Comedy – We Are Movie Geeks

YOU, ME & TUSCANY – Review

With Spring in full bloom, are you hoping that love (at least on the big screen) is also blossoming? For those fans of romantic flicks with a healthy dose of comedy (maybe more swoony passion than yuks), 2026 hasn’t been much of a harvest. REMINDERS OF HIM really leans into melodramatic tragedy. And then there’s last week’s big release, THE DRAMA, which starts with the old reliable “meet cute” with lots of chemistry between the two leads, then takes a very sharp “turn” into the dark, almost “pitch black”, squirmy, sardonic. Where are the exotic locales, and the smouldering looks of desire between two likable, extremely photogenic actors? Well, right now. You can tag along, via the multiplex, to a far-off fantasy destination as the “seat mate” to YOU, ME & TUSCANY. Just be prepared for a “pasta-palooza”.

Ah, but the opening scene locale is right here in the States, the “Big Apple”. Lovely twenty-something Anna (Hallie Bailey) seems to “have it all” as she sashays through NYC. But we soon find out that all is not what it seems. She’s adrift, making a meager living as a housesitter. Her plans to be a chef were squelched when her mother passed, and she couldn’t graduate from a swank culinary college. Luckily, her BFF Claire (Aziza Scott) can score her a room at the high-end hotel where she works. At their bar, Anna strikes up a conversation with a charming Italian visitor named Matteo (Lorenzo de Moor). Over many drinks, he tells her that he travels the globe, while leaving his family’s opulent Tuscan villa empty. Anna mentions that she and Mom had planned an Italian trip and still has the unused airline ticket. Matteo tells her that she must make the trip soon. When jet lag gets the better of him, Anna does a “phone drop’ and gets the pics of his “crib”. Of course, she heads to Tuscany without a plan. And it’s the time of the big Summer festival, so every room is booked. Aha, since Matteo’s place is empty, why not “crash’ for a couple days. Anna finds the house keys and, after a night’s slumber, does some “exploring”. She finds a gorgeous ring…and it’s stuck on her finger. As she tries to remove it, she’s “caught” by Matteo’s Mama (Isabella Ferrari) and Nonna (Stefania Casini), who have dropped by to clean the place. As Anna sputters an explanation, they spot the ring. She must be his fiancée! Anna goes along with the “fib” in the hope she can sneak out of town soon and fly back home. But things get complicated when the family warmly embraces her (this means Matteo will finally return to them). And then things get “super-complicated” when Anna meets Matteo’s dashing, gorgeous wine-making brother/cousin Michael (Rege’-Jean Page). Should she risk sticking around and hope that she’s not exposed as a fraud? Oh, but there’s a real spark with that “grape-grower.”

I think I alluded to the charm and “pleasant presence” of the two leads earlier. Getting most of the screen time (well, it’s really her story) is the bubbly Bailey, who easily gets the audience on her side despite some questionable decisions as Anna. She’s adept as the “straight” to many of the often silly supporting players, while showing her budding attraction to the splendid Page, whose engaging smile often masks the hurt of loss and loneliness. Of course, he’s initially brash and caustic to Anna when they meet, but the “icy wall” slowly melts away. Much of the cast is there to “punch up” the comedy, and though often they “land” a few. The best “boxer” might be Scott, who’s the “sounding board” for Anna’s ideas while trying to “ground her” while playfully tossing the “B word” (y’know, the lady canine). Matteo is an engaging “cad” thanks to the character choices from de Boor. The first ‘local” in Anna’s “corner” is a most helpful taxi driver played with an endearing sense of fun by Marco Calvani. And then there’s the “familia”. Ferrari warmly embraces Anna, almost from the start, while Casini elicits laughs with her suspicious glances and feisty spirit. Stella Pecollo really “goes for it” as the bubbly free-spirited Francesca, quick with a slapstick leer. Grounding them all is the stern, stoic patriarch played by the intimidating Paolo Sassanelli.

Guiding this group is director Kat Corio, a TV vet who last scored in features with the J. Lo vehicle MARRY ME. This is a bit of a step up from the ludicrous premise of that one, but she often hits the comedy beats too hard with this, leaning in hard with mugging clos-ups and clumsy physical schtick. She does better in the quieter scenes of Anna falling for Michael, although Corio uses the tired cliche of the leads bonding during a long montage, their dialogue replaced by a forgettable pop tune. Ah, well, the target audience for this isn’t looking for realism, but fantasy fluff. And it’s got that to spare, along with the dazzling location and drool-inspiring cuisine (Matteo’s family runs the big restaurant). So, we’ve got both travel and food “porn” here. And lots of cute, colorful sitcom tropes. especially middle-aged lady tourists leering at a shirtless Page (as Slappy Squirrel used to say< “Now, that’s comedy”). Really, this is a pasta-fueled big -budget expansion of so many basic cable TV flicks (minus the holiday themes) that coast on the locales and the charm of the leads. Fans of this kind of “comfort food” will certainly feel full afterward, while anyone looking for anything more substantial will be famished by the “lighter than air” frivolity of YOU, ME & TUSCANY.

1.5 Out of 4

YOU, ME & TUSCANY is now playing in theatres everywhere

OUTCOME (2026) – Review

So, does Hollywood love itself or what? Sure, but to be more specific, Hollywood really loves movies about itself, be they biopics or slightly fictionalized flicks (looking back a few years to the sublime ONCE UPON A TIME IN HOLLYWOOD and the abysmal BABYLON). This even extends to streaming shows, such as the monster hits (and Emmy winners) “The Studio” and “Hack”, which is just starting its final season. And now the service behind the former series is premiering a fiction feature that puts a satiric spin on recent “career crashes’ and full media disasters. One of the reasons that this may feel a bit more “legit” is because it’s directed and co-written by an actor who has been a media fixture himself, and survived a few “hiccups” for the last couple of decades or so. Now we’ll see the “fruits of his labor” as AppleTV presents the final OUTCOME.

After a nifty prologue involving some creative audio “tinkering” of a classic TV show in a flashback, we’re back in the “now” with former child performer turned two-time Oscar-winning cinema superstar Reef Hawk (Keanu Reeves) as he embarks on a career “restart” after a five-year hiatus. The public thinks that he was taking a break to “recharge”, but his “inner circle” knows (and they’re keeping mum) that Reef was kicking a nasty heroin addiction. Luckily, he’s got a couple of very supportive high school pals, Kyle (Cameron Diaz) and Xander (Matt Bomer), in his corner. They love him, but they’re quick to call out any b.s. on his part. Then, after a tense TV interview, some really big b.s. hits the fan. Reef gets a “panic” call from his excitable lawyer/ consultant, Ira Slitz (Jonah Hill). Seems that an anonymous party is in possession of a “career-destroying” video that they’ll leak unless Reef coughs up 15 mil. But he’s certain that he’s never made a video or been part of such a thing (at least willingly). Ah, but Ira has a plan. While they await word from the blackmailer, Ira thinks that Reef should make a list of those who might have reasons for revenge, then contact them and apologize. Reef can only think of a couple of people from his past, but his trusty “girl Friday,” Sammi (Ivy Wolk), rattles off more than a dozen suspects. Thus begins Reef’s long trek down memory lane as he tries to “make amends” and squelch this scandal before it is devoured by the hungry media outlets.

As the story’s main focus, Reeves as Reef, is almost an enigma as we attempt to grasp exactly what’s going on inside him. He’s somber and stoic, almost returning to his John Wick persona (minus all the physical carnage). But, for a few moments, Reeves gives us an insight into Reef’s bubbling-over inner turmoil after finding that nostalgia’s not always a warm and fuzzy journey. He’s the opposite of Hill as the bombastic Ira, a character so abrasive that we are perplexed by his command skills over his high-end law firm. He’s often cringy, but not in an endearing way, making us wish that the director had reigned him in (more about that in a bit). Diaz and Bomer make a strong team as he’s loopy, while she dishes out the needed “tough love.” It’s nice to have Diaz back after a long hiatus from films. There’s a real “murders’ row” of superb supporting actors. I was especially impressed by two daytime TV icons. Drew Barrymore appears to be having a great time skewing her “sweet” image. Ditto for Susan Lucci as Reef’s fame-hungry mama, who will only talk to him while on camera for her reality TV show gig, as she wears a wacky “uplifting” wardrobe. Oh, and both don’t shy from dropping lotsa’ “F bombs”. The most touching work may be from Martin Scorsese as Reef’s long-ago agent, a low-rent (his office is a table at a retro bowling alley) West Coast Danny Rose-type known as “Red”. Those eyes are weary and sad, but Red knows that he’s merely a starting point for fame, to be discarded and forgotten. Oh, and we get a nice underplayed performance by SNL vet David Spade as Reef’s laid-back neighbor, Buddy.

So, the director who didn’t tone down the actor playing Ira is Jonah Hill himself. It is a step forward from his previous fiction flick, MID90S, though he still has a tough time in maintaining a brisk pace. Many scenes need a trim, even though the film clocks at 83 minutes. Perhaps we could’ve seen more of Reef during the heyday of his stardom, and with more time devoted to Ira’s staff, since the great Laverne Cox and Roy Wood Jr. don’t get time for their comedic skills. That might be due to the script by, you guessed it, Hill with Ezra Woods. They do capture the look of sun-drenched decay of “La La Land.” Still, the film feels a bit “under-cooked” with a resolution that’s too abrupt and unsatisfying, as we don’t grasp Reef’s trajectory for his life. Reeves always turns in interesting work, and those Luci and Barrymore cameos are fun, but it’s not enough for a really compelling and concise OUTCOME.

2 Out of 4

OUTCOME streams exclusively on Apple TV beginning on Friday, April 10, 2026

READY OR NOT 2: HERE I COME – Review

Yes, it’s a week past Friday the 13th, but that doesn’t mean that we can’t be part of a fledgling fright franchise. Particularly a horror franchise, a concept that probably goes back to the Universal horror classics of the Golden age, starting strong with 19341’s FRANKENSTEIN (DRACULA was not as prolific, really). Hammer picked up the mantle in the late 1950s and into the early 70s with Christopher Lee as Dracula and Peter Cushing as Baron Frankenstein, though you can argue that American International Pictures had a series with the Poe adaptations from Roger Corman starring Vincent Price. He also did two films as THE ABOMINABLE DR. PHIBES, around the same time as those blood-suckers BLACULA and Count Yorga. At the end of that decade, extremely long-running franchises sprang from HALLOWEEN and FRIDAY THE 13TH. In the last few decades, we’ve gotten our current scary series, SCREAM, along with the FINAL DESTINATION. And then there’s the sub-genre of horror/ SF with ALIEN and PREDATOR. This new one is a bit of a hybrid, as it’s an action-oriented fright fest. So, are you all prepared for READY OR NOT 2: HERE I COME? Ya’ better be ’cause…” ollie, ollie, oxen-free”!

So, this new flick picks up right where READY OR NOT ended (almost seven years ago, c’mon). Bloody and battered Grace MacCaulley (Samara Weaving) is enjoying a smoke as the mansion of her new in-laws, the esteemed Le Domas family, goes up in flames. We hear the arrival of the paramedics and other disaster teams. As they question Grace, she faints from traumatic shock. While she’s “out”, word of the demise of the Le Domas dynasty spreads like wildfire to several other wealthy, influential families, who want to replace them as “Lucifer’s favorites” and rule the globe. It all starts at the Danforth casino/country club, as their trusted Lawyer (Elijah Wood), explains the demands of “Mr. Le Bail” to twin siblings Ursula (Sarah Michelle Gellar) and Titus (Shawn Hatosy). They, in turn, contact the other powerful families across the world. Meanwhile, Grace awakens in a hospital bed…handcuffed. Seems the police have lots of questions for her about that horrific honeymoon. But before the inquiries begin, Grace is reunited with her estranged younger sister Faith (Kathryn Newton), who is still the “emergency contact”, though they haven’t spoken for many years. As Grace is about to leave the hospital, all Hell breaks loose, and the MacCaulley sisters are knocked out by a gas canister. They awaken bound and gagged in the Danforth estate’s conference room, surrounded by members of the four families. The lawyer lays out the rules for a new “game”. Grace refuses to be “it” until Faith is threatened. The new “contest” involves the killing of the sisters before dawn in order for one of the families to become the new reps for the Devil. Can the still-recovering Grace protect Faith from these packs of wealthy predators and live to see a new day?

I suppose we need to begin with our only returning “survivor”, the fierce Ms. Weaving. Here she gets to add a few new “layers” to Grace, as the experiences of her “wedding celebration” have left lots of scars, physical and psychological. And she’s had little time to heal either (the hospital did do a pretty decent bandaging job). Weaving’s eyes project the fatigue of battle. But now she’s got a big reason to “soldier on”: the rekindled love for her sibling and a hope for reconnection. This introduces a terrific new character into the mix, sister Faith, played with spunky snark by the engaging Ms. Newton (one of the bright spots of the last dismal Ant-Man flick). At the first reunion of the two, she’s full of anger that masks the despair of rejection. However, when the s#*t goes down, Faith proves that the fighter’s spirit is in her, too. Newton sells both the stunts and the emotions. It helps that the ladies have a formidable “murderers’ row to play and literally bounce off. At the forefront is the eternal “slayer” herself, Gellar, who gives Ursula a ruthless, calculating edge and a razor-sharp wit and intelligence that helps her muzzle and restrain Hatosy as the deadly, demented Titus, the wildest of “wild cards.” Hatosy unleashes a white-hot demon who seemly “springs to life” as he delights in the torture of his prey. Here’s another nuanced role for Wood as the unwavering and enigmatic barrister, who is also a referee and executioner. Most of the other “hunters” are played for laughs by a talented ensemble. Standouts are Dan Bierne as the robe-clad, martini-swigging Danforth cousin, Kip, and Maia Jae as the spurned fiancée with a personal score to settle.

I referred to this as an action/horror entry, but it’s also a very dark, almost pitch-black comedic romp. It’s a satiric spoof of all the “evil rich” tropes, while being unafraid to go for big slapstick set-ups with gore-splattered (Jackson Pollock-inspired) gag pay-offs. This seems to be a “calling card” with the directing team of Matt Bettinelli-Olpin and Tyler Gillett. They directed two SCREAM installments and the equally bloody-fun ABIGAIL since the last tale of Grace. And Matt co-wrote this with returning scribes Guy Busick and R. Christopher Murphy. They supplied the MacCaulleys with lots of verbal burns and zingers that often land with more force than their combat skills. Plus, they concoct a multitude of clever ways for the baddies to commit their carnage with lots of dated devices (part of the family fortune’s past). The filmmakers keep the often convoluted plot from collapsing, while knowing when to slow things down a touch for a bit of sibling angst. Sure, the surprises from the first flick (the offerings to Mr. Le Bail) are absent, but the addition of Faith and expansion of the enemies help to make this a frenetic and still fun follow-up. So if you’re not too squeamish (I wince at the actors trying to get the sticky red goo from their skin and hair… yuck), then you’ll enjoy this “sudden-death” round of the “game” in READY OR NOT 2: HERE I COME. But, is it now “game over”?

3 Out of 4

READY OR NOT 2: HERE I COME is now playing exclusively in theatres

HOPPERS – Review

At last, the cruel, cold winter is giving way to a fast-approaching Spring (at least for most of the country). And what do many young men’s (and ladies’) fancies turn to, other than a amor? Why, going back to nature, naturally (see what I did there). Well, it just so happens that for their 30th (wow) feature film, those digital animation gurus at Pixar have fashioned a story about going back to nature in the most literal and fantastical way possible. Wth a bit of science fiction magic, this movie’s young heroine can comingle and even communicate (stop me before I launch into that catchy tune, “If I Could Talk to the Animals”) with the woodland critters that she’s watched from afar. Yes, that includes frogs, though they’re not the story’s main focus, nor are they the inspiration for this flick’s title, HOPPERS.

As this modern fable begins, we meet the aforementioned heroine, Mabel, in the Beaverton grade school system (she’s maybe eight or nine) as she embarks on her mission (and not the first attempt) to liberate the many “class animal pets” from their cages, aquariums, and other “jails”. She’s soon sent home with her mom, who, in turn, takes her to her adored grandmother Tanaka (voice of Karen Hule). To calm down the child, they sit on a big rock near a pond in the forest behind Granny’s home. Mabel is spellbound as she watches the water with a beaver dam at its center. Fast forward about ten years or so, as now 19-year-old Mabel (Piper Curda) still enjoys the tranquility of that sweet spot, even though Grandma” T has passed on. But the quiet is soon shattered by a noisy construction crew, determined to complete a big highway and pave over the place. It’s the dream project of Mabel’s constant nemesis, the affable Beavertown mayor, Jerry Generazzo (Jon Hamm). Since all the wildlife has left the pond, it’s fair game for the “improvement”. After failing to get enough signatures on a petition to stop them, Mabel heads over to the college (she’s a frequent “class-skipper”) to enlist the aid of Professor “Sam” Fairfax (Kathy Najimy), who explains that a single beaver could bring back all the animals. Mabel decides that she’ll try to lure and trap a beaver…and it works! One shows up, but he ignores the bait and scampers away to the Prof’s campus lab!

It turns out that, to observe the wildlife, Sam and her two aides have created a robotic beaver connected to a device (looks like one of those big “oldie” hair dryers) that can transfer(or the “hop”) the consciousness from a sleeping human subject to the “bot”. Oh, and the facimilile can talk with and understand all the critters. Of course, Mabel “borrows” the gizmo and literally “high-tails it” to the forest. There she learns of the woodland society, ruled (in a nice way) by the “king of the mammals”, a beaver named George (Bobby Moynihan). Mabel bonds with him and convinces George to unite with the other royal leaders (birds, bugs, fish, and reptiles) to stop the impending construction destruction. But when a decision is made to eliminate the “Human King,” Mabel must try to save her arch enemy, all while avoiding Sam and her staff’s attempts to retrieve their device, and wake up the sleeping real Mabel. Suddenly, there’s more at stake than saving that “watering hole”!

After hitting a major bump in their “original” film slate (yes, I don’t count the big sequels) last Summer with ELIO, Pixar comes roaring back with this truly “all ages” cartoon comedy classic. Oh yes, it brings the laughs, but they haven’t neglected the heart (Mabel and Granny’s super-strong bond), and even a message sneaks in (we’re never pummelled by the ecology themes). Again, the studio doesn’t showcase lots of “big name superstars” for the marquee and marketing value, instead opting for a solid cast at the microphone, though a certain “multiple-Oscar-winner” spreads her “wings” (hint, hint). Curda’s an energetic lead hero with lots of “spunk”, while Moynahn makes the most out of his good-natured charm that we saw during his stint on SNL (and he’s not the only “8H’ vet). Leading man Hamm flexes his comedic chops and continues to be a big audio asset (this is his fourth toon gig). I thoroughly enjoyed Najimy even as some of her Peggy Hill (TV’s “King of the Hill”) seeped in, especially as Sam is flummoxed by Mabel (“No! This is nothing like AVATAR!!”). And kudos for all the cartoon voice vets in the incidental animal extras. Oh, and speaking of “ear candy”, what a terrific bouncy score from kids’ TV icon (“Pee Wee’s Playhouse”) Mark Mothersbaugh!

So, which of the gifted minds in Emoryville concocted this bit of delirious entertainment? Hard to believe that this is the theatrical feature directing debut of Daniel Chong (creator of TV’s “We Bare Bears”), who co-wrote the screenplay with Jesse Andrews (ME AND EARL AND THE DYING GIRL). Sure, there are some “lifted” elements, like the earlier-mentioned AVATAR mixed in with lots of DR. DOLITTLE (all incarnations), but they take the old trope conflict of nature versus commerce, and give it a refreshing spin (the bulldozing baddie is really a fairly nice fella). The script is truly lifted to the heights and beyond by the superior visuals that truly dazzle. The Pixar “pack” has really “upped” the level of sophisticated animation acting here. A third act sequence with Jerry being “taken over” has facial exaggeration and body movement that harkens to the works of “toon masters” like Bob Clampett and “Tex” Avery (I think it would work very well without the audio). I must mention the interesting “coding” of the critters. When Mabel is in the “device,” the animals have big eyes with lots of prominent white while gesturing wildly. But to those in “reality”, the wildlife isn’t nearly as wild, as they move with a slower pace, and the eyes are more or less dark brown dots. The design and some “takes” of the humans seem to be influenced by anime (much like what we saw in LUCA and TURNING RED). The overall look of all the characters is lots of fun (now I can call out the “eye candy”), and they mesh expertly with the lush backgrounds (that’s one beautiful forest). Again, this is “all ages” entertainment at its zenith, delivering a great original Pixar “fix” before another big sequel in a few months. I suppose I should end this by saying film fans should run, no walk briskly, rather than hop to the multiplex for HOPPERS.

3.5 Out of 4

HOPPERS is now playing in theatres everywhere.

GOOD LUCK, HAVE FUN, DON’T DIE – Review

Director Gore Verbinski (PIRATES OF THE CARRIBEAN) teams up with the great Sam Rockwell for a sci-fi action/comedy with something to say, where a man from the future, who is trying to save humanity from an all-powerful Artificial Intelligence creation, travels back in time to try to stop it at a critical moment. He’s already done this 116 times, but why not try a 117th.

On a dark night in L.A., one man enters a diner full of people, while holding a detonator button and wearing a strange outfit covered in wires and tactical gear. He says he’s not there to rob the place but he does have a bomb, so they better sit still and listen up. Then he tells them he is from the future and he’s there to recruit people to help him save humanity from an coming A.I. apocalypse, something he has already tried unsuccessfully 116 times before.

In a world-weary, slightly sarcastic tone, he tells his captive audience about his mission to save the world. Most people in the diner assume he’s a crazy homeless person but this joker is deadly serious, although you’d never guess that from his crazy get-up. Others barely look up from their cell phones – until he snatches their phones and tosses them away. He strides about the room, jumping on tables, calling out people by name to convince them this is real, and gradually, they start to listen to this character who seems to know things about the people there, who they are, what they are about to do next. He tells them that somewhere in this group of 47 people in this diner is a magic combination to save the world. Then he asks for volunteers to help him in his quest.

This is crazy, funny opening scene kicks things off in goofy, high-energy high-gear, as an unrecognizable Sam Rockwell, his face obscured by full beard, smeared dirt and a ski cap pulled low, brilliantly delivers his speech, about cell phone addiction leading to societal collapse and AI domination, while in constant kinetic motion. Rockwell goose-steps across tables, snatches handfuls of fries off plates, and slips into booths with lightning speed, to call them by name and share personal details about them – and pausing to yell at the waitress just before she picks up the phone to call the police.

Rockwell’s wild guy from the future does get a few volunteers (plus a few hands also go up from diners he refuses to take, due to poor performance on past runs). But he needs a few more, so he “drafts” some into coming along, based on either good past results or just because he hasn’t tried that combination before. One of the people who does volunteer is a young woman in a bedraggled princess costume, named Ingrid (Haley Lu Richardson). At first, he refuses to take her, but then he relents – because he’s never pick her before. She might be the magic addition to this combination that makes his mission work this time.

The crew he assembles also includes a couple who are teachers, Mark (Michael Pena) and Janet (Zazie Beetz), and a grieving mom named Susan (Juno Temple), and blustery guy named Scott (Asim Chaudhry) plus a few more. Their mission is to install a bit of software that was developed in the future, which installs controls on an A.I. creation built by a 9-year-old boy (Artie Wilkinson-Hunt), before it can achieve singularity and surpass human intelligence. They have to reach the home of that boy before that happens, and time is short. The man from the future wears a timer counting down the minutes and knows where the boy is, and it isn’t even far, but that doesn’t mean it is easy to get there. Many have died trying over those 116 attempts.

This is director/producer Gore Verbinski’s comeback film after nearly a decade away from film making. GOOD LUCK, HAVE FUN, DON’T DIE (a phrase that is supposedly something virtual-reality gamers in this film say to each other) was independently made, maybe because no studio would touch a film that has A.I. as the villain. Nonetheless, Verbinski turns in an high-energy, entertaining film, with a good cast, while he and scriptwriter Matthew Robinson have their say about dangers of cell phone addiction and A.I. generally.

The ticking clock helps drive this energetic, entertaining gonzo comedy/adventure/action tale. which delivers with action and physical comedy but also delves into dark comedy (sometimes very dark, even unsettling), satire and social commentary, particularly in some flashbacks sequences. As the quest unfolds, we get flashbacks to some characters’ personal stories, specifically Haley Lu Richardson’s Ingrid, Michael Pena’s and Zazie Beetz’s and Juno Temple’s mom, as well as Sam Rockwell’s character’s tale. In flashbacks, we learn more about their alternate or near-future world, where school shootings are so common that schools come equipped safe rooms, disconnected teens are constantly on their phones or threatening if not, people are cloned in secret but come back with ads, and virtual reality goggles are so good, that people sign up to live in that alternate reality full time, permanently. All the flashbacks give us insight on how screwed up their world already is and, in the case of Rockwell’s character, part of how it got there.

Verbinski picked the perfect actor for the lead role but we know it is Sam Rockwell giving this speech largely because his name is in the credits. His face is well hidden, although why isn’t clear. His costume, however, is a perfect comic mishmash of electronics, wires, tactical gear and topped by a clear raincoat, making him look like a homeless person in a homemade time-traveler/bomber outfit.

As the story progresses, the lead shifts a bit toward Haley Lu Richardson’s Ingrid, as it hurtles towards it’s wild end with not just practical effects but also vibrant, even eye-popping visual effects.

I love the concept for this satiric dark comedy film, and it is a lot of fun, as well as having something to say, and Sam Rockwell is the perfect choice for the lead. While not everything is perfect, GOOD LUCK, HAVE FUN, DON’T DIE still is an entertaining quirky, fun and involving film, with something important to say. The film deserves credit for being a unique concept on a timely topic, instead of a timid retread, and it deserves credit for its snappy pace, good storytelling, its band of misfits characters, its determined use of practical effects and nicely-done visual effects. Sam Rockwell deserves credit for a winning and determined high-energy performance under all that makeup and forty pounds of costume. We should reward all that by seeing this film, in a theater, and if you do, you will be rewarded with an entertaining and thought-provoking experience.

GOOD LUCK, HAVE FUN, DON’T DIE opens in theaters on Friday, Feb. 13, 2026.

RATING: 3 out of 4 stars

THE MOMENT (2026) – Review

With all the talk recently about a certain feature documentary’s box office take being bigger than any recent “concert doc”, it appears that filmgoers will get another cinematic “front-row seat” this weekend. Yes, it’s a feature documentary all around the preparations leading up to the first venue (building sets, creating effects, rehearsals, etc.), but we see very little of the big show, other than a pre-end credits montage. Oh, and it’s really a “mockumentary”, though it mixes real celebs with fictitious characters. However, those actual people are playing a “satiric” spin on their personas, much like in the recent Spinal Tap sequel, and HBO’s classic “The Larry Sanders Show” and the “future classic”, “The Studio” on AppleTV+. But it’s no surprise considering the film’s focus, as this snarky pop diva uses a new (to her) media to capture THE MOMENT.

That person is the Britain-born Charlie XCX (born Charlotte Emma Aitchison), who is at the center of a multi-media frenzy back in 2024 after proclaiming the warmer months as “the Summer of Brat”. We get a quick collection of clips with puzzled news anchors trying to figure out its meaning. That doesn’t concern her label, Atlantic Records, as they want to keep this “blitz” going well into the fall, while its creator wants to move on. But she’s got an arena tour coming up, so Charlie enlists her BFF Celeste (Hailey Benton Gates) to design the look of the big concerts. But that’s not enough for her exec at the label, Tammie (Rosanna Arquette), who sends two of her reps to guide the singer. First, they push her into doing a “cross-promotion” with a credit card company (the neon lime green plastic would appeal to the “young LGBT” demographic). But the label is really excited that they enlisted “hot’ filmmaking genius Johannes Godwin (Alexander Skarsgard) to document the backstory of the tour. Charlie’s feeling the pressure and decides to take a quick “recharge” trip to a swanky foreign locale. Unfortunately, Johannes makes a “power play” and takes the creative control of the show away from Celeste. After an encounter with another big media superstar at the resort, Charlie goes ahead with the new direction, tossing her original “vision”, and causing a strain with her pal. During this turmoil an international scandal erupts that puts Charlie XCX in the center of a cultural firestorm. Could this cancel the tour and extinguish her new “heat”?

I know I sound like a tired old “boomer”, but I had no knowledge of Charlie until her hosting gig last season on SNL. She did an excellent job there, which may explain her terrific comedy “chops”. She knows how to sell a joke effortlessly, and when to ramp up the energy (and that’s to match the overall frantic feel). I also saw her in a small role in the recent 100 NIGHTS OF HERO, so she can excel in character roles. I’ll be interested in seeing her follow-up work, either comedic, dramatic, or even an all-out musical (it seems she’s been making music shorts for nearly 15 years). The other pleasant surprise here is the “go-for-broke” funny turn by the usually stoic Skarsgard as the pretentious, bewildered film “visionary”, who has no end of hackneyed ideas and concepts (“you’ll be on wires, floating above your fans”). We get the impression that Johannes has done no real research on Charlie, as he implores her to engage in “crowd work” (“Happy to see you, where are you from?”). Now, this actor should be in an action film or superhero parody. Also very strong in the film, in more of a straight drama turn, is Gates as the dedicated artist who is sincerely concerned about how Charlie is handling fame. Her silent expressions as she realizes that her talents are being tossed aside provide the film with a touch of tragedy. I keep on thinking that if Emma Stone needs someone to play her sister in a flick, well… Screen vet Arquette also scores some laughs as the always annoyed “lady boss”. And we get great supporting work from Jamie Demetriou as “buried in his cell phone” aide Tim, Kate Berlant as snarky makeup artist and confidant Molly, and the bubbly Rachel Sennott as a hard-partying version of herself. Oh, I must commend Arielle Dombasle, who steals her single scene as a holistic masseuse with no patience for Charlie’s toxic “aura”.

The almost non-stop chaos of this flick is directed (perhaps conducted is more appropriate) by Aidan Zamiri, who also co-wrote it with Charlie and Bertie Brandes. Those with weak stomachs, be prepared for the extensive use of handheld cameras giving a real “fly on the wall” style, but also adding to the frenetic tension, making us yearn for a quiet spot (like Charlie’s talk with her oblivious driver). The plot is a wonderful satiric take on the constant bombardment by all of the media (talk about sensory overload). And the manic need to stay hip and relevant. And there’s a lot of that Spinal Tap ridiculousness, from the concert staging to the fervent fan worship. Kudos also to the script team for taking us in plenty of unexpected directions and not tying up the major conflicts with a dainty “let’s hug” bow. Going in with no expectations, this was quite a nice surprise during the winter doldrums. You could say that now in the movie world, Charlie XCX is enjoying THE MOMENT.

3 out of 4

THE MOMENT is now playing in theatres

SEND HELP – Review

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

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

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

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

3.5 Out of 4

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

THE HOUSEMAID (2025) – Review

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 SPONGEBOB MOVIE; SEARCH FOR SQUAREPANTS – Review

And just what type of feature film has been at the top of the box office for the last couple of weekends? Oh, and it just became the biggest grossing flick of 2025 (we’ll see if that holds with the Nav’i arriving from Pandora this Friday). I’m talking about ZOOTOPIA 2, an animated feature film. And a sequel that could be part of another ongoing big franchise. That’s not too unusual for movies from the “mouse house” (and their Pixar partners), but rare for others. Sure, there’s DreamWorks with SHREK and ICE AGE from Blue Sky (actually now part of Disney). Well, there’s now Paramount Animation whose lil’ yellow, smilin’ hero is headlining his fourth big screen adventure, all since debuting on the Nickelodeon cable TV network way back in 1999. So let’s travel to Bikini Bottom via the multiplex for THE SPONGEBOB MOVIE: SEARCH FOR SQUAREPANTS. Whew, to paraphrase another seafarer and the poster, “we’re gonna’ need a bigger marquee”.

To start this tale of deep sea exploit, we’re treated to a prologue from a live-action pirate who tells us of the legend of the Flying Dutchman. Not to worry kids, we’re quickly reunited with our guy, Spongebob Squarepants (voice of Tom Kenny), who’s very excited at his pineapple home. Turns out he’s gotten taller, actually tall enough to ride the roller coaster at a nearby amusement park, Glove World. Yes, he’s a “big guy”! His BFF Patrick Star (Bill Fagerbakke) join him on this momentous trek. Ah, but the very dangerous-looking ride causes Bob to have a “change of heart”. Yup, he’s the “chicken of the sea”. The duo head back to the Crabby Patty diner, where the owner, Mr. Krabs (Clancy Brown) teases him with tales of his past “daring do” showing off his own “swashbuckler certificate”. Hoping to earn one of his own, Bob and Patrick go through a secret trap door, to Krabs’ old artifacts and “knick-knacks”. Somehow, the duo pass into an “ultra secret” section that has a portal to the pirate ship of the Flying Dutchman (Mark Hamill). It turns out that he’s tired of being a green ghost who must sail the seven seas for eternity. He has a chance to be human once more via a magical device that can only be activated by “the purest innocent”. Sounds like our “big guy” Bob. As they sail away, Krabs and Squidward (Roger Bumpass), head downstairs and try to follow the ship to rescue Bob and Patrick. Can the squabbling pair catch up to the Dutchman before Bob somehow sends the old pirate into the real world? And would Bob replace him as the captain of his ghostly vessel?

It’s amazing that the veteran voice ensemble (past 25 years already) can still bring such sprightly energy to the “core” cast of characters, particularly the gifted vocal styling of Mr. Kenny (Bill, Clancy, and Roger aren’t “phoning it in”, though they could). Now, with this outing, they’ve brought in a few more actors into their “play pen”. Hamill is the perfect craggy, cranky green pirate ghost, while Regina Hall make for an excellent “first mate/assistant” Barb. As good as they are, the visuals really have to sell this story. While the original TV series and the first feature were produced in glorious “hand-drawn” 2D-style “classic” animation (though I’m guessing some “flash” was in use), the producers have completely-embraced fully-rendered, rounded, textured 3D CGI tech. Happily none of the rubbery expressions and exaggerations are lost, as the artists really make the cast very expressive in their physicality, often recalling the “loonier” art of Bob Clampett (a “touchstone” in zany poses). And we even get some live-action actors and settings in the big finale, though they can’t compare with the eye-popping splendor of the undersea backdrops (what they can do with the sand and sea greenery). The only problem with this is the exhaustion from the manic “in your face” pacing, which was meant to keep kids engaged, but is so draining for over 90 minutes (maybe this would’ve worked better in a multipart TV miniseries). You really need some time to catch your breath, since there aren’t big musical numbers or any quiet interludes. Yes the visuals are superb (some “gross-out” close-ups feel like the handiwork of Spumco, the Ren & Stimpy studio, stalwart Vincent Waller), but it really begins to blend together by the third act. But the overall quality is maintained after all this time in the “briny deep” so that longtime fans (the original TV viewers can bring their kids and maybe grandkids) will get a nostalgic charge out of THE SPONGEBOB MOVIE: SEARCH FOR SQUAREPANTS. Oh, and the TMNT short that proceeds it is pretty clever, too.

2.5 Out of 4

THE SPONGEBOB MOVIE: SEARCH FOR SQUAREPANTS opens in theaters everywhere on Friday, December 19, 2025

JAY KELLY – Review

With all the manic activity, preparations, shopping, and general “hub-bub” that fills the holiday season, most of us have precious little “downtime” to reflect. If you do get a “breather” you might pause to mull over your relationships with family and friends. And perhaps not all those memories are seen through “rose colored glasses”. Yup, regret can be an unexpected source for the end-of-the-year blues. This new film proclaims that those “pangs” can even affect the very-rich and famous. That includes iconic Hollywood “A-listers”, like the title character of this movie. And the “m-word” certainly applies to him because there are few movie stars that have been at the top of the box office longer than that “leading man” with the “matinée idol looks”, Mr. JAY KELLY.

Naturally, when we first meet Jay Kelly (George Clooney) he’s on a movie set, wrapping up his final scene. Right at his side is his devoted longtime manager Ron Sukenick (Adam Sandler), as they hear “Cut!”. Back at his lush estate, Jay meets with his youngest daughter Daisy (Grace Edwards), who’s preparing to join some school friends on a train trip through Europe. Jay tries to convince her to cancel and hang out with him between acting gigs. She declines just as Ron delivers a big bombshell: the director that gave Jay his “big break”, Peter Schnieder (Jim Broadbent), has died. Jay then recalls their last get together when he passed on Peter’s last film project. After attending the funeral, Jay runs into his old acting-school buddy, Tim (Billy Crudup), who suggests that the two get a drink at their old dive bar hangout. Things turn sour when Tim recalls how Jay got a role he had wanted, Their reunion ends in a fistfight on the sidewalk. The next day, Ron does damage control as Jay hits him with a bombshell. Rather than work on a new project with a hot directing duo, he’ll go to a Tuscany film festival that wants to honor him with a career award. But Jay doesn’t want another piece for his mantel. He makes a few clandestine calls, and finds out Daisy’s travel itinerary by following her BFF’s credit card trail. With Ron in tow, along with his long-time publicist Liz (Laura Dern), the “Kelly crew” flies to France where they board Daisy’s train. Along the way, Jay reconnects with the “common folk” while drifting in and out of memories before the big event in Italy, where he’ll encounter more folks from his troubled past.

So Clooney as a long-time, decades-spanning screen icon…not much of a stretch, sure. The guy has enough charm to spare, or at least for a couple more years. But here he peels back the sparkle to show the melancholy at Jay’s core. We see the sadness edging out that boyish twinkle in his eye as Clooney projects an unexpected vulnerability when Kelly realizes that time may not heal all wounds. His pairing with Sandler as the put-upon “wrangler” Ron is most inspired. Yes, Ron’s devoted to Jay, but Sandler shows us how the countless frustrations are boiling to the surface, ready to dour some hot steam into that suave mug. And he shows how his own family is losing the “tug-of-war” with Kelly. Dern’s great as another senior member of the “crew” who has his own regrets concerning her past with Ron. As Liz, Dern channels the staccato line delivery of those classic movie workin’ gals.The supporting cast is very impressive, including Patrick Wilson as another star in Ron’s “stable” (their Dinner “confab” is a highlight), Stacy Keach as the “rough around the edges” reminder of Jay’s boyhood, and Riley Keough as the elder Kelly daughter who is immune to papa’s “too late” attempts to reconnect. But the big standout may be the superb early-in-the-story turn by Crudup as the affable at first, old method acting buddy who suddenly bares his fangs on the startled “old pal”.

This is the latest work of one of the medium’s most interesting filmmakers, Noah Baumbach, who crafted the script with actress Emily Mortimer, who also plays Jay’s hairstylist Candy. This is a more grounded story than many of his more fanciful flicks like his WHITE NOISE, but not nearly as emotionally raw as MARRIAGE STORY. He gives us an interesting “insider’s view” of the industry, with riffs on several current stars and their scandals (now, who might those directing brothers be). Plus, Noah does dip his toe into fantasy with his unique flashback “transitions”. Suddenly, Jay will work through a day and be plunged into a major mistake from his past (he’s on his first movie set, he’s at a therapy session with one of his kids). We get some nice comic bits with the cute train passengers who adjust to the big star quickly. Oh, and that location works, especially in Tuscany, is quite dazzling. Though this can get a bit too fluffy and “navel-gazing”, the story does make its point concerning the consequences of putting your career first since in the non-soundstage world, we don’t get a second “take” to make things right. That’s a good lesson for moviegoers and movie stars like JAY KELLY.

3 out of 4

JAY KELLY is now steaming exclusively on Netflix

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