Tag Archives: based on the book

VERITY – Review

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So, after book-based movies in 2024 and 2026, which author now has a second film adaptation this year? If this were the 1980s or 1990s, you’d guess that it was Tom Clancy, John Grisham, or the amazingly prolific Stephen King (there’s a new limited-series version of “Carrie” streaming in a couple of weeks). Well, the “cinema scribe” of the moment appears to be Colleen Hoover. It started with IT ENDS WITH US two years ago (though the lawsuits and legal battles occupied the gossip websites into this year). Next in 2025 was REGRETTING YOU (well, I regretted seeing it). Only a few months ago, theatres got REMINDERS OF HIM (what’s with the double R’s). Now, with the final few months of 2026, we get another page-turner (or, for some, a “stomach-turner”) turned into a flick full of very true, really, “big-time” movie stars, with one Oscar-winner in the title role of the mysterious VERITY.

In the opening moments, we get a whirlwind montage that tells us of the popularity of the best-selling author of very dark romance-thrillers, Verity Crawford (Anne Hathaway). Look, she’s sitting down with Gayle King, and she’s scarfing down chicken wings with Sean Evans. And then we meet another writer at the other end of the spectrum. Lowen Ashleigh (Dakota Johnson) is at a tiny bookstore, reading from her new short story collection to a trio of distracted listeners. She dashes out into the street and gets a call from her agent, imploring her to “wear something nice” to the meeting they have at a big NYC publishing house. On the way, she has a “meet weird” with a sullen, handsome stranger. When Lowen arrives for the “sit-down”, she’s surprised to see that man again. He’s Jeremy Crawford (Josh Hartnett), the husband of Verity. After signing an NDA, Lowen is told that Verity has been in an accident and cannot finish her new trilogy, so a ghostwriter is needed. After some prodding from her agent (who “ups” her “price”), and since she’s moving out of the apartment she shared with her recently deceased mother, Lowen accepts the offer. She will stay in the Crawford home in order to go through notes and outlines and get the first new novel organized. Jeremy greets her at the mansion tucked away in the snowy forests of Vermont. Lowen also meets his adorable six-year-old son, Crew (Brady Wagner), along with his catatonic mother, Verity. She cannot speak or move and is assisted by her somber nurse, Anna (Irina Dvorovenko). Lowen learns about the recent passing of Crew’s twin sister, Harper, from the still-grieving Jeremy (this may have contributed to Verity’s state). In going through V’s office, Lowen finds another manuscript, a biography, that hints at sinister machinations. Lowen is drawn into the couple’s web of deceit as she deals with her growing attraction to Jeremy. And then there’s the possibility that Verity may not be as helpless or as hopeless as they think…

Though she’s not playing the title character, Johnson carries the film as the main focus, Lowen (mmm, this character names…). She shows us the humiliation of an artist who’s just not connecting in that intro in the almost empty bookstore. And this is compounded by her recent loss, so Johnson conveys this with a hesitant delivery and stiff body language. The energy level rises a bit as Lowen embarks on her new mission in the woods, and her interest in her host. The almost ageless Hartnett projects a smouldering intensity, only relieved by his affection for lil’ Crew (again, the names…). His Jeremy seems like the lonely royal in an almost empty castle, recalling his past tragedies. And now we should talk about that title role, played by the ever-stunning Hathaway. In the flashback “media blitz,” she’s cool and calm, dutifully reciting her patter and platitudes. Happily, Hathaway gets to “cut loose” in the flashback that covers her steamy, passionate romance with Jeremy, which then shifts into her darker demeanor when it appears that Verity is far from the “picture-perfect” matriarch. And even though she’s giving us the present-day frozen stare, Hathaway draws us into Verity’s despair. Wagner is adorably shy, while Dvorovenko is subtly shady and sullen as the not-so-nice nurse.

So, this is actually from the talented filmmaker (and writer/actor) Michael Showalter, the same filmmaker who helmed gems like THE BIG SICK and THE EYES OF TAMMY FAYE, amongst many others? Well, he’s in an uphill battle with a convoluted, lackluster story source that would test anyone. It has the promise of being a creepy modern noir with a touch or two of MISERY, but that is squelched by some truly turgid dialogue, ludicrous staging (the first meeting of Lowen and Jeremy is so absurd that I thought it was a daydream), and glacier-slow pacing (like a turtle swimming in molasses). The hackneyed plot trudged on and on, with some silly erotic fantasies (right out of so many “skinamax” 2 AM fodder) failing to enliven this “trudge”. It’s a low bar, but this is the worst of the Hoover movies, since they’ve wasted so many gifted talents, mainly Showalter and the luminous Hathaway (a shame we couldn’t get a good “throwdown” with her and Johnson in a nightmare sequence). The locations are splendid, especially this lakeside estate built around boulders (maybe this is near the home of THE ROSES). And kudos for the costuming (oh, that red dress on Verity), but that’s about all I’ll remember from this overwrought and often ridiculous fluff. A sudsy, glossy soap opera mystery can be campy fun, but verily, VERITY is so very, very far from that; it’s an irritating ordeal.

1 Out of 4

VERITY opens in theatres everywhere on Friday, October 2, 2026

THE MAGIC FARAWAY TREE – Review

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Oh, sure, Labor Day is just a couple of weeks away, and most kids are already back in school. However, that doesn’t mean that there can’t be a few new family-friendly flicks opening at the multiplex this weekend. Now, I’d say that next week’s big movie is truly “all-ages”, though this one opening today is really aimed at the grade-schoolers. Unlike the recent sequels and “game IP” like the Marios, here’s a feature with literary roots, proving that the big-screen adaptations aren’t limited to Seuss and C.S. Lewis. Here’s a tale taken from a book series that started way back in 1939. Not to worry, this is very much set in the modern world. It explores how some 21st-century tech-savvy pre-teens might react after encountering THE MAGIC FARAWAY TREE.

This is the tale of the Thompsons. The family of five is led by dreamy stay-at-home papa Tim (Andrew Garfield) and inventor/breadwinner mama Polly (Claire Foy). They’re a bit flustered that their three kids are too attached to their “devices” and “screens”. Despite the protests of Tim, his dinnertime pasta dishes are ignored by eldest daughter Beth (Delilah Bennett-Cardy), son Joe (Phoenix Laroche) donning a VR visor for gaming, and concerningly quiet youngest daughter Fran (Billie Gadsdon). The meal ends as Polly returns home from work and drops a “bombshell”. She quit her appliance designer job over the company’s “spyware” being installed on her creations (a fridge that records your eating habits). And since her company owns the flat where they reside, a new home must be found. But Tim has a plan. They’ll get an old farmhouse near where he grew up, far away in the countryside, where he can harvest tomatoes for his special sauce. The kids aren’t keen on it, of course. But as they hike from the train station to their new abode, Fran sees an odd purse near the trail. Spotting something moving in the foliage, she holds it out, and the purse is snatched away…by something. Actually, the purse belongs to a fairy named Silky (Nicola Coughlan). That night, she leaves a note in Fran’s room. It’s an invite to visit her at the “Magic Faraway Tree” out in the woods. With her parents occupied with rehabbing the place (no electricity), Fran walks to the location and is greeted by Silky and her unusual pals, Moonface (Nonso Anozie), the Saucepan Man (Dustin Demri-Burns), and the washerwoman Dame Washalot (Jessica Gunning). Aside from her laundry chores, she also sends the group away to other strange realms like the “Land of Sweets”. the “Land of Birthdays”, and the ” Land of Spells”. Eventually, Fran’s siblings join her. It’s all fun and laughs until an impulsive wish wreaks havoc on the family’s new life. Can the magic of that tree somehow right this wrong and provide a “happily ever after”?


Anchoring this large, diverse cast are the two heads of the family, though they stay close to the new home rather than embark on the fantasy travels and travails. Garfield’s Tim is the optimistic, “glass half-full” go-getter, following his dream. As his partner and main cheerleader, Foy is a bit more grounded as she engulfs her offspring in the bracing warmth of maternal love. As those not-so-wee ones, Gadson’s Fran is the soft-spoken, nearly silent, adventuring explorer, ready to give in to the wonder. At the other end of the spectrum is Bennett-Cardy as the often abrasive and brash Beth, the sneering, snarky “squeaky wheel”, while Laroche’s Joe “goes with the flow” as he discovers thrills without tech. The other main “human” is the terrific Jennifer Saunders as their Gramma, who just wants the Thompsons to give up on this rural nonsense and return to the “rat race” of London. Magic and myth are well represented by Couglan as the sweet, ethereal Silky, eager to guide her new friends. Anozie’s Moonface is all royal, oblivious bluster, while Demri-Burns is quite funny and absurd as the “mis-hearing” cookware-clad sidekick. Rounding out the ensemble are plenty of delightful English legends; there’s even a “Python”, with winning “bits” from Michael Dapaah as the “goodie policeman’ (“Dun’ be greeedy!!”) and Marc Heap as the irritated and bombastic Mr. Oom Boom Boom. Perhaps the biggest villain, not counting the Beth/Gramma “tag team,” is Rebecca Ferguson who appears to be having a blast as the sour, ill-tempered horrible headmistress Dame Snap.


As I mentioned earlier, this is adapted from a celebrated book series by author Enid Blyton. Bringing it to life are director Ben Gregor and screenwriter Simon Farnaby (he worked on two of the great Paddington films). The latter does “double-duty” as the farm’s daffy caretaker (“I got wify’!”). They keep the story rolling along briskly from the “real world” to the wonder-filled lands. Kudos to the art departments for their creativity and imagination, especially on the rainbow roller-disco “Birthday” backdrops. This story is indeed filled with “wide-eyed” whimsy, but other than a dark turn with Dama Snap, it’s fairly benign and toothless, which can make the overly sweet segments treacly and far too tame. It’s a great “first movie theatre” experience for the “pre K” moppets, but for a fable railing against the onslaught of tech, TOY STORY 5 has more bite (or byte) and inspired satire. The photography gives the Farm a nice golden glow, along with a shiny fairytale focus for the interior tree and the destinations. There are some good “messages” expressed, but their delivery is strained by the sincere sweetness inside THE MAGIC FARAWAY TREE.

2.5 Out of 5

THE MAGIC FARAWAY TREE is now playing in select theatres

H IS FOR HAWK – Review

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I would say that it’s unusual for a somber set-in-the-UK drama based on a memoir (yes, it’s all true) to be released three weeks into the new year, well past awards noms deadline, but further research has revealed that this did get a one-week run in a US theater last month to be considered for the accolades. And so far, bupkis (we’ll see early Thursday morning). Of course, that’s no reflection on this film’s quality or merits. Still, its title suggests a whimsical “nature-bonding” story ala THE PENGUIN LESSONS or countless canine sagas. Now, that species connection factors in, but the heart of the story is a woman’s emotional journey in H IS FOR HAWK.


The woman at this story’s center is a research (mostly science history) fellow at Jesus College, Cambridge named Helen Macdonald (Claire Foy). On a blustery day in 2007, she’s birdwatching in the nearby countryside. As she heads home, she phones her photojournalist father Alisdair (Brendan Gleeson) with news that she spotted a pair of goshawks (a rare sighting). Dad cuts the call short as he must head to a London assignment. That evening, at her on-campus housing home, Helen meets another academic, Christina (Denise Gough) for dinner. On the way out, Helen gets a phone call that changes everything: her adored papa succumbed to a fatal heart attack in the city. Helen’s life goes into a tailspin, indecisive about pursuing a three-year position in Germany, which squelches her new romance. She then has an epiphany and knocks on the door of an old friend named Stu (Sam Spruell). Years before, both had been ardent members of a falconry society. He’s still involved (his bird is perched in his kitchen), so Helen asks him for intel on getting back in. But she doesn’t want a falcon. Instead, Helen wants to train the more difficult, spirited goshawk. Stu hooks her up with a seller, and soon the bird she names Mabel is taking up her every spare moment. Quickly the bond between the two becomes so intense that Helen is neglecting her classes and ignoring calls and visits from friends. And then the school administrators tell her that this type of “pet” isn’t allowed in college quarters. Can Helen continue to train and hunt with Mabel? And could this be a way for Helen to escape her grief rather than facing it and moving forward with her life?

This exploration into the art and skill of falconry becomes a compelling showcase for the gifted Foy. We’ve seen her excellent supporting work in films like FIRST MAN and WOMEN TALKING, but we’ve really not seen her carry the emotional weight of a film’s lead performance (though I’m told she was excellent as Queen Elizabeth II in the streaming series, “The Crown”). Foy shows us the vibrant, engaged Helen in the early scenes of her birdwatching and lecturing her class, but with her loss we see the light in her eyes suddenly dim. Not even a romantic online fling brings that spark back, until Mabel literally swoops in. Then Foy shows us another side of Helen, with an overriding obsession that almost seals her off from the world. It’s a tricky balancing act as Helen elicits our sympathy while often frustrating us, and Foy is more than up to the complex challenges. Happily we’re treated to several flashbacks of her opposite the always engaging Gleeson as her lovably gruff, but warm and encouraging papa, perhaps a near perfect “girl dad”. It’s quite a contrast to Helen’s maternal connections with her mum, played with subtle restraint and grace by Lindsay Duncan. We see that the loss of her soulmate has drained her, though she also yearns to share the grief with her increasingly distant daughter. Spruell is strong as Helen’s her birding buddy Stu as he tries to help train Mabel while attempting to calm the always anxious Helen. Speaking of pals, Gough (so wonderful on another streaming show, “Andor”) is also very effective as co-worker confidant Christina, who wants to be a “lifeline” to her floundering chum as she tries to understand her increasing withdrawl into mania.

The impressive ensemble is guided by director Phillipa Lowthrope, working from Emma Donoghue’s screenplay adaptation of Helen Macdonald’s acclaimed memoir. Lowthrope keeps us engaged, as the backdrops suddenly switch from ancient academia to the glories of the countryside. And those scenes of Helen working (she insists that they’re partners in the hunts) with the gorgeous, intense (her glare) Mabel truly soar. A sequence in the deep woods of Mabel swooping in on a very unlucky rabbit is haunting (there’s a drone crew in the credits that were really “on their toes”). While these scenes are worthy of any lauded nature docuseries, it’s the very human drama at the center of the story that’s truly compelling. This is such a well-crafted exploration of the impact of mourning on someone grieving, though it offers no easy fixes. In less works, the introduction of an “animal partner” would be the needed “remedy”, but here we see how the distracting fixation can cut a person out of the human (rat) race. Some viewers may be a bit put off by the rather open-ended finale, but life can’t always be “wrapped up in a bow” to facilitate a desired “happy ending”. That idea and the winning performance of Foy really enables H IS FOR HAWK to spread its wings and take flight.

3 Out of 4

H IS FOR HAWK opens in select theatres on Friday, January 23, 2026

THE HOUSEMAID (2025) – Review

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Sydney Sweeney as Millie and Amanda Seyfried as Nina in The Housemaid. Photo Credit: Daniel McFadden/Lionsgate

Ho, ho, ho, Hollywood is coming home for the holidays. Oh, but what a home. The domicile featured in this new movie is exquisite, lush, the stuff of “house and garden” fever dreams. But the looks are indeed deceiving. That’s because some deadly, dark secrets are tucked behind those pricey but tasteful furnishings. No doubt countless weekly book clubs explored this when the literary inspiration for this new release came out just a little over three years ago. Now, it’s getting the full “studio movie” adaptation, with a screen vet and a sizzling “hot” rising star cast in the title role of THE HOUSEMAID.


That title refers to a young woman in her early twenties named Millie (Sydney Sweeney). She’s certainly at a crossroads in her life as she tries to find work, Any work, Why the rejections? We learn that she’s got a lot of “baggage”, namely a criminal record requiring her to check in with a parole officer who insists that she be employed. As the story begins, Millie is interviewing for the position of “general housekeeper (or that earlier title)” at a ritzy, right from the pages of “Architectural Digest” New Jersey estate. Quizzing her is the “lady of the house”, the gorgeous, blonde, refined Nina (Amanda Seyfried). After being told that the gig would involve cleaning, light cooking, helping with her ten-year-old daughter Cecilia (Indiana Elle), Nina bids Millie adieu, insisting that she’ll “be in touch”. Thinking that this was the “brush off” Millie hunkers down in her “beater” of a “home on wheels” for another long, cold night parked in an empty lot. Just as the cops tap on the car door, she gets a call from Nina offering the position. Millie zips over where Nina gives her the tour, taking her to the top floor location of Millie’s attic bedroom. Is this perfect, or what? Well, Millie meets the “master of the house”, Nina’s hunky hubby Andrew (Brandon Sklenar). No, no,no, she’s determined to keep things “professional”. But after the first night there, she gets a “front row seat” to a Nina “freak out”. This is the first of many scenes of erratic behavior from her, leading to threats of dismissal. Millie endures, needing to work, or it’s back to jail. But can she take the bizarre behavior and the unpredictable mania of Nina? And what’s up with the dark, brooding groundskeeper, the stoic Enzo (Michele Morone)? Could this dream home be the epicenter of a “nightmare manor” for Millie? And just what was her crime?

That “hot” darling of current pop culture is that “super-nova” Ms. Sweeney, who is given a chance to carry the dramatic weight of this tale. Though she burst out (I’ll not make a wardrobe comment), a couple of years ago, she’s bounced (watch it) from forgettable rom-coms to generic thrillers (though she did very well with a supporting role in ECHO VALLEY), she’s not gotten a real chance to test her star-power until this. Yes, Millie is often the victim that the audience frets over, but we also see her taking charge to find the truth. And she also embarks on a swoony forbidden romance, until Sweeney becomes a full action heroine. For much of the film she must hold the screen with the equally compelling charisma of Seyfried, whose Nina may be the “showier” role as she careens from sweet to unhinged with little warning, like a human pinball ricocheting off the tasteful-texured walls. With her wide expressive eyes, she draws us into the world of this pampered domestic diva, prepping us for another abrupt switch as we’re plunged into her own past. Sklenar is a slick, smooth charmer whose sympathy often feels too good to be true as he becomes Millie’s secret ally during Nina’s explosive displays. Morone emits a suave, sinister vibe as the terse gardener who seems to magically appear in Millie’s eyeline (yes, “jump-scares” a’plenty). Elle is also strong as the pouty, snooty rich kid who will not warm up to Millie, despite her efforts. Also of note is Alexandra Seal as Officer Conners,, a local cop who might just have a connection to the mysteries of the mansion.

Orchestrating all the over-the-top mayhem and machinations is acclaimed comedy director (the guru of that TV gem, “Freaks and Geeks”), Paul Feig. But he’s in a different “mode” here from the inspired hilarity of BRIDESMAIDS and THE HEAT. Instead, he’s diving into the sparkly “high class” camp of his thriller parody A SIMPLE FAVOR (and let’s erase that lackluster sequel from our memory, shall we) to create another homage to the classic “women’s pictures” of Hollywood’s “golden age”. Think back to that classic first film of THE WOMEN, where screen sirens “faced off” to fight for their desires (I guess there’s also a pinch of the Davis/Crawford dynamic from WHATEVER HAPPENED TO BABY JANE). Here two extremely photogenic blondes battle for “the whole enchilada”, going just short of hair-pulling and punching (there’s some physical stuff in the finale). Plus, there’s even a take on the whole “rescued princess” fantasy that Feig expertly trashes. Speaking of, yes this is really good “high gloss” trash, a super-sized, souped up version of all the over-heated, soapy, sudsy, made for basic-cable TV thrillers, given a studio sheen. This superior silliness is lifted by Rebecca Sonnenshines’ juicy screenplay adaptation of the bestseller from Freida McFadden (guessing it was seen at last of beach pools over the last couple of summers). And with all the high fashion and furnishing, we still get a solid tale of strong ladies “gettin’ it done”. Speaking of, here’s hoping that these two are teamed once more (Seyfried and Sweeney certainly hammered that home in their press tour). During the cold Winter of somber Oscar hopefuls, take a fluffy, popcorn break with THE HOUSEMAID.

3 Out of 4

THE HOUSEMAID opens in theaters everywhere on Friday, December 19, 2025

THE RUNNING MAN (2025) – Review

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Glen Powell stars in Paramount Pictures’ “THE RUNNING MAN.”

Seems only a couple of weeks ago we saw a remake of a early 1990s classic thriller, THE HAND THAT ROCKS THE CRADLE. Oh yes, it was just a couple. Well, with only a few weeks left, Hollywood is unleashing another one. Ah, but this is going right to the multiplex, not “straight to streaming” like CRADLE. Oh, and this one’s original “take” (aside from the literary source material) was a few years earlier, 1987 to be precise. Plus, this new flick has a link to last week’s box-office champ. Arnold Schwarzenegger had a busy 1987, going from PREDATOR to this week’s new remake’s “inspiration”. This 2025 “edition” is getting a lot of “heat” since it’s helmed by a cult movie icon and stars an “up-and-coming” screen star. But can he somehow move faster than Arnold as a “2.0” spin on THE RUNNING MAN?


In the not too distant future, the gap between the “haves” and “have-not” seems to have lengthened considerably, especially now that a few corporations have their fingers in everything from the media to law-enforcement. One of the “have-nots” is hard-working stiff and struggling family man Ben Richards (Glen Powell). When we meet him, he’s begging that his former boss rehire him and take him off “the blacklist” for the unforgivable “crime” of meeting with a union rep over safety issues at the factory. But the answer is no, despite Ben bringing along his flu-stricken infant, Cathy. Ben returns to the Co-Op City slums where he shares a tiny broken-down apartment with his wife Shelia (Jayme Lawson) who’s working double shifts at a “gentleman’s club”. The frustrated papa clicks on the tube to catch some “Freevee”. Watching promos for the network’s slate of game shows, Ben believes that the only way to earn some quick medical funds for his daughter is to audition on a show. Promising Shelia that he won’t try out for the most dangerous of these programs, “The Running Man”, Ben heads downtown to the network studios, The staff there notices his fiery temper and sends him right up to the swank office of their big boss, Dan Killian (Josh Brolin) who wants him for that most violent show. Dangling a possible billion dollar prize jackpot, Ben reluctantly agrees. He’ll be one of the new trio of contestants on “The Running Man”. But with a heavily armed squad of “hunters” on his trail, along with a citizenry eager for a bit of the “bounty”, can Ben stay alive for thirty days (no one has yet) and return to his loving family?

So, this truly makes it official. Powell is the “real deal” as a movie star, going from the frothy rom-com ANYONE BUT YOU to action lead here, with a slight detour in between into front the disaster-thriller TWISTERS. He brings us into Ben’s heart, willing to do anything to save his struggling family. But there’s no halo over his head, as Powell conveys that bubbling angry frustration that suddenly boils over. There’s also a touch of a charming rascal during the quieter comic interludes, before Powell displays his physical prowess in the many action set pieces. He’s also a great “team player” as Powell shares the screen with an impressive supporting ensemble. Brolin’s a focused business baddie who keeps his evil impulses cloaked, using his “goon army” led by a surly Lee Pace at the ready. Colman Domingo appears to be having a blast as the cynical, flamboyant game show MC “Bobby T”, doing a flashy “peacock strut”. As for the folks in “Ben’s corner”, William H. Macy is the surly, but soft-hearted tech wiz who is something of a father figure to him in a pivotal early scene. Much later, we meet the very intense Michael Cera as an “underground rebel” who balances “old school” methods (dropping pamphlets) with some creative weaponry (a “super-squirter”…really). And in the finale, a somewhat indifferent “have” played by Emilia Jones (CODA) has her mind and heart opened up by Ben. Also of mention are the excellence comic performances of Katy O’Brian and Martin Herlihy (SNL’s “Do Not Destroy”) as Jenni and Tim, Ben’s “less lucky” game show competitors.

That cult icon filmmaker at the helm is Edgar Wright (BABY DRIVER), who co-wrote this adaptation of the Stephen King (as his alias Richard Bachman) novel with Michael Bacall. Wright seems to be having fun as he plays in this big, flashy, sometimes grimy futuristic toy box. It’s a slightly satirical take on current pop culture extremes, though it may be relevant today after the 21st century rise of the reality completion shows, from “Survivor” to “Squid Game”. And without directly calling out the tech terror, Wright also shows the dangers of “AI” as footage of Ben’s battles and video screeds (he has to record himself every day and drop it in a “drone/mailbox”) is manipulated to serve the game’s “narrative”. Yes, some of the parody is almost “shooting fish in a barrel”, especially with the cutaways to a Kardashian-like program, but Wright builds on the media-skewing that ROBOCOP also did so well in 1987 (what was in the “water” that year). Many of the action sequences are inspired, as Ben rigs up found objects in an almost Rube Goldberg fashion to harm the “hunters”. But unfortunately it gets a tad tiresome as the story limps along to a finale that’s way too convoluted with (another action flick problem) far too many endings. Those fans of the original should get a kick out of this spiffy more modern take (though it’s hard to match iconic game-show host Richard Dawson back in the day), but the casual film fans may just feel worn out as hints of “test market tinkering” try to hinder the brisk marathon-pace of THE RUNNING MAN.

2.5 Out of 4

THE RUNNING MAN is now playing in theatres everywhere

REGRETTING YOU – Review

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Let’s see what happens when Hollywood “hits the books” for this new flick. We saw the adaptation of a work from the same author last year with IT ENDS WITH US (AKA the movie that spawned countless real-life legal “sequels”). So does this story from Colleen Hoover tread familiar territory? Well, it is a romance that has some pretty heavy dramatic elements, a rarity at the cinemas these days as the “rom-com” is more prevalent than the “rom-dram” (a phrase coined by a cast member promoting it on TV). And while the last Hoover work dealt with domestic abuse, this one has a big role for the “Grim Reaper”. So does he take his scythe to the young and not-that-young lovers coupling in REGRETTING YOU?


The first scene in the story is a seventeen-year flashback. Two high school aged couples (senior year) are on their way to a big beach blow-out. While stopping for snacks, Morgan (Allison Williams) tells Jonah (Dave Franco) that she’s pregnant by her beau Chris (Scott Eastwood). Jonah’s crushed as he’s had a secret crush on her, despite dating Morgan’s kid sister Jenny (Willa Fitzgerald). Flash forward to the present, as the now married Morgan and Chris host a birthday party at their home. Joining them are the also now married Jenny and Jonah, who have a little baby boy, Elijah. Missing from the festivities is now seventeen-year-old daughter Clara (Mckenna Grace), whose lateness is caused when she gives her classmate Miller (Mason Thames) a lift to the house he shares with his cranky but lovable ‘Gramps’ Hank (Clancy Brown). She finally arrives for the party and immediately begins discussing Miller with her adored Aunt Jenny (Miller’s already got a steady, so Jenny warns Clara about being “that girl”). All’s well until Morgan gets a call days later. Hubby Chris has been in a major auto accident. Heading into the hospital, she’s surprised to see Jonah already there. It turns out that Jenny was also in an accident. Then the double stunner: Chris and Jenny were in the same car and both perished. Clara is devastated and begins to rebel by sneaking out to meet the now girlfriend-free Miller. Morgan “shuts down” due to the death and betrayal bombshell. But she’s got to help Jonah with baby Elijah. Then he blurts out that the child has Chris’s smile. Do they tell Clara that her papa and Aunt Jenny were cheating, and, bigger yet, she has a half-brother? And will Morgan and Jonah finally act on their long-suppressed mutual attraction?


Okay, let’s start with the older (a bit) of the two romantic couples. After the two M3GAN flicks, Williams is in full maternal mode as the emotionally pummelled Morgan. We can see her wavering somewhat in her “laying down the law” rants to her Clara, hinting at her deep devotion to her child, which may undercut the big throw-downs. Williams real strength is in the halting exchanges with Jonah as she walks the delicate journey from widowhood. Franco takes on a more dramatic turn after being a comic MVP for the last decade or so. His furrowed brow under the big black framed eyeglasses (to age him a tad more) conveys his near collapse at the loss of his spouse and his need to step up as a single parent. As for those “twitter-pated” teens, Grace very gracefully tackles the role of a blossoming young adult about to dive into swoony passion. The youngest Ghostbuster balances Clara’s despair over her loss with simmering anger toward mom, which may jeopardize her new relationship with Miller, played by the very busy Thames (last week in BLACK PHONE 2 after being the live-action Hiccup this Summer). He’s easy going, affable, and strong-willed, particularly when he realizes that he may be a “pawn” in the Clara/Morgan “war”. Both of them are on the fast track to greater film stardom. Fitzgerald (so fantastic in STRANGE DARLING) and Eastwood put their considerable screen charisma to work as the doomed duo, Jenny and Chris. Happily some needed levity is provided by the always compelling Brown as ‘Gramps’ and the bubbly Sam Morelos as Clara’s BFF Lexi, who is “fixed- up” with the endearing nerdy Efren (Ethan Constanilla).

Trying to keep these convoluted plot threads untangled is director John Boone, best known for THE FAULT IN OUR STARS, though I’d say his THE NEW MUTANTS is a pretty good “B” superhero flick. He keeps the histrionics to a minium while all the story “plates” keep spinning, but there’s just so much he can do with the often turgid, soap-style structure. The old phrase “potboiler” comes to mind, though I often thought I was trapped in a basic cable TV-movie featuring a more polished ensemble (“star-wattage” can only brighten things a touch). Of the themes, the blossoming young love “plot line” works best, while the elders must flay about dealing with death and infidelity. One scene in which Morgan vents her anger at a car is most grating. The locales and fashions are lovely, though they were backdrops for blatant product placement (there’s always a “logo-fronted” soda can while Miller works for a multiplex where Nicole Kidman usually wanders about). At least it’s not as tone-deaf and thuddingly off-kilter as Hoover’s last big screen flick. There may be an audience for movies made from “beach-reads”, but rising stars like Grace and Thames deserve a much-better showcase for their talents than the regrettable REGRETTING YOU.


1.5 Out of 4

REGRETTING YOU is now playing in theaters everywhere

WALTZING WITH BRANDO – Review

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Sure, the sun is still making temperatures rise, but it’s the big late-in-the-year awards season for the studios (with just a few days before the official start of Fall). So what’s a favorite subject for the somber, serious flicks vying for the gold? Of course, they turn to the “biopics’, with actors portraying real people (OPPENHEIMER being a most recent example). This weekend’s new “limited” release “straddles” two “sub-sets” of that genre. First, it’s a story of a well-known show-biz personality, some might say the greatest, most influental actor of his generation. But, it doesn’t cover his entire life, “cradle to the grave”. Rather, this film is set during a five or six year segment of his storied career. Oh, and it’s told from a “non-celeb” (often called a “civilian”). Most recently this was done with ME AND ORSON WELLES and MY WEEK WITH MARILYN. Now, don’t be fooled by the title, WALTZING WITH BRANDO is not a ” toe-tapping” musical (though Marlon plays a “mean” bongo).

After a brief bit of archival footage “wizardry” of the “real” Dick Cavett chatting with Marlon Brando (Billy Zane), we’re whisked into the world of a hard-working young family man, Bernard Judge (Jon Heder), toiling as an “up and coming” architect for a Los Angeles design firm in 1969. His boss introduces him to hotel magnate Jack Bellin (Rob Cordry), who plans to build a state-of-the-art resort in Tahiti. They want Bernard to travel there and scope out the proposed locale. Oh, and he’ll need to make an offer to the owner of this spot, a twelve-island atoll called Tetiaroa. After a long plane ride, Bernard arrives and charters a boat to said spot. The captain won’t go ashore due to the jagged coral reef surrounding it. No problem, Bernard will swim in since he’s a great water athlete. Naturally, he’s battered by the rocks and is washed ashore. Luckily, a local family brings him in and tends to his wounds. At their compound/home, Bernard meets the “big papa” and owner of the islands, none other than the Oscar-winning Mr. Brando. Though he’s reluctant at first, the superstar warms to Bernard and tells him of his plans to turn one of the islands into his permanent home, far away from Hollywood, a village (including that resort) that will not harm the local environment. Over the next few years, Bernard devotes all his energy (and time away from his own family in LA) to making Marlon’s dream happen, while he keeps the “river of cash” needed for the project by taking several high-profile and high-paying roles in several iconic 1970s films, including that (his words) “gangster movie”.


Even though his name isn’t in the title, the film’s focus is indeed the hapless “audience surrogate” everyman Bernard played with an uptight, bewildered demeanor by Heder (forever NAPOLEAN DYNAMITE, though being a comic icon is “sweet”). Much like the comedy heroes of the silent era (Harold Lloyd comes to mind), he enthusiastically plunges headfirst into the unknown, AKA island life. Mainly, Heder plays a sincere “straight man” to the many exotic eccentrics, so he comes off rather bland and not especially compelling. On the other hand, the “leader of the loonies” is played with considerable energy and offbeat charm by Zane, who really seems to be channeling (even becoming an eerie doppleganger) for the world-famous thespian. It’s very entertaining to see him recreate those flicks (yes, even Don Vito), but his greatest role may be “the merry prankster” who delights in shocking and confusing all in his path. Zane has charisma to spare, though his take makes the star an affable, enigmatic mystery. An actual Oscar-winner joins in this action, none other than Richard Dreyfuss pops in for a couple of scenes late in the story, as Marlon’s long-suffering “money manager” Seymour Kraft, who serves primarily as a roadblock to Bernard’s island obsession. Ditto for Tia Carrera’s loopy, leering Madame Leroy in a goofy seduction sequence. She’s a temptation for Bernard, much like the breezy German bombshell Michelle, a stewardess with lots of free time played by Camille Razat. And the always reliable Cordry puts his comic timing to good use as the bombastic lodging tycoon, an unlikely partner for Marlon in his “planned paradise”.


Director Bill Fishman helms his own screenplay adaptation of Bernard’s memoir, and makes a gorgeous “travelogue” of the exotic Tahiti (quite “vacation fodder”). It’s an interesting chapter in the actor’s life (perhaps a “second act’ after his breakthrough in the previous decade), but the plot just seems to lurch and stumble from one big “event” to another, bouncing around through those five or so years with an off-kilter momentum (long after the opening Cavett sequence we reverse to see Brando with Johnny Carson, to illustrate his stance on the civil rights movement). And way too much time is spent on wacky hijinks involving the locals and their slapstick building efforts (submerged tractors and possible angry ghosts). Zane’s superb impersonation is the main selling point in the marketing, even though the forced melodrama involving Bernard and his family simply doesn’t pay off. Neither does the odd decision for Heder to break the fourth wall in order to provide the “back story” for Brando and the future of the islands. Plus, there’s a rather dull final act that’s not livened up by another bit of whimsy from the title subject before the inevitable pre-credit update captions. And that’s a stumble that doesn’t make WALTZING WITH BRAND) a graceful gaze at old Hollywood.

2 Out of 4

WALTZING WITH BRANDO is now playing in select theatres

CAUGHT STEALING – Review

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And now I believe we’re officially in the Fall movie season, as the newest project from one of the most acclaimed “indie” filmmakers of the last twenty-five years or so releases his newest work into theatres, not just in the “art house” cinemas, but in multiplexes everywhere (and maybe a few drive-ins). That’s because it’s a much more general audience “accessible” than many of his previous projects. For one thing, it boasts a stellar cast headed by a “rising star”. And it’s in the “area” of one of the most popular genres, one that’s usually abundant in the summertime, the “crime thriller”, mixed with a few quirky comedy touches. It’s based on a popular novel, actually part of a “series” whose “double meaning” title becomes apparent while watching CAUGHT STEALING.

After a bright and sunny prologue at the final moments of a big high school baseball game, we’re sent to the grimy Lower East Side streets of NYC circa 1998. Twenty-something Hank Thompson (Austin Butler) has a pretty great life “slingin’ suds” at a rowdy “dive bar”. The best part of his gig is “last call” when his gorgeous EMT girlfriend Yvonne (Zo Kravits) waits for him to lock up. From there, the duo heads to his grungy walk-up apartment. In the hallway, they run into Hank’s punk-rocker (mohawk and spiked leather jacket, natch’) Brit neighbor, Russ (Matt Smith). He’s gotta’ fly home to see his dying Dad, so he asks Hank to take care of his cat, Bud. No prob. After some “sexytime”, Yvonne leaves for work in the morning as Hank nurses one of many nasty hangovers. Seems he’s trying to numb the pain of a painful memory. A call to his mother in Patterson, CA eases his head as they bond over a love of the San Francisco Giants baseball team. Later, he accosts two tough-looking Russians trying to break into Russ’s place. The thugs think that Russ gave Hank something they want. He tells them that he has nothing aside from Bud the cat, which earns Hank a severe beating from the two. Waking up in a hospital bed, he tells Yvonne that he can’t wait to be discharged. Back at his place, Hank is interviewed by Narcotics Detective Roman (Regina King), who informs him that Russ is into some shady business with the Russian mob, and he’s also involved with two “scary monsters”, the vicious Hasidic Drucker brothers (Liev Schreiber and Vincent D’Onofrio). After they leave, Hank uncovers a key that Russ left. He heads back to the bar to hide it, but begins a “bender” that leaves him unable to recall what he did with it. This doesn’t sit well with the Russians, who return with their equally violent boss, a Puerto Rican club owner named Colorado (Benito A Martinez Ocasio, AKA pop music superstar “Bad Bunny”). Can Hank escape them as he tries to cut through the drunken fog of the previous night? And if he does lose them, what will happen if the Drucker brothers catch up to him? And when will that darn Russ return?

That rising star I mentioned earlier would be the very charismatic Mr. Butler, who is steadily building an interesting movie resume after his breakthrough as Elvis. He is the reluctant hero with roots in classic noir cinema. Hank is a fairly good guy who is plunged into the dark netherworld of 90s drug gangs. But he’s not without his own darkness. Butler shows Hank’s inner torment as he wakes up from memories of a not-so-long-ago time when his poor judgment took away everything from him. But there’s little time for pity, or for boozy amnesia, as the walls close in. Through his expressive eyes, Butler shows us how Hank must drink in his new situations while formulating a plan at near light speed. He’s also terrific in the lighter moments, especially in the crazy, flirty chemistry-fueled scenes with the bubbly Kravitz as his sexy voice of reason, Yvonne. She truly cares about Hank, which exacerbates her frustration with his lifestyle choices, revved up after that hospital stay was cut short. Another calming influence is King, whose tough but still tender cop may be just the guide to get Hank past this nightmare alive. Smith brings some angry, funny energy as the Cockney rocker who fights to keep his 80s style while adoring his kitty. Schreiber and D’Onofrio are very compelling as the brothers whose religious adherence and attire juxtapose with their murderous intent and ruthlessness. They seem reasonable at times, until they see an opportunity to strike with deadly force. At least they’re sweet with their Bubbe, played by the always endearing Carol Kane as the stern and nurturing matriarch, though there’s a touch of menace in the advice she offers to Hank.

The filmmaker of this intricately layered bit of “pulp fiction” is the man behind many “offbeat” cinematic “trips”, Darren Aronofsky. Here he’s working with Charlie Huston’s screenplay adaptation of his novel of the same name. For the most part, Mr. A keeps us firmly on “ground level” with few “flights of fancy” or flashy flourishes (he makes good use of slo-mo and drones). He keeps us right with Hank as we can almost smell his sweaty panic as he races through a very dirty and dangerous NYC (really wonderful location work). And as I mentioned, Darren puts a unique spin on several tropes of the classic noir thrillers of the 40s and 50s. With a flawed hero struggling to keep “afloat” while straining to recall a boozy night, the story riffs on films like D.O.A., DETOUR, and AFTER HOURS (which makes the casting of its star Griffin Dunne as Hank’s biker/hippie boss a great “nod”). I should mention that the folks behind the marketing are doing the film a disservice by selling it as a wild comic “caper” romp, since Mr. A doesn’t shy away from the brutality and “ick” factor around alcohol abuse (yes, Hank rarely makes it to the “porcelain throne”). Yes, there are a few sluggish sequences prior to the big action, with twists, finale, but it delivers all the thrills, though not as deftly as the recent RELAY (more stunts and explosives with this new one). Aronofsky appears to be working very well out of his “arty” comfort zone with the gritty thriller CAUGHT STEALING.


3 Out of 4

CAUGHT STEALING is now playing in theatres everywhere

HOW TO TRAIN YOUR DRAGON (2025) – Review

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Mason Thames (right) as Hiccup with his Night Fury dragon, Toothless, in Universal Pictures’ live-action How to Train Your Dragon, written and directed by Dean DeBlois.

Some may find it hard to believe, but most critics try to go into a film with no “pre-conceived” notions and expectations. Well, that noble goal is often tested. That was my feeling as I prepared to see yet another “live-action” adaptation of a beloved classic animated feature film. Yes, “another” as this is the third such project to be released this year. Ah, but this does set itself apart from the other 2025 films. The previous two, from March and May, were both from the “Mouse House”, as Disney returned to their “OG” animated icon SNOW WHITE and followed it with a more recent, but adored, property, LILO & STITCH. The latter is still packing the multiplex, while the other…just started streaming on Disney+. Now, this weekend’s release isn’t from them, it’s from a big rival of nearly thirty years, Dreamworks Animation, their very first “re-imagining”. Additionally, it’s helmed by one of the co-directors of the original film, who has brought back one of the voice actors. So do these “upstarts” concoct a “magic movie formula” when they take us back to the world of HOW TO TRAIN YOUR DRAGON? Let’s saddle up those scaly “beasties” once more…


In the opening moments. we’re taken back to that land of “long ago”, the island of Berk. Explaining their current “infestation” is the teenage son of the Viking warrior ruler, weapons apprentice Hiccup (Mason Thames). It’s nighttime and they’re under siege by a fierce flying squad of fire-breathing dragons who carry off the livestock. The adults, led by Hiccup’s burly papa Stoick (Gerard Butler), try to stop the swarm with little success. Hiccup is eager to join, but is held back by Stoick’s best pal, the “single-limbed”, having lost an arm and a leg, Gobber (Nick Frost). But Hiccup sneaks out with a device he has invented, a spring-loaded “bolas-launcher”, which he fires at what he thinks is the most savage and deadly dragon, the rarely-seen “Night Fury”. He’s not sure, but it appears something went down in the forest just over the hill. But Stoick will hear none of it as he whisks him back to their home. The next day, Hiccup ventures into the woods and finds the dragon, tied up in the bolas. Unable to strike a fatal blow with his knife, Hiccup frees him, dubbing him “Toothless”. However, he can’t fly away as part of his tail has broken off. Meanwhile, Gobber convinces Stoick to allow Hiccup to be part of his “dragon-fighting” classes. After much pleading, Hiccup agrees and joins a group of trainees., comprised of cocky, brash Snotlout (Gabrielle Howeell), excited “dragon expert/savant” Fishlegs (Julian Dennisen), bickering twins Ruffnut (Bronwyn James) and Tuffnut (Harry Trevaldwyn) and Hiccup’s “secert crush” the gifted fighter Astrid (Nico Parker), who wants to rule Berk someday. Hiccup flounders at class as he continues to visit Toothless, somehow forming a bond, and eventually fashioning a new “tail-piece” that allows the dragon to fly once more…with Hiccup as his rider/pilot. But can he keep his forbidden “friendship” a secret from his class and especially his father? Could this be the start of a new “era” or ignite a bigger war as Hiccup discovers the real agenda of the dragons?

I don’t wish to disparage the original voice cast, but these young, fairly unknown actors really help bring new energy to the familiar property, allowing it to soar to new heights. First, there are the two young, eventually, romantic leads. Thames, so good in BLACK PHONE, gives Hiccup an extra layer of vulnerability while still being a sweet klutz. With his superb body language and facial expressions, he conveys the hero’s journey of the lad, who somehow finds his humanity by helping his sworn enemy. Parker, who was in the disastrous DUMBO remake, strikes the right balance between tough and tender, as the determined and ambitious “no-nonsense” warrior princess (sans crown). She puts up a hard barrier to Hiccup, but Parker, through her gradually relaxed manner, slowly dissolves away. Perhaps the biggest surprise here is the spirited, bombastic work by the story’s “OG”, Butler, who has really grown into the role of bellowing and often clueless papa Stoick. He brings an electric charge to every scene, reminding us that his considerable gifts have been squandered on far too many mediocre action scripts. He’s great with Thames and hilarious with the very funny Frost as the mentor/coach, whose big heart almost makes up for the missing limbs. Also achingly amusing are the terrific young actors who are his “pupils”. Howell is a swaggering, obnoxious hoot, while Dennison is an endearing charmer as the sweet, zaftig motor-mouth vault of dragon trivia. And anyone with siblings can relate to the constant rivalry and insults (tinged with a tiny bit of affection) of the twins, played with furious zest by James and Trevaldwyn.

Guiding this exceptional cast is the co-director of the original film, Dean Delbois, in his live-action narrative feature debut (he made the doc feature TEN in 2022), and he does a superb job of revisiting his earlier triumph. As many lovers of that will attest, he doesn’t veer far from the script adaptation of Cressida Cowell’s beloved book that he co-wrote with co-director Chris Sanders and Will Davies, which some may find fault with, although fans of the other two live-action redos from 2025 have thrown fits over omitted and added characters and subplots. However this coming of age tale is so strong, that it’s not needed since enough time has passed (15 years) to make this fresh for the children who saw the orignal in theatres (some of you may recall that in those prehistoric “pre-home video” days, Disney would send his animated classics out of the vault and back on to big screens at seven-year-intervals). Well, Deblois did add an excellent subplot about Snotlout’s strained relationship with his blasé pop Spitelout, played with a disinterested scowl by Peter Serafinowicz. And yes, the dragons are still CGI creations, though they have more detailed textures, especially Toothless, and have a more realistic tone resembling the recent Godzilla reboots rather than the bulging eyes and rubbery limbs similar to Mad Magazine’s series of “Horrifying Cliches” drawn by the great Paul Coker, Jr. Another big plus is the use of several practical sets (with some CGI “tweaks”, no doubt) in the village along with the imaginative costuming (imagine the fur and horn budget). Happily, John Powell also returns with thrilling variations on his familiar themes. Yes, it’s like picking up a treasured childhood tome off of the bookshelf that’s given a fresh spin by the talented cast of young actors paired with an invigorated vet. Oh, if all the remakes and “re-workings” were as entrancing and endearing as HOW TO TRAIN YOUR DRAGON…

3.5 Out of 4

HOW TO TRAIN YOUR DRAGON (2025) is now playing in theatres everywhere

CLOWN IN A CORNFIELD – Review

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Last week, the big Summer cinema season kicked off with another trip to the Marvel Cinematic Universe, with another Impossible Mission and a Disney remake debuting in just a few weeks. So, does that mean that horror fanatics (AKA “gore-hounds”) will have to wait for the cooler temps for their “fright fix”? Well, ROSARIO gave up some scares last week, and that late April “sleeper smash” SINNERS is still dishing up some plasma with its blues soundtrack. So, why not a new chiller featuring the “go-to” thriller icons of the last couple of decades? No, we’re not talking about more vampires, werewolves, or zombies, but less supernatural creeps. Yes, it’s those brightly garbed, painted-on-smiles, former kids entertainers, that are now nightmare “fodder” after several “Jokers” and Pennywise of the IT flicks. And how about seeing their oversized feet tromping about the usually tranquil heartland? Who wouldn’t dash back into the barn after spotting a CLOWN IN THE CORNFIELD? Maybe they can squirt some seltzer on those dry crops.

It all begins with a flashback to 1991 when the “title terror” struck at a wild teen party (think an “ocean-free” JAWS opener). Flash forward to modern-day Kettle Springs, MO, and the arrival of the new town MD, widower Dr. Glenn Maybrook ( Aaron Abrams), and his sixteen-year-old daughter Quinn (Katie Douglas). She’s pretty bummed about being “stuck in the middle of nowhere”, but her papa thinks that they need a “fresh start” after losing Mom. Plus, their new house is a “fixer upper” that needs wifi (Quinn’s #1 priority). The next morning, she’s about to leave for school when the spooky stoic “down-the-road” neighbor Rust (Vincent Muller) shows up at their door to walk with her. Quinn’s late for her first class and gets detention along with a rowdy group thought to be behind a prank on testy teacher Mr. Vern (Bradley Swatsky). She bonds with the quintet who invite her to join them that night at the old burned-out Baypen Corn Syrup factory, where they make viral videos about the company’s creepy old mascot, Frendo the Clown. Quinn likes them all, but feels a romantic connection with the dreamy, rebel Cole (Carson MacCormac), who happens to be the son of the town’s Mayor Hill (Kevin Durant). Excitement is in the air since the big Founders’ Day Festival is days away. Ah, but gruesome murder is also in the ether, as the “real” Frendo begins killing some local teens. Everything builds up to the big post-parade moonlight teen party at the old factory as Quinn and her new friends, and possible BF Cole, must try to survive a near-endless night of “clown carnage and chaos”.


As with many classic horror flicks of the last fifty years, the story’s main character is (perhaps a cliche now), the final girl, as in Laurie Strode in HALLOWEEN. Here, it’s Katie Douglas as Quinn, who is a bit of a mix of nice and slightly naughty. Ms. Douglas generates great empathy as the little town’s “new kid” while offering up big doses of snark and sarcasm, while still never losing an endearing charm. And she has good chemistry with MacCormac as Cole, who is the resident “dream guy” who also appears to be hiding a few dark secrets as he begins putting the “moves” on Quinn. The rest of the “teen pack” are comprised of young “camera-ready” actors who could fit in on a 2010 CW TV show (they’re going to reality now), though Verity Marks shines as the surprisingly “meta’ sidekick to the blonde “queen bee” (being the tanned bruinette she states, when the blood flies, “You just know I’ll be next!”) along with Muller as the off-kilter awkward Rust. As for the adults, Abrams is the warm, sometimes stern but always sympathetic “daddy doc”, who tries to give his spirited teen a “limited freedom”. Plus he’s a dream compared to the town’s surly other elders, best represented by comic actor Will Sasso as the growling chief of police who’s quick to point his pistol at theose “brats”. Much can be said of Durant, who almost breaks into the old “bye Bye Birdie” standard tune “Kids!” while bemoaning the next “gen”. Perhaps he could make that song a “duet” with Sawatsky’s twitchy, always esasperated Mr. Vern.

This often familiar terror tale is directed confidently by thriller veteran Eli Craig, who brings a fun vibe to the ghoulish mayhem, though he never hits the heights of his earlier genre-flipping classic TUCKER AND DALE VS EVIL (hmm, one of the teens is named Tucker here…). Craig conveys the small town “dread” as Quinn is suddenly out of her urban ‘comfort zone” in the creepy quiet of the midwestern “corn country”. And the “kills’ action secquences have lots of energy and creative stunt work paired with several gruesome “practical effects”, though the CGI plasma erupts into our laps. Unfortunately, the tone wears thin as the final act (the big “death derby”) commences as the screenplay wants to have it both ways, existing as a campy thriller satire while trying to send tingles up our spines and work as a legit terror tale. The idea of a corporate “mascot” becoming a nightmarish butcher is a neat twist, but the SCREAM films have had more success at mixing humor and horror (though they often stumble). And, as is often with these films, the finale lurches along with multiple endings while the big master plan of Frendo feels devoid of logic and “future-thought”. Much like SNAKES ON A PLANE, this title promises more fun than is on screen (I wonder if the source novel delivered more), but fright fans may “reap” some rewards from that spooky and often silly CLOWN IN A CORNFIELD.

2 Out of 4

CLOWN IN A CORNFIELD opens in theatres on Friday, May 9, 2025