Tag: Josh Brolin

WAKE UP DEAD MAN – Review

Wake Up Dead Man: A Knives Out Mystery. (L-R) Josh O’Connor and Josh Brolin in Wake Up Dead Man: A Knives Out Mystery. Cr. John Wilson/Netflix © 2025

Enormously entertaining, WAKE UP DEAD MAN offers more than a good murder mystery, delving into the soulful with an ex-boxer priest, playing excellently by Josh O’Connor, seeking his own forgiveness and an unforgiving monsignor, played menacingly by Josh Brolin, with his own little kingdom in a Gothic church isolated in a rural upstate New York that feels straight out of “The Headless Horseman.” Rian Johnson’s third installment in his Knives Out mystery series may be his best yet, featuring his droll Southern detective Beniot Blanc, the two Joshes and a star-studded cast of supporting players including Glen Close, Andrew Scott, and more.

A murder in a church sounds wrong but in Rian Johnson’s capable hands it turns into the perfect place in a story that pits faith and love against power and evil. The Gothic setting lends itself well to the tale of long-buried secrets and hidden motives in this isolated, claustrophobic small community. But director/writer Johnson makes you wait a bit for the crime and the detective, focusing first on Josh O’Connor’s priest as he grapples with his spiritual journey, trying to put love at the forefront, and overcoming the rage that led to him killing a man in the boxing ring.

To help him in wrestling those inner spiritual demons, and to help the church to unravel the curious goings-on at a remote little parish, his bishop (an unexpectedly darkly funny Jeffrey Wright) gives the young priest his first assignment. Not to replace the mysterious long-time priest, a monsignor, at that ancient church but as to be the assistant priest, and perhaps figure out what is happening there.

Josh O’Connor’s priest starts out with a firm belief in the power of love but a more knowing eye for human failings, his own and others. He arrives at the ancient church, which looks more like it was transported whole, complete with churchyard graves, from old England than something in New England. Josh Brolin’s parish priest gives the newcomer a chilly greeting, insisting on being called monsignor, and immediately asking him to hear his confession, a scalding one that leaves the young priest staggering. The battle of the Joshes is on.

Rian Johnson spins out this tale brilliantly, crafting the characters and the mystery to draw you in, and adding plenty of humor and twists along the way. Daniel Craig’s detective arrives a bit late but from that point on, the film takes the brakes off for a wild, massively entertaining ride, while still keeping it’s good versus evil. Figuring out who is good and who is evil is part of the fun.

Reportedly, this is the last of Rian Johnson’s Knives Out mysteries, which is disappointing news if true. This mystery is the best of the series, demonstrating the elastic nature of the genre and showcasing Johnson’s considerable talent.

Of course, that is aided mightily by the wonderful cast, especially first-rate performances from Josh O’Connor, who is really having a year, and Daniel Craig, as the clever, quipping detective. Some of best moments are between these two, as the believer debates the non-believer, in dialog that is both though-provoking and entertaining. Who wants to see that kind of film-making come to an end?

WAKE UP DEAD MAN opens Wednesday, Nov. 26, in theaters.

RATING: 4 out of 4 stars

THE RUNNING MAN (2025) – Review

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

Win Passes To The St. Louis Advance Screening Of THE RUNNING MAN – Starring Glen Powell

GET READY TO EXPERIENCE EDGAR WRIGHT’S THE RUNNING MAN ON THE BIG SCREEN!

In a near-future society, The Running Man is the top-rated show on television—a deadly competition where contestants, known as Runners, must survive 30 days while being hunted by professional assassins, with every move broadcast to a bloodthirsty public and each day bringing a greater cash reward. Desperate to save his sick daughter, working-class Ben Richards (Glen Powell) is convinced by the show’s charming but ruthless producer, Dan Killian (Josh Brolin), to enter the game as a last resort. But Ben’s defiance, instincts, and grit turn him into an unexpected fan favorite—and a threat to the entire system. As ratings skyrocket, so does the danger, and Ben must outwit not just the Hunters, but a nation addicted to watching him fall.

Based on the Novel by Stephen King.

Directed by Edgar Wright and starring Glen Powell, William H. Macy, Lee Pace, Michael Cera, Emilia Jones, Daniel Ezra, Jayme Lawson, Sean Hayes, Katy O’Brian with Colman Domingo and Josh Brolin, THE RUNNING MAN IS IN THEATRES, DOLBY CINEMA, 4DX, PREMIUM LARGE FORMAT AND IMAX ON NOVEMBER 14, 2025.

The St. Louis screening is at 7PM on Monday, November 10th at the Alamo Drafthouse City Foundry.

ENTER HERE FOR PASSES: https://gofobo.com/TRMWAMG

Please arrive early as seating is not guaranteed.

Rated R for strong bloody violence and language throughout, and sexual references.

L-r, Katy O’Brian, Glen Powell and Martin Herlihy star in Paramount Pictures’ “The Running Man.”

©2025 Paramount Pictures. All Right Reserved.

See The New Trailer, Poster And NYCC Video For Edgar Wright’s THE RUNNING MAN – Score From Composer Steven Price

Paramount Pictures has released a thrilling new trailer for director Edgar Wright’s THE RUNNING MAN.

Streamed live from New York Comic Con, the NYCC panel for The Running Man featured Glen Powell, Lee Pace, and Edgar Wright in a conversation about the making of the film, along with an early look at this fall’s adrenaline-fueled action thriller, arriving only in theaters this November 14.

In a near-future society, The Running Man is the top-rated show on television—a deadly competition where contestants, known as Runners, must survive 30 days while being hunted by professional assassins, with every move broadcast to a bloodthirsty public and each day bringing a greater cash reward. Desperate to save his sick daughter, working-class Ben Richards (Glen Powell) is convinced by the show’s charming but ruthless producer, Dan Killian (Josh Brolin), to enter the game as a last resort. But Ben’s defiance, instincts, and grit turn him into an unexpected fan favorite—and a threat to the entire system. As ratings skyrocket, so does the danger, and Ben must outwit not just the Hunters, but a nation addicted to watching him fall.

Based on the novel by Stephen King, the score is from Oscar-winning composer Steven Price (GRAVITY, BABY DRIVER, THE WORLD’S END and the upcoming COYOTE VS ACME).

Wright shared this photo of himself and long time collaborator Price on Instagram.

NEW YORK, NEW YORK – OCTOBER 10: (L-R) Edgar Wright, Glen Powell and Lee Pace attend “The Running Man” New York Comic Con Presentation at the Javits Center on October 10, 2025, in New York, New York. (Photo by John Nacion/Getty Images for Paramount Pictures)

WEAPONS – Review

As we get past the majority of Summer (Two months down, one to go before Labor Day), perhaps we can cool down a bit from the still sweltering temps by taking a trip into some Halloween-like fare at the multiplex. Why not, since this big cinema season kicked off with the jazz-loving bloodsuckers of SINNERS, and the trick ‘r’ treat supplies are starting to take over lots of retail shelf space (really, Walgreens). And speaking of those lil’ “candy-demanders”, this new flick utilizes them for the frights. Yeah, the movies have been showcasing scary kids for many decades. Wow, those blank-eyed British tots for VILLAGE OF THE DAMNED were in my “nightmare rotation” long before Regan MacNeil spewed pea soup in THE EXORCIST. Now an acclaimed horror director has mixed terror tykes with some small-town scandal and a big-time mystery in (the title is another puzzler) WEAPONS.


A soft-voiced pre-teen narrator introduces us to the town of Maybrrok, USA. Everything’s “off” at the elementary school (grades kindergarten through fifth) since seventeen of the students in Justine Gandy’s (Julia Garner) class ran from their homes at 2:17 am and seemingly vanished into the night. No clues, no leads other than some front door security camera footage (eerily silent) of several fleeing in a weird way (arms sort of dangling dead at their sides). But Ms. Gandy still has one student left, the somber, stoic Alex Lilly (Cary Christopher). The police grill both of them, but they don’t provide any answers. The town’s parents aren’t satisfied with that and start hounding and harassing her, the loudest being home contractor Archer Graff (Josh Brolin). Flustered principal Andrew Marcus (Benedict Wong) tries to diffuse the tension, while Justine turns to booze, reality TV, and an old beau, now-married policeman Paul Morgan (Alden Ehrenreich). But he has to deal with a drug-addled, thieving drifter named Anthony (Austin Abrams), who might know something about those missing kids. Ditto for the eccentric elderly aunt of Alex, the brightly garbed and heavily “made-up” (think Bozo in a tracksuit) Gladys (Amy Madigan). Can any of these victims and suspects lead to the location of those dearly missed children? And what sinister forces compelled them to disappear?

Adding her considerable acting chops to another spooky scenario, Ms. Garner (fresh off the surfboard in the F4 flick) brings a compelling vulnerability to the shunned Ms. Gandy. But we see that she’s no quivering victim. Garner also gives her a tough outer shell as she ventures out of her comfort zone, rather than cocooning in her home or “hoteling” miles away, she stands her ground against her accusers. Yeah, she can “blow off some steam” as she ignites a “former flame”. Now, not all the parents of “the missing” are shrill harpies. Brolin projects another kind of strength that somehow remains despite her crushing grief, spending nearly sleepless nights in his boy’s bedroom. We also see the anguish taking a toll on his work. Then Brolin shifts into the proactive mode, as Archer uses his work skills to follow a chancy lead. As that “flame” Paul, Ehrenreich conveys a man on the “edge”, desperate to stay on the right path, but frustrated by not only the “kid case”, but having to deal with a now listless marriage, then trudge to deal with his father-in-law (the Chief of Police) at work. He aims some of that anger at Abrams, who brings a nice twitchy energy to the “small potatoes” criminal nuisance. Kudos to the strong performance by the gifted young Christopher, who makes Alex a sad enigma, briskly trudging to and from the school where he somehow escaped that chaotic night. Also quite good is Wong as the school’s overseer, pushing back against the panic while trying to hold in his own worries and concerns. The bravest, nuanced work may be from screen vet Madigan, who makes the clown-like Gladys a lot more than a senior citizen caricature, projecting a quiet, menacing mania in every encounter.

Following up his surprise horror hit from 2022, BARBARIAN, writer/director Zach Cregger, has cooked up a delicious premise, building on the remarkable visuals of the kids almost gliding from their cozy suburban homes into a dark oblivion. He keeps us on our toes with his non-linear storytelling style, relaying info in chapters named after the characters, shifting the timeline, and often repeating scenes from different angles and viewpoints. And as with most thrillers, he piles on the shocks with lots of nightmares, with “was that actually real” payoffs. Yes, the “jump scares” work without much of the usual reliance on sound mixing (though it’s good along with the cinematography that works well in both night and day). It’s such an inspired “how” and “whodunit”, full of tension and suspense, that the final act resolution doesn’t have the strength of the “setup” and the small town “sinning”. Without giving anything away, I keep wondering if the final moments were going for horror or for humor (it can be a thin line between the two), making me question the filmmaker’s true intentions. Sure, there’s nervous laughter early on, but the titters in the finale could have leaked over from the theater next door running THE NAKED GUN. Still, the big ending veers away from the now-standard “wrap-ups” in genre flicks, so that’s to be applauded along with the cast and the overall feeling of dread and gloom hanging over these cursed villagers. For fans of these flicks, it quickens the pulse, but a convoluted third act somewhat muffles the considerable “firepower” of WEAPONS.

3 Out of 4

WEAPONS is now playing in theatres everywhere

Listen To The Score For WEAPONS By Ryan Holladay, Hays Holladay And Zach Cregger Before Seeing The Movie This Weekend

WaterTower Music has announced the release of the Weapons (Original Motion Picture Soundtrack), featuring an original score by Ryan Holladay, Hays Holladay, and filmmaker Zach Cregger.

The highly anticipated horror/thriller from New Line Cinema, Weapons will be distributed by Warner Bros. Pictures and hits theaters and IMAX nationwide on August 8, 2025, with international release beginning August 6.

The soundtrack is available digitally now. Vinyl & CD will be available for Pre-Order starting 8/8 through Waxwork Records. The LP features deluxe packaging that includes colored vinyl, heavyweight gatefold jackets, custom artwork, and a premium 3D lenticular cover.

Unusually for a modern production, composing for Weapons began as soon as editing commenced. The Holladay brothers relocated to New York and set up their scoring suite just steps away from the editorial and VFX teams—allowing for a uniquely fluid, collaborative process. Music was integrated directly into the evolving picture, resulting in a score that was organically built alongside the film itself, with minimal reliance on temp tracks.

“Having known Zach since childhood and played together in a band (Sirhan Sirhan), we had a musical shorthand that helped us to work quickly,” explains Hays Holladay.

“Zach really wanted us to be there throughout the post-production process, so we flew to New York soon after filming wrapped and were part of the edit for the next five months. And because we started so early, the three of us were constructing the score as the edit was still coming together. So, Zach would jump between our room, the VFX room and the edit. As a result, there was hardly any temp score throughout the process, so even in the very first test screenings, it was all original music we were making.”

“We went to New York with three suitcases full of synths, sound sculptures and samplers and built everything just a few steps down the hall from where they were creating the visual effects and editing the picture. The process felt like the opposite of working remotely – we were having lunch with the whole post-production crew every day.”

When it came to crafting the score and building the tension, mystery and musical disorientation, Ryan Holladay had this to say:

“We wanted to create a score that felt intense and energetic when it needed to be, but also captured the mystery and the longing for answers that runs throughout the story without overstaying its welcome. In some cases, it took a few tries to get the tone right. One instance that comes to mind is ‘The Flight,’ which happens in the big running scene where you finally see where all the kids are headed. We tried a few attempts, going dramatic and sweeping at first. But in the end, what connected was something that feels, to me, like ‘Ride of the Valkyries’ meets Basinski’s ‘Disintegration Loops.’ It’s very unsettling.”

Weapons (Original Motion Picture Soundtrack)
Tracklisting:
1. Maddie
2. Main Theme (from Weapons)
3. Who’s There?
4. Following
5. Newspaper
6. Don’t You Find It Odd?
7. What Could’ve Happened
8. Nightmares
9. Snip
10. Daybreak
11. Troubled Person
12. Where Are You?
13. Map
14. Waiting Game
15. Gasoline
16. Stop Right There
17. Serious Hot Water
18. Donna
19. James
20. Room to Room
21. What Did I Tell You?
22. On a Mission
23. Drag
24. I Think She Cut My Hair
25. Gasoline II
26. Homesickness
27. Are You Watching?
28. Campbell’s
29. If I Got Better
30. Nametag
31. The Flight
32. Into the Lair
33. One Shot
34. Locked
35. Swarm (feat. Mary Lattimore)
36. I Found You


From New Line Cinema and Zach Cregger, the wholly original mind behind Barbarian, comes a new horror/thriller: Weapons.

When all but one child from the same class mysteriously vanish on the same night at 2:17 a.m., a community is left questioning who or what is behind their disappearance.

The film stars Josh Brolin, Julia Garner, Alden Ehrenreich, Austin Abrams, Cary Christopher, with Benedict Wong, and Amy Madigan.

Cregger directs from his own screenplay, and also produces alongside Roy Lee, Miri Yoon, J.D. Lifshitz and Raphael Margules, with Michelle Morrissey and Josh Brolin executive producing. The filmmaker’s creative team behind the camera includes director of photography Larkin Seiple, production designer Tom Hammock, editor Joe Murphy and costume designer Trish Summerville. The music is by Ryan Holladay, Hays Holladay and Zach Cregger.

New Line Cinema Presents A Subconscious/Vertigo Entertainment/BoulderLight Pictures Production, A Zach Cregger Film, Weapons. It will be distributed by Warner Bros. Pictures and released in theaters and IMAX nationwide on August 8, 2025, and internationally beginning August 6, 2025.

https://www.maybrookmissing.com

Edgar Wright’s THE RUNNING MAN Trailer Is Here And Its So Much Fun! – Stars Glen Powell, Josh Brolin, And Colman Domingo

Paramount Pictures has dropped the first trailer for director Edgar Wright’s THE RUNNING MAN.

In a near-future society, The Running Man is the top-rated show on television – a deadly competition where contestants, known as Runners, must survive 30 days while being hunted by professional assassins, with every move broadcast to a bloodthirsty public and each day bringing a greater cash reward. Desperate to save his sick daughter, working-class Ben Richards (Glen Powell) is convinced by the show’s charming but ruthless producer, Dan Killian (Josh Brolin), to enter the game as a last resort. But Ben’s defiance, instincts, and grit turn him into an unexpected fan favorite – and a threat to the entire system. As ratings skyrocket, so does the danger, and Ben must outwit not just the Hunters, but a nation addicted to watching him fall.

The cast includes Glen Powell, William H. Macy, Lee Pace, Emilia Jones, Michael Cera, Daniel Ezra, Jayme Lawson with Colman Domingo and Josh Brolin.

“Welcome To The Running Man!!” This looks so GOOD!! People want fun movies and this definitely looks FUN.

THE RUNNING MAN is based on the Novel by Stephen King.

The original 1987 movie is celebrated for its cheesy 80s action, memorable characters, and surprisingly relevant themes, making it a cult classic that continues to be discussed and analyzed. This version starred Ben Richards (Arnold Schwarzenegger) as a helicopter pilot framed as the “Butcher of Bakersfield” after refusing to fire on unarmed civilians during a food riot. He becomes the reluctant star of “The Running Man.” His signature one-liners and physical prowess are on full display; Damon Killian (Richard Dawson) as the ruthless and charismatic host of “The Running Man,” expertly played by Dawson (known for “Family Feud”). Killian embodies the manipulative and power-hungry nature of the media in this dystopian society. He’s a highlight, often stealing scenes with his smarmy charm and Amber Mendez (Maria Conchita Alonso) as an ICS (the state broadcaster) employee who initially believes Richards is guilty but eventually uncovers the truth and joins his fight.

But the best thing about the film were the villains. The Stalkers were colorful array of themed assassins providing memorable and often over-the-top challenges for Richards, including:

  • Subzero (Professor Toru Tanaka): A hockey-themed killer.
  • Buzzsaw (Gus Rethwisch): A chainsaw-wielding biker.
  • Dynamo (Erland van Lidth): An opera-singing, electrically charged stalker.
  • Fireball (Jim Brown): A flamethrower-wielding stalker.
  • Captain Freedom (Jesse Ventura): A former stalker who refuses to fight Richards dishonorably.

Some of the more memorable scenes were the Introduction to “The Running Man” show: The bombastic and spectacle-driven opening of the game show, with dancers, a cheering crowd, and Killian’s grand pronouncements, sets the tone for the brutal entertainment; Richards vs. the Stalkers: The various confrontations with the unique stalkers, often ending with Schwarzenegger delivering a classic one-liner after dispatching them. Highlights include the fight with Buzzsaw where Richards famously says, “He had to split.”; The “winners” reveal: The shocking discovery by Amber that the supposed past “winners” of The Running Man were actually murdered, exposing the show’s complete deception and The Resistance: Richards’ eventual alliance with the underground resistance movement, led by Mic (Mick Fleetwood), who work to expose the government’s lies. And finally The climactic confrontation andRichards’ final showdown with Killian, which sees Killian forced into a rocket sled and launched into the game zone, meeting a fiery end.

See THE RUNNING MAN on November 7.

Watch The Second Trailer For WEAPONS – Get Ready For A Horrifying Ride And Go To maybrookmissing.com For More Info

2025 has been filled with some great horror movies! From the recent 28 YEARS LATER and SINNERS, to PRESENCE, FINAL DESTINATION: BLOODLINES and ASH, just to name a few, now comes the highly anticipated WEAPONS.

Warner Bros. Pictures has dropped a new trailer that gives us a few more clues into the mysterious story, along with some terrifying new scenes. This looks so GOOD!!

What’s with the creepy eyes!!

Head over to the site: https://www.maybrookmissing.com/

From New Line Cinema and Zach Cregger, the wholly original mind behind Barbarian, comes a new horror/thriller: Weapons.

In the April 2025 EW interview with the director, he says: Similar to Barbarian, a surface-level logline description about missing kids is but the tip of a massive and wildly complex iceberg.

“That mystery is going to propel you through at least half of the movie, but that is not the movie,” the filmmaker divulges. “The movie will fork and change and reinvent and go in new places. It doesn’t abandon that question, believe me, but that’s not the whole movie at all. By the midpoint, we’ve moved on to way crazier s— than that.”

https://ew.com/weapons-first-look-barbarian-follow-up-julia-garner-josh-brolin-zach-cregger-exclusive-11721483

Photo by Quantrell Colbert/JOSH BROLIN as Archer in New Line Cinema’s “Weapons,” a Warner Bros. Pictures release.

When all but one child from the same class mysteriously vanish on the same night at exactly the same time, a community is left questioning who or what is behind their disappearance.

The film stars Josh Brolin, Julia Garner, Alden Ehrenreich, Austin Abrams, Cary Christopher, with Benedict Wong, and Amy Madigan.

Cregger directs from his own screenplay, and also produces alongside Roy Lee, Miri Yoon, J.D. Lifshitz and Raphael Margules, with Michelle Morrissey and Josh Brolin executive producing. The filmmaker’s creative team behind the camera includes director of photography Larkin Seiple, production designer Tom Hammock, editor Joe Murphy and costume designer Trish Summerville. The music is by Ryan Holladay, Hays Holladay and Zach Cregger.

New Line Cinema Presents A Subconscious/Vertigo Entertainment/BoulderLight Pictures Production, A Zach Cregger Film, Weapons. It will be distributed by Warner Bros. Pictures and released in theaters and IMAX nationwide on August 8, 2025, and internationally beginning 6 August 2025.

DUNE (2021) – Review

So, even though it’s the season of the big somber serious “award-bait” films, who’s ready for a journey back to “a galaxy far, far away”? Whoa, shut down the “hyper-drive”, I’m not talking about that one, y’know the one we all first visited back in 1977. Although we’ve been, cinematically, in this particular “star system” before. First at the movies in 1984, then on basic cable TV in 2000. It’s based on a book series with a huge fan base, although neither version pleased them (as for the 84 “take”, if you catch it on TV, the director credit is for “Alan Smithee” as the acclaimed filmmaker doesn’t want his real name on it), nor did it attract a throng of new admirers. Perhaps film tech needed to catch up to the tale’s unique requirements. Or maybe it just needs the correct director and cast. Now we can see if all three are needed for the proper screen treatment of Frank Herbert’s DUNE.

As the new film opens, we’re transported to the ocean planet of Caladan, which is ruled by the Atreides family. The young “prince” Paul (Timothee Chalamet) is in the grip of another weird desert-based dream (or nightmare). He’s finally awakened by his mother, Lady Jessica (Rebecca Ferguson) who insists that he join her for breakfast before the day’s big ceremony. We soon learn that she is training Paul to harness the mystical “persuasion” powers he has inherited from her. After donning their formal attire, they join father Duke Letto (Oscar Isaac) and his aide Gurney (Josh Brolin). Emissaries from the ruling House Harkonnen (under the order of the Emperor) instruct Leto and his family (and military forces) to relocate to the harsh desert planet of Arrakis to supervise the harvesting of melange, AKA “spice” which possesses many amazing properties (it’s essential to space travel). Prior to the move Gurney tutors paul in combat fighting, while “ace’ fighter pilot Duncan (Jason Momoa) regales Paul with stories of his time on his future home. Later Paul undergoes a test of “pain” conducted by Jessica’s trainer, the Reverend Mother Mohiam (Charlotte Rampling). On Arrakis, the Atreides entourage is greeted by the officials, though much of the populace, including the fierce rebel fighters known as Fremen, plot to overthrow their new otherworldly overlords. But while the Atreides try to deal with the deadly gigantic sandworms that wreck the spice mining compounds, the Harkonnen, led by the cruel Baron Vladimir (Stellan Skarsgard), are plotting a surprise attack. Can Paul and his family survive all the deadly threats on their new home world?

A truly stellar cast has been brought together on this, helping to breathe life into the now 56-year-old SF classic. Hey six of them are from the MCU, and another actor swam in from the Justice League. The focus of it all is Chalamet as Paul, who, as in many adventure fables, is the youngster at the start of a “hero’s quest”. Like most teens, Paul has an obstinate streak, but he’s got an enthusiastic spirit, always seeking wisdom, even as dark forces surround him. Chalamet brings a real intensity to Paul, compelling us to be in his “rooting section”. Luckily he’s got the talented Ferguson as Lady Jessica in his corner. She challenges Paul, exhorting him to sharpen his “special skills” while trying to protect him from those said forces. Much of the same can be said of Isaac as Leto who never denies his son of his wisdom or affection, all while balancing the demands of his title. Part of Paul’s extended family is Brolin as Gurney, who puts up a tough front, although he too hopes to keep his surrogate nephew out of harm’s path. Ditto for his “almost” big brother Duncan who’s given a gregarious and snarky edge by Momoa. Lurking in the shadows, Skarsgard makes Baron a stuffed flesh pad of pure malevolence, issuing orders in a guttural growl to the hulking Beast Rabban (Dave Bautista) and craven co-conspirator (think Peter Lorre in MAD LOVE) Piter (David Dastmalchian). They’re almost as scary as Rampling who’s pure intimidation as the Reverend. On Arrakis, Javier Bader is a most charismatic and funny Fremaon rebel leader named Stilgar, while Zendaya is the desert goddess of Paul’s dreams, Chani, in a brief role (guessing we’ll see a lot more of her in follow-ups).

This is the passion project of director Denis Villeneuve, one of the more interesting visual filmmakers of recent memory (ARRIVAL, BLADE RUNNER 2049), who worked on the screenplay adaptation with Jon Spaihts and Eric Roth. And, as Denis has said in countless interviews, the scope is big, full of endless vistas best viewed on the biggest screen possible (yes, you can stream it on your HDTV, but you won’t be truly “immersed”). It could be called a cosmic LAWRENCE OF ARABIA, especially since most of the action takes place in the sands of Arrakis, where those fearsome worms seem to be more than a mile long (the use of vibrations to attract and distract them is quite engaging). The artists and craftspeople have fashioned a world similar to ours, but with fantastic flourishes. The air transports recall helicopters, though they lift via fluttering side wings like a dragonfly or hummingbird. A wrist device creates a protective blue-tinded force field around its wearer until a weak area gives off a red-tinted warning. Thousands of soldiers march in unison, sporting shell-like battles armor, while others travel the hot sands clad in “moisture suits” that cool with re-circulated sweat. But Villeneuve doesn’t neglect the human drama and family dynamics in favor of these great gizmos and “eye candy”.Unfortunately, the source material was so dense that the film ends abruptly (even at 155 minutes) leaving us wanting (much like the Hobbit trilogy or, THE EMPIRE STRIKES BACK, one of the book’s “spiritual children”). Perhaps it’s best to leave us yearning for more as the booming Hans Zimmer score booms over the speakers, which also sounds great with the sweeping cinematography of Greg Fraser. Yes, this is the superior film treatment, though we’re left feeling that there’s much more to be gleaned from the world of DUNE.

3 Out of 4


DUNE opens in select theatres everywhere and begins streaming for 30 days on HBO Max beginning on Friday, October 22, 2021.

FLAG DAY – Review

FlagDay_FilmStills_081_R Sean Penn stars as John Vogel in FLAG DAY A Metro Goldwyn Mayer Pictures film Photo credit: Courtesy of Metro Goldwyn Mayer Pictures Inc. © 2021 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved.

With Labor Day less than a couple of weeks away, it’s only natural that the studios would release a family flick around a holiday, though not this particular one. No, it’s from a couple of months ago, though the exact date differs in other countries. Ah, but that word “family” is the constant, and not in the overused “blanket” term mumbled by the cast of F9. No, this is for real, an autobiographical “coming of age” drama that rips away the hazy nostalgia that obscures the truth about growing up with a parent, who, despite all odds, refuses to grow up. That’s the case of this tale’s heroine, whose ner do well daddy proudly proclaimed that he was born on FLAG DAY.

The film begins very near the end of the story’s main relationship. Law-enforcement officers “saddle up” in the mid-1990s during a wild highway pursuit. Just as they surround a speeding SUV, we’re taken to a conversation between a US marshall and twenty-something Jennifer Vogel (Dylan Penn), who learns of her father’s skill as a counterfeiter. Her mind then drifts back to hazy mid-seventies Summer days as she, along with kid brother Nick and mother Patty (Katheryn Winnick), are awaiting a brief visit from father John Vogel (Sean Penn). After a short interlude filled with horseplay and laughter, Papa John would be on the move. Eventually, they became a complete family again, but violent arguments (usually about money) split the parents up. But since Mom wasn’t the “fun one”, the kids wanted to be with their daddy “full time”. But after a few months, John sent them back to his ex as he evaded the law (yet another of his houses burned down), creditors (including some “leg-breaker” outlaw-types), and heartsick girlfriends. Soon Mama remarried, but after stepdad got too “handsy”, teenage Jennifer ran away to rejoin her father, who bragged of his business prospects. When she learns of his real job as a groundskeeper at a tiny airport, the two split (after John’s arrest for an inept bank hold-up). Jennifer reunites with Mom and Nick before becoming a journalism student at a Minnesota college. Her investigating skills land her a job reporting for the local free newspaper (some call it a “hippie rag”). Then Daddy shows up, out of the blue. He boasts of his ownership of a small print shop. As usual, Jennifer learns the hard way, that “Papa John” just can’t tell the truth, or keep on the “straight and narrow”.

The film’s strength is definitely in the real-life father-daughter dynamic of the two leads. Though she’s only had roles on TV and film, Dylan Penn has a compelling star charisma as the camera adoringly frames her (she is a stunning beauty). Ms. Penn convincingly ages from 16 to nearly 30, while handling drastic changes in makeup (a punk/goth style in high school) and fashions (that Lois Lane reporter-look). Her Jennifer also changes emotionally from vulnerable, but tough-talking teen to probing, smart investigator (though a “gotcha” interview feels clunky). Ms. Penn also works well with the rest of the cast, but her best moments are with her “old man”, the two-time Oscar winner. We’ve seen a bit of the twitchy “hustler’ character in some of Sean Penn’s earlier roles (THE FALCON AND THE SNOWMAN and CARLITO’S WAY spring to mind), but there’s a much darker tragic edge to John Vogel. We see the twinkle in his eyes as he relates to his kids by going to their level, whether he’s helping little Jennifer “drive” or as he gleefully takes an “aqua-car” into the lake on his birthday/holiday. But then that spark is dimmed as we see the “gears working’ as Vogel must come up with a new set of lies and excuses when he’s cornered. Penn still projects some charm as we see how pathetic John’s spiraling life has lead him (he actually believes his B.S.). Winnick is terrific as the frustrated matriarch who struggles to keep her family together while ignoring the pleas for help from her siblings. Mr. Penn has also lined up several acting vets for small supporting roles. Josh Brolin is solid as the understanding but stern Uncle Beck. Eddie Marsan is slick and sinister as he tries to intimidate the inquisitive Jennifer. And Norbert Leo Butz oozes evil as the slimy, creepy stepfather.

Oh, I forgot to mention that Mr. Penn is doing “double duty” as the film’s director (he’s made several features, but hasn’t cast himself till now). He does a very good job of capturing the hazy golden glow of childhood memory in the story’s early sequences, expertly evoking the feels of the still wild and wooly seventies. Ultimately his work is undone by the meandering, often unfocused script by Jez Butterworth whose screenplay adapts Ms. Vogel’s memoir. The plot’s construction, beginning with the tragic conclusion, dilutes some of the story’s surprises. And at times, this film doesn’t know if it wants to be Jennifer’s story or the saga of John. The end result lurches between the somewhat cliche struggles of Ms. V and the funny, but very sad adventures of Mr. V. That whole idea that living with an impish Peter Pan “man-child’ is hammered home with a numbing frequency. And in repeating this, some of the characters are given short shrift with brother Nick almost an afterthought in many sequences. Despite the strong work of the Penns, this father/daughter fable never soars. It’s one FLAG DAY just fails to inspire. And certainly not worthy of celebration.

2.5 Out of 4

FLAG DAY opens in theatres everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas on August 27, 2021