Tag: based on a true story

SONG SUNG BLUE – Review

(L to R) Hugh Jackman as Mike Sardina and Kate Hudson as Claire Stengl in director Craig Brewer’s SONG SUNG BLUE, a Focus Features release. Credit: Courtesy of Focus Features. © 2025 All Rights Reserved.

So who’s up for some great tunes on this big holiday…, at the multiplex? No, we’re not talking about any Christmas carols (you’re probably hearing those jingle bells in your sleep by now). We’re talking a full-fledged musical movie, though it’s not another bold brassy big-screen version of a stage musical in the wake of WICKED: FOR GOOD (though it’s really an expanding of its second act). This new release may be more in that subgenre of the “jukebox musical” as it focuses on the pop songs of an iconic star, although it’s not a biopic of him (much like ELVIS or ROCKETMAN). You see, this is a true life dramatic love story about a “tribute band” of that singing superstar. Sounds confusing? It’ll all be clear with the first few notes (and scenes) of SONG SUNG BLUE.

That title tune is heard in the opening scene, in which Mike Sardina (Hugh Jackman) serenades his AA support group after he has hit a big sobriety milestone in late 1980s Milwaukee. From there he’s off to his sweet “side gig” as part of a “tributes” show at the state fair. Mike walks out after the organizer insists that he take on the songs of Don Ho (“Tiny Bubbles”). No, Mike wants to perform the works of his idol, Neil Diamond. As he exits, Mike stops to catch the fetching Patsy Cline (“Walkin’ After Midnight”) songstress Claire Stingl (Kate Hudson). He strikes up a conversation with her later that night, leading to a date for the two divorced parents (Mike’s teenage daughter visits once a month or so). He tries to bond with Claire’s energetic pre-teen son Dayna (Hudson Hensley) and her somewhat surly teenage daughter Rachel (Ella Anderson). After a quick “jam session” Mike asks Claire if she would consider partnering with him for his “dream Diamond tribute review” that he dubs “Thunder and Lightning” (the latter being his stage persona while she’d be the former). Claire is thrilled and seals their partnership with a kiss. They assemble a back-up band and begin performing in bars, wedding halls, and eateries in the Wisconsin/Illinois area. Through it all, the two become much more than a singing duo, eventually tying the knot. Their reputation is on the rise, leading to an “opening act” slot at a Pearl Jam concert. The sky seems to be the limit, but the joyful music is almost silenced as fate hits several “sour notes” to challenge their sweet harmonies.

I’ll just get this out of the way: Jackman and Hudson are superb singers. Yeah, that’s not a big revelation, since Hugh has a couple of Tonys on his mantle and Kate cut an album (they still call them that) last year. But that skill is certainly essential in these roles in order to “sell” them as a vocal duet. As for the other aspects of their performances, Jackman may have a bit more to do, as Mike is the “entry point” to this true tale. The “movie mutant” has swagger to spare, as he pushes past the goofy hairstyle and the flashy fashions to give us a man who overtakes the inner demons from his past by reinventing himself. His furrowed brow hints at Mike’s PTSD from serving in Nam, while he still has a vulnerability with the knowledge that his body is failing him and his “time clock” may halt at any time. The bubbly Hudson brings out the best in him. Beneath that beaming smile, Claire has had lots of heartbreak in his own past, and decides to bask in the high she gets from singing. In the story’s second act, we see that life tries to snuff out that spark, until family and friends re-ignite it. It’s no wonder Hudson was the “queen of rom-coms” as she conveys Claire’s joy in getting another chance at love. The film’s other great standout is Anderson as Claire’s teen daughter, Rachel. Sure, she starts as a clichéd snarky “eye-roller”, but she shows how the love of Mike for her mom warms that cynical heart, even making her an ally of his when things get tough, and as she faces her own big life-changing decision. Oh, and there are a couple of 1980s movie stalwarts on hand for support. Fisher Stevens is solid as Mike’s dentist-backer, and Jim Belushi goes all “cheese-head” (right outta’ FARGO) as the tour bus-drivin’ manager. The 90s are repped by Michael Imperioli from “The Sopranos” as the tributes show boss (and resident Buddy Holly) who plays back-up guitar for the revue.


Though no stranger to movies with music, this film is an interesting detour for director/ screenwriter (adapting the same-titled documentary by Greg Kohs) Craig Brewer, after making his 2005 breakout hit, the hip-hop-flavored HUSTLE AND FLOW followed by the 2011 remake of FOOTLOOSE. He takes us past the high camp (exploited in 2001’s SAVING SILVERMAN) of Diamond’s 70s heyday, though we get some Elvis-style kitsch, to get us into the minds and hearts of Mike and Claire. This lulls us into thinking that their love story will always prevail. The huge chaotic challenges make for an abrupt shift (though it seems too extreme, it’s all true), one that may be too much for some viewers, Brewer never veers too much into the melodramatic while keeping the story firmly planted in its frigid northern US roots. Brewer also keeps the pacing smooth, breaking up the dialogue with a burst of song, and not overdoing the big rehearsing and performing montages. Aside from those great hairstyles and fashions, the music selection is pretty terrific, touching on all the big Diamond hits while introducing some often neglected tunes (I now know a whole lot about “Soolaimon”). Hey, there’s even a couple of Patsy Cline and Buddy Holly classics. And the set decorators really capture the tone of the early 1990s. Some of the more jaded filmgoers may think that this is merely a sweet little flick to see with your older relatives, but they may be surprised by the endearing look at the performers that don’t fill arenas, the bus-travelin’ workin’ stiff weekend warriors. That and the chemistry of Hudson and Jackman really blend for a nearly pitch-perfect romance in SONG SUNG BLUE.

3 Out of 4

SONG SUNG BLUE opens in theatres everywhere on Christmas Day, 2025

ROOFMAN – Review

Channing Tatum and Kirsten Dunst star in Paramount Pictures’ “ROOFMAN.”

This weekend sees the release of a most unusual true-crime story. Yes, it’s got the standard details of a lawbreaker’s plans and motives (yup, filthy loot), but it’s more than that ole DRAGNET cliché of “Just the facts”. No, it takes lots of twists and turns, even making a detour into comedy (often slapstick) and romance (thanks to the sprightly pairing of the two leads). But don’t let its title mislead you, because the fella’ here known as the ROOFMAN is certainly not a spandex-clad “superguy”, though he’s not a super villain either. Mostly…

The film opens with the title guy doing his “thing”. Former US Army Reservist Jeffrey Manchester (Channing Tatum) scopes out a busy suburban McDonald’s as it closes for the night. After the workers depart, he heads to the roof and bashes a big hole so that he can drop in. From there, it’s a waiting game until the morning crew arrives. Jeff springs out wearing all black (including a ski mask) and brandishes his rifle. After the manager gives him the cash from the safe, Jeff instructs them to grab their coats and head to the walk-in cooler. But the manager doesn’t have one, so Jeff gives him his black jacket (he’s also dubbed the “gentleman robber”), then dashes away (and calls 911 to get his victims rescued from the cold). From there, the story backtracks to Jeff struggling to make ends meet for his wife, pre-teen daughter, and twin toddler sons. Taking inspiration from his Army pal Steve’s (LaKeith Stanfield) illicit schemes (phony IDs and passports), Jeff begins his retail and restaurant robbery spree. But the law catches up to him. Due to the whole “locking folks in freezers” MO, Jeff is convicted of armed kidnapping and given a hefty sentence. He quickly learns that his spouse has cut out contact with him (Jeff is quite a “girl daddy”). Using his observation skills from the service, he slips out of prison, and contacts his pal Steve, who tells him that he’s too “hot” and to contact him in a month about setting Jeff up with a new identity. What to do over those thirty days? A nearby Toys ‘R’ Us shop may be the answer. Near closing time, Jeff hides via the bathroom ceiling tile. He emerges after the store is closed, disables the security video system, and uses the space behind the bicycle display as his daytime hideaway. He also sets up video baby monitors throughout the store. One day, Jeff is aware of a sweet single mother on the staff. He sees Leigh (Kirsten Dunst) plead with her prickly boss Mitch (Peter Dinkledge) to let her take some discarded, unsellable items for her church’s toy drive. Mitch refuses, so Jeff figures out a way to exit and re-enter the store during the day. He shows up at the church to drop off his bag of goodies, but a member insists that he join the service. He spots Leigh in the choir, and at the post-service spaghetti lunch, Jeff (calling himself John) strikes up a conversation. A romance quickly ensues. But can he dodge her questions and the police? And what will happen when Steve returns? Will Jeff flee or pursue a new life with Leigh?

Once again, Tatum proves that he’s much more than his superb dancing skills as he ramps up the charm (and “rizz”) as the “man on the lam”. Actually, his Jeff/John just entrances almost everyone he meets, and even some of those crime victims, as he deftly sidesteps inquiries and contemplates his next move. But Tatum also shows us this man’s inner conflict and heartbreak over losing contact with his kids. Fortunately, he enjoys a surrogate fam via his relationship with Leigh, given a bouncy sweetness by the still endearing Ms. Dunst. It’s nice to see her step away from her recent somber, dramatic roles, although Dunst can certainly bring the tears in the emotional third act. A big entertaining asset is the great Dinkledge, who makes Mitch a very funny “retail dictator” as he glowers at his “slacking underlings”. Stanfield brings a dangerous, tough energy to the no-nonsense Steve. It’s a shame that the bubble Juno Temple (so great in “Ted Lasso”) doesn’t have more to do as his ditzy beautician GF. On the other side of the law is the inspired pairing of Ben Mendelsohn and Uzo Aduba as the affable Pastor John (at Leigh’s church) and his nurturing wife Eileen (going against the notion of Hollywood deriding the ministry). And stand-up comic Jimmy O. Yang delivers some laughs as a frazzled used car salesman.

Like Dunst, this is much lighter fare for director Derek Cianfrance, perhaps best known for THE PLACE BEYOND THE PINES and BLUE VALENTINE. He displays a real flair for breezy comic set pieces, especially when Jeff becomes the nighttime ruler of “toyland” as he wastes the pre-dawn hours tossing teddy bears and scarfing peanut M&Ms (better than all the jars of baby food). Ditto for the initial dating of him and Leigh. But it eases into a few clichés, especially with her two daughters. The pre-teen is sweet and adorable, while the sixteen-year-old is the usual surly, snarky “demon spawn” overused in so many shows. I suppose this is there for conflict so that Jeff has to “work” to win them all over. This precludes a lull in the pacing, as the movie “spins its wheels” as Jeff gets a new set of wheels. Really, the film could have used a good fifteen or twenty-minute trim on the ole’ editing bay (well, probably all computers now). This leads up to the very sobering and sad finale, in which Jeff reverts to his criminal ways. The film doesn’t give him a “pass” since he’s really a good guy with Leigh and her kids. He “fesses up” that he’s a bad guy even after the filmmakers work diligently to make him the hangdog hero that we “root for”. No, he’s a criminal who takes the hard-earned money of others while waving a weapon. And if not for the high-caliber cast, this might have been another made-for-cable-TV bit of fluff. However, fans of Mr. Tatum and Ms. Dunst may enjoy and be moved by the true-life modern fable of the ROOFMAN. Oh, and be sure and stay for the end credits, which include lots of footage of the real folks.

2.5 Out of 4

ROOFMAN is now playing in theaters everywhere

THE SMASHING MACHINE – Review

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

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


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

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

2 Out of 4

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

SOVEREIGN – Review

(l-r) Jacob Tremblay as Joe Kane and Nick Offerman as his dad Jerry Kane, in SOVEREIGN. Courtesy of Briarcliff Entertainment

It is not kings but citizens as sovereign, as Nick Offerman stars as a father of a teen-aged son, played by Jacob Tremblay, in the true story-based thriller in SOVEREIGN, about these followers of the extremist, anti-government Sovereign Citizen belief system. The film also features Dennis Quaid, who plays a police detective, also a father but of a grown son who is training to become a policeman, who the father and son extremists encounter. This tale of two fathers is tense, moving and heartbreaking, as their world views come into conflict.

A little research uncovers that “Sovereign Citizen” is an actual far-right, anti-government world view, based on pseudo-legal beliefs derived from their interpretation of parts of the U.S. Constitution, a version of the Magna Carta and British common law. Those interpretations lead them to conclude that if they reject citizenship of a state or country, they can act as individual “sovereign” entities not constrained by normal laws, such as a requirement to have a driver’s license, and other rules of society.

The film itself gives scant few details on the extremist Sovereign Citizen belief system underlying these tragic events, leaving the film’s audience wondering and unclear on much of it, and in fact, doesn’t even use the term “sovereign citizen.”

Still, SOVEREIGN is very well-acted, well-made and a tense film that blends family drama and crime thriller elements in which things spiral down when opposing belief clash, but it is a film that can be grim and hard to watch. It was directed and written by Christian Swegal, based on a 2010 West Memphis, Arkansas, incident involving a father-son pair who adhered to far-right Sovereign Citizen ideas. In the film, ultimately, your heart breaks for this teenager, a good son to a misguided parent.

Nick Offerman is excellent in this film, and the same can be said for Jacob Tremblay as his dutiful son, in this tragic, true story-based drama/thriller. Jerry Kane (Offerman) is a single parent raising his son Joe (Tremblay) according to these extremist beliefs. Jerry makes a living by traveling around the country giving seminars on legal matters, like ways to avoid foreclosure, by following steps derived from Sovereign Citizen beliefs. Ironically, while Jerry is advising people on legal matters, particularly on real estate, he and his son are facing foreclosure on their rundown, modest ranch home.

What little the film shares with audiences on these extremist views in delivered when Nick Offerman’s character, Jerry Kane, talks about those concepts as he lectures his audiences, in his “legal” seminars and on a podcast where he is a regular guest, both with audiences already familiar with Sovereign Citizen beliefs. The film’s audiences would have benefited from a little more basic details, maybe with some text at the film’s start, explaining what Sovereign Citizen is. We do not get an exposition scene from the authorities (mostly police or the courts) in the film, because the authorities Jerry Kane encounters are as unaware of Sovereign Citizen as most of the film’s audience likely is.

While his father is traveling for his work, the home-schooled Joe Kane is left at home, so he is there alone, when a representative of the bank comes by to serve notice that foreclosure is looming. Joe accepts the official papers, and when the policeman with the bank representative tells Joe he has to clean up the house and property and maintain it so it can be sold, Joe dutifully does that.

Returning home, Jerry is irritated that Joe accepted the legal documents, but not unduly so. He has a solution, which is to go out on a speaking tour, collecting donations at each seminar. Usually Jerry leaves the teen home alone when he hits the road but this time he takes his son along to help, and his son’s dog too. Joe is thrilled to tag along with his dad, and is hopeful that they will raise enough money to make a payment on the mortgage and get to keep their home.

The father and son encounter Dennis Quaid’s police detective after a traffic stop, when dad Jerry is taken into custody for driving without a license and insisting on his pseudo-legal belief that his does not need one because he is “traveling” rather than engaged in commerce. While Jerry sorts out his issues with the law, teenager Joe is place in a juvenile group home and encounters kindly social workers that give him a glimpse of a different world. While still wanting to stay loyal to his father, the home-schooled Joe starts to dream of going to high school and of a different future for himself.

In many ways, Offerman’s Jerry is a good father, supportive of and encouraging to his son, although his extremist worldview blinds him to what might be best for his son Joe. Joe is a good kid, a dutiful son who loves his father, but is less certain about the Sovereign Citizen beliefs.

The film is also a kind of tale of two fathers, as Quaid’s character is also a dad, although of a grown son, Adam (Thomas Mann), who is training to be a police officer. While Offerman’s Jerry is warm and encouraging to his son, Quaid’s character is more inclined to criticism, even critiquing his grown son’s parenting skills with his own infant son. Both Quaid’s and Offerman’s characters have their strong beliefs about the world, one conventional and the other extremist, and both have loving sons who are eager to please them. But the fathers diverge in their interpersonal styles with those sons, just as they do in their worldviews, although not in the ways you might assume.

As events unfold with the bank and Jerry Kane’s belief system clashes with the way the world really works, things start to spiral down for both the Kanes, and tension builds in the film. A moment of violence both raises that tension to a high-pitch, and brings Quaid’s character back into their sphere, as the film rushes to its stark conclusion.

SOVEREIGN is a heartbreaking study of a father-son relationship impacted by extremist views, and a belief system (about which the film is unnecessarily vague) at odds with the real world, told in parallel with another father-son relationship. The story of the fathers and their sons is both gripping and moving because it is true, but ultimately, the film’s story is also a sad, grim experience, with tragic consequences all around.

SOVEREIGN opens in theaters in select cities and is available to rent or buy starting Friday, July 11, 2025.

RATING: 2.5 out of 4 stars

LAST BREATH (2025) – Review

So, did you have that one friend, or perhaps a family member, that drones endlessly about their ‘soul-sucking” occupation? Well, here’s the film that just might quiet them down. The team profiled really deals with life and death as they plunge into the deep, dark murky depths. Yes, it’s another tale set at sea, but it’s not merely a “rehash” of basic cable TV reality shows like “The Deadliest Catch”. And yes, it is indeed inspired by a true story of survival. The filmmakers really put you alongside these working class “daredevils”. And it all makes you wonder what you would do and how you would feel knowing that you might soon be taking your LAST BREATH.


That “profiled team” is a trio of men who work in “saturation diving”. They’ve got to do repair work on oil pipelines at the bottom of the ocean, for about four weeks at a time. Actually only two members of the trio get into the cold dark water. The first one we meet (after a spooky opening “fast-forward” scene) is twenty-something Chris Lemons (Finn Cole), who is spending his “off hours” refurbishing a home for his soon-to-be-bride Morag (Bobby Rainsbury) on farmland in rural Scotland. The other diver is the tough, focused, “all business” Dave Yuasa (Simu Liu). The third teammate is the “bellmaan”, affable nearly retired vet Duncan Allock (Woody Harrelson), who is somewhat of a mentor to Chris. They all report to the floating support vessel, the Bippy Topaz, which operates in the North Sea over a hundred miles from the coast of Scotland. Their “28-day shift” begins on board as they occupy one of several saturation pods (there are several teams) prior to the dive. A mixture of helium and oxygen (heliox) is pumped in to condition their bodies to deal with the pressure at depths of over three hundred feet. They all report to the ship’s Captain, Jensen (Cliff Curtis), though the divers’ main supervisor, who is in constant communication, is Craig (Mark Bonnar). The night of the first dive is a rough one, with huge rolling waves and wind gusts over thirty knots, difficult but not unworkable. The diving bell sinks below the ship, and Duncan sends Chris and Dave out to the cage above the oil pipeline (AKA the manifold) as he pushes them out via their “umbilical tether”, the thick series of hoses that pump in heliox and hot water while also housing the communications system (mikes, lights, and video). Then the unthinkable happens as the storms pull the Topaz away from them as the “dynamic positioning system” fails, basically a complete computer “crash”. As the divers rush back to the bell, Chris’ tether catches on part of the manifold and eventually snaps. Dave barely makes it back to Duncan as they formulate a plan to retrieve Chris. all while the Captain and Craig try to manually steer the ship as the crew attempts a “reboot”. But time is running out for Chris since he’s only got around five minutes of backup air. Gulp indeed!

I suppose the leader of the cast, at least for the marketing, is TV and film vet Harrelson, who brings his easy-going, gregarious charm to the role of the “old timer” that still thinks he’s got a few more missions in him. Actually he’s more of a “deep sea daddy’ to both the divers as he furls his brow and paces back at the “bell” when he’s not doling out the “lifeline”. Harrelson shows us that he’s fighting to contain his emotions when it looks like this’ll be a fatal ‘gig”. He’s also a buffer for the more abrasive, though polished. Dave who is given a somber swagger by the always engaging Liu. He’s concerned also, though his internal panic is not as pronounced. Although he’s somewhat “out-of-action” for most of the second act, newcomer Cole as Chris has a boyish, often contagious enthusiasm as he strives to prove himself to Dave while trying to break out of the “student/teacher” relationship with Duncan. Bonnar is excellent as the “man-at-the-desk” Craig, who is glued to his com and his screens until those “red lights” force him out of his chair and into “rescuer mode” alongside the somber Captain, given the proper gravitas and concern for the entire crew by the reliable Curtis. Kudos also for Rainsbury, who shines in some cellphone videos that fuel Chris’s zeal to survive.

This is such a compelling “true tale” that the director is returning to it after six years. That’s when filmmaker Alex Parkinson (then teamed with Richard da Costa) made a superb documentary about this captivating subject. In fleshing it out into a narrative “docudrama”, he actually builds on the tension and drama, thanks to the screenplay he co-wrote with Mitchell LaFortune and David Brooks. They’ve felt no great need to ” expand the scope” with lots of flashy CG effects or bombastic, dramatic declarations. Though they’re out in that rolling sea, it’s still an intimate study of average men and women rising to the herculean challenge of helping a fallen friend. Sure, this might harken back to the old “B movies” of yesterday. like the “late show” crime noirs or Westerns, but it’s just as gripping as any fictional tale of daring and spectacle. And it’s best enjoyed on the big screen, to really be immersed in that eerie pitch black sea floor and engulfed by the eerie stillness, making you feel as though Chris is floating untethered through the cosmos (those deep-pressure dive suits seem more like space suits). Parkinson paces the film perfectly with little slack (a big part of Duncan’s duties), guiding his excellent ensemble in a film that’s riveting and engrossing right from the first to the LAST BREATH.

3 Out of 4

LAST BREATH is now playing in theatres everywhere

RANSOMED – Review

A scene from the Korean action drama-adventure RANSOMED. Courtesy of Well Go USA.

South Korea has exported a slew of first-rate action flicks in the past few years, and RANSOMED counts as another. Most have been based on cops vs. bad guys within the country. This one, supposedly based on real events, takes us to Lebanon in the 1980s. It also plies the waters of plot complexities and suspense more, without sacrificing the action component.

As factional wars rage within Lebanon, one group kidnaps a Korean diplomat, holding him for over a year before finally demanding a $5 million ransom. A foreign-service colleague, Min-joon (Ha Jung-woo), volunteers for the risky task of delivering the cash and returning with the hostage, even though he’s been a desk jockey without any military that would prepare him for the likely difficulties in achieving the rescue. Corrupt police are swarming the airport, waiting to grab him and seize the dough. He barely escapes, leaving him too little time to locate his contact. Fortunately (or possibly not) he finds a fellow Korean, Pan-su (Ju Ji-hoon) in the line of taxis. They speed away from the cops, setting up the first of several chase scenes to come. His supposedly covert arrival quickly proves to rank among the worst-kept secrets since Liberace came out of his lavishly-sequined closet.

Pan-su, who is quite a hustler, and understandably averse to being shot at, reluctantly agrees to take him to the exchange point, after being offered a lot more money than metered cab fare would be. They have to sneak through a checkpoint of a second faction, and continue avoiding the militarized cops. Meanwhile, another well-armed terrorist group also knows he’s coming and snatches the hostage from the original kidnappers before he reaches the exchange point. The rest of the movie is Min-joon dashing about in unfamiliar territory, variably assisted, undermined or menaced by the aforementioned players, as he frantically tries to complete his mission.

No one is all good. Not all the opposing interests are all bad. Even our hero is less than noble. He took the gig partly as a matter of patriotism but mainly because it seemed his only path to a coveted promotion that was on the verge of being given to another member of the staff. The Korean honchos who had to approve and fund the effort are driven largely by concerns about politics, public relations and cost, rather than devotion to their colleague’s survival. Beyond that venality, there is very little judgment, or even mention, of any faction’s political position. Everyone competing in Lebanon is chasing the big payday, with the other groups merely rivals for the cash. It’s like a game show with a high body count among the gun-totin’ contestants. Suspense is the main element, with some bits of comic relief – mostly coming from Pan-su.

The chases, shootouts and explosions are superbly executed by director Kim Seong-hun and the stunt team. Kim’s resume at the helm isn’t long but it’s mostly action fare on TV and big screens. That experience shows. The film was shot in Morocco on locations that emphasize the extent of destruction from the larger conflicts, and ramp up the excitement level of the action sequences. The pace makes it seem shorter than its 132-minute running time. Perhaps most admirably, they don’t turn this white-collar star into a Rambo. He’s highly dependent on the kindness of strangers – even some who aren’t particularly trustworthy.

RANSOMED, in English, Korean and Arabic with English subtitles, debuts streaming on Well Go USA Entertainment in digital exclusively, on Friday, Feb. 2.

RATING: 2.5 out of 4 stars

A MILLION MILES AWAY – Review

Now that most schools are back in session, who’s up for a history lesson? Okay, we had one a few weeks ago with the, still in theatres, OPPENHEIMER. And though it’s really well done, to be honest, it’s kind of a “downer” what with all the “atomic bomb stuff”. This new flick also deals with science, but it concerns the exploration of space, much like the surprise “crowd-pleaser” of 2016, HIDDEN FIGURES. Like that film, it concerns one member, rather than the mathematics trio, of a minority that is usually not the focus of these docudramas. Oh, and rather than the swinging sixties this story is much more recent, capping off in 2009. It’s really the story of a dreamer, a man who dares to imagine leaving Earth to travel A MILLION MILES AWAY.

It is the late 1960s when we meet the Hernandez family, who are leaving lots of friends, They’re loading up their sputtering car and heading to another job at another California locale. Such is the transient life of farmworkers. Eight-year-old Jose somehow excels in school, despite rising before dawn to join his parents and siblings in the fields. One of his teachers, the sympathetic Miss Young (Michelle Krusiec), notices his skills and pleads with his parents to let him finish the year in Stockton, to no avail. Despite the long working hours, Jose becomes obsessed with the Apollo 11 moon landing. His dream of reaching for the stars sticks with him through his school years and into his first “white collar” job as an engineer at the Lawrence Livermore National Laboratory. oh, but his bosses underestimate him and the receptionist thinks that he’s the new janitor. This just makes Jose (Michael Pena) more determined. Each year he sends off an application to NASA and gets a curt rejection reply. Luckily, he’s more successful with his romance with a young woman at a used car lot, who had also worked in the fields, Adela (Rosa Salazar). But this is equally challenging thanks to her stern father and scary cousins, who don’t want her to “date”. Somehow the duo makes it to the altar and begins a family. After he begrudgingly shares his space dreams with her, she encourages him to work toward his goal. Jose volunteers for a big multi-nation project in Russia, making him now “tri-lingual”. Upon his return he takes flying and scuba diving lessons. With the next application, Jose delivers his form in person at the Johnson Space Center and hands it to Commander Frederick Sturckow (Garret Dillahunt). And it works, he’s in. Thus begins many months of tense and arduous training, challenging not only himself but also putting a considerable strain on his ever-expanding family.

Mind you, I was one of the few postive reviewers of the last Ant-Man flick, but I’ll admit that I sorely missed Mr. Pena as Scott’s motor-mouthed sidekick. I’m so glad he’s now carrying this story squarely on his more-than-capable shoulders. Certainly, Jose is an inspirational hero, but Pena gives him real humanity. Yes, we’re rooting for Jose as his peers roll their eyes, and we cheer when he’s later elevated to their supervisor. But then we see how his ambitions make his personal life take a “back seat”. Still, his hesitant romance is charming and his interactions with his folks and relatives have a real warmth. Oh, adding greatly to those romantic scenes is the chemistry with the engaging Ms. Salazar, almost making us forget her turn as the “battle angel” Alita. Her smile lights up the screen, even beneath the retro 90s hairstyles (layered, feathered, and frosted tips). And she’s more than a doting adoring cheerleader. In a pivotal scene, she conveys her anger and disappointment upon discovering her hubby’s stash of NASA rejections. Adela wants to be Jose’s partner in every sense while chiding him for his disinterest in her own culinary dreams. Dillahunt also dishes out some “tough love” as Jose’s stern taskmaster, knowing just how to deliver the right type of “nudge”. Kudos to Veronica Falcon and Julio Cesar Cedillo as Jose’s hardworking, nurturing parents who shine in the early sequences with the talented young Juan Pablo Monterrubio playing the daydreaming stargazing grade-school-aged Jose.

Director and co-writer (with Bettina Gilois and Hernan Jimenez) Alejandra Marquez Abella has crafted an entertaining biopic that tugs on the heartstrings without being precious or cloying and extolls the virtues of setting a goal and working to achieve it. We can almost feel the muscle aches and heat exhaustion in those scenes in the near-endless fields (lots of bandages on little fingers) while also making us feel as though we’re right next to Jose in the often frightening astronaut tests (how long can he hold his breathe wearing that heavy spacesuit). The decades are recreated well from the autos to the fashions (and those “rabbit-eared” TVs). The jump from grade school to lab engineer feels like a brisk jump, but perhaps it can be elaborated on in a second film (Jose’s foray into politics a decade ago would make for a great “part two”). The glories of space travel are there, but the dangers aren’t pushed aside. My only major problem with the film is that it’s not in theatres where this true tale of determination could make the most impact. So, if you can get access to this inspiring story, A MILLION MILES AWAY is more than worth the effort (especially for families).

3 Out of 4

A MILLION MILES AWAY streams exclusively on Amazon Prime beginning on Friday, September 15, 2023

THE GOOD NURSE – Review

So for Halloween weekend, what’s an excellent setting for some creepy cinema chills? Sure, big creaky dark mansions are usually the “go-to” locale, and if they’re next to, or even attached to, a crumbling cemetery, well they fit the bill…in many flicks. But what about a public place, not the museums (as in the NIGHT series), or a shopping mall (as in the original classic DAWN OF THE DEAD)? In this fright film, the main action occurs in a hospital. And unlike the second in the series, HALLOWEEN II, the shocks are more than doubled because this new one is a true story (or the “inspired by true events” genre). Oh, but this location is dedicated to healing and helping, right? And that’s the really frightening aspect. But the whole thing is not overly exploitive thanks to the Oscar-winning duo who portray a pair of healthcare workers. Needless to say, some of those patients aren’t fortunate to be treated by the one that’s THE GOOD NURSE.

The opening “prologue’ does involve a nurse, Charlie Cullen (Eddie Redmayne), who calls for backup when one of his charges takes a turn for the worst. From there the story changes its setting location and its focus to another nurse, Amy Loughren (Jessica Chastain) who is working the long night shift, seemingly alone. Lifting and moving her patients truly exhausts her, as she almost collapses in an empty supply closet. But she makes it till dawn and returns home to relieve her sitter and see her two pre-teen daughters off to school (their daddy is out of the mix). With the girls gone, Amy heads over for a heart check-up. Her doc insists that she make time for a valve repair, but Amy is months away from getting on the hospital health plan, so she’s got to “plow through” and keep her own health issues a secret. Luckily she gets a new co-worker for the late shift, as Charlie joins the staff. The two quickly bound over their failed marriages and custody conflicts. But then several patients unexpectantly expire. A grieving spouse contacts the local police where the investigation heads to two “plainclothesmen”, Braun (Noah Emmerich) and (Nnamdi Asomugha), who had come across a similar incident previously (then they were too late for a needed autopsy). Unfortunately, the duo is hampered by the hospital’s board of directors and their public relations exec Ms. Garran (Kim Dickens). But as the death toll rises, the PDs finally get to interview the workers and get some cooperation from the puzzled Amy. But will her friendship with Charlie silence the inner voice that warns her of a most deadly conspiracy? And will she put her career and family in jeopardy to learn the truth?


The title character (not giving anything away here) is superbly portrayed by Ms. Chastain in her first dramatic role (I’m not counting the excruciating action-thriller THE 355) since taking the Oscar gold for THE EYES OF TAMMY FAYE. Like that former role, she brings a great deal of empathy and emotional and physical (just charging up a flight of stairs is harrowing) vulnerability as the working-class hero. Her pressures are towering both at work and at home, as she worries about being the “bad Mom” as her eldest constantly ‘tests her”. Her Amy needs a supportive shoulder which make her “awakening” and shift into “truth-seeker mode” more powerful and another triumph for Chastain. Though not a the forefront of the narrative, Redmayne as the mysterious Charlie, underplays in order to make the “gurney-pusher” non-threatening which aids his quest to almost merge in to the hospital’s shadowy corridors. He too, zeros in on a “work buddy” to share in his struggles, through his passive-aggressive demeanor and soft-spoken asides. It’s thanks to Redmayne’s skills that Charlie has some sympathy even as he destroys families while “glomming” onto Amy’s broken home (if he’s not the father figure, at least he’s the cool uncle). Speaking of “working stiffs”, the police pair (with Amy and Charlie as the medical duo) are played with steely determination by, starting with the senior lead PD, Emmerich as Braun who projects an affable persona, but is a keen observor whose gaze can seemingly “burn” into someone’s brain. At his side is Asomugha’s fiery Baldwin, who’s not doing the “good cop/bad cop” cliche with Braun, but rather he’s the more passionate. This helps when he’s doing the research, but can backfire in a memorable scene where he loses his cool with one of the “higher-ups”, though he had shown remarkable restraint. Testing that is Dickens, a superb character actress, whose Garran wants to be seen as an aloof, unflappable businesswoman, but conspires and manipulates with an icy cold hand.

In his English-language feature film directing debut, Tobias Lindholm imbues this story with a sense of dark dread. Really, the hospital proves to be a foreboding shadow space, especially at night. I’m aware that it’s not as well lit after “visiting hours”, but it’s a wonder that the staff doesn’t carry around some pocket flashlights. Of course, this amplifies the hidden evil there and the old adage that “light is the best disinfectant” since those in charge need to keep us, the public, “in the dark”. Aside from the visuals Linfholm keeps us “off-kilter” with an undercurrent of suppressed tension at the core of nearly every scene. This even goes for the detective subplot as the partners try to “run around” and “leap over” the near-constant obstacles in their way. The soundtrack by Biosphere is equally muted, like the cinematography, and doesn’t build up to the usual thriller tropes. The many fans of streaming true crime stories will eagerly consume this but may find themselves hungry for a resolution. There are no clear-cut reasons given for the crimes, much like Simon Oakland provided in the final moments of PSYCHO. Perhaps this is to drive home the fact that horrible real-life incidents can’t be “tied up cleanly with a bright shiny bow”. It’s awful and messy, but sometimes ordinary folks can put a stop to it. But the misery goes down a touch easier thanks to the terrific acting duo who make THE GOOD NURSE very good indeed.

3 Out of 4

THE GOOD NURSE is now playing in select theatres and is streaming exclusively on Netflix

I LOVE MY DAD – Review

One of the annoyances of social media is when your online friends inform you that you’ve been hacked (somebody claiming to be you) on the most popular ‘social network” website. So contacting your friend list or sending out a “blanket warning” is aggravating, but things could be much worse. Nighttime crime TV shows and daytime talk shows are filled with tales of “spoofed” profiles, often leading to money “scams” and sometimes even murder. And the movies have tackled it, most prominently in 2010 with CATFISH which inspired an MTV docuseries a couple of years later and perhaps, added a new verb “catfishing”, creating a false identity to deceive someone online, into popular discussion, This week sees another feature film exploring that subject, but it’s not a documentary. Rather it’s a comedy that somehow is based on an actual incident that happened to the film’s star/writer/director. After seeing it you’ll understand the multiple meanings of the proclamation I LOVE MY DAD.

Actually, the main patriarch’s voice is the first sound we hear during an audio montage of voicemail excuses (“Sorry, I tried to make it…”, “Man, something came up at work….” “We’ll try to get together real soon.”). We then meet the recipient of those messages, recent high school grad Franklin (James Morosini) as he finishes a final group therapy session for young suicide survivors. As everyone starts to leave, Franklin tells his therapist that he will “cut off” all “toxic people who have a negative influence”, particularly his pop. When he returns to the home he shares with his single mom, Diane (Amy Landecker), he begins blocking numbers on his phone lists and people on his social network site. Cut to his papa Chuck (Patton Oswalt), who’s bored at his “cubicle drone” job. Dialing up his son, he gets an automated message. And when he goes to the “web” the screen “bounces back”. Later, Chuck complains to his work pal, Jimmy (Lil Rel Howery), who faced a similar problem not long ago. Seems his ex blocked him, so Jimmy grabbed a stranger’s photo and name, then friended her to “see what kinda’ losers she’s dating”. A seed has been planted. The next morning it begins to sprout when Chuck makes note of his sweet, pretty young server, Becca (Claudia Sulewski) at his usual breakfast spot. A quick internet search of her name and the diner leads him to her online profile. which Chuck copies and “friends” Franklin, who, after an online “chat”, takes the bait. This soon leads to hours of online conversations, Chuck ordering a “burner phone” in order to keep texting, and even virtual “cyber-sex”. But, really it’s all for the “good” so that Chuck can still be in his boy’s life. He’s got it “under control” so that nobody will get hurt. Or so he thinks…

Once again we have an example of a superb character ably stepping into a lead role..and delivering (much as he did over a dozen years ago in BIG FAN). Actually he “crushes it”, making Chuck way more than the misfit that goes too far with a bad idea stemming from good intentions. We get a glimpse of the beginnings of a great dad with the opening flashback, but life has taken its toll on him and Oswalt conveys the sweetness of a fella’ who’s just incapable of getting his sh…er…act together. We’re rooting for him as he revels in the joys of bonding with his boy, but always with the feeling of impending doom. Oswalt shows us that there’s more to his dramatic “chops’ than his (often fabulous) forays into “geekdom”. Morosoni also walks quite the acting “tightrope” as the damaged young man really hoping to start over, but full of longing that’s exploited by Chuck’s online “dreamgirl”. We revel alongside him as he begins to “open up”, though a return to his past attempts at “ending it” seems to loom nearby. Sulewski is quite captivating as the “real world” friendly server Becca and her created “riff” on the manic magic sprite that’s always there for Franklin. Landecker is very subtle but strong as the nuturing mother wanting to steer her son out of the “darkness” while giving him the proper “space” to grow and heal. Plus she’s fairly tolerant of her ex, though leery and weary of his wobbly history. Yes, Howery is playing another buddy of the lead, but he’s the needed “voice of reason” when he learns that he somehow spurred Chuck into his “mad scheme” . But his bro’ just won’t listen (“Don’t do this!! Abort! Abort! NOW!!). One of the film’s most unexpected joys is the suberb, though limited, work from the great Rachel Dratch as Chuck’s sexually aggressive “workmate” Erica. One of the big highlights is Erica’s disastrous phone exchange with Franklin as she won’t “follow the script” and dives right into “booty call basics” with “What are you wearing?” as Chuck flails his arms to no effect.


Though he’s been at the helm of several TV shows, shorts, and a feature, it’s quite an achievement for Mr. Morosini that he can juggle so much while telling such a personal and intimate tale. He keeps the story flowing while never really “stacking the deck” for his character or making others into villains. Yes, Chuck’s a screw-up, but he’s not unworthy of empathy. Like many films that utilizes modern tech, Morosini has animated “boxes” to show us a texting conversation (kind of like the comic strip “word Balloon”). But then he breaks free of that, bringing in the phony Becca in to share conversations with Franklin while invisible to all around them. It’s even more powerful in the movie’s most awkward and intimate scene as the duo takes the big “cyber step”. Yes, awkward really applies here as the movie has been rightly called a “cringe comedy” for a finale that will make many viewers wince. But the journey to that, as Chuck races to stop the “trainwreck’ he fears will happen is as suspenseful as the big action thrillers. Perhaps that’s because the gifted Morosini makes us care about all these flawed people, and has a lot to say about modern family dysfunction. And he makes us hope that somewhere down the line, well after the final fade-out, Franklin will say with sincerity I LOVE MY DAD.


3.5 Out of 4

I LOVE MY DAD is now playing in select theatres and is available as a Video-On_ Demand via most streaming apps and platforms

FATHER STU – Review

Stuart Long (Mark Wahlberg) in Columbia Pictures’ FATHER STU.

Now here’s a new studio film release that seems a perfect fit for this time of year. After a bone-chilling winter, spring has finally, though rather slowly, arrived. For many folks, and nature-enthusiasts, it’s a time of rebirth and renewal. In the latter category, and in the wake of the big “health events”, lots of folks are considering a “do-over” or even a “fresh start”, mainly switching their line of work and professions. This aforementioned new flick has one of the most startling, and radical, “reboots” of one person’s life. A real-life, as this is based on a real person. Oh, and with Easter a few days away, the story will certainly resonate with its focus on faith. That’s because this tale is about Stuart Long, a boxer who becomes the priest known and loved as FATHER STU.


This bio actually begins many years before either profession, as pre-teen Stuart lipsyncs and dances to Elvis in his squalid living room, much to the chagrin of his bitter, boozing, chain-smoking pop, Bill (Mel Gibson). Flash forward to the late 1980s as adult Stuart (Mark Wahlberg), upon the recommendation of his doctor and encouraged by his worrying mother Kathleen (Jacki Weaver) finally puts away his boxing gloves. He stuns Mum with his new career plan: he’ll leave Montana and move to Hollywood to become a “big star”. But “tinsel-Town” doesn’t rush to put him on screen, so he works the meat counter at a grocery store. There he’s smitten by a beautiful shopper. She rebuffs his advances, but he finds a flier for her church that she’s posted on the store’s bulletin board, Though he’s not religious, and not a catholic, Stuart shows up for services and reconnects with Carmen (Teresa Ruiz). While courting her, he also looks up his long-estranged pop, who abandoned him and Kathleen to work construction in California. Then one night after “drowning his sorrows”, Stuart is almost fatally injured in a horrific traffic accident. After helping to nurse him back to health, Carmen finally takes their relationship to the “next level”. Later a very somber Stuart tells her that they “need to talk”. But rather than a proposal, he tells her that he wants to become a priest. But the road to the altar is fraught with spiritual and mental challenges, which are nothing compared to the new physical one that threatens to block his dreams of service to the church.

Wahlberg is in full “endearing average Joe” mode for his take on the much-beloved padre. Unlike his recent UNCHARTED he’s a bit unprepared for life’s curves and for the roadblocks to his goals (stardom, Carmen), but his charm and screen charisma have us rooting for him even as he “gets in over his head” since watching him “treading water” is often compelling. Plus Wahlberg can artistically handle all of Stuart’s story arcs (plural, as I’ll explain later). At the other extreme, Gibson is in his “grizzled, raging curmudgeon” lane, pushing his family and the audience aside, but still giving us a glimmer of hope for Bill’s redemption. Weaver’s the ideal working-class mother, protective of her boy, but not reluctant to challenge him on his often “out there” choices. Ruiz is more than the tale’s “object of affection” as she throws up a steep wall to thwart Stuart’s desires while gradually warming to the stubborn but sincere interloper of her ‘sacred sanctuary”. Plus she’s a very expressive reactor to Stuart’s radical religious interpretations while being baffled and more than a little hurt by his “calling”. And kudos to the casting of screen vet Malcolm McDowell who brings some much-needed gravitas to the role of the church hierarchy that makes Stuart jump through many hoops before allowing him into the seminary.

Rosalind Ross makes her feature film directing and screenwriting debut with this faith-focused saga that should appeal to its intended loyal audiences, though they may be as surprised as I was with the many “F-bombs” scattered about (hence the “R” rating). This may be a leap forward for such films in order to break out of their “specialty” category and “cross over” to more mainstream cinema audiences. Unfortunately, this film plays like a basic cable telefilm, though with more “star wattage”. Actually more like several “overcoming the odds thru suffering” telefilms as Stuart’s many hurtles almost feel like a “dogpile” as each act serves up another “helping of hardship”. Unlike last year’s JOE BELL, we do get to see Wahlberg offering inspirational lectures (the former film always cutaway) and his energy and sincerity shine through. Perhaps because of all these “story beats” much of the relationship drama is scrimped on, especially Bill’s mellowing and the very complex dynamic with Carmen. Maybe a cable or streaming miniseries could’ve “fleshed out” the character studies. Much like the recent DOG, the marketers are selling this as a sweet comedy, but if audiences can handle the truly “tough stuff” (that accident is really excruciating) they’ll enjoy learning about his remarkable fellow. As for “movie-bio” buffs, they may feel the message is often muted in the saga of FATHER STU.

2 Out of 4

FATHER STU opens in theatres on Wednesday, April 13, 2022