The Four Horsemen (Jesse Eisenberg, Woody Harrelson, Dave Franco, Isla Fisher) are back — to unite with a new generation of illusionists (Justice Smith, Dominic Sessa, Ariana Greenblatt) for their most global, high-stakes magical adventure yet. Their mission: Expose the corruption of Veronika Vanderberg (Rosamund Pike), a powerful diamond heiress with ties to arms dealers, traffickers, and warlords. Aided by the legendary Thaddeus (Morgan Freeman), the two generations of magicians must overcome their differences to try and defeat their cunning and dangerous adversary, in this magic-fueled heist filled with the franchise’s signature twists, turns, and thrilling reveals — along with some of the most thrilling illusions ever captured on film.
NOW YOU SEE ME: NOW YOU DON’T is directed by Ruben Fleischer (Venom, Uncharted, Zombieland), from a screenplay by Michael Lesslie and Paul Wernick & Rhett Reese and Seth Grahame-Smith, story by Eric Warren Singer and Michael Lesslie, and based on characters created by Boaz Yakin & Edward Ricourt. Lionsgate presents, a Cohen Pictures production.
PG-13 for some strong language, violence and suggestive references.
Dominic Sessa as Bosco, Jesse Eisenberg as Daniel Atlas, Isla Fisher as Henley Reeves, and Justice Smith as Charlie in Now You See Me: Now You Don’t. Photo Credit: Katalin Vermes
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
Based on the bestselling book, REGRETTING YOU introduces audiences to Morgan Grant (Allison Williams) and her daughter Clara (Mckenna Grace) as they explore what’s left behind after a devastating accident reveals a shocking betrayal and forces them to confront family secrets, redefine love, and rediscover each other. REGRETTING YOU is a story of growth, resilience, and self-discovery in the aftermath of tragedy, also starring Dave Franco and Mason Thames with Scott Eastwood and Willa Fitzgerald, in theatres this October 24.
Lionsgate surprised New Yorkers and fans nationwide this morning by giving away $250,000 in digital payments as part of a jaw-dropping Times Square stunt celebrating the trailer debut of Now You See Me: Now You Don’t.
Residents and tourists alike were met with a massive digital billboard flashing the words “NOW YOU SEE ME,” a live countdown clock, and a mysterious phone number, inviting them to text or call for a surprise.
As the countdown hit zero, the billboard flipped to reveal: “NOW YOU DON’T” and fans received a surprise text with the brand-new trailer – and instant cash prizes, courtesy of The Horsemen.
Franchise newcomers Ariana Greenblatt, Justice Smith, and Dominic Sessa joined the magic in person to help stage the visual “heist” in the heart of Times Square.
The stunt was designed to capture the spirit of magic and mischief that the franchise is known for.
The Four Horsemen return along with a new generation of illusionists performing mind-melding twists, turns, surprises, and magic unlike anything ever captured on film. Stars Jesse Eisenberg, Woody Harrelson, Dave Franco, Isla Fisher, Justice Smith, Dominic Sessa, Ariana Greenblatt, with Rosamund Pike, and Morgan Freeman.
NOW YOU SEE ME: NOW YOU DON’T is from director Ruben Fleischer and in theaters November 14, 2025.
Dominic Sessa as Bosco, Jesse Eisenberg as Daniel Atlas, Isla Fisher as Henley Reeves, and Justice Smith as Charlie in Now You See Me: Now You Don’t. Photo Credit: Katalin Vermes
Ready for a cinematic “walk on the wild side”? Perhaps something in the film noir category, but not similar to something you’d run across on one of those nostalgia streaming channels. Maybe something set just before the turn of the century rather than the decade post-WWII. Sure, this new flick is a crime thriller involving multiple murders, but that’s just one aspect. Let’s see, there’s a big (truly huge) daughter/father conflict so it’s a family drama. And it’s certainly a romance ala’ girl meets girl. Oh, and one of them is seeking fame in the competitive world of female bodybuilding events. Now, that’s really different and certainly unique. Mix all those genres and subplots together and you get an insight into the provocative title, LOVE LIES BLEEDING.
Oh, the backdrop year is in the 20th century, way back in 1989. We first meet lonely Lou (Kristen Stewart) who runs a gym catering to weightlifters in a dusty New Mexico border town. After a night of unclogging toilets and dealing with a spacey clingy ex-girlfriend named Daisy (Anna Baryshnikov), she heads back to the dingy apartment she shares with her cat Happy Meal. Meanwhile, across the tracks, JJ (Dave Franco) is “hiring” a new waitress for the tavern at the gun range business he manages…in the back of his car. He tells the muscular statuesque brunette, Jackie (Katy O’Brian) that she can start tomorrow. She leaves the parking lot to sleep under the highway overpass. The next morning JJ introduces her to the gun range owner, his father-in-law, the surly Lou Sr. (Ed Harris). Eventually, Jackie heads over to Crater Gym where she encounters Lou. The two immediately form a connection and spend the night (at Lou’s pad, natch’). Jackie insists that she’ll soon be moving on to a big body-building event in Vegas as soon as she makes enough cash for the trip. A few nights later Lou and Jackie have a most awkward dinner date with Lou’s sister Beth (Jena Malone) and her abusive spouse, JJ! Lou is furious that he’s smacking around her sister. But he doesn’t stop and Beth ends up in a coma at the local hospital. After an uncomfortable reunion with Lou Sr. (they are estranged, to say the least) something…happens. And soon the lovers are nearly in panic mode. Can Lou stay ahead of the FBI agents who are pressuring her for info on her papa’s shady operations? And what about those “off-brand” muscle “enhancers” that Lou gave Jackie? Things are about to get much hotter in that sleepy desert burg…
Add another interesting character performance to the already impressive resume of Ms. Stewart. In the opening act, Lou is a take-no-crap (unless she’s clearing the commode) tough gal whose tough exterior masks her lonely solitary life and very dark past. That all changes when she spots Jackie her “warrior angel’ across the gym floor. Stewart shows us that a spark has been ignited in those “half-mast” eyes. Later on, she’s almost a whirling dervish as she scrambles to “clean and dispose’ all the while Stewart lets us see that Lou’s brain has shifted into “high gear”. The real breakout role may belong to her “ideal” Jackie played with great energy and flair by relative screen newcomer O’Brian, who was one of the few highlights of the last ANT-MAN epic. Jackie is “laser-focused on her sports goal, though she’s elated by the prospect of real love with Lou. But that is somewhat short-circuited by the “boosters’ that spiral her into a scary “roid’ rage’ while dropping her into a nightmare-like netherworld. And even as she’s posing in front of a mirror, there’s still a child-like vulnerability. The “third wheel” of this love “triangle is the manic white-hot mess that is Daisy who Baryshnikov plays as a distracted child who demands attention while engaging in passive-aggressive manipulation. She’s trouble, but is merely an annoying “jack-in-the-box’ compared to the sadistic cruelty of the two dudes hovering over them. Franco is a sniveling mullet-sporting bully as the weasily JJ, who needs the protection of the king of the “wolf pack”, Lou Sr, given a constant sneer by the bombastic Harris who resembles a heavy metal Satan with long curtains of hair framing his scowling pate. They’re “bad dude” and super-bad dude”.
The director and co-writer, with Weronika Tofilska, Rose Glass has crafted a low-rent, hard-scrabble fable that incorporates lust, love, longing, and brutal revenge while taking many unexpected and often “out there” twists and turns. She makes great use of a vibrant color scheme, switching from a warm “lit by headlights” glow in the wee hours to the shimmering, blazing crimson of a blood-soaked hellscape. It’s all punctuated with a grim “gallows humor” echoing the criminal eccentrics of Tarantino and the Coens mixed with more than a dash of the heroines of BOUND. The big “dividing point” for many viewers will be the sharp detour into “fantasy-land” in the big finale showdown, but after the lean, taut storytelling most will probably embrace and may even be thrilled by the audacity of it. Somehow Glass gets all the diverse elements to jell while making us truly invested in these two unlikely lovers, again played superbly by Stewart and O’Brian. The desert locales project a sense of sun-baked decay while the period is well represented (no cell phones, but lots of answering machines). More adventurous filmgoers will enjoy the “totally-jacked” trip taken when LOVE LIES BLEEDING.
3.5 Out of 4
LOVE LIES BLEEDING is now playing in select theatres
From Director Rose Glass comes an electric new love story; reclusive gym manager Lou falls hard for Jackie, an ambitious bodybuilder headed through town to Vegas in pursuit of her dream. But their love ignites violence, pulling them deep into the web of Lou’s criminal family.
Starring Kristen Stewart, Katy O’Brian, Jena Malone, Anna Baryshnikov, with Dave Franco and Ed Harris watch the trailer now for LOVE LIES BLEEDING.
Anna Baryshnikov, daughter of Mikhail Baryshnikov, starred in Kenneth Lonergan’s MANCHESTER BY THE SEA in 2016.
Katy O’Brian is best known for her roles as Jentorra in Ant-Man and the Wasp: Quantumania, George in Syfy’s zombie show Z Nation, Major Sarah Grey in The CW’s superhero series Black Lightning and Kimball in Agents of S.H.I.E.L.D. She also plays Imperial communications officer Elia Kane in the second and third seasons of The Mandalorian. O’Brian will be featured in the upcoming movie TWISTERS.
It looks like whatever crystal ball (maybe more of a big fishbowl) Hollywood was consulting certainly proved it’s worth. That’s because with most of the country on near-constant “staycation” (the other countries have pretty much shut their doors in our faces) the studios have supplied an almost constant stream (I should say “streaming”) supply of films concerning characters in “faraway places” or on their way to getaways. Vicariously we’ve been to Naples (PIRANHAS), Cornwall (FOUR KIDS AND IT), and a funny TRIP TO GREECE. But this country’s not been left out with last weekend’s EASY DOES IT driving a battered Mustang from Mississippi to Texas and stalling out in sunny San Clemente, CA. What’s the destination this week. Well, let’s head north to the Portland area, or nearby, to spend a wild long weekend with two fun-loving couples ready to kick back and enjoy some “R and R” at THE RENTAL. Ah, but they learn too late that getting away from it all (of course their cell phones get “no bars”) can make them the perfect prey.
Of course, the story begins at the place they need to “get away” from, namely the city of Portland. Charlie (Dan Stevens) and Mina (Shelia Vand) are partners in an “on the rise” design firm downtown. The business has been so great that they decide to rent a place on the water (an Airbnb type online deal) for the long upcoming weekend. But it’s not just for the two of them. Charlie’s bringing his live-in love Michelle (Alison Brie), while Mina’s with Charlie’s younger brother Josh (Jeremy Allen White). The road trip gets off to a bit of a rocky start when Josh insists on bringing his pet pooch Reggie (the listing was adamant banning pets). And Mina’s miffed at the renters for accepting Josh’s bid and not hers (she thinks her Middle Eastern name may have been the reason). When they arrive, the quartet is met by the house owner’s brother Taylor (Toby Huss) who lives nearby and does the upkeep on the gorgeous two-story luxury home. He also vets the renters which prompts Mina to question his decision on her inquiry. Luckily Charlie smoothes things over, the dog is kept out of sight, and Taylor promises to return to finish some minor repairs. After he leaves they debate about topping off Dinner with some psychedelic ‘shrooms. Michelle is too wiped out from her recent work deadlines, but promises that she’ll be up for it tomorrow (so, they better leave some). The trio indulges with Josh quickly fading. Charlie and Nina (now quite loosened up) fire up the hot tub. But with their “defenses down” the two act on their attraction, taking their tryst from the tub to the main shower. With dawn’s light, Mina notices something odd about the showerhead. Could it be a tiny camera lens? One transmitting to a router? Charlie joins her in a frantic search. Could these have been planted by the surly Taylor? Is it blackmail or is it something more sinister? And can they keep their indiscretion a secret from the oblivious Michelle and Josh?
The cast’s main quartet does their level best to bring the often flighty, undisciplined characters down to Earth. Stevens, best known to movie audiences as the Prince in the recent live-action (mostly)BEAUTY AND THE BEAST, is a compelling protagonist, the de facto leader of “the band’, reveling in the “commander” role. We soon see the cracks in his confident facade as he gives into lust. It also puts him in sweaty panic mode as he feverishly tries to make things “normal”, a near-impossible goal. Vand exudes an air of cool detachment in her early scenes as Mina, but she’s quickly put on the defensive by the renter’s perceived prejudices. Her friends, especially partner Charlie, are stunned when she decides to “pick a fight” just after the keys are handed off. Later she’s just as frantic as she discovers the “little spy” in their midst. Brie as the unawares Michelle appears to be the more reasonable “go with the flow” vacationer, who just happens to get high at the absolute worst time (prompted by her new knowledge of Charlie’s checkered romantic history). That intel is clumsily provided by brother Josh, who is given a “wild card” vibe by White. The slower sibling always feels as though he’s “in over his head” financially, intellectually, and emotionally. We’re told of his violent past which brings greater urgency to the cover-up. When his beloved Reggie vanishes his concern proves to release his inner demons. And they all, well maybe not Michelle, have qualms about Taylor, played with simmering menace by Huss. He wears the mask of an “easy-going reg’lar Joe”, but we can almost see steam rising from its edges as he tries to repress his seething jealousy of the privileged young couples. All his friendly gestures seem to have a dark, almost pitch black, undercurrent.
This marks the feature directing debut of actor Dave Franco (yes, James’ lil’ bro), who also collaborated on the script with Joe Swanberg and Mike Demski. He does his best to try and smooth over “the stitches” of meshing two types of stories (I kept thinking of the first FROM DUSK TILL DAWN going from criminals on the run with hostages caper to blood-soaked supernatural thriller). The first half or so is an intimate profile of two couples loosening up (with some it’s way too much) out in the middle of the woods, facing some hard emotional “truths”. Franco has a confident style in framing these scenes of lively conversation and frivolity (bring out the ‘shrooms). Then the paranoia kicks in, as the film becomes a new variation of the “stalking menace” movies of the past complete with the “POV” going after each character (they naturally split up). With Swanberg’s involvement, perhaps this is meant as a “mumblecore” take on the “horny teens” in peril flicks of the early ’80s. It’s then that the story becomes less engaging as the characters suddenly all sprout targets on their backs. Plus it becomes increasingly difficult to follow as the woods (of course) are filled with soupy mist and fog. A “found footage” epilogue may plant the seeds for a sequel, but it just adds to the confusion of the final act. That abrupt change in tone feels like a cinematic whiplash, frustrating drama, and suspense fans. Like the featured house, the film may look promising on the website, but THE RENTAL has lots of structural flaws. That’s why I’ll scroll down to its comment section and give it…
2 Out of 4
THE RENTAL opens at theatres and drive-ins everywhere and screens exclusively in the St. Louis area at the Hi-Pointe Theatre and the Galleria 6
The Hi-Pointe Theater, at 1005 McCausland Ave in St. Louis, is the best place to see movies. Dan Stevens and Alison Brie in director Dave Franco’s THE RENTALopens there Thursday July 23th. Check out this spooky trailer:
Two couples on an oceanside getaway grow suspicious that the host of their seemingly perfect rental house may be spying on them. Before long, what should have been a celebratory weekend trip turns into something far more sinister.
Directed by Dave Franco, watch this clip from THE RENTAL. It’s set to be released In Select Drive-Ins, Theaters and On Demand July 24, 2020.
Watch the film at home or in theaters at this Ticket Link
Two couples on an oceanside getaway grow suspicious that the host of their seemingly perfect rental house may be spying on them. Before long, what should have been a celebratory weekend trip turns into something far more sinister, as well-kept secrets are exposed and the four old friends come to see each other in a whole new light.
Dan Stevens as “Charlie,” Sheila Vand as “Mina,” and Jeremy Allen White as “Josh” in Dave Franco’s THE RENTAL. Courtesy of IFC Films. An IFC Films Release.
Alison Brie, Dan Stevens, Jeremy Allen White, and Sheila Vand star in this unnerving and sophisticated debut thriller from Dave Franco (NEIGHBORS, IF BEALE STREET COULD TALK, THE DISASTER ARTIST).
Dave Franco’s Directorial Debut THE RENTALwill be in Select Drive-Ins, Theaters and On Demand July 24, 2020. Here’s a clip from the film. Looks pretty scary!
Featuring an all-star cast including Dan Stevens (“Downton Abbey,” Beauty and the Beast), Alison Brie (“BoJack Horseman,” “GLOW”), Sheila Vand (A Girl Walks Home Alone at Night, Argo) and Jeremy Allen (“Shameless,”Movie 43),THE RENTAL was also co-written by Franco and Joe Swanberg (“Easy,” Drinking Buddies, Happy Christmas).
Rental_AR_05.24.19_154.ARW
Two couples looking to celebrate their seed money from a new business venture, embark on a weekend getaway to a seemingly perfect house they’ve booked online. But what begins as a festive weekend for the four close friends turns into something far more sinister as secrets they’ve kept from each other are exposed and paranoia grows that they may not be alone.
