Tag: Lionsgate Films

GOOD FORTUNE (2025) – Review

This big new studio film release takes a tough look at the social economics system in place today. So, it’s a hard-hitting drama or maybe a “searing” slice-of-life documentary? No, it’s a comedy. Stranger still, it’s a fantasy comedy about the “haves” and “have-nots”. It’s about what happens when a rich guy and a “barely scraping by” guy switch lifestyles. And yes, its makers openly acknowledge the 83′ TRADING PLACES, even lifting a “needle drop” as a tribute. So, the fantasy element? It’s not a witch or a djinn or even a fairy godmother (or father). Instead, the “status quo” is upended by an angel. And he’s a bit inept, but (due to the casting) always “awesome” as he delivers a much needed (but is it deserved) “batch” of GOOD FORTUNE.

In the opening moments, we meet that angel watching over the streets of modern-day LA from a rooftop. He’s Gabriel (Keanu Reeves), who may be considered a “second string”, “budget”, or a “minor” angel (his fairly small wings are a hint), who is tasked with alerting those highway menaces who “text while driving”. Gabe pops into their car’s backseat, touches their shoulder, causing them to look up from their “holy” screen. He’s kept busy, but Gabe wants to do more. Perhaps that’s why he takes an interest in one of his “humans”, Arj (Aziz Ansari), an aspiring documentary filmmaker who is mired in the “gig economy” (he’s a “task sergeant”) while trying to get his “big break”. Later, at a meeting of angels, Gabe tells his supervisor Martha (Sandra Oh) that he wants to aid Arj much like adored “lost souls” angel Azrael (Stephen McKinley Henderson). She sternly tells him that he must “stay in his lane”. But Gabe still hovers near Arj as he becomes an assistant (for a one-week trial period) to a wealthy “tech bro” Jeff (Seth Rogan). But when Arj uses a “work charge card” for a surprisingly expensive date with a cute union organizer at a “big box” hardware store, Elena (Keke Palmer), Jeff fires him (despite Arj telling his account that he’ll pay it back). Arj is at his lowest point when is car (also his bedroom) is towed at a Denny’s lot. Then Gabe appears to him and offers him a chance to switch places with Jeff, thinking this will teach him that money isn’t everything. But Arj loves it (Jeff is his poor, hapless aide). Gabe appears to Jeff, and confesses the life “swap”. Things get more convoluted when Martha demote Gabe (no wings, no magic, just human). Can he and Jeff survive on the mean streets long enough to get Arj to go back to his old existence, which will get Gabe his old job back (along with those “heavenly perks”)?

The marketing big selling point is Reeves as Gabriel, though many may think of him as an action movie icon (forever Mr. Wick to some). Here he reminds us of his considerable comedic “chops” as he scores near constant laughs as the dim adult-cherub whose line delivery almost echoes the much adored iconic Ted Logan. But Reeves adds so much appreciated pathos to Gabe as we see his childlike wonder, and eventually annoyance, over the ways of “reg’lar folk” (loves them chicken “nuggies”). Also hitting the “pathos button” hard is Azari has the constantly “dumped-on” Arj who is a good man dealt a very “bad hand” by life. He still retains a sweetness beyond the snark, especially in his interactions with Elena (the talented Ms. Palmer builds on her similarly-themed “under the radar” comic romp from earlier in the year, ONE OF THEM DAYS). Sure, Arj is ecstatic over the “turn of events”, though Ansari conveys Arj’s guilt over a life unearned (but not ready to leave). The very busy Mr. Rogen (with two terrific streaming comedies, “The Studio” and “Platonic”) is strong as the somewhat spoiled app-investor who finds out how his impulsive decisions can really impact other, when he becomes one of them. His arrogance is soon squashed as he confronts the challenges of the “now”. Though we only see her briefly, Oh adds the proper gravitas (and is the perfect comic “straight” to Reeves) as the somber Martha, while Matt Rogers is effective as Arj’s new “big bucks” buddy Peter.


In his big screen directing debut (after the still shelved BEING MORTAL). Ansari directs with a light touch, slipping the jokes “in” quietly and avoiding lots of frenetic bombast. There is some slapstick as Arj almost echoes the often hapless Everyman played in the silents by Keaton and Lloyd. The LA locations are used well, from the ultra swank home of Jeff high above the city, to the street-level squalor that he now roams with the “de-winged” Gabe. The opening act is so strong that it makes the rest of the story a bit sluggish. This may be due to the structure of Asnari’s script (with elements of CITY OF ANGELS, THE FAMILY MAN, IT’S A WONDERFUL LIFE, and the aforementioned TP) which jarringly shifts focus after the switch. We’ve been following Arj so closely that it’s difficult to suddenly being with Jeff and Gabe nearly all through the last hour. This makes its length feel much greater than just under 100 minutes. And while a lot of the plot is a zany romp, it takes a rather preachy detour, making the case for corporate empathy (which will properly be ignored by the 1%), even shifting to Elena’s push for a union at her hardware store. It’s a shame that the final result falls short on the inspired premise and casting (particularly for Reeves). Now, that would certainly be some prime cinematic GOOD FORTUNE.

2.5 Out of 4

GOOD FORTUNE is now playing in theaters everywhere

BALLERINA (2025) – Review

With another post-Memorial Day weekend, yet another franchise arrives with a new entry at the multiplex. It feels like a week ago (and it was) that I wrote about the return of THE KARATE KID, which was a sequel/reboot that dealt with the loss of a major supporting character, Mr. Miyagi. This new film takes on the challenge of continuing a series when the major “title” character met his end (yeah, probably…) in the last installment. Well, you bring in another, similar “principal” and set the story during the “in-between” time of previous entries. This way, that beloved figure can be “ret-conned” using old footage and new scenes, as a supporting player “passing the torch”. Or in this case, “tossing a huge freakin’ gun with an endless clip”. And so, here’s the new “super action” diva known as BALLERINA, though many sites list it with the “play it safe” “intro tile” of IN THE WORLD OF JOHN WICK, since they want all to know that this “aint’ no” frilly ballet flick (but it does briefly concern that).


And it’s the first image we see, namely, an amusic-box style toy with a twirling tutu-wearing dancer in a glass bubble. It’s the prized possession of eight-year-old Eve, who is living a peaceful life with her widowed young father in a blissful beach estate. He mentions a lost older daughter before the tranquility is shattered by a force of heavily armed men. Eve hides behind a wall, but through a row of books she watches her battered papa get questioned by the group’s leader, a dark, brooding man known as the Chancellor (Gabriel Byrne). Before he expires, Daddy leads Eve away, after she spots an odd “X” marking on the wrists of the killers, to a safe spot where she is eventually taken in by Winston (Ian McShane), who puts her under the protection of the New York Continental. As the years pass, Eve (Ana de Armas) travels to the theatre location of the fearsome Ruska Roma to begin training as a classical dancer under the strict guidance of the “Director” (Angelica Huston). Actually, Eve divides her time between the ballet and bullets, as she also learns to become an elite assassin, and gets a bit of advice from a sullen visitor, John Wick (Keanu Reeves), himself. On her first big assignment, Eve encounters one of the “X-marked” men, which leads her to the Prague Continental, where another widowed father, Daniel Pine (Norman Reedus), is trying to break away from the “X cult” and the Chancellor. This sends Eve, despite stern orders from the Director to stay away, to a snowy, quiet Alpine village for a final “revenge quest” against the Chancellor, who brings in the “biggest gun” (you-know-who) to end the deadly dance of the blood-soaked ballerina.

As one of many who groused that her appearance in the last James Bond flick was far too brief (really one of that lackluster flick’s best sequences), I was pleased that we get to see the captivating Ms. de Armas in full “action queen” mode as the revenge-obsessed Eve. Her “hyper-focused” stare and superb physical combat skills really carry the simple story across the globe. We get to see a touch of Eve’s emotional anguish, often as she strives to be a “killer dancer” rather than the former, but the filmmakers want to firmly establish a new “force,” and Ms. de Armas is more than up to the often exhausting task. Plus, she has an excellent rapport with Reeves (actually their third film together), who slips right back into the stoic, sullen Wick as though he were donning one of his indestructible jackets. His time in her tale is brief, but Reeves brings the gravitas as he gently nudges Eve into the spotlight. Byrne is effective as the calm, cool mastermind, balancing a soft, gentle tone ( a mask, really) with the malignant, murdering tyrant interior. Also, as another tough crime veteran, Houston still captures us with her piercing glare as another major “player” in the global underground. Bringing a lot more warmth is the suave McShane, as the mentor/uncle to the emotionally scared little Eve. Another great father figure is Reedus as the dad “on the lam” who points Eve, like a weapon, toward her goal/target. Big kudos for the producers for giving us one last visit from the taken-too-soon Lance Reddick as Winston’s firm but friendly “right hand”, Charon.

Director Len Wiseman, perhaps best known for the first two UNDERWORLD action/horror flicks, gets the best from his impressive stunt team along with his f/x artists, to expand on the “Wick world”, as they travel the planet and leave countless corpses in their wake. Yes, action “adrelaine junkies” will get a strong “fix” here as Eve piles ups the baddies in loads of new creative waves. One sequence has her “making do” with boxes of old hand grenades, turning much of a massive basement into a “Pollack painting” of destruction. It’s all nasty R-rated splattered fun, up until a point (perhaps the 90-minute mark). Ultimately, the new “spin-off” suffers the excesses of the last Wick epics as the “first-person-shooter” video game-style mayhem becomes a tad tiresome past the two “full of fatalities” hours. Yes, some of the dance/fights are engaging and creative, but it all hinges on the flimsiest and cliched vengeance plots. The locations are pretty nice, particularly a massive indoor “meat locker” frigid dance hall. Ms. de Armas is a charismatic and stunning action heroine who deserves a bolder sequel script that will build on the stunt-heavy, “drama-lite” BALLERINA.

2.5 Out of 4

BALLERINA is now playing in theatres everywhere

FREAKY TALES – Review

As the big Spring break period approaches its conclusion, there’s still just enough time left for a quick trip via the multiplex. The destination’s not an exotic locale far from our shores, nor the pixel-generated backdrops of this weekend’s big studio flick. This movie “getaway” all takes place on the sunny streets of Oakland, CA. And, more importantly, this is a “time trip” since the “stories” are set in the long-ago Reagan era of 1987. Yes, I said “stories’ as this is an anthology of “twisted” fables with characters dropped in and out of different segments, so it differs from the TALES FROM THE CRYPT or NEW YORK STORIES template, though there’s an off-screen narrator (unlike the Cryptkeeper). So, get your hair teased out, unplug the Walkman, lace up the Reeboks, and set the “Wayback machine” 38 years in reverse to take in some truly FREAKY TALES.

Speaking of that narrator, he provides a bit of a prologue as we’re told of a mysterious green glow, perhaps alien in origin, that affected that gritty West Coast city in 1987. As a TV commercial for a “self-help” style center called “Psytopics” fades out, we’re taken to the outside of a movie theatre playing a quartet of classic 80s flicks for the first story, “The Gilman Strikes Back”. A trio of “New Wave” garbed friends are hassled by a truck full of teenage Neo-Nazi skinheads, who speed away. Ah, but they aren’t done for the night as they invade an underground dance club and destroy the venue and the band’s instruments. A young couple, Tina (Ji-young Yoo) and “Lucid” (Jack Champion) decide, along with the other club regulars and owners, to fight back. Next is “Don’t Fight the Feeling,” in which two young women who work in an ice cream shop decide to pursue their dream of being hip-hop stars. It may come true when Entice (Normani) and Barbie (Dominique Thorne), AKA “Danger Zone”, get a chance to be part of a big concert with rap superstar Too $hort (DeMario Simba Driver). But could it actually be a “set up”? From there we’re dropped into the last days of a loan shark enforcer with the third tale “Born to Mack”, as weary “leg-breaker” Clint (Pedro Pascal) tries to leave the “life’ and settle down with his pregnant partner Grace (Natalia Dominguez). But the ‘sins of the past” catch up to him outise a video rental shop, run by a familar talkative cinefile. The final story is “The Legend of Sleepy Floyd”, which focuses on the title Golden State Warriors superstar (Jay Ellis) who becomes the target of a home invasion committed by a biker gang turned burglars sent out by the crime mastermind known simply as “The Guy” (Ben Mendelsohn). They soon find out that basketball is just one of Floyd’s incredible “skills”.

Now, even though it’s four stories, several of the actors should be lauded since there’s certainly a lot of “cross-over” activity. Its biggest star might be the busiest guy in streaming TV, though he’ll truly stretch (sorry) as Mr. Fantastic this Summer: the internet’s “daddy”, Pedro Pascal. He brings a real gravitas to the haunted Clint, a “working class” mob soldier who’s aching to reach that light at the end of the tunnel, the road to a better future. That’s reachable unless the past grabs him. Yes, he’s fearsome when he confronts his last “gig”, but Pascal can tug on our hearts moments later with his love. At the opposite end of the spectrum is the always terrific Mendelsohn, who is ruthless and brutal with none of the sophistication of previous “baddies” in STAR WARS: ROGUE ONE or READY PLAYER ONE as the sneering, lascivious crimeboss creep. And kudos to him for resisting the temptation to twirl his mustache. The most physical, rather than verbal, of the main roles is “Sleepy,” played with lots of charisma and steely determination by Ellis. He’s gregarious and charming after the big game, but “flips a switch” when responding to the tragedy in a twist on the typical superhero origin story. Also engaging are the BFFS played by Normani and Thorne, who try to escape food service “Hell”, with a chance at hip hop stardom. Their ‘arc” takes a turn when they decide to forge ahead even though they believe their “invite” was merely to put them back in “their place”, mainly as “eye candy” for the men with the mike. And happily we get one last big screen performance by the late Angus Cloud as the main “intel man” for The Guy.

My lack of knowledge about the people behind this film gave an added element of pleasant surprise as the end credits rolled. I had assumed (which is always a “no-no”) that this was made by a film student (or students) fresh from graduation, eager to make their “mark”, and trying to use all the cinematic “toys ” at their disposal. But no, this is from the directing/screenwriting team of Anna Boden and Ryan Fleck, who have been making features for twenty years now. Most of their work would be considered “indie”, though their last effort was a stint in the Marvel Cinematic Universe with CAPTAIN MARVEL. With that film’s late 1990s setting, they were comfortable in going back another decade with this sprightly, grungy, zingy ode to pop culture tropes at he time. Sure, there’s a definite Quentin Tarantino influence, particularly PULP FICTION and especially ONCE UPON A TIME IN HOLLYWOOD with the inclusion of several real people (Sleepy and Too $hort), but it also felt as though the story was concocted after a weekend video store rental “binge” during that era. We get nods to everything from SEVEN SAMURAI to the “Lone Wolf and Cub” flicks to REPO MAN and even SCANNERS, with some Bruce Lee tossed in for a bit of spice. Oh, and back to the “toys”, Boden and Fleck make great use of retro special effects, from the practical “gore” of the final battle to the green glow that gives a boost to a city bus (which is a riff on the orb from HEAVY METAL). And there’s some nifty “2D” animation, as sketchy stick folk act out the inner thoughts of Tina and Lucid (naughty boy), and later to illustrate the big basketball game in the style of Saturday morning TV adventure shows. Those cartoon bits may have been “side winks” to underground comix, lurid paperbacks, and the glory days of black and white comic magazines such as “Creepy” and “Eerie”. Boden and Fleck also reward us for paying attention as they return to different locales and offer “blink-and-you ‘miss them” cameos, which add to the fun of the flick. And “fun” is the main “f” word, along with fabulous, flashy, funky, and ferocious, making it the perfect “midnight movie” that can be enjoyed anytime of day at the multiplex, drive-in, or “grindhouse”. So thank you, Oakland, for the perfect quick escape from the 2020s via the talent and imagination of the truly dynamic duo of Boden and Fleck and their FREAKY TALES. Hmm, now I’m in the mood for the tasty hot dogs this curly-haired lanky kid once sold at the A’s games…

3.5 Out of 4

FREAKY TALES is now playing in theatres everywhere

DEN OF THIEVES 2: PANTERA – Review

Just ten days into the new year and it appears that the studios are trying to create a new action thriller franchise. Technically it really began in 2018 with a flick that attempted to combine a heist caper plot with a police procedural led by a detective that’s not exactly squeaky clean. It did modest business (some might say barely a box office “ripple”), so this sequel is more than unexpected (“outta’ nowhere” is more like it). But since the big Summer blockbuster season feels light years away, especially with the weather’s artic plunge, those fans of tough guys with big guns driving fast cars need an adrenaline “fix”. And if they “check their brains” at the concession counter, then they may get the needed “rush” from DEN OF THIEVES 2: PANTERA.


Whoa, in the opening moments, we’re thrust right into a big “heist” involving computer hacking, a phony flight attendant, pilfered jewels, and a hijacked armored vehicle. Hey, it sounds similar to that big crime seven years ago. Well, that was in the US rather than a busy foreign international airport, though there is one familiar face. Barking commands in French is that criminal mastermind Donnie Wilson (Oshea Jackson, Jr.). Luckily, his old nemesis back in the States gets wind of it through his stripper snitch Holly (Meadow Williams). LA County Sheriff’s Department Detective Nick “Big Nike” O’Brien (Gerard Butler) needs a new case to occupy his time having just endured a really nasty divorce. After pulling a few strings with the feds, Nick’s on his way across the pond to a quaint, quiet Marseilles, which has an elite, and very protected jewelry exchange district. This is where Donnie and his crew have settled in. He uses gems from that airport heist to open a space in one of the office buildings, aided by the proper “intro” from the gang’s “femme fatale” Jovanna (Evin Ahmad). It seems those heist jewels were bait in order to break into the big vault in that exclusive district. Ah, but Donnie’s plans shift with the unexpected arrival of Nick. Hold up, this cop wants “in” on the score. Has he really gone rogue, or is Nick truly under deep, deep “cover”? Donnie’s got to take a chance, otherwise his crew will turn on him (some already are planning that). But Nick is in contact with the local cops, who tell him that the armored heist has made them a target of the feared Panther mafia, who want to retrieve a revered family stone that was part of the theft. Will these new “players” botch the job, or will Nick work with Donnie and disavow his cop career and turn his back on the “badge”?

Butler easily shifts back into swaggering “bro” mode as “big Nick”, though this new plot throws a few curves his way. Mainly in his new ‘stomping grounds” far away from “La La” Land. This allows Butler to display his comedic chops as the burly, coarse cop being the loud, violent “fish out of water” in the cultured climes of Marseilles. And he’s got to “clean up his act” considerably and adjust his “fashion sense” in order to glide in and out of the “diamond fortress”. To do so, he must follow the lead of Donnie, played with smooth and silky confidence by the charismatic Jackson, who’s quite believable as the crew’s “point man”. Despite their past conflicts, Donnie and Nick become a slick team shifting into a duo capable of this complex game of deception and duplicity. Complimenting them is the sultry Ahmad whose fashion-model looks and poise distract. allowing her to use her keen intellect in easily accessing and evading the tight (much like her attire) security measures in place.

Also returning for this follow-up is writer/director Christian Gudegast, who attempts to tweak the story structure of the original with the exotic European locales. and the ambiguity of Nick’s motivations as we wonder if he has embraced the “outlaw’ life. Unfortunately, the obstacle more daunting than the hallway camera and the countless guards scanning the multiple monitors is the languid pacing that makes its 144 runtime (c’mon, really) feel like a round trip to France…in coach. The flick has far too many scenes of the guys trying to out “macho” each other at various bars and bistros, including a disco packed to the gills with supermodels in tight shiny gowns (of course, a big brawl occurs). Plus there are endless “prep” bits (the crew clashes over the music choices) that wear us down before the big “break-in”, which includes every possible “crime caper” cliche. It feels like a retread of heist ” challenges” done with more style and suspense in the OCEANS and MISSION IMPOSSIBLE franchises (they must climb up a long metal hook between buildings, so we’re waiting for the eventual “slip”). And as with most action flicks, we get multiple endings to allow for double and “triple crosses”. All this is in service to a sequel that nobody was demanding other than investors of the forgettable 2018 original. Hopefully, all of this tiresome “mach-man” preening will be shelved after the chaotic cinema crimes of DEN OF THIEVES 2: PANTERA.

1/2 Out of 4

DEN OF THIEVES 2: PANTERA opens in theatres everywhere on Friday, January 10. 2025

BOY KILLS WORLD – Review

Whew, it’s not even May, and the cinematic “body count” rises up considerably with another lone, determined warrior facing nearly insurmountable odds. I suppose this is more of the “JOHN WICK” effect, as filmmakers try to “up the ante” and deliver a flick with near wall-to-wall frenetic action. So far this year we’ve gone from the spy showdowns of ARGYLE to the avenger of the elderly THE BEEKEEPER, and winding up a couple of weeks ago with the manic MONKEY MAN (not to mention the ballistic ballerina ABIGAIL and THE MINISTRY OF UNGENTLEMANLY WARFARE, which wasn’t shown to the press). For this week’s thriller we’re sent to a near future time in an exotic foreign land as, in a nod either to old Variety newspaper headlines or the beloved ABC TGIF sitcom, BOY KILLS WORLD.

And it is a nasty dystopian world for the preteen boy (Cameron and Nicholas Crovetti), who is being trained in the jungle by the surly, “slave-driving” Shaman (Yayan Ruhian). And just what is he being trained for? Revenge, natch’, against the leader (mayor, or perhaps president) of the nearby city-state Hilda Van Der Koy (Famke Janssen). It seems there’s been an annual event during her 25 years in office, a big ceremony/celebration known as “The Culling”. Basically, her thug army rounds up a dozen or so troublemakers for a public execution. Recently Hilda took out the boy’s kid sister Mina and their underground rebel mother. Somehow the Shaman whisked the boy into the woods and deprived him of his hearing and speech before the mentoring began. The years pass and the lad becomes an adult (Bill Skarsgard). He and the Shaman head to the city’s market on “Culling Eve” and witness an attack on the populace by Hilda’s forces led by her flashy, sleazy spokesman son-in-law Gideon (Sharlito Copley) and her speech-writing son Glen (Bret Gelman). During the melee, the “Boy” breaks from the Shaman and makes his way to a secret hidden weapons factory. After a furious battle, he teams with an enslaved worker, Basho (Andrew Koji) and the last of the “resistance” Benny (Isaiah Mustafa) to infiltrate the Van Der Koy mansion. But do they stand a chance against the minions commanded by daughter Melanie (Michelle Dockery) and spearheaded by the mysterious, savage June 27 (Jessica Rothe)? Maybe, if the boy can ignore the taunts of the ghost of his kid sister Mina (Quinn Copeland) and heed his inner voice (H. Jon Benjamin)…

After terrifying audiences as the child-killing clown Pennywise in the recent pair of IT flicks, Skarsgard puts those expressive dark eyes to good use as the film’s silent “wrecking ball”. And he communicates thoroughly whether he’s filled with adrenaline prior to battle, or must quickly formulate a new plan as things inevitably go awry. Most importantly Skarsgard conveys Boy’s sadness and his yearning for a time before the violence and the heartbreaking loss. We see that in his scenes with Copeland who goes from cute to snarky to coldly savage as the ghostly kid sister Mina (perhaps a nod to the Dracula heroine). The actors having the most fun might be the crew playing members of the Van Der Koy dynasty. Dockery is pure unbridled ambition as the calculating Melanie. Gelman is an erudite murderous “poison pen” as the pompous scribe Glen, a great sparring partner with the equally arrogant “showboat” Gideon. But none are more chilling than Mama played as an unpredictable unhinged “hair-trigger” by the aloof, slinky Janssen. Though he’s teaching and aiding the boy in his quest for justice, Ruhian could also be considered a “bad guy” as he appears to delight in his tasks of torture and agony. Rothe makes a compelling enforcer (with standards) as the enigmatic 6/27. And I must single out the snarky narration of Benjamin, mixing the Boy’s sense of wonder with the bravado of an old-style action hero.

Director Moritz Mohr, who co-wrote the film based upon his previous self-tittled short, has a kinetic frenetic visual style, which may be what attracted producer Sam Raimi (I’m sure his EVIL DEAD trilogy was an inspiration). He puts you right in the thick of the action as the camera seems to dance about the combatants, weaving in and out, leaving the viewer nearly spent after a big stunt sequence. Yes, the energy is up, but it becomes somewhat repetitive after a bit, even to the point of (sorry) “overkill”. Maybe it’s too soon after the superior MONKEY MAN, but the story seems to lurch between the big battle sequences. Yes, there are some very clever ideas, with “The Culling” mixing elements of THE HUNGER GAMES, THE PURGE, and a touch of THE RUNNING MAN and the visor on the helmet of June 27 projecting digital messages (“Back away”, “No kids” and, of course “F#$* you”). It adds to the casual inhuman cruelty of the Van Der Koys, who also seem to stand in for many despised “one-percenters”. And there are a few amusing “call-backs”, particularly Boy’s inability to read the lips of Benny, resulting in a strange deluge of nonsense words. But just as the script shows a bit of wit, we’re soon drowning in a sea of gore (the CGI plasma bursts quickly became stale), perhaps hitting its zenith with a tribute to the Black Night of MONTY PYTHON AND THE HOLY GRAIL (I kept waiting for the drug-fueled goon to shout, “None shall pass!”). Mohr tries to dazzle us with some third-act plot twists and reveals, but we’re too pummeled by the body count to really care. Even action flick junkies may feel as though they’ve been “over-served” by the indulgences and excess of BOY KILLS WORLD.


2.5 Out of 4

BOY KILLS WORLD is now playing in theatres everywhere

ARTHUR THE KING – Review

Ali Suliman as Chik, Mark Wahlberg as Michael, Nathalie Emmanuel as Olivia and Simu Liu as Leo in Arthur The King. Photo Credit: Carlos Rodriguez

Geez, the movies have really gone to the dogs. Sure, lots of folks constantly use that as an insult to modern cinema, but with this weekend’s big release it’s a bit true (so pardon the “groaner dad-joke” of a pun). With lots of kiddies enjoying either the end or the beginning of “Spring break”, there’s got to be more for them in the multiplex other than the further adventures of that KUNG FU PANDA. And so, it’s the canine stars to the rescue, with this new “good boy” joining the ranks of Rin Tin Tin, Lassie, and even Beethoven. Plus he’s got a bit of an advantage since his tail (er, tale) is a true one (or at least “inspired by true events”) which already spawned a beloved book. And it doesn’t hurt that his human co-star is quite a “bankable” actor who bounces from family fare to action blockbusters. He’s the knight who “serves” ARTHUR THE KING.


That guy in question is “adventure racer” Mike Light (Mark Wahlberg). So what is this “adventure racing”? Well, he’s the leader of a group of athletes (more like tri-athletes) who compete with other teams to win a race based in exotic, and often brutal, world locations. And running’s just part of it, along with mountain climbing, hiking, biking, and canoeing. The movie’s story starts back in 2015 as Mike’s team (which is backed by several sponsors) is humiliated online as they “run out of the river” and must pull their boats through the mud. Cut to three years later with Mike back at his home in Colorado and starting a family with one of his former teammates. But he’s still yearning for “game glory” as he rankles at working with his prickly papa in the real estate biz. Oh, but a big new race is coming up, and Mike wants one more chance at a big win. But his backers make some demands. Mike’s got to re-unite with social media “showboat” Leo (Simu Liu), though he’s able to bring back old pal Chil (Ali Suhlman), despite his recent knee surgery. Oh, and he’s got a “newbie” in Olivia (Nathalie Emmanuel), a “second generation” racer hoping to honor her legendary pop. Soon they all meet in the Dominican Republic. It’s a tough race until they get an unexpected assist from a wounded dirty “street dog” who likes Mike’s meatball snacks. The team and the pooch get separated, but the pup always catches up to help. Mike names him “Arthur” after the iconic “King of the Britons”. Though he’s far from royalty, Arthur and Mike form a bond that is truly tested after the “finish line”.

With this new role, Wahlberg merges his intimidating physical prowess with his affable “family guy” vibe as Light. Thankfully he also gets to convey Mike’s “arc” from the bullheaded “alpha” in the opening flashback to his slowly building respect and affection for the abused dog that becomes a guiding guardian angel to him. Wahlberg pours that emotional intensity into the final act in which he’s got to be Arthur’s true champion. He certainly isn’t upstaged by his canine co-star, much as he holds the screen with his fellow actors, especially in the bickering battle of egos with his “frenemy” Leo played with blustery charm by the always engaging Liu. Leo also has a change of heart as he soon puts his teammates, including Arthur, ahead of his appetite for online “hits”. Emmanuel has a nice no-nonsense persona as the formidable Olivia, who laughs off an injury that will have audiences squirming. Suhlman is also compelling and endearing as the amiable but determined (that knee won’t slow him down) Chik. And vieing for the most adorable cast member, Cece Valentina as Mike’s daughter Ruby (who loves that pink nail polish on Daddy) goes toe to paw with the soulful big brown eyes of Arthur himself.

Director Simon Cellan Jones makes excellent use of the gorgeous exotic locations whose beauty almost obscures the dangers around every turn. The competition sequences are truly immersive as we’re squeezed right into the tiny watercraft, and climbing every green step of a steep hill. The film’s big action highlight happens around the midpoint as a zip line hundreds of feet above the forest tests both their strength and smarts, along with the nerves of the viewers (but it looks like “big fun” for a while). The use of narration (“play by play”) from reality TV star Bear Grylls really helps clarify the race segments and rules. Ah, but the competition is really a backdrop for the story of a budding man/dog love story. Jones still shows the harsh reality of Arthur’s life on those mean streets as other dogs defend their turf. This adds more emotional weight to the final act as Mike puts everything “on the line” for his new pal, in heart-wrenching scenes that may inspire some OLD YELLER flashbacks for the baby boomers. The lil’ tykes may get a bit distressed but the uplifting story will bring a smile and maybe a tiny tear to all the “fur baby” parents. Yes, it’s manipulative, but the sports backdrop and lush landscapes make this new family flick fit for a crown-wearing (maybe on his dog collar) ARTHUR THE KING.


2.5 Out of 4


ARTHUR THE KING is now playing in theatres everywhere

SCRAMBLED – Review

Somehow, in the midst of the “first quarter” of the year’s cinematic doldrums and discards a nice surprise “pops’ up to jolt you awake, or at the least engage your senses. And it’s even rarer that it’s from a relative newcomer or an artist that’s not yet “on the radar”. That changes now. Like many creatives, she’s far from an “overnight star”, as her IMDB lists more than a dozen or so acting credits. And then there are several listings of “behind the camera” work, in features and shorts on the big screen and small. Now, with this release she’s a true “triple threat” as she makes her feature directing debut while emoting in nearly every scene. Film fans, here to inject much-needed energy and a bit of snark into the “rom-com” is Leah McKendrick in SCRAMBLED.

So, what’s up with that title, eh? Well, it takes a few minutes to bring its meaning into focus. The opening sequence is a big wedding day, though not for the tale’s heroine, thirty-something “free spirit” Nellie Robinson (McKendrick). Once again she’s a bridesmaid (shades of 27 DRESSES), trying to “get her drink on” and dancing in a clunky, brownish gown. But first, she’s got to “talk down” her BFF, the bride herself Dhelia (Ego Nwodim) who seems to have a case of “mid-ceremony jitters” (the “I do” is done, but she’s in a panic). Finally, the reception begins and between dances, Nellie talks to her “role model” Monroe (June Diane Raphael), who delivers a literal “wake-up call” to her. It turns out that having a child at age 40 was hellishly painful and expensive. After hearing of Nellie’s exact age (34), Monroe tells her that if she has no “partners” or “prospects”, she’d better freeze her eggs if she ever wants to be a mom. This sets the “drifting” Nellie on a mission. As her “main hustle” is most people’s “side hustle” (selling hand-crafted jewelry online), she’s got to get the funds needed for the procedure. Naturally, she turns to her family, who are somewhat baffled, especially blustery Papa Richard (Clancy Brown) and “go-go” tech exec bro Jesse (Andrew Santino), who caves in after loads of begging and pleading. Thus begins an agonizing regime of self-administered shots and medication. But in her downtime, Nellie decides to track down some former flings and a few serious beaus on social media, Could she rekindle an “old flame” and start a family the old fashioned way?

Proving that her other film “duties” don’t have to diminish her performance, Ms. McKendrick makes Nellie one of the most complex and compelling modern women at the heart of this engaging character “arc”. At first, Nellie seems to be a female “spin” on the popular comedy flick trope, the “man-child”, usually played by a stand-up comic or a TV sketch show featured player. She’s always ready to party, complete with a “constantly stocked purse”, though she shows her annoyance at being “support” at the big nuptials. Then a switch is turned by a literal “smack in the face” and McKendrick conveys the worry via her furrowed brow that the clock is ticking…and getting louder. And a “quickie” with a server isn’t silencing it. Sure, there are still moments of immaturity, actually throwing a “hissy fit” in her brother’s office. and we’re confused by her choices as she makes an online “thirst trap”. This serves to make her more human as Nellie “flings’ herself ‘head-first” into adulthood. This all comes through due to McKendrick’s verbal and superb physical skills (timing and great pratfalls).

McKendrick surrounds herself with a terrific cast, balanced with the comedic and dramatic. Though she’s only in one scene Raphael truly delivers with an unexpectedly brutal “bombshell” destroying the “having it all’ fantasy. Nwodim, a SNLer who is more than “ready for prime time”, brings endearing manic energy as the new bride who is just “getting it” and needs her “buddy backup”. As her annoying big brother, Santino is sweetly obnoxious as the corporate “climber” who loves his lil’ sis’, but is confused by her. There’s also a string of gifted actors playing Nellie’s various former fellas’, with corresponding floating cartoon labels (“The Prom King’, “The Cult Leader”), including Adam Rodriguez as the smoothest of players and Brett Dier as the spooky, passive-aggressive “Mr. Nice Guy”. But the movie’s MVP may just be Brown as the perplexed papa. After his great recent turn in PROMISING YOUNG WOMAN, I’m wondering if he should be the “go-to” daddy in these female-driven stories. He’s more grumbly here than in PYW, but he’s still a nurturing “rock’ for the confused Nellie, even as he bemoans the onset of age.

As I mentioned earlier, Ms. McKendrick matches her performance as Nellie with a witty and often heartfelt script and confident direction. The film is swiftly paced even as it switches tones from whimsey (again, those cartoon labels and humiliating “one-nighters”) and the darkness of modern LA (nights of agony as she pokes more holes into her belly). Nellie is on a journey, and we’re right there for her as she strays into many poor choices. In addition to the procedure pain, Nellie is plagued with regret over the “perfect guy” she let slip away. But McKendrick even mines great comedy from this pain (even laughter at a miscarriage support group). Movie fans will be looking forward to her next project when they take a chance on the superb indie “dramedy” SCRAMBLED. And somehow I made it through without a “putting all your eggs in one basket” joke!

3.5 Out of 4

SCRAMBLED is now playing in select theatres

THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES – Review

So what’s one of the biggest complaints about modern movies (aside from pricey concession snacks)? Much of the grumbling concerns the many sequels to successful films, often leading to a franchise. Last week we had THE MARVELS and there’s another TROLLS romp bouncing into the multiplex this weekend. In a bit of convoluted logic, many studio execs may think, “If you’re sick of sequels, how about a prequel, instead?”. Yes, it’s semantics but it’s a way of bringing in fans of the original while not having to pay the big salaries of those older pricier casts. Now, we’ve got that “master candy maker” waiting in the wings to spruce his chocolate factory right before Christmas, and for Thanksgiving, we’re going back to that dreary dystopian future of a quartet of flicks we thought had concluded eight years ago. But since the author of its source books took a look back at its history, we’ll now get to see if “the odds” are still in their favor (Lionsgate Films) with THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES.

As the story begins we’re back on the mean streets of the Capitol of Panem as two children search for food. Dodging dangerous wild dogs they make it back to the squalid apartment they share with their Grandma’am (Fionnula Flanagan). Flash ahead seven or so years and the young boy, Coriolanus Snow (Tom Blyth) gets ready for his high school graduation. He’s hoping he’ll be awarded the Plynth award which would take care of the expenses for Grandma’am and his older cousin Tigris (Hunter Schafer). But he’s in for a shock at the ceremony when Dean Highbottom (Peter Dinklage) announces that to get this cash prize, he and his classmates will have to be “mentors” to the winning “tributes” competing for survival in the televised tenth-annual Hunger Games. Oh, and the mentors can increase their chances by coming up with new ideas (the ratings are slipping) to head game maker Dr. Gaul (Viola Davis). Soon Snow meets his assigned pair of tributes, one of whom is the beautiful, but defiant songbird from impoverished District 12, Lucy Gray Baird (Rachael Zeglar). She expresses her rebellious nature by crooning ballads that may earn her viewer support, but does she have the killer drive to eliminate her violent rivals? And what happens when the venue arena is nearly destroyed by undercover rebels? Will the crafty Snow find a way to give Gray the needed “edge”, especially as their emotional bond becomes more intense?

Handling the most pivotal role in the film, the character with the strongest connection to that original trilogy of books (stretched to four movies) is relative big-screen newcomer Blyth. We know “Corie’s” future, so Blyth must subtly give us a bit of behavioral foreshadowing. He appears noble, and we’re rooting for his budding romance, but there’s that “ultimate fate” that Blyth conveys well. It helps that he has chemistry with the Gray character, given spunk and song by Zeglar in a big switch from the sweet Maria in the recent WEST SIDE STORY remake. Early on she shows us that Lucy doesn’t have that murderous instinct, and must rely on rallying the masses with her music. Zeglar displays that panic in combat, but is in complete control as she becomes a country crooning crusader, reminding us of many “Nashville belles” like Patsy Cline. As for the “game bosses”, Davis channels a bit of her Amanda Waller persona from the DC “movie verse” (supposedly she’ll survive the recent “purge”) as the cruel devious, mad-scientist Gaul, sporting a single blue eye to make her more “alien”. Dinklage is a sneering sod as the equally cruel and deceitful academic, chugging tiny tubes of booze as he weaves his web of evil. The story’s only real comic relief role is deftly handled by Jason Schwartzman as the smarmy unctuous host of the televised global death match, weatherman/magician “Lucky Flickerman”, an obnoxiously flamboyant phony. The superb character actor Burn Gorman shows up in the film’s last half as a strict military man, but he’s given little to do other than to hover ominously over Snow and Gray.

To offer another connection to the previous quartet of films, their original director Frances Lawrence returns to helm the screenplay adaptation by Michaels Lesslie and Arndt of the Suzanne Collins novel. Once again he creates the look and feel of a grim, soul-crushing future world with desaturated colors as clouds drift over the double sword-wielding statue at the center of Panem. And that may be part of the many problems in that we’ve seen it already, four times over. While the original “opened up the story” by having the skirmishes occur in the more pleasant countryside, this one’s “game” is played in an empty concrete arena filled with slabs of stone and dark hallways. Then, when we believe a “conclusion” has happened, the film jumps ahaead to a new setting for a “B” plot that feels more like an entirely new tale. And it’s not nearly as interesting making it seem as though it will never really finish. The final “epilogue” has so many “future jumps” and foreshadowing (and a subplot that’s left unresolved) that the casual viewer will feel hopelessly lost and unsatisfied after such a long investment of time. Perhaps it would’ve worked more coherently as a streaming app miniseries. This certainly won’t gain any new followers of the franchise as only the hardcore fans will embrace the rambling, uninvolving THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES.

One Out of Four

THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES is now playing in theaters everywhere

JOHN WICK: CHAPTER 4 – Review

Keanu Reeves as John Wick in John Wick: Chapter 4. Photo Credit: Murray Close

I’m guessing that a lot of action blockbuster movies aficionados have been thinking that the multiplexes have been pretty quiet this year so far. I mean the second AVATAR swam in just before the end of 2022. As usual, the Winter has seen lots of horror thrillers, plus a couple of superheroes swooped in for the latest installment of their respective franchises. Ah, now there’s another franchise that brings a smile to the “big stunt spectacle” film fans. The fellow at the tentpole’s forefront doesn’t have a “tech suit” or a sculpted rubber and cape ensemble. No sir, though his fighting attire is a simple black suit, filled with a massive arsenal. His skill is his “super-power”, as we turn the cinematic page to JOHN WICK: CHAPTER 4.


As the film opens the air (and the theatre’s audio system) vibrates from the pounding fists of Mr. Wick (Keanu Reeves) as he trains in the underground lair of his old pal, the Bowery King (Lawrence Fishburne). From there JW is dispatching the head of The Table in a quiet desert. But that assassin agency is tough to stop. Like the hydra of legend, another head pops up to take the last one’s place. Back in NYC at the sanctuary hotel, the Continental, manager Winston (Ian McShane) is startled by the arrival of the Harbinger (Clancy Brown), who orders the place to be evacuated in an hour’s time. With the aid of the concierge Charon (Lance Reddick), it is done. But Winston’s remaining “muscle’ is no match for the crew that serves and protects the High Table’s new head, the Marquis (Bill Skarsgard). He strips Winston of his duties and plans to demolish the establishment. The story shifts to Paris where the Marquis extorts a former agent, the blind assassin and friend of Wick, Caine (Donnie Yen) to track down his pal. But it turns out that he’s at the Continental…in Osaka, Japan. John is in hiding, under the protection of Koji (Hiroyuki Sanada), much to the ire of his daughter, the concierge Akira (Rina Sawayama). But the battle comes there as Caine, the Marquis’ elite guard, and a “freelancer” named Tracker (Shamier Anderson) attack. When their effects fail, Wick meets with Winston in NYC to hatch a plan. In order to earn his freedom, Wick will challenge the Marquis to a one-on-one”old-fashioned” duel. But Wick must be part of a “family” and since his “paper was torn” he must go to Berlin and be “reinstated” by the Ruska Roma. All of those “frequent flyer” miles finish on the streets of Paris as a city-wide chaotic war of skilled killers concludes with a final showdown at dawn.

Whew! talk about “workin’ hard for the money” (I can almost hear Donna Summer crooning)! With his fourth outing in the tile role, Reeves proves himself to truly be a “man of action”, due to his stoic, very rare, line delivery. Actually, he may have less dialogue in this over the entire quartet of flicks. But yes, those actions speak volumes, whether he’s scoping out a plan of attack, or giving a look of aggravation as he tosses away another empty ammo cartridge (imagine if he got a “return deposit” on them, like the old soda pop bottles…oh the dough). Oh, but Skarsgard feels almost “chatty” as this story’s evil mastermind as he tries to temper a sadistic grin, while his evil eyes dart about, keeping everyone around “off balance”. He has the posture and manners of a fancy gentleman but inside lurks a rabid beast. The greatest addition to the series is Yen, as the reluctant nemesis. He relies even more on body language as his non-functional eyes are shielded by a pair of dark shades. Yen reserves his movement until he has a “purpose” and a “target” (that “head tilt” is the “go signal”). McShane is still silky smooth as Winston, though he’s placed more in the “center of the storm” here with everything to lose. He and the late, much-missed Reddick as Charot are a terrific team. And McShane is a nice counterpart to the boisterous flamboyant Fishburne as Wick’s “corner man” (or Alfred to JW’s Dark Knight). Other “newbies” of note are Anderson’s “dinero-driven” Tracker, who loves his bank statements as much as his loyal canine sidekick, Sawayama as the hotel (and Daddy) defender Akira, and Brown as the somber solemn Harbinger.

To call this an action extravaganza would be a true understatement. It certainly subverts the old “law of diminishing returns” with sequels. By the time most franchises get to the fourth entry, they’re usually showing signs of fatigue. With this new outing they really want to give the fans lots (and I mean lots) of bangs (and fights and explosions and chases) for their bucks. Plus this may be the most “globe-hopping” of the series, rivaling the Bonds and Bournes, and Impossible Mission teams for the far-flung locales. The mayhem begins in the Big Apple, shifts to Japan, then to Berlin, before giving the “City of Light” a chance to shine, making the cinema setting feel fresh and replacing romance with danger lurking just past every bistro. “Upping the ante” considerably is returning director Chad Stahelski who gives the chaos a lush gleam via the expert showcasing of the exotic exteriors and interiors, from the palace of the Marquis to the neon cool of the Osaka hotel, to a stadium-sized techno dance hall bathed in glistening non-stop rain. Of course, as the carnage continues, the authorities are nearly non-existent, perhaps due to the power of the High Table, eh? Well, that’s a bit “nitpicky” since the legions of fans (are they Wick-warriors) will be ecstatic (and yes the “head shots” are staggering). I can imagine that the video storyboards for the stunt sequences were more intricate than most animated features. Big colossal kudos to the army of superb stunt people whose coordination and physicality rival all the dancers in the MAGIC MIKE trilogy. And praise must be given to the sound team (sitting in the back row I felt as though the vibrations gave me a nice “spine treatment” as a bonus). Sure, you may want to question the “physical endurance’ of the title character, but set aside science and buckle up for the high-octane thrill ride that is JOHN WICK: CHAPTER 4.

3.5 Out of 4

JOHN WICK: CHAPTER 4 opens in theatres everywhere on Friday, March 24, 2023

OPERATION FORTUNE: RUSE DE GUERRE – Review

So, all savvy filmgoers know that the season for big, noisy action blockbusters is the Summertime (when the livin’ is easy), but with Spring break looming, well, why wait for some popcorn escapism? After all, we’re right in the middle of two big superhero franchise entries (from the competing studios), and a few days away from a thriller in a horror series, not to mention a sports sequel that opens on the same day. It may just be the perfect time for a spy spectacular since Bond is in flux (casting a new 007, y’know), Bourne is in limbo, and Mr. Cruise is about to trade in his flight suit for a tux full of nifty gadgets. I’m sure this new movie hopes to begin a “tentpole”, as it mixes in some satire and some “caper” elements (it’s a “movie mutt”, I tells ya’). Plus there’s a fan-favorite director behind OPERATION FORTUNE: RUSE DE GUERRE.

The opening sequence throws us right into the action as snippets of a violent attack on a secret lab are intercut with the clicks of a sharply attired Brit walking with purpose down a long hallway. At his destination, undercover operations supervisor Nathan Jasmine (Cary Elwes) gets his newest assignment from his boss Knighton (Eddie Marsan). It seems that the aforementioned attack was part of a theft of something deadly and unknown (it’s referred to as the “Handle”). And it appears that the thieves are going to sell it to the highest bidder, which would plunge the world into chaos. Nathan gets the go-ahead to assemble an elite team. His choice for leader, much to the ire of Knighton, is “human blunt force”, Orson Fortune (Jason Statham). His usual “cyber ace” (the “guy at the keyboard”) is part of a rival unit led by Orson’s “frenemy” Mike (Peter Ferdinando). The alternative is snarky American Sarah Fidel (Audrey Plaza). Luckily Orson’s backup “muscle” is on board, J.J. Davis (Bugzy Malone). As the mission ensues, Orson is surprised to see that a “bag man” is linked to undercover arms dealer Greg Simmons (Hugh Grant). But how to get past his heavily guarded estate? Just what does this billionaire want? Not if, but who. Greg was rebuffed when he tried to hire his favorite action film superstar Danny Francesco (Josh Hartnett) is “pop out” of his birthday cake. Sarah proves her cyber sleuthing “worth’ when she gets some dirt on Danny, thus adding him to the team. With Orson posing as his manager, and Sarah as his “arm candy”, can this unlikely trio pull a fast one on Greg and retrieve whatever the Handle is but the whole planet goes kaput?

In the title role, Statham once again delivers as one of the most consistent and compelling action stars. During several exciting action sequences ( a fight on a yacht, a chase into a building, etc.), this swaggering screen superman shows no hint of slowing down (as opposed to a certain 80s star whose stunt had to be “tweaked” and “sped up” AKA undercranking). The only problem is that his Orson, despite a new quirk (his “deal” involves private jets stocked with vintage vino), is pretty much like most of his other roles, even his self-parody in SPY. To give him a little more of a sparring partner, the filmmakers have cast Plaza, perhaps in hope of some “opposites attract” sparks. That never really ignites, but it’s a nice change for her from the edgy comedies and odd “indie flicks” ( though she was remarkably great in her crime thriller EMILY THE CRIMINAL, who could’ve kicked Orson’s tail). Yes, she does grab the laughs even though she’s saddled with the now cliche “gigabyte gobbledygook” (“Some firewall…I’m in!”), and really goes confidently “glam” as the big’s star’s “bimbo” Mikala. In that disguise, she has almost as much fun as Hartnett, who seems delighted to skewer spoiled, indulgent mega movie star “himbos”. Also “havin’ a laugh” is Grant who adds Greg to his growing roster of lowlife villains, combining elements of his Baddies” from THE GENTLEMEN and PADDINGTON 2. He can barely hold back a wink at the camera as he fawns over Danny while brazenly lusting for Mikala. Elwes has the stiffest of upper lips as the buttoned-down uptight exasperated head honcho, whose “slow burn” is matched by his superior Marsan. And kudos to Malone whose J.J. is a great laid back, highly skilled teammate to Orson.

Oh, that fave director I mentioned earlier, well it’s the prolific Guy Ritchie. Here he’s taking a respite from his low-class thugs and punks to hobnob with the smart set in lavish sets and locales, while sharp-dressed operatives ply their deadly trade. It’s all slickly and energetically done, but, well it’s just so familiar. From the aforementioned computer wizardry (I kept thinking of Napolean Dynomite’s “hacker” dreams) to the clumsy “actor tossed into real danger”, which was done so superbly in last year’s THE UNBEARABLE WEIGHT OF MASSIVE TALENT (you can’t beat Nick Cage making out with himself). Perhaps this was due to the film sitting on the shelf too long as it changed studio hands and dealt with real-life global dustups. The big “reveal” of the Handle lands with a dud (it might’ve been a threat from S.P.E.C.T.R.E.), and the double and triple-crosses become more tiresome and confusing than clever. Despite Statham’s combat skills and Plaza’s off-kilter delivery, it all feels like a MISSION IMPOSSIBLE rip-off Netflix seems to churn out several times a year. And even though its mid-end credits sequence revels in a “biting the hand” wit, the gag fizzles, and flops much like the largely forgettable OPERATION FORTUNE: RUSE DE GUERRE. Wonder if that’s French for “failed franchise”?

2 Out of 4

OPERATION FORTUNE: RUSE DE GUERRE is now playing in select theatres