Tag: Apple TV+

See Godzilla In First Trailer For “Monarch: Legacy of Monsters”

On Friday at New York Comic Con, Apple TV+ and the creative team behind “Monarch: Legacy of Monsters” unveiled the trailer for the highly anticipated series, and shared a preview of the expansive new series, based on Legendary’s Monsterverse. Starring Kurt Russell, Wyatt Russell, Anna Sawai, Kiersey Clemons, Ren Watabe, Mari Yamamoto, Anders Holm, Joe Tippett and Elisa Lasowski, “Monarch: Legacy of Monsters” premieres globally with the first two episodes on Friday, November 17 on Apple TV+, followed by one episode every Friday through January 12.

“Monarch: Legacy of Monsters” executive producers Chris Black and Matt Fraction, executive producer Tory Tunnell, executive producer and director Andy Goddard, casting director Ronna Kress and VFX supervisor Sean Konrad came together for the special conversation and screening at New York Comic Con, moderated by entertainment journalist Scott Mantz.

Following the thunderous battle between Godzilla and the Titans that leveled San Francisco, and the shocking revelation that monsters are real, “Monarch: Legacy of Monsters” tracks two siblings following in their father’s footsteps to uncover their family’s connection to the secretive organization known as Monarch. Clues lead them into the world of monsters and ultimately down the rabbit hole to Army officer Lee Shaw (played by Kurt Russell and Wyatt Russell), taking place in the 1950s and half a century later where Monarch is threatened by what Shaw knows. The dramatic saga — spanning three generations — reveals buried secrets and the ways that epic, earth-shattering events can reverberate through our lives.

Hailing from Legendary Television, “Monarch: Legacy of Monsters” is co-developed and executive produced by Chris Black and Matt Fraction. Matt Shakman directs the first two episodes and serves as executive producer alongside Joby Harold and Tory Tunnell from Safehouse Pictures, Andy Goddard, Brad Van Arragon and Andrew Colville. Hiro Matsuoka and Takemasa Arita executive produce on behalf of Toho Co., Ltd., the owner of the Godzilla character. Toho licensed the rights to Legendary for “Monarch: Legacy of Monsters” as a natural byproduct of their long-term relationship with the film franchise.

Legendary Entertainment’s Monsterverse is an epic entertainment universe of interconnected stories that bring together popular culture’s most titanic forces of nature. Witness humanity’s greatest battle for survival as we fight for our world in the face of a catastrophic new reality — the monsters of our myths and legends are real. Beginning in 2014 with Godzilla and continuing with 2017’s “Kong: Skull Island,” 2019’s “Godzilla: King of the Monsters” and 2021’s “Godzilla vs. Kong,” the Monsterverse has accumulated close to two billion dollars globally at the box office and is ever-expanding, with the highly anticipated sequel “Godzilla x Kong: The New Empire.”

The 10-episode series will premiere globally on Apple TV+ alongside an expanding offering of sweeping, world-building dramas including global hit series “Silo”; “Foundation,” based on the award-winning novels by Isaac Asimov, and created by David S. Goyer; “Invasion,” a sci-fi drama series from Academy Award-nominated and two-time Emmy Award-nominated producer Simon Kinberg and David Weil currently streaming its second season and more.

FLORA AND SON – Review

Does something magical happen when you create music? Many folks believe that. Perhaps a main proponent of that notion is Irish filmmaker John Carney. He’s illustrated that belief in a trilogy of beloved films: ONCE, BEGIN AGAIN, and SING STREET. And now he’s stretched that trilogy into a “quadrilogy” (perhaps calling them a quartet is more in line with the music themes) with his new film opening this weekend. But this tune-filled dramedy has a “hook” that is almost universal. Here the songs are in service of mending a family. It can’t completely repair this particular family, but it may just bring this single mother and her teenage son a tad closer, so at least they’re not spending their evenings screaming at one another. Adding to the tension is their “hand-to-mouth” existence, being part of the hard-working lower middle class of Ireland. That’s the setting for the story of this dup, hence the title FLORA AND SON.

When we first meet Flora (Eve Hewson), she’s charging into the local pub-turned-disco, at “full speed”, hand in hand with her best “gal pal”. Soon they’re splitting up on the dance floor in search of “after-hours companionship”. And when her “overnight guest” at her shabby apartment hears mention of her son, he practically bursts out the front door ala’ the Kool-Aid Man. Soon we meet that fourteen-year-old son Max (Oren Kinlan) when a local constable comes over to deliver a stern warning about his petty thievery. One more “pinch” and he’s in the “system”. When the “bobby” leaves, the two begin their regular “screamfest”. Flora is not getting any help from Max’s dad, Ian (Jack Reynor), a former rock bassist who’s now sharing a nicer pad with his wealthy new girlfriend, though Ian gets Max on most weekends. Hmm, Max has inherited his pop’s musical interests, though Max is more into rap and techno-pop. When Flora sees a beaten-up guitar sticking out of a dumpster, she grabs it, has it repaired, and gifts it to Max as a belated birthday present. And…he wants no part of it (cue another nasty “row”). But it grabs the interest of Flora, especially after seeing a singing competition sign outside a nearby bar. Now she’s got to learn to play it. After viewing countless video pitches for online lessons, she settles on a hunky, “mellow dude” from the States, Jeff (Joseph Gordon-Levitt). After an awkward first session, the two begin to connect through the “web”. Could this become more than a “teacher/student” rapport, even though he’s thousands of miles away? And what of Max? Could music mend the estranged mother/son bond? More importantly, could this shared passion keep Max on the “straight and narrow” and out of the detention facility?

She’s the first name in the title and really the first person on screen, so I’ll start off singing (not as nicely as the leads do) the praises of Ms. Hewson as the delightfully shocking, sometimes abrasive, and always unpredictable Flora. She provides the pulsing beat to this story as we watch her fighting the courts, her friends, her ex, and her own inner insecurities. Hewson perfectly captures Flora’s “take no prisoners’ stance, but she also shows us how this “tough mama” tries to onceal her worries and concerns, especially for “and son”. I’ll get to him in a moment since Hewson’s strongest scene partner may be that “laid-back” charmer, Mr. Gordon-Levitt. Denied physical interaction, JGL’s Jeff communicates with his crooning and through his questioning eyes. Jeff’s struggling to keep a “professional distance”, though we seem him letting his guard down as this Irish “wild card” draws him in, and, somehow, becomes his teacher. And now to Max, who starts off an a smarmy punk, but Kinlan gives him a sad vulnerability. whether yearning to fit in with the “lads” or impress the local “video vixen”.Max has an emdearing awkwardness which offsets his boasting rap lyrics (which are truly hysterical). And proving that the “apple doesn’t fall far from the tree”, his equally talented pop Ian also scores lots of laughs thanks to the warm, comedic turn by Reynor (so good in Carney’s SING STREET). We’re set up to dislike him as a “deadbeat dad”, but we soon see that Ian is trying to “step up”, and is eventually drawn back into his boy’s life via music (Reynor’s face as he hears Max’s song mix is priceless).

Oh, I forgot to mention that this smart script is also from director Carney. He deftly balances the scenes showing the joy of musical creation with some hilarious exchanges. and plenty of heart-breaking drama. At the story’s onset, it appears that Max will not find his way and will soon be crushed by society. We can see how Flora becomes his lifeline by never giving up or giving in. Plus we get to witness her renewed joy and happiness. Though she’s inspired by that contest money, the music becomes the oxygen invigorating her. Carney makes that part of the tale come alive using a clever visual trick to break through the laptop screen to forge an intimate connection between Flora and Jeff. And though everything’s not neatly wrapped up by the sweet finale, we’re left with hope for all the principals. Sure, it’s another charming ode to melody from Mr. Carney, but it’s also a wondrous story of a fractured family who can learn a new way to harmonize. To put it simply, FLORA AND SON truly hits all the right notes.

3.5 Out of 4

FLORA AND SON is now playing at select theatres and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas. It also streams exclusively on AppleTV+ beginning on Friday, September 29, 2023

Get A Look At Godzilla In First Photos For Apple TV+’s Sci-fi Drama “Monarch: Legacy of Monsters,” Based On Legendary’s Monsterverse

Apple TV+ has revealed the series title of the highly anticipated sci-fi drama “Monarch: Legacy of Monsters,” based on Legendary’s Monsterverse. The announcement also includes first-look images including Godzilla as part of the series for the first time. The 10-episode first season stars Kurt Russell and Wyatt Russell, who play the same character, as well as Anna Sawai, Kiersey Clemons, Ren Watabe, Mari Yamamoto, Anders Holm, Joe Tippett and Elisa Lasowski.

In this epic journey, which follows the thunderous battle between Godzilla and the Titans that leveled San Francisco and the shocking revelation that monsters are real, “Monarch: Legacy of Monsters” tracks two siblings following in their father’s footsteps to uncover their family’s connection to the secretive organization known as Monarch. Clues lead them into the world of monsters and ultimately down the rabbit hole to Army officer Lee Shaw (played Kurt Russell and Wyatt Russell), taking place in the 1950s and half a century later where Monarch is threatened by what Shaw knows. The dramatic saga – spanning three generations – reveals buried secrets and the ways that epic, earth-shattering events can reverberate through our lives.

Kurt Russell and Wyatt Russell in “Monarch: Legacy of Monsters”.

“Monarch: Legacy of Monsters” is co-developed by Chris Black (“Severance,” “Star Trek: Enterprise,” “Outcast,”) and Matt Fraction (“Hawkeye”). Matt Shakman (“Wandavision”) directs the first two episodes.

Hailing from Legendary Television, the series is executive produced by Black, Fraction and Shakman alongside Joby Harold (“Obi-Wan Kenobi,” “Transformers: Rise of the Beasts”) and Tory Tunnell (“Spinning Out,” “Underground”) from Safehouse Pictures, Matt Shakman (“Wandavision”), Andy Goddard (“Carnival Row, “Downton Abbey”), Brad Van Arragon (“Yellowjackets, “Carnival Row”), and Andrew Colville (“Severance,” “Star Trek: Discovery”). Hiro Matsuoka and Takemasa Arita executive produce on behalf of Toho Co., Ltd., the owner of the Godzilla character. Toho licensed the rights to Legendary for “Monarch: Legacy of Monsters” as a natural byproduct of their long-term relationship with the film franchise.

Legendary Entertainment’s Monsterverse is an epic entertainment universe of interconnected stories that bring together popular culture’s most titanic forces of nature. Witness humanity’s greatest battle for survival as we fight for our world in the face of a catastrophic new reality—the monsters of our myths and legends are real. Beginning in 2014 with Godzilla and continuing with 2017’s “Kong: Skull Island,” 2019’s “Godzilla: King of the Monsters” and 2021’s “Godzilla vs. Kong,” the Monsterverse has accumulated close to two billion dollars globally at the box office and is ever-expanding, with the highly anticipated sequel “Godzilla x Kong: The New Empire.”

The series will premiere globally on Apple TV+ alongside an expanding offering of sweeping, world-building dramas including global hit series “Silo”; “Foundation,” based on the award-winning novels by Isaac Asimov, and created by David S. Goyer; “Invasion,” a sci-fi drama series from Academy Award-nominated and two-time Emmy Award-nominated producer Simon Kinberg and David Weil launching its second season on August 23, and more.

THE BEANIE BUBBLE – Review

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


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

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


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

3 Out of 4

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

STILL: A MICHAEL J. FOX MOVIE – Review

As we slide into the 2023 Summer movie season, a new release takes us back to another one, now 38 years old. And while in recent years you could say that a major studio “owned’ the Summer as Paramount did last year with the TOP GUN sequel, or as Marvel Studios has done (along with some characters licensed out to others) a couple of years prior. Oh, but the Summer of 1985 was pretty much owned by an unlikely cinema superstar, Michael J. Fox. For a week or two his “star vehicles”, BACK TO THE FUTURE and TEEN WOLF were respectively numbers one and two on the box office charts. But his streak wasn’t limited to the big screen, as his “day job” on the NBC sitcom “Family Ties” had a safe perch in the top ten Nielsen ratings. But now he’s perhaps best known for his battle to defeat the deadly disease that has taken him away (for the most part) from the sound stages and into medical research fundraisers and labs. His incredible journey is expertly detailed in the new documentary feature, STILL: A MICHAEL J. FOX MOVIE.

The film actually begins during one of Michael’s biggest “movie star” years, as he recovers from a night of hard partying with co-star Woody Harrelson (they were teamed in DOC HOLLYWOOD) in a swanky Florida hotel room. He raises his hand to block the sunlight and notices something odd. He can’t stop his pinky finger from twitching, almost as though it were vibrating. Jump cut to Fox today as he tells of soon getting the stupifying diagnosis of Parkinson’s disease in 1991 (“But that just happens to old folks!”). We then follow him along as he works with his physical therapist, exercising and trying to walk without slamming into walls (and we do see him take a spill, and then ease the tension with a perfectly-timed quip). From there it’s “back to the past” with a peak at his early life, growing up as the “baby of the family” in the suburbs of Canada where the acting bug bit him when he got his first laugh on stage. Even though his pop thought he was a, well “f*#%#up, he took him to seek greater fame (he was a sitcom star on the CBC) in LA. Fox relates the usual “horror stories” of struggle (swiped jelly packs for meals and selling off a sectional couch one piece at a time) until that script from Family Ties arrived. It seems all of his bosses, the show’s producer, and the network chief (the “lunchbox” story is a hoot), were against him, but the audience adored him. Then it’s just a couple of years until he’s tapped to replace the lead in the big Spielberg/Zemeckis time travel epic and shoot it at night and on weekends while still doing the TV show (we get a POV of his hectic schedule for over three months). With his career headed into the stratosphere, he’s gobsmacked by the smart NYC stage actress brought in to play his TV girlfriend, Tracy Pollan. The film shifts to love story mode, from their uneasy first meetings to a lasting marriage and a quartet of kids. Tracy is his “rock” when the disease kicks in, helping him deal with it (Fox found ways of hiding symptoms during his second TV show, “Spin City”), until he finally “went public” in 1998. we get intimate details of the start of his research foundation, his occasional forays back into TV, and the struggle and triumphs as Fox strives to keep moving forward.

Bravo to the film’s subject and also to the inventive talented filmmaker that destroys the many misconceptions over documentary features. I’m speaking of Davis Guggenheim, Oscar-winner for AN INCONVENIENT TRUTH, who has delivered a string of compelling non-fiction films. Here he balances the standard “talking head” interviews, proving that Fox has lost little of his communication skills, with first-person narration (much of it gleamed from Fox’s lauded memoirs and recreations of pivotal moments in recent history. Now, here’s the clever “bit” (and kudos to the research staff involved), archival news footage is seamlessly meshed with backstage clips, recreations using set “mock-ups” and “look-a-likes”(often seen from the back), along with footage from Fox’s film and TV work. A story of an NYC press visit has bits from FOR LOVE OR MONEY (the hotel room) and BRIGHT LIGHTS, BIG CITY (on the sidewalks). And though his name is in the title, it’s his wife Tracy who may truly be the heart of the tale, especially when she sees Michael trying to drown his fear in booze. Honestly, I was somewhat dreading this film, as the recent news pieces on Fox are heartwrenching to watch. But, as he states in the film, Mr. Fox will have none of that. He’s got no time or patience for pity or sorrow (a real “save yer’ tears” fella’). You can almost imagine Parkinson’s looming over him ala BTTF’s Biff which recalls Fox as Marty knowing he’s maybe got one chance for a punch, so he’s putting everything into it. This film is an endearing look back at the “go-go” 1980s/90s which also inspires as an uplifting “call to action”. Who’d have thought that one of this year’s most compelling motion pictures would be about a former “teen dream” whose health struggles fail to keep him STILL, as in A MICHAEL J. FOX MOVIE? Way to be, Alex P.!

4 Out of 4

STILL: A MICHAEL J. FOX MOVIE opens in select theatres and streams exclusively on AppleTV+ beginning on Friday, May 12, 2023

GHOSTED (2023) – Review

Hard to believe, but we’ve not taken a trip into “rom-com” land in 2023. Really? Has this staple been dormant for several months, but with those warmer Spring temps, well, where do most hearts venture? Oh, and since we’re getting nearer to Summer this one’s a hybrid as it’s really a “rom-com-spy-thriller”.This isn’t rare as we’ve seen this played out for at least 30 years, going back to Arnold and new Oscar darling Jamie Lee in TRUE LIES (which inspired a recent CBS TV series). And in the last dozen or so years we’ve had the big “spy reveals” in KNIGHT AND DAY (Tom Cruise) and KILLER (Ashton Kutcher), not to mention the double reveal in MR. AND MRS. SMITH (Bradgilina begins). Well, this new one has a bit of a twist in that the undercover agent is a lady. Plus it also takes a few jabs at modern dating rules and manners, using the social media “online verb”, GHOSTED.

The lady in question is Sadie Rhodes (Ana de Armas) who is feeling down as she returns to her Washington D.C. home after a tough “work trip”. She’s got to stock her fridge, so she drops in at a local farmer’s market. Manning the houseplant stand for a neighbor merchant (after she chides him about his latest dating “dump”), Cole Turner (Chris Evans) tries to help Sadie pick out a potted plant, which leads to a disagreement (she can’t nurture it) that someone ends as a day-long (into the night) first date. Back at his parents’ house (he’s helping out at the farm after his pop was injured) Cole is bummed that Sadie’s not returning his voicemails and texts. His kid sister insists that he’s been “ghosted” for being “needy”.Aha, he accidentally put one of his inhalers in her purse that day and it has an online “tracking” chip. So where is she? OMG, London! His folks encourage him to make a grand “romantic gesture” and since Cole’s got an old airline voucher, so…Across the pond, Cole hones in on a secluded spot where she should be. Instead, he’s jumped and drugged by a quartet of muscled goons. When he awakens, a grinning creep threatens Cole with torture unless he gives them the passcode for something called Aztec. Luckily a black leather-clad hooded hero swoops in with guns blazing. When the dust settles, and his bonds are cut, Cole is shocked to see that his rescuer is Sadie! She’s not an art curator, but rather a CIA operative code-named the “Taxman”. Somehow they have to get past the awkward dating etiquette (“Emojis count as texts”), get Cole out of Pakistan (he was “out” for a while), and stop a ruthless French arms dealer named Leveque (Adrian Brody) from selling the destructive Aztec device to the highest bidder. And then maybe, maybe there’ll be a second date.

Of course, the main component to make a rom-com work is the chemistry of the two leads. Aside from being incredibly photogenic (I can imagine animated hearts floating from the lens), there’s genuine affection present, even as they bicker, as we get hints of the tension increasing the desire. Evans channels the affable charm he projected as the first Avenger into a not-quite-cool everyman (but with the “ultra-handsome). Sure it’s tough to believe Cole’s poor dating history, though the awkward, often clueless demeanor hints at a reason. And Evans does sell the whole “out of his element” vibe, although we’re reminded that Cole was a high school ‘rassler. At least the promise of de Armas as an action goddess has been realized here after her too too brief role in the last Bond flick. She’s super cool and sultry as she dispatches the baddies, plus she too kicks in the charm key in the romantic first meeting “dance” around Evans. Sadie’s an enigma for most of the story, so de Armas really brings out her vulnerability when she finally opens up about her past and her current “occupation”. Brody camps it up as the effete sneering villain and is given great support by his main henchman, the cold-blooded, threatening Mike Moh as Wagner plus Tim Blake Nelson channeling his inner Peter Lorre as the sadistic Borislov (nice name). Though seeming a bit too youthful to be Cole’s folks, Tate Donovan and Amy Sedaris are warm and befuddled as the parents, while Lizzie Broadway brings the right amount of sassy snark to the role of Cole’s kid sister.

After scoring big hits in the musical bio genre with ROCKETMAN and as the rumored backup for BOHEMIAN RHAPSODY, director Dexter Fletcher deftly juggles the rom-com beats and the big action set-pieces. He eases into the changes in tone to insure viewers won’t feel a “whiplash’ in going from the comedy to the explosive thrills. And the film benefits greatly from the many delightful cameos, but I won’t spoil them (perhaps some of his MCU brethren…mmm). Fletcher really gets his leads to commit to the adventure, but they can’t quite get past the uneven script as it begins to echo sequences in superior action epics, with a ludicrous finale that apes a Hitchcock classic (the old merry-go-round). And what adult would really think that traveling across the world after a first date is a great idea (for once the kid sister is right)? Obstacles are predictably tossed in the couple’s path, but we’re sure that there will be last-minute reunions and that Cole will “step up” to be worthy of Sadie’s love and respect. Evans and de Armas are a terrific pairing, but they deserve something more original and clever than the rehashed cliches of GHOSTED.

2 Out of 4

GHOSTED streams exclusively on AppleTV+ beginning on Friday, April 21, 2023

Ridley Scott’s NAPOLEON Starring Joaquin Phoenix To Stream On Apple TV+ Following Theatrical Release On November 22

Apple Original Films announced today that the epic historical drama “Napoleon” from acclaimed director Ridley Scott will first be released exclusively in theaters worldwide, in partnership with Sony Pictures Entertainment, on Wednesday, November 22, before streaming globally on Apple TV+.

Directed by Scott from a screenplay by David Scarpa, “Napoleon” stars Joaquin Phoenix as the French emperor and military leader. The film is an original and personal look at Napoleon’s origins and his swift, ruthless climb to emperor, viewed through the prism of his addictive and often volatile relationship with his wife and one true love, Josephine, played by Vanessa Kirby. The film captures Napoleon’s famous battles, relentless ambition and astounding strategic mind as an extraordinary military leader and war visionary. An Apple Studios production in conjunction with Scott Free Productions, “Napoleon” is produced by Scott, Kevin Walsh, Mark Huffam and Phoenix, with Michael Pruss and Aidan Elliott serving as executive producers.

Momentum around the Apple Original Films slate continues to grow since the debut of Apple TV+ just over three years ago. In addition to Apple making history as the first streaming service to land the Academy Award for Best Picture with “CODA,” Apple Original Film “The Boy, the Mole, the Fox and the Horse” also recently earned the Academy Award for Best Animated Short. “Napoleon” will premiere alongside upcoming Apple Original Films including the broadly praised “Tetris,” which stars Taron Egerton and recently held its world premiere at SXSW; acclaimed documentary “STILL: A Michael J. Fox Movie”; feature documentary and Sundance selection “Underrated: Stephen Curry”; “Ghosted,” a high-concept romantic action adventure film starring Chris Evans and Ana de Armas; “Killers of the Flower Moon,” the upcoming film starring Academy Award winners Leonardo DiCaprio and Robert De Niro, as well as newcomer Lily Gladstone, from Academy Award-winning director Martin Scorsese; the star-studded spy thriller “Argylle,” with Henry Cavill, Sam Rockwell, Bryce Dallas Howard, Bryan Cranston, Catherine O’Hara, John Cena, Dua Lipa, Ariana DeBose and Samuel L. Jackson, and more.

Sony Pictures’ distinct commitment to exclusive theatrical windows has driven significant box office returns including that of hit films “Spider-Man: No Way Home,” “Venom: Let There Be Carnage,” “Uncharted,” “Where the Crawdads Sing,” “Bullet Train,” “The Woman King,” and “A Man Called Otto.”

Taron Egerton Discusses The Story Behind TETRIS In New Featurette – Premieres On Apple TV+ March 31

Apple Original Films has released a fascinating new featurette for the highly anticipated thriller, “Tetris,” starring Taron Egerton. The actors and filmmakers discuss the unbelievable story of how one of the world’s most popular video games found its way to avid players around the globe.

Henk Rogers (Taron Egerton) discovers TETRIS in 1988, and then risks everything by traveling to the Soviet Union, where he joins forces with inventor Alexey Pajitnov (Nikita Efremov) to bring the game to the masses. Based on a true story, “Tetris” is a Cold War–era thriller on steroids, with double-crossing villains, unlikely heroes and a nail-biting race to the finish.

“Tetris” is directed by Jon S. Baird from a script by Noah Pink. The film is produced by Matthew Vaughn, Gillian Berrie, Claudia Vaughn, Len Blavatnik and Gregor Cameron, with Zygi Kamasa, Carlos Peres, Iain Mackenzie, Noah Pink, Taron Egerton, Danny Cohen, Amanda Ghost, Vince Holden, Henk Rogers, Alexey Pajitnov and Maya Rogers executive producing.

Check out the movie on Apple TV+, Friday, March 31. For an audio-described version, please visit http://apple.co/_AppleTVPlus

First Look At The GHOSTED Trailer Starring Chris Evans And Ana de Armas

Salt-of-the-earth Cole (Chris Evans) falls head over heels for enigmatic Sadie (Ana de Armas) — but then makes the shocking discovery that she’s a secret agent. Before they can decide on a second date, Cole and Sadie are swept away on an international adventure to save the world.

Check out the brand new trailer.

Directed by Dexter Fletcher, the film also features Adrien Brody, Mike Moh, Amy Sedaris, Tate Donovan.

GHOSTED will premiere globally on Apple TV+ on April 21, 2023.

SHARPER – Review

With this film’s release so close to the big “hearts and flowers” holiday, you might think that it’s a modern twist on the old romantic stories of boy meets girl. And you’d be mistaken, except for the “twist” angle. Yes, it does begin with a “meet cute”, but soon the filmmakers take us down a road of deception and devious designs, full of, yes, twists and turns. Now it’s not another thriller built on that cybercrime of “catfishing” as in the very recent MISSING. This tale owes much more to the previous “con capers” like THE STING, BODY HEAT, and, naturally THE GRIFTERS. Ah, but these “players” are aiming for much larger stakes as they go after their NYC high-society “marks”. That’s why they have to aspire to be SHARPER.

Oh, as I mentioned this story takes place in Manhattan and opens on a quaint dusty used book store in one of the quiet upscale neighborhoods. And the literary theme is used with the film being divided into four chapters, each title after a character in this quadrangle. The first is the owner/manager of the shop, a quiet twenty-something named Tom (Justice Smith). His dull afternoon next to the register is ended by the arrival of a lovely college student named Sandra (Briana Middleton). Their conversation leads to his clumsy invitation to dinner and leads to a whirlwind romance that ends in tragedy and heartbreak. In the next chapter named for her, we look into Sandra’s past and her life-changing encounter with the enigmatic “groomer” named Max (Sebastian Stan). This leads to his chapter that gives us an insight into his complex relationship with his social-climbing mother Madeline (Julianne Moore), who has become the fiancee of a Fifth Avenue financial tycoon named Richard Hobbes (John Lithgow). With her chapter, the dots are “connected”, the story comes “full circle”, and the quartet wrestles for control and makes a grab for the “big brass ring”.


With this type of film, it’s tough to get into the actor’s performances without revealing too much of their characters’ secrets (the whole plot peels back the layers). However, I can attest that the talented, always interesting Ms. Moore adds another complex role to her impressive screen resume. Madeline is more than the tortured matriarch as she tries to correct her past while forging ahead toward a lush future. That past, embodied by Stan’s Max, is dark and full of potential danger as Stan projects an air of edgy laid-back cool aloofness punctuated by a snarling intensity. At the opposite end is Smith as the quiet, reflective Tom who’s been beaten down by life but sees this new love as a chance to start over on the road to happiness. As his shining beacon, Middleton dazzles as Sandra whose own dark past threatens to doom this new love as she tries to bury those demons. In a smaller supporting role, Lithgow projects the proper gravitas as the man of “old money” who knows that some “class -climbers’ see a golden target on his back.

The tale’s many curves and turns are expertly guided by director Benjamin Caron in his feature film directing debut. He confidently keeps the drastic time shifts on track in the taut screenplay from Brian Gatewood and Alessandro Tanaka, which keeps us guessing and baffled till the final fade out (and at just under two hours). The Big Apple locations are superb, from the plush million-dollar-plus “cribs” to the cluttered Queen apartments and the neighborhood “dive bars”. And they’re lit with the story’s emotional shifts in mind. This is the cinematic equivalent to a good “page-turner”, something to devour on a rainy afternoon. As far as most dramatic thrillers go, I’d say that this is much, much SHARPER.

3.5 Out of 4

SHARPER opens at the Alamo Drafthouse in St. Louis and streams exclusively on AppleTV+ beginning on Friday, February 17, 2023