnic at the Mathews house, he lovingly lets his eight-year-old son pull the trigger of an automatic rifle. He later sends him off to bed with a story, a truly “grim’ fairy tale from “The Turner Diaries” a “how to” on rebellion (and we see an illustration of gallows in front of the White House). With the film’s eerie epilogue we’re reminded never to dismiss those “fringe” groups. And it makes us appreciate all those who would defend our country’s ideals. This is a gripping, well-acted thriller that may inspire others to take up the “reigns” from Husk and his aides when another challenge arises from the toxic seeds planted by THE ORDER.

3 out of 4

THE ORDER is now playing in select theatres

RED ONE – Review

Take those jack o’lanterns to the dumpster, it’s Christmas time, at least according to the multiplex (and Thanksgiving gets very little screen time other than PLANES, TRAINS, AND AUTOMOBILES). One such flick is already getting moviegoers in the “spirit” with the modestly budgeted THE BEST CHRISTMAS PAGEANT EVER packing them in after only a week. Well, it’s time for the big studios to load up your stocking with lots of action and firepower. Hey, we get plenty of holiday comedies and romances, so how about a butt-kickin” Kringle? That’s the formula for this, an expansion of the movie within a movie “The Day the Reindeer Died” from the opening of 1988’s SCROOGED, along with lotsa’ laughs in between explosions and a heartful message snuck in. Hopefully, it comes together like a warm fruitcake (and probably tastier) in RED ONE.

Unlike many holiday tales (especially variants of “A Christmas Carol”), this one begins with a flashback as little Jack O’Malley sours the eggnog by debunking the Santa mythos at a big family gathering. Jump cut to now as Santa Claus AKA Nick (J.K. Simmons) is listening to the gift lists from a long line of kids in a busy mall. Luckily a very big, buffy helper/elf named Callum (Dwayne Johnson) is there to make things go smoothly. When the line ends, the two are whisked through a secret exit because this Nick is the “real deal”. He likes to speak with the kiddos to get in the proper mood before he’s on his rounds the next day. And thanks to the secret government agency M.O.R.A. (Mythological Oversight and Restoration Authority) headed by Zoe Harlow (Lucy Liu), they head to the North Pole, through the invisible force field that hides Santa’s workshop where Mrs. Claus (Bonnie Hunt) is working with various creatures (including a talking polar bear) on making all the presents. Meanwhile, the now adult Jack (Chris Evans) is using his criminal skills to nab a top-secret piece of tech for an unknown client. Oh, it turns out that Callum is indeed an E.L.F. (Enforcement Logistics and Fortification), who is planning on retiring after centuries on the job. But something is off, as he sees several lights go out on the big tower. Oh no, they’ve been breached and a heavily equipped band of raiders has grabbed Nick. They’ve got to find him in order to save Christmas. Zoe points him to Jack, and after picking up his pre-teen son from school (things are strained after the divorce), he’s “detained” by the ELF squad. Callum and Jack must team up to find the tech buyer. The squabbling duo embarks on a worldwide trail that leads them to Santa’s half-brother Krampus (Kristofer Hivju) who has a connection to a powerful witch named Gryla (Kernan Shipka) who will stop at nothing to turn all those yuletide dreams into unending nightmares if Callum and Jack don’t thwart her plans in time.

The big “draw” in this bombastic holiday havoc is probably Johnson, though there’s not much to Callum. He’s there to look intimidating and cool (usually with some rockin’ shades) and to try and convince us that this is his last “big show”. Sure, his action “moves” are quite impressive, but he’s mainly a “straight man” counterpoint to Evans (attempting to tarnish his “shield”) as the cynical wise guy Jack. It’s admirable that he’s veering into “bad guy” (maybe a rascally rogue) territory, but he’s saddled with a trite character arc that we can see coming down Candy Cane Lane. Simmons seems to be having the most fun as the “jacked” St. Nick (lots of time in the weight room), and his scenes with the kids delight, but unfortunately, he’s “out of the picture” for the bulk of action (a nice special effects heavy stunt sequence in the finale almost makes up for that). The forever fierce Liu is always welcome on the big screen, though here she mainly barks orders into monitors and is a version of “the guy at the desk”, until her time to show off her fighting skills in the finale. As for the terrific comic actors involved, the wonderful Hunt is there to chide Santa and wring her hands in worry, while Nick Kroll mugs up a storm as an underworld kingpin who’s afraid of Shipka’s Gryla. Perhaps this is a big promotion from teen witch Sabrina, but not nearly as wicked as Sally Draper in “Mad Men”, as she vamps it up in several slinky black Halloween cast-off costumes. A much more engaging villain is Hivju, delivering the snark and menace as the towering Krampus who deserves a spin-off sequel.

Calling the shots on this holiday hybrid flick is Jake Kasdan, who had guided Johnson in the two recent JUMANJI reboots. And there is a sense of satiric fun in the big set-ups in the first act. This is particularly true in the new spins on the Kringle legend dreamt up by screenwriters Chris Morgan and Hiram Garcia as Santa’s village becomes an artic Wakanda (why not do a bit of Marvel “borrowing” since two MCU vets are in the cast), full of cool gizmos to streamline the “delivery day” and answer those kid queries (thinking ANT-MAN style antics). But by the time the “Nick-napping” occurs, we’re weary of the often stilted CGI effects, from the small minion-like workers to that lumbering polar bear (in his own E.L.F. vest) to a trio of snowmen assassins who wandered out of a video game. I’ll toss a few kudos to those who decided to forgo motion-capture for Krampus and instead out Hivju in an “old school” prosthetic full body makeup and kin (reminding me of Tim Curry in 1985’s LEGEND). But then the story gets bogged down with long chases, silly bits of business that fall flat (especially in the “contest” at Krampus castle), and the hamfisted heartstring ‘tugging in changing Jack’s deadbeat dad ways. This all contributes to its over two-hour runtime (a hundred minutes would help loads), which could make the lil’ ones squirm, though there are some horrific scenes that could scare and a leering shot of bikini babes on the beach. Maybe those are aimed at the teenagers, but they probably won’t care for the sentimentality and the bits of myth whimsy. This isn’t the big lump of coal that the trailers promised, but it’s doubtful that Buddy the Elf, Jack Skellington, Ralphie, or even THE SANTA CLAUSE will be displaced as a year-end classic by RED ONE.


2 Out of 4

RED ONE is now playing in theatres everywhere

ROAD HOUSE (2024) – Review

So, last weekend saw the release of a sequel, the fourth in a franchise concerning the powerful Po, and this Friday we’ll get a hybrid sequel/reboot with those proton-pack sporting phantom fighters. So, what about a full-fledged remake? Aha, you’ll get your wish this Thursday with a “re-imagining” of a cult favorite from way back in 1989, a year which I’ll always associate with the caped crusader. But he wasn’t the only action hero as the late great (Starlord called “legendary”) Patrick Swayze rocked a cool mullet as he broke bones and noses (and a few hearts) as the baddest “bouncer” of them all. Sure, there was a straight-to-video sequel in 2006, but now we get a new spin on the tale when we drop in for some brews and bruisin’ at the ole’ ROAD HOUSE.

Version 2.0 for 2024 begins at a gritty, grimy highly underground mixed martial arts venue (perhaps a former warehouse or garage). After a very nasty bout, the call goes out for another contender. The money piles up as a silent figure in a hoodie (which hides his face) strides into the “ring”. The mood changes as he reveals himself as Elwood Dalton (Jake Gyllenhaal), which causes the “champ” to balk at the challenge. Outside, after a nasty encounter with a disgruntled “investor”, Dalton is approached by Frankie (Jessica Williams) who offers him a job as “security” at her South Florida bar and grill. He dismisses her, but after a life-changing night, Dalton boards a Greyhound to Glass Key, where a friendly bookstore owner and his daughter direct him to the beachfront Road House (the actual name of the “joint”). Dalton meets with Frankie who allows him to stay at the old run-down tugboat (merely called “The Boat”) at the nearby dock. In the evening Dalton sends a biker gang to the hospital where he encounters a lovely doctor, Ellie (Daniela Melchoir). It turns out that the hooligans are employed by a shady local businessman named Ben Brandt (Billy Magnussen). He wants the Road House land and puts into motion a plan to eliminate Dalton, using a crooked local sheriff named “Big Dick” ((Joaquim de Almeida) and a human wrecking ball named Knox (Conor McGregor). Will they take down Dalton? And what secret from his past haunts his sleepless nights?

Gyllenhaal lets his chiseled physique do most of the heavy lifting (a big part of his “prep’ no doubt) as the often stoic “peacekeeper” of the beach, and “The Boat”. His mellow demeanor turns out to be part of his fighting skills along with a low-key snarky delivery (“Ooo, that must really hurt”). It helps to “draw us in” as we and his new neighbors and co-workers try to figure out his “deal” (being motivations and “backstory”). In all, Gyllenhaal makes a pretty formidable action hero with a steely charisma behind those expressive eyes (which aid in formulating an attack and defense strategy). Melchoir is a sultry romantic sparring partner to him, doing her best with the underwritten “meet cute in the ER” dialogue. The duo share a real humanity as opposed to the cartoonish villains. Magnussen is a wild-eyed sneering “frat bro” with almost no patience or “impulse control”. Ah, but he’s “Mr. Mellow” compared to the unbridled id of McGregor’s Knox who literally embodies a flesh and blood Looney Tune. His frenzy-fueled appetite is pure Tasmanian Devil, while his stomping swagger is right from Chuck Jones’ Pepe Le Pew (that triangle torso with clenched fists at the side as he marches off in pursuit of his “luuvor”). He appears to be having a grand time as the story’s true “wild card” of painful mayhem.

So the filmmaker doing the “re-imagining” is none other than Doug Liman, the first Bourne helmer and the movie MR. & MRS. SMITH. He grabs us in the opening act as we enter the violent world of Dalton and his nomadic life. Then we’re back in “brawl mode’ after a brief visit with the local booksellers, giving us a taste of his compassion for the “lil’ guys”. In a bit of foreshadowing, the teen there compares him to a pulp Western hero (SHANE perhaps), but we learn that Dalton’s “quest” is closer to the hero of THE QUIET MAN. After the first “biker showdown” the pace languidly rolls in and out like the tide outside the spacious bar. Brandt throws yet another “hissy fit” as Dalton dispatches another of his near-endless supply of beefy goons. As I mentioned earlier, Knox does provide an electric shock, but the “big showdown” devolves into a loud noisy aquatic chase with explosions and flying speedboats right out of the FAST & FURIOUS franchise. Like those flicks, one ending piles upon another, and another, and…Much of that could be forgiven if not for the squelching of the comic talents of Williams (she’s reduced to “hovering” in her office and observing the chaos below). Action fans will enjoy some of the rapid smackdowns but fans of the original will miss its sweaty campy macho antics. It’s worth making a stop at this ROAD HOUSE, though you may not make it to the “last call”.

2.5 out of 4

ROAD HOUSE is now streaming exclusively on Prime Video

THE UNDERDOGGS – Review

With the “big game” (careful, the phrase “S-B” is “locked down”) only a few weeks away, do you need some movie fuel for your football “fever”? Something brand new, I should say since most gridiron fans probably have their shelves stocked with ANY GIVEN SUNDAY, THE REPLACEMENTS, and RUDY. Well, Amazon has just the thing with a raucous comedy about a ragtag bunch of preteen misfits in peewee football, coached by a guy whose heart is slowly melted by them. Sounds like a variation of last year’s football, er soccer, and adult inspired by real events comedy set in American Samoa, NEXT GOAL WINS. Yes, it’s a tried and true formula, but this flick has a twist in its casting, as the coach is played by rapper Snoop Dogg. He provides the “spark” (if you get my drift) and the inspiration for the movie’s title, THE UNDERDOGGS.

The film begins on the field as the story flashes back twenty years to the glory days of football phenom Jaycen (“Two Js”) Jennings. Then he was the star receiver for his Long Beach high school in sunny California. From there it was a quick step through college and into the NFL. Then it’s not long before he begins his descent from the “mountaintop” propelled by his hard-partying lifestyle and massive ego. After several team changes and a huge PR disaster, he’s banished to his big estate. One day JJ’s (Snoop Dogg) thwarted attempts to get his agent on the phone push him to show up at the agency’s office, which leads to a “viral” calamity that sends him to court. The judge isn’t snowed by his swagger and charm, and JJ is sentenced to 300 hours of community service. He’s sent to the the public park in Long Beach to pick up trash (the whole orange vest” pointy stick thing) and has a run-in with the foul-mouthed pre-teens that make up the local peewee football team. Just as the insults accelerate, the mother of “mouthy” quarterback Trey (Jonigan Booth) arrives to pick him up. It’s none other than JJ’s high school “bae”, Cherise (Tika Sumpter). Hmmm, maybe he can be the team’s coach as part of his “sentence” and reconnect with his now single former flame. But can he set his ego aside and become a mentor to these often inept and hapless players?

Okay, so Snoop is basically doing a “riff’ on his media (Music, TV, ads, etc.) persona, which he’s perfected over several decades, but he gives JJ a lot of dramatic depth, through his story “arc”. He’s really making an effort to engage with his co-stars, not merely projecting an ultra-cool, hip attitude. JJ really “steps Up” as a leader to the kids, and lets his guard down around the dazzling Cherise, played with spunk and good humor by the always engaging Ms. Sumpter. Only from a handful of scenes (she’s regulated to the cheering stands usually), she makes us want to learn more about Cherise’s history, maybe even see her healing the sick and injured. Happily, there’s a nice casual chemistry with Snoop making their “cautious courtship” a nifty subplot. Snoop also has a terrific comic rapport with Mike Epps as the energetic, “minor-league gangsta” Kareem, a slapstick take on the coach’s aide who just needs a “chance”. The duo is an inspired comic pairing. Much of the same can be said of George Lopez as JJ’s high school mentor, the “Jedi mind-trickin'” Coach Feiz, quietly stealing scenes with seemingly “off the cuff” quips. And what would a sports story be without an arrogant nemesis for JJ and the squad? Here it’s the motor-mouthed gadfly turned coach Chip Collins, played with smarm to spare by the weasily Andrew Schulz. What a pompous jerk worthy of a caustic comeuppance! And extra kudos to the real-life athletes and TV sports commentators who have a great time spoofing themselves.

Sports comedy vet Charles Stone III gives the familiar “against all odds” story a swift pace and infuses it with some great satiric jabs at the media, especially the online “fast to cancel” community. He’s able to squeeze some unexpected laughs from the genre tropes, even when the writers resort to grabbing giggles from trite, overused bits of kids saying wildly inappropriate things, with their parents often joining in. Folks, those BAD NEWS BEARS did it with more style nearly fifty years ago. And though we know how JJ’s moral “crisis” will resolve, Stone is still able to get some suspense and a bit of pathos from it. Ditto for the outcome of the big final act game (maybe it’s a sequel setup), which fades into a big plug for real-life charities. Speaking of plugs, it’s a shame they couldn’t have made a more subtle pitch for a real fast-food chain, instead of making it feel like a “stop the action” commercial break. Oh well, the young actors on the team aren’t cloying or annoying (although a big dangerous infraction merits no real punishment here), and most of the jokes land, so that makes for a fairly entertaining time on the field for THE UNDERDOGGS. And the final score is…

2 Out of 4

THE UNDERDOGGS streams exclusively on Amazon Prime beginning on Friday, January 26, 2024