Tag Archives: paramount pictures

IF – Review

Posted on by

After taking us into A QUIET PLACE in two box office hits (with a prequel arriving very soon), actor/director/writer John Krasinski now guides us into a fairy noisy place, namely the inner life and fantasies of children. And going from sci-fi thrills to whimsey is quite the “lane change”, one that could end in disaster if not properly planned. Luckily he’s crafted a story and has enlisted a talented cast in front of the camera and the microphone. Yes, this is perhaps the most ambitious cartoon/live-action feature since the pairing of private eye Eddie Valiant and Roger Rabbit. And since it uses computer-generated “beasties” (rather than the 2-D classic style), Krasinski is touting it as a “live-action Pixar flick” (quite a goal). And he’s really putting those tech wizards to work in showing us the often unseen children’s side-kick, the invisible friend, here shortened to IF.

After a “finger-paint” riff on a familiar studio logo, we’re plunged into the early years (via lots of grainy jittery home video) of Bea. She cavorts and plays with her doting parents until…the scenes shift to a hospital room where mom sports a head scarf. And then it’s her and Dad walking in the park. The scene shifts to the present day as twelve-year-old Bea (Cailey Fleming) lugs her suitcase up the steps of the gothic Brooklyn brownstone where her grandmother (Fiona Shaw) lives. It’s not a fun “overnight”, as Bea heads out the next morning to visit her papa (Krasinski) in what appears to be that same hospital, awaiting a “heart procedure” (perhaps a transplant). From there it’s back to Granny, who is really trying to connect. Bea’s restlessness leads to some exploration, and she spots a follows a neighbor from upstairs who seems to be breaking into a house across the street. But it’s no burglary, he’s retrieving a huge furry purple creature named “Blue” (voice of Steve Carell). Observing silently, Bea waits until they’re back home before pounding on an upstairs door. The occupant finally relents and welcomes her to the odd home he shares with Blue and a “bug lady” right out of an old cartoon, Blossom (VO: Phoebe Waller-Bridge). The “human” Cal (Ryan Reynolds) explains that he is charged with matching the IFs (Imaginary Friends) to new kids after their original matches have “grown up” and are unable to see them. Well, since she can see them, Bea offers herself as Cal’s partner. The next day, Cal reluctantly takes her to Coney Island where a secret IF retirement center exists beneath the old carousel. Bea is dazzled by the array of fantastical creatures, from a cloud to a unicorn to a life-size gummy bear. She has a new purpose, but will this adventure ease the anxiety about the possible fate of her only parent? And just why does Bea have this gift?

Ms. Fleming deftly handles a very complex role as the story’s main focus, Bea. Her biggest strength may be the fact that she isn’t afraid to make this heroine a touch abrasive at times, as she tries to push away any “talking down” to her, as Bea almost bypasses tween going straight to sometimes surly teenager. This is especially true when her pop tries to “soft pedal” his health issues and Grandma attempts to comfort her. Happily, her bonding with Cal and the IFs gives her a new zeal for life and brings out her compassion. Reynolds channels his charming persona and gives Cal an infectious adult “pixie” quality with a graceful body language reminiscent of the screen’s dancemen and clowns, combining bits of Gene Kelly and Buster Keaton. Almost as endearing is Krasinski as he tries to put Bea at ease with his infectious grin and wisecracks, shielding her from the situation much like Benigni in LIFE IS BEAUTIFUL. Shaw is also warm even as she’s frazzled and bewildered as she tries to find a way to bond while yearning for the tot that reached out for “Gammaw”. But Bea does bond with another hospital resident, the delightful Alan Kim as the battered (he seems to have at least three plaster casts), but somehow cheerful Benjamin. As for the vocal crew, Carell conveys a spirit of sweet joy as Blue. Ditto for Waller-Bridge who adds a bit of snark. The standouts of the “all-star” IFs would be the very funny Sebastian Maniscalco as Magician Mouse and the late great Louis Gossett, Jr. As Lewis the wise elder bear who becomes Bea’s trusted advisor and a true creature comfort.

To elaborate on an earlier comment, kudos to Krasinski for diving into the “deep end” of family flicks (he says he wants to make a story for his kids), and still tackling some often somber and somewhat dark subject manner (so despite that “PG” rating the hospital scenes might be too much for the more sensitive tots). Plus he’s gathered together some wonderful artisans to create these fascinating critters, embracing many types of styles. As I mentioned, Blossom could’ve been buzzing around Betty Boop, while Blue is Olaf the Snowman’s bubbly persona melted into the Grimace after he’s been zapped by gamma rays. A few have the look of a child’s scribbling like the bubble or the ice cube. I just wish that they generated more laughs. It’s not the fault of the cast, though this is Awkwafina’s third cartoon role in less than a year, as the script seems to be content for them to just bounce about and get involved in an indulgent dance number that stops the plot in its tracks. Krasinski is trying to celebrate the joy of pretending before the awful “real world” blinds them to the IFs, but he often pummels the heartstrings too much, especially in the maudlin third act that has a twist that’s telegraphed early and grasped by any fan of a late 90s cinema classic. Yet, it’s an interesting premise brought to life by some expert animation and art direction, but another pass at the script to tighten the pace and punch up the humor wouldn’t leave moviegoers wondering what IF.

3 out of 4

IF is now playing in theatres everywhere

MEAN GIRLS (2024) – Review

Posted on by
Avantika plays Karen Shetty, Angourie Rice plays Cady Heron, Renee Rapp plays Regina George and Bebe Wood plays Gretchen Wieners in Mean Girls from Paramount Pictures. Photo: Jojo Whilden/Paramount © 2023 Paramount Pictures.

Get ready for another “full circle film”, an IP (intellectual property) that began in one medium, was adapted to another, and then returns to that original medium. One of the more recent Broadway trends, along with the “jukebox musical”, has been taking an often beloved feature film and adapting it into a big splashy stage musical. And when they’re big hits, then bring the musical take to the big screen. Back in 2005, THE PRODUCERS did the big “whip-around” when the musical based on the 1967 Oscar-winning classic played (briefly) at the multiplex. A couple of years later saw the tune-filled return of HAIRSPRAY. Just a few weeks ago (it’s still playing in many markets) THE COLOR PURPLE did much the same, although it may be more of a “full-square” as it began as a book that became a 1985 Spielberg epic. As the TV hosts might say, “On a much lighter note”, we’ve got a big circle all within the 21st century as an adored (and endlessly quoted) cult comedy from way back in 2004 is now filling the world’s movie theatres with those singin’ and dancin’ divas, the MEAN GIRLS.


In the first of many “tweaks,” we first meet the misfit duo of North Shore High, Janis (Aluli’i Cravalho) and Damian (Jaquel Spivey), who serve as the story’s guide and narrators. Their garage/TikTok studio door opens up to the wilds of Kenya where teenager Cady Heron (Angourie Rice) is told by her wildlife-researcher mom (Jenna Fischer) that her homeschooling is done. They’re moving back to the States, where Cady will be part of the aforementioned school’s student body. Principal Duvall (Tim Meadows) escorts her to her first class, Calculus taught by Ms. Norbury (Tina Fey). Seems that Mama Heron has taught Cady well, but she’s not prepared for the battlezone AKA the school cafeteria. Luckily Janis and Damian take her under “their wings” and point out the different “social groups” (“burn-outs”, “goths”, etc.). Oh, and Cady is warned about the “queens” known as “the Plastics”. The trio consists of gorgeous, dim Karen (Avantika), insecure “lackey/sidekick” Gretchen (Bebe Woods), and their “leader’ the imposing goddess Regina George (Renee Rapp). Surprisingly she welcomes the new, “girl from an exotic land” Cady, and puts her in the runnings as a ‘fourth wheel”. Damian and Janis (who also has a history with Regina) encourage her to join and give them “the dirt” on the group. But things take a drastic turn when Cady becomes smitten with hunky Aaron (Christopher Briney), who just happens to be Regina’s ex (gasp). What will happen when Regina finds out? Cady survived the carnivores of Africa, but can she stand a chance against the sharpened talons of Ms. George?

The young cast expertly hits all the comedic and melodic beats of this musical fable. Rice is the story’s focus and quickly has the audience’s support as the wide-eyed innocent Cady. Perhaps because she’s the film’s heroine she doesn’t have as much opportunity to “cut loose”, although we get a hint of her range when Cady goes “dark”. The much “showier” role is the fierce and fiery (literally) Janis given an energetic power by Cravalho, perhaps best known as the voice of Disney princess Moana. With her third-act retelling of a childhood trauma, she truly ignites the screen. Her rival in many aspects of Cady’s character arc is Rapp as the sadistic “queen B” Regina whose sly seductive smile masks her cruel nature. At times she seems to be a bored cat casually taunting a mouse in its clutches, as she manipulates everyone into being pawns in her schemes. Rapp catutes that camp villainy and proves to be a most compelling crooner. Wood elicits lots of empathy as the needy, over-eager-to-please Gretchen while Avantika scores loads of laughs as the bubble-brained Karen, bouncing off the screen in the big Halloween number. Spivey brings lots of energetic charm to the cliche role of flamboyant BFF supporter Damien, while Birney is the required “eye candy” as the affable, but somewhat bland Aaron. But for many, the movie’s big highlight is the return of original faculty members Fey and Meadows who seem to have been “frozen in time” ( the old Captain America “pause”) as Norbury and Duvall, effortlessly hilarious in their too, too brief bits of screen time, making us wish that two other newbies, but also comedy vets, Jon Hamm and Fischer were given chances to shine. Luckily Busy Phillips picks up some of the “slack” as Regina’s too accommodating, wistful mother.

This reimagining is helmed by the first-time feature film directing team of Samantha Jayne and Arturo Perez Jr., who use several interesting techniques to “open up” the “Broadway staging’, giving the plot a sense of urgency I like the opening number’s quick location transitions), They’re striving to give this remake its own energy and style, though many storybeats feel lifted right from the 2004 original. But unlike that version, the kids must deal with social media which gets an exhausting couple of zippy montages. Ditto for many of the bouncy dance numbers especially an elaboration of the “school is a jungle” sequence from the first flick, with the “beasts” giving Regina her invisible “walkway”. Aside from those big numbers, the power ballads”, and the phone videos and memes, is this one an improvement over the now twenty-year-old gem? Not especially, but the script and setup by Ms. Fey endures and stands the “test of time”. It’s a very different “take” that should engage those “theatre geeks” (just hope that your multiplex’s sound system is up to it, as ours “garbled” most of the lyrics so it’s impossible to judge the quality of the tunes), but it won’t replace that well-worn disc (or maybe you still have a tape) of those marvelous but often malicious MEAN GIRLS.

2.5 out of 4

MEAN GIRLS is now playing in theatres everywhere

TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM – Review

Posted on by

All right, perhaps this unifying theme for the 2023 Summer movie season is nostalgia. Sure, the multiplex is usually filled with sequels and reboots this time of year, but at this moment the studios appear to be trying to exploit the treasured properties of our youth, over several different generations. Last weekend it was a beloved ride/attraction which has been a staple at the happiest place(s) on Earth for over fifty years. However the box office (and WB record-breaker) for the last couple of weeks stretches back another ten years to engulf theatre lobbies in a title wave of pink (“This BARBIE’s gonna’ bust a billion bucks at the box office”). Now, this Wednesday’s (gettin’ a jump on the weekend) new release also has a toy connection, but that merch arrived well after the characters’ comic book debut in 1984 (which spawned a TV cartoon a couple of years later). Oh, and it’s their seventh theatrical feature film (quite a few straight-to-home video and streaming flicks), and like the 2007 entry, it’s fully animated (no “mo-cap CGI” or big rubber suits). Time to return to those NYC sewers with TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM. Cowabunga!

For this retelling, the film is indeed back in the Big Apple for a flashback in the secret lab of scientist Baxter Stockman (voice of Giancarlo Esposito) who is testing his weird glowing ooze on several animals. Well, until his grungy “crib” is invaded by the forces of TCRI, under orders from Cynthia Utrom (Maya Rudolph). Ah, surprisingly some of the enhanced creatures fight back. Flash forward to now as the TMNT quartet, Donatello (Micah Abbey), Raphael (Brady Noon), Michaelangelo (Shamon Brown Jr.), and the leader, Leonardo (Nicolas Cantu) go on a nighttime grocery run for their “papa”/mentor Splinter (Jackie Chan). Of course, things go awry when Leonardo is outvoted and the guys try to join the crowd at an outdoor movie screening in the park. Naturally, Splinter is furious at their late return and retells the story of how he found them as infants, raised them, trained them in martial arts, and how the humans above nearly destroyed them. Promising to be more careful, they go for another supply run and are spotted by the high school student and aspiring reporter April O’Neil (Ayo Edebiri). She is looking into a series of daring high-tech robberies that have spawned a curfew that may cancel the school prom. A smitten Leonardo decides that they should help out by thwarting the next big heist. Oh, but this puts the quartet in conflict with a nastier group of mutated critters, led by the powerful Superfly (Ice Cube). Can the teen turtles stop them and keep “under the radar”? More importantly, can they spring into action without angering Master Splinter?

Well, this witty retelling is certainly one of this year’s pleasant surprises. That may be due in large part to the new producers/handlers of this feature franchise, none other than the SUPERBAD duo of Evan Goldberg and Seth Rogan, along with James Weaver. And Evan and Seth were also part of the writing team adapting the creations of Peter Laird and Kevin Eastman (who get a couple of nice background visual “nods”). It’s obvious that the team has a great deal of affection for the source material, though they indulge in a few playful “tweaks” at the “mythology”. A big part of the “re-energizing” is the decision to have the teen turtles actually voiced by teenage actors (a couple of them have since aged past 18), giving the film a distinct sound as if we’re listening in on kids at a party “cracking wise” and “goofing” on each other. But Rogan also joins in on the fun as the voice of one of the “meanie mutants” along with screen vets Rose Byrne, Paul Rudd, and Hannibal Buress. The biggest “standouts” and scene stealers may be the two opposing “leaders”. We can imagine Ice Cube’s sneer (and see a bit in the rendering) as the swaggering Superfly. And could anyone be more “spot on” than Chan as the worrying, stern but sweet Master Splinter? Of course, all of that talent at the “mike” would be a really swell audiobook without the superb look and movement of the animation. Director Jeff Rowe (fresh off THE MITCHELLS VS. THE MACHINES, which isn’t as polished as this) with co-director Kyler Spears have taken a bit of inspiration from the first SPIDER-VERSE movie, to give the computer animation a real loose “sketchy” look. The outlines are constantly moving, often ‘sliding off” the mass of the figures as though they were scribbled by a pre-teen in the margins of his spiral notebook with colored markers or ballpoint pens. And inside those wriggling lines, the characters, mainly the turtles, have the look of clay models, especially when the light saturates them. It’s not as gorgeous as Miles and his pals, but it feels right for this urban adventure. As for that character design, the turtles don’t have the same standard body proportions even though they retain the identifying mask and belt colors. The same unique design works for O’Neil, though I wish they had eased up on the scenes of her panic “hurling” (c’mon we’re not back in BABYLON). I was tickled by the “free-standing” silver eyebrows of Splinter, while the Superfly crew looked equally fearsome and funny (loved SF’s torso claws). The pace is smooth, even as it gives in to the popular trend of having too many “endings” in the third act. It’s a minor quibble as this 2023 edition is a splendid revisit/restart that reminds us of the wacky exploits from nearly 40 years ago. Hopefully, the concession stand will be well stocked with pizza when the fans return to revel in TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM. Welcome back you “heroes on a half-shell”.


3 Out of 4


TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM begins playing in theatres everywhere on Wednesday, August 2, 2023

MISSION IMPOSSIBLE: DEAD RECKONING PART ONE – Review

Posted on by

With this week’s release of an entry in a blockbuster action franchise the old adage of seven being a lucky number will truly be put to the test. Now it’s not the highest number franchise as we’ve gotten FAST X or the longest running like the big flick from almost two weeks ago, INDIANA JONES AND THE DIAL OF DESTINY (way back in 1981). Of course, we can add on the inspiration for this series, actually a TV series (overseen by Lucy…really) which exploded onto the airwaves way back in the prehistoric era (nah, merely 1966). Oh, but this “tentpole” has catapulted well past its “network” roots. Still, it’s tough not to hear that infectious theme music from Lalo Schifrin when taking in this rather long title (but thanks, Paramount, for being “upfront” about it) MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE. And now I’m seeing that sizzling fuse in my head.


Surprisingly this new installment doesn’t begin with the finale of another caper involving the IMF (Impossible Missions Force). Nope, we’re on board for the last cruise (‘natch) of an “invisible” Russian submarine. Advanced top-secret stealth capabilities really, completely undetectable. But not indestructible as two prized interlocking keys are left floating in its wreckage. This leads to a new mission, which he “chooses to accept”, for IMF ace Ethan Hunt (Tom Cruise), who is sent to the Namib desert for a deadly reunion with old cohort Ilsa Faust (Rebecca Ferguson). Soon he’s back in the States as a “hush-hush” meeting of “the Community” outlines the urgent need for said keys. It’s the only way to stop a now rogue AI program called “the Entity”, which has become sentient and desires to use the world wide web to take over the planet. Hunt’s boss Kitteridge (Henry Czerny) is present, along with his superior, DNI head Denlinger (Cary Elwes). Learning of Hunt’s involvement, he sends out a team led by Briggs (Shea Whigham) and Degas (Greg Tarzan Davies) to stop the IMF. Reuniting with his teammates and pals, Luther (Ving Rhames) and Benji (Simon Pegg), Hunt travels to the Abu Dhabi airport to intercept a key transfer. Said item is snatched away by pro pickpocket/ “drop-pocket” Grace (Hayley Atwell). But Hunt also has to deal with the return of an old enemy, the ruthless and deadly Gabriel (Esai Morales), who’s helping the Entity. This leads to a globetrotting race for the keys, with stops in Rome and Venice, battles with Gabriel’s aide, the deadly Paris (Pom Klementieff), and a tense showdown by another woman from Hunt’s past, Alanna AKA “the White Widow” (Vanessa Kirby). Eventually, everything and everyone converge on a heart-stopping ride aboard the Orient Express (with no Belgian master detective to help). Perhaps this is a mission that’s truly impossible.

This thriller boasts an impressive acting ensemble, but once again this is Mr. Cruise’s show. In the previous sextet, he’s more than proved his skills in selling spectacular action stunts. However, Ethan is not merely a “daredevil. We see some of his warmth and committment to his team, while forging a couple of possible romances. Plus he injects humor into these dire predictaments as he quickly “switches gears” when plans go awry, and even shows a sign of panic as he works up the “nerve” to plunge forward. And then Cruise shows us that the “superspy” is a man of principals when he decides to block the “higher-ups” who lust after the Entity. As mentioned earlier, his sometimes squabbling duo has is back. Rhames as Luther is often the wise and grounded elder mentor, sort of the “cool uncle” , while Pegg as Benji is the often over-excited and exasperated “kid brother” who only gets “in the field” when absolutely needed. Ferguson is quite dynamic and decisive as the skilled Faust, while Kirby is slinky and sexy as the unpredictable “wild card” Alanna. Probably the best of the “newbies” is Atwell, upending her MCU Peggy Carter persona, as the “in it for the bucks” Grace who slowly starts to regain her ethics due to the influence of the IMF and especially Hunt (and yes, there’s a playful chemistry between them). As for the “opponants”, Wigham and Davis are very good as the “by the books” partners who seem to always be a step or two behind Hunt, earning a begrudging respect from the elder agent. But the biggest “baddie” is Gabriel played with a chilling dead-eyed glare by Morales. He’s a near-unstoppable force of villainy, who doesn’t hesitate in inflicting violence against anyone, especially Hunt’s friends (it appears to be his only source of pleasure). A good counterpoint to this “weapon” is Klementieff’s Paris who does derive lots of joy from the chaos she creates. Czerny is quite effective as the morally ambiguous IMF chief, who seems to have his own sinister agenda, while Elwes is “carving a niche” for himself as a smarmy bureaucrat who’s in need of a comeuppance.

Taking the directing chair for the third time is Christopher McQuarrie who keeps the story moving with nearly as much energy as one of Cruise’s manic sprints (yup, he’s burning up the “shoe leather” once again) making it feel like half of its163-minute runtime. Yes, the bulk of the flick consists of several big action sequences, but McQuarrie doesn’t let them veer too much into the “silly” or needlessly repetitive. The Rome chase is full of twists and even allows for some nice “interplay” between Hunt and Grace (hear that, FAST X). And the “tiny car” comedy outdoes Indy’s trek in Tangiers. Speaking of Dr. Jones, the Orient Express train sequence easily bests the DIAL WWII prologue (which is perhaps its best moment). And the Venice “techno dance arena” here has more gravitas than the similar setting in the recent John Wick opus. But unlike many of those other recent blockbusters, there’s lots of fun to be had in between the fighting and driving as we get a greater understanding of the bond between the IMF, who now seems to be a mix of the A-Team, the Lone Ranger, the Magnificent Seven, and a touch of the Avengers (movies and TV show). Sure the locations are stunning, but the main selling point continues to be Cruise’s insistence in doing as much of the stunt work as possible. He wants us to know that he’s not “chilling” in his trailer. It’s almost as though he’s the modern-day version of the silent movie “thrill” comic actors. Of course, Jackie Chan touched on that with his Chaplin-like agility in his early career, but Cruise takes it a bit further. In GHOST PROTOCOL, he’s riffing on Harold Llyod in SAFETY LAST as he climbs that towering skyscraper. With the big railway finale here, I was reminded of Buster Keaton’s THE GENERAL. And like those classics, many of the scenes will have you gripping those armrests. In short, this is a most worthy addition to the series, mixing a “ripped from the headlines” menace/McGuffin (Y’know, AI “creating art”) with new locales and deadlier dangers. Oh, and again, extra kudos for stating that the story is continued, right up front in the titles and promotions. FAST X, ends on a cliffhanger leading to a couple more flicks (sheesh), and I love the new SPIDER-VERSE dearly, but they shouldn’t have lost the “sprayed-on graffiti-style” Part One after the first couple of teasers and a few toys. So, be like this flick and “put it out there”, studios! If only all the Summer blockbusters were as forthright, exciting, and fun as MISSION IMPOSSIBLE: DEAD RECKONING PART ONE. Now, when does two arrive?

3.5 Out of 4

MISSION IMPOSSIBLE: DEAD RECKONING PART ONE is now playing in theatres everywhere

DUNGEONS & DRAGONS: HONOR AMONG THIEVES – Review

Posted on by
Chloe Coleman plays Kira, Michelle Rodriguez plays Holga, Chris Pine plays Edgin, Justice Smith plays Simon and Sophia Lillis plays Doric in Dungeons & Dragons: Honor Among Thieves from Paramount Pictures and eOne.

So, it appears that the Spring of 2023 may just be recalled as the season of big movies based on toys (I know BARBIE is still several months away). Well, maybe not toys as much as games. The TETRIS movie is streaming, and that plumbing duo returns next week, but this new/reboot flick harkens back to those pre-video game olden days. It’s not based on a board game (the box office dud BATTLESHIP may prevent another one for a while), but rather the “in-between” era. This is based on the big role-playing game juggernaut that swept the nation about 40 or so years ago. Sure there was a big studio adaptation way back in 2000 and a couple of minor sequels followed. Ah, but now it’s time to start fresh with an all-star cast to “roll the dice” for DUNGEONS & DRAGONS: HONOR AMONG THIEVES.

The saga actually starts in the prison known as Revel’s End where an escape occurs during a meeting of the pardon review judges. This happens after we hear the tale of the “bard” Edgin (Chris Pine) who fell from grace as a member of the noble spies, the Harpers when his beloved wife was slain by the feared and despised Red Wizards. Luckily he befriends an exiled barbarian, Holga (Michelle Rodriguez) who helps him raise his baby daughter Kira. Soon the duo becomes part of an honorable (no-killing) band of thieves that includes sorcerer Simon (Justice Smith), rogue Forge (High Grant), and his mystic partner Sofina (Daisy Head). Edgin wants no part of a dangerous heist planned by Forge until word leaks out that part of the treasure is a resurrection tablet that would bring back Edgin’s wife. This leads to his and Holga’s capture, imprisonment, and now escape and on the run. The duo journeys to Neverwinter where Forge has been elected the land’s Lord and is raising teenage Kira (Chloe Coleman) with Sofina’s help. Ah, but Forge has poisoned Kira against her dad, then arranges for the duo’s demise. The two evade the chopping axe and dash away to form a new band to return to Neverwinter and take the riches (including that tablet) from Forge’s magically fortified vault. Edgin and Holga reunite with Simon who suggests that they enlist his former paramour, the Druid Doric (Sophia Lillis) for the quest. Ah, but the vault’s spell is too powerful and Simon needs a device to open it. It is an enchanted helmet. With the help of the paladin Xenk (Rege-Jean Page), they retrieve it. But even with this in hand, can this motley crew survive the forces of Neverwinter before the deadly masterplan of Forge and Sofina dooms Kira and all of the realm’s denizens?

And, just who should be considered the “leader” of this earlier mentioned “all-star” cast (though his character would insist on “planner”)? Probably the former Captain Kirk and Amazon beau, Pine as the lovable scoundrel (much like Han Solo), Edgin. Pine projects the needed amount of “daring do” and a big helping of knowing snark, though it’s tempered with Edgin’s deep loss. He’s a thief who has been robbed of his soulmate, but he won’t lose the child born of their love. Pine’s Edgin makes a good comic team with Rodriguez’s often stoic sullen Holga. It’s a splendid physical performance as her body language is close to a fierce coiled animal, one that strikes out with swift, deadly force when pushed. Oddly Rodriguez also gives her a nurturing tenderness as she becomes a big sister/mentor to Kira and later as she is haunted by her own lost love (fabulous cameo alert). Also balancing the comic and heroic is Smith as the often overwhelmed Simon, whose wizardry needs a big boost of confidence, as he tempers expectations (“Magic has its limits!!”). It doesn’t help that his “big romantic crush” is fighting alongside him. Lillis as the equally gifted Doric is more bold and brave, and appears a bit puzzled and charmed by Simon’s flirtation, while she puts up a stern, unyielding front. Though he joins the team briefly, Page seems to be having a lot of fun skewering his heroic heartthrob image as the “too-noble-to-be-true” Xenk (here’s a TV “deep dive as he was almost a swashbuckler take on Tom Sellek’s Lance White on the mush-loved “The Rockford Files”) who is a constant thorn in Edgin’s side. Oh, but he’s not having as much fun as Grant whose Forge always has a twinkle in his crafty eyes as pulls a con on everyone in sight. Who knew that Mr. 90’s Romcom” would age into such an engaging villain? He’s aided by Head as the creepy, sinister Sofina and the assured Coleman as the conflicted confused Kira.

Well, will you be completely lost if you’ve never seen the previous films, the 80s CBS Saturday morning cartoon (look for a knowing nod to it), or even picked up the multi-sided dice? If you’re like me, then not at all. Happily, this is a spirited and imaginative fast-paced all-ages ride that blends more bits of humor with the atmosphere of the LOTR franchise, though it’s blessed with brevity. That may be largely due to the creative duo behind the camera, who also wrote the screenplay from the story by Chris McKay and Michael Gillio. After some terrific recent movie comedies (GAME NIGHT deserved better at the box office), Johnathan Goldstein and John Francis Daley (who is also a talented actor, having played the D&D-loving Sam Weir in the adored one-season TV wonder “Freaks and Geeks”) prove quite adept with fantasy adventure (did I mention they worked on the script to SPIDER-MAN: HOMECOMING), by delivering a witty grand experience, an unexpected charmer. Now there are superb action sequences galore, but some of the comedy bits are just as memorable (all I’ll say is “quizzing corpses”). Really, it didn’t have to be this good, but you’ll be happy it is. One thing that gave me a big smile was the great use of “practical effects”. In most fantasy/SF flicks today, every weird creature is made of pixels. For this, many life-sized creature suits and masks were made by skilled craftsmen and expert puppeteers (much like in the 1980s when the first Conan film started a “B-movie” boom). Mind you, there’s plenty of CGI, but it’s done with style and never detracts. Doric is an expert shapeshifter who uses this gift to spy on the baddies in an amazing chase sequence (she’s also a fearsome fun “owl-bear”). The costumes are eye-popping the locations are lovely. If they can keep up this level of quality, then let’s hope that a new family film franchise is launched by the entrancing DUNGEONS & DRAGONS: HONOR AMONG THIEVES. Huzzah!


3.5 Out of 4


DUNGEONS & DRAGONS: HONOR AMONG THIEVES is now playing in theatres everywhere

SCREAM VI – Review

Posted on by
Melissa Barrera (“Sam Carpenter”), left, and Jenna Ortega (“Tara Carpenter”) star in Paramount Pictures and Spyglass Media Group’s “Scream VI.”

In my reviews last week I mentioned a new installment coming soon from a big horror film franchise. Well, the time is now. It might just seem that we were in this scary “cinematic universe’ and you wouldn’t be too off the mark, since the last one filled the multiplexes a mere fourteen months ago. The timing’s also a bit quirky since this March has no Friday the 13th and we’re several months away from Halloween (also weird since that major holiday figures into both the setting and overall plot here). Oh, and unlike that last year’s entry, which reused the original’s tile, we’re back to the “digits” with the “slicin’ and dicin'” of SCREAM VI.

As with the other flicks, it all starts with a flirty phone conversation that quickly turns creepy and very deadly as the Ghostface killer claims another victim. Now there are some new twists, as he switches his “stalking ground” from Woodsboro CA to the Big Apple (insert fruit-cutting metaphor), mere steps from a bustling street filled with pre-Halloween revelers (perhaps the Saturday mere days before All Hallows). And that’s the first of many alterations to the “formula”. Oh, this is also the new locale of the Carpenter sister from the last flick. Tara (Jenna Ortega) is a college freshman, who’s making risky choices at the campus parties, and her older sister Sam (Melissa Barrera) is her hovering protector, working a couple of jobs while going to therapy sessions to deal with her haunted past. Plus they’re sharing a big off-campus apartment with the “frisky-flirty” student Quinn (Lianna Liberato). Did I mention that two more Woodsboro transplants are there, sibs Mindy (Jasmin Savoy Brown) and Chad (Mason Gooding)? When word leaks out, the Carpenters are naturally called in for questioning. But on the way, they have their own deadly reunion. Luckily the sisters make it to the police station where they meet Quinn’s PD papa, Bailey (Dermot Mulroney), and GF survivor now FBI agent Kirby Reed (Hayden Panettiere). But she’s not the only alum, as Gale Weathers (Courtney Cox) charges in, complete with a news crew. Luckily she guides them to a shuttered movie theatre that’s been turned into a serial killer shrine complete with stolen police evidence. Despite this break, can this “united front” discover who the copycat is donning the black robes and long white mask before his (or her) blade claims the Carpenter sisters?

Aside from the masked murderer, the Carpenter sisters are the story’s main focus. Particularly Barrera’s Sam who may be having more than a twinge of survivor’s guilt. leading to her “hovering” her kid stepsister. She shows signs of exhaustion and PTSD in her near-lifeless eyes, even as Sam must deal with an online campaign saying that she “got away’ with the last Westboro bloodbath. Ortega, coming off a real “breakthrough” year culminating with her star turn as teenage Wednesday Addams, has a more prominent role in this one as she strains to break free from big sis, while also dealing with her own still healing flesh (and psyche) wounds. As for the returning “vets”, Cox treads a fine line between exploiter of tragedy and the avenger of a lost love. Her Gale is the ultimate reporter-heroine who’s always ready to throw down the mike to take down her nemesis. As for the other “grad”, Panittiere is a most welcome ally, who wears her own GF scars as a badge of honor, strengthening her resolve as she “bends” the laws to stop the legacy. Brown brings in the shark while laying down the “meta manifesto” as the cinema-savvy Mindy, while Gooding brings his beefcake nice guy charm to Chad, who’s now quite smitten with Tara. Mulroney is a sympathetic father figure as the grizzled plainclothes cop, while Liberato scores lotsa’ laughs as his “playa” daughter. Also of note, are some entertaining cameos from Samara Weaving, Tony Revolori, and Henry Czerny as Sam’s rattled therapist.

Also returning from the last outing are the “tag-team” directors Matt Bettinelli-Olpin and Tyler Gillet who infuse some new energy into the franchise by the big city locale and the “up-ended” opening sequence. They also appear to be having some fun with new high-tech devices while taking welcome jabs at social media “trolling”. And they ease up a bit at the “aren’t-we-clever” self-awareness this time out, although Mindy’s long “franchise rules” monologue starts spinning its wheels and dragging down the pace. Ah but soon it’s back to “slasher city” as the near-unstoppable Ghostface “did that thing” (much like Ms. Bassett) in attack/action set pieces that go on and on (it takes a long time to finally hear those sirens). A crowded subway attack has involving claustrophobic energy, but it cuts (literally) to a mind-numbing final showdown that’s dulled by a villain speech explaining everything in exact detail and a fight to the death where everyone now has rubber bones and the slashing “butcher” knives inflict scratches and pin-pricks that cause little loss of plasma, perhaps to have the option of more returning characters in a hoped-for part seven. But with the series now a teenager (sweet seventeen already), it’s feeling more than a little tired. Hardcore fans may get a kick out of the lingering shots of old props and photos in the hidden museum, but the rest of us may be longing for its final exhibit, just before the gift shop, to be the more tiresome than terrifying SCREAM VI.

1.5 Out of 4

SCREAM VI is now playing in theatres everywhere

THE QUIET GIRL – Review

Posted on by

Most film fans know that this Sunday, just hours away, is the big award night. As a beloved former late-night talk show host used to see, even after he hosted the event, “In Hollywood, Oscar is king.” So, who’s going to wear that crown? While all the chatter is about the actors vying for the prize along with the ten (!) Best Picture contenders, this Friday we’ll get a chance to see a Best International Feature nominee that seems to be under everyone’s “radar”. But then, it’s a truly “soft-spoken” story, much like its subject. But don’t be fooled because the emotion is loud. much like its heartbeat, in THE QUIET GIRL.


And that tile character is nine-year-old Cait (Catherine Clinch) part of an ever-expanding family (another arrives soon) living in a ramshackle house in the mud of 1981 Ireland. She’s teased by her sisters, as Cait tries to hide the shame of being a bedwetter. And, yes she is quite shy, keeping silent while seeming to be always looking at her feet. Things are no better at school as she easily wanders away from the playground. This prompts a call to her surly, boozing Da (Michael Patric), who must drive her home early from school. Cait is so “invisible” that he gives a lift to one of his girlfriends from town, while Cait watches from the back seat. A decision is made. With her classes ending, and Mam (Kate Nic Chonaonaaigh) about to give birth, Cait will be spending the Summer with distant cousins, Eibhlin (Carrie Crowley) and Sean (Andrew Bennett) Cinnsealach at their dairy farm in County Waterford. Da drives Cait there and after a pint or two drives away, forgetting to leave the suitcase with Cait’s clothes. No worries as Eibhlin “makes due” with some stored-away boys’ clothes (the spare bedroom has a masculine feel). In all ways Eibhlin helps the little girl, showering her with attention and kindness. Sean is not so quick to embrace her, acting a tad distant and aloof. That changes when Eibhlin must leave the household for a day. When Cait loses her way while helping with the chores, a frantic Sean finally locates her which forms a strong bond. He even becomes a “coach”, clocking Cait’s run time as she dashes down a trail. She begins to break out of her shell, but when a local tells Cait of the couple’s secret, will this new friendship stop well before the end of the season and Cait’s return home?

In a most promising screen debut, Clinch takes on the demanding role with subtlety and natural warmth, proving to be quite compelling. She draws us into Cait’s world with no histrionics and manic gestures. If she chooses to pursue an acting career, Clinch could continue to impress if she can take on roles as well written as this. Also conveying warmth and a most generous heart is Crowley as the nurturing and gentle Eibhlin, who sees the wounded nature of Cait’s spirit and proves to be the healing force she needs, although both end up helping each other overcome their struggles. Much of that can be said of Bennet’s Sean, though he’s slow to open himself to Cait. He’s still processing his past, keeping his emotions in check, perhaps fearful of the pains of the past. He shows us Sean’s spiritual journey, as he inches toward accepting Cait, and allows her to pursue her passions. It’s the opposite of Patric, excellent as the loutish, derisive Da who offers little comfort to any of his “brood”.

All during the recent pandemic, much was said about treating others with kindness, It’s hard to think of another recent film that really embodied that sentiment. As the story unfolds slowly, at just the proper pace, we see how kindness, along with some attention, and an open heart, can truly change a lonely child’s world. Much of the film’s power must be attributed to director Colm Bairead, adapting Claire Keegan’s story “Foster”, deftly guiding this gifted cast and making superb use of the Irish locales and even the native Irish language, so lovely and lilting. He shows us Cate’s reawakening as she leaves the squalor of the family home (very overcast) and begins anew in the golden sun of the idyllic farm. Although the dramatic secret is exposed, it’s done without unneeded theatrics or fanfare. It all builds up to a truly heartwrenching finale which leaves us hopeful without giving us a heavy denouncement. Just be prepared for some “waterworks” as the end credits role. It’s simple kindness that changes the world of THE QUIET GIRL, and perhaps to those who embrace her story.

3.5 Out of 4


THE QUIET GIRL is now playing in select theatres.

CONFESS, FLETCH – Review

Posted on by

Yes, it’s a bit late for a flick based on a “beach book’ (usually a paperback you’d read while getting your tan near the water’s edge), so how about something more suited to Autumn, perhaps a movie based on a mystery one would read while enjoying a warm beverage next to a fireplace? Oh, I forgot to mention that this particular film is part of a literary series featuring a much-beloved sleuth. Now, we just had a visit from Hercule Poirot a few months ago, so his mustache is “in mothballs” for the moment. Anyway, this character is not known as a detective or a “consultant” (like the fellow at 221B Baker Str.). The title “hero” of this tale is an investigative reporter, or at least he was (he’s telling everyone that he’s “retired”). And he’s been absent from the screen for 33 years now. Oh, there are police detectives aplenty as this “man of leisure” gets involved with art heists, forgery, kidnapping, and murder. And, of course, the cops are imploring him to CONFESS, FLETCH.

It all starts (maybe “kicks into high gear”) on a warm Boston evening. In a “high-end” urban neighborhood Irwin Maurice “Fletch” Fletcher (Jon Hamm) unlocks the front door of the rental home where he’ll be staying during his latest “research trip”. In the lobby is a welcome note under a wine bottle. And several feet away from that is the lifeless body of a twenty-something blonde woman. Fletch calls the police (the general number, not 9-11), and soon opens his door to the homicide squad led by Detective “slo-mo” Monroe (Roy Wood Jr.) and his aide, Detective Griz (Ayden Mayeri). During questioning, Fletch explains how this “west-coater” came to be there…via Italy. He insists that he’s “retired” from Investigative journalism, but a hefty”retainer” prompted him to fly to Venice to meet with an heiress named Angela AKA “Andy” (Lorenza Izzo), who’s looking to locate several very pricey paintings from her father’s collection. Andy suspects that her snooty stepmother, who insists on being called “The Countess” (Marcia Gay Harden), had a gloved, jeweled hand in it. To complicate things further, Andy’s pop, the Count, has been kidnapped. The ransom: a multi-million dollar original Picasso. The pot is “sweetened” for Fletch when he begins an affair with Andy leading to their engagement. But he leaves her for “Beantown” where all leads point to an established art dealer, and EDM fan (Kyle MacLachlan). The police release Fletch as a “person of interest”, so he’s got to “shake them” to find the art and the reason why somebody would “set him up” on a murder charge. Over the next few days, Fletch, using several aliases, discovers several suspects including the rental home’s owner Owen (John Behlmann), his soon-to-be-ex-wife (Lucy Punch), and their spacy hippie neighbor Eve (Annie Mumolo) while dodging Monroe and Griz. But what happens when his new fiancee is added to that roster? Can Fletch’s former boss, newspaper editor Frank (John Slattery) point him toward the real “perps” before the “frame sticks”?


The role of the “snarky sleuth” feels like a near-perfect fit for Hamm as he tries to go from an iconic TV role (Don Draper) into leading man roles in feature films (he scored recently with his supporting role in TOP GUN: MAVERICK). While he makes good use of his “matinee idol” looks (we don’t question the quick pairing with Andy), Hamm finally gets a chance to showcase his superb comic skills that we’ve seen on TV (great hosting gigs on SNL, and a recurring role on “30 Rock”). And whether tossing off an effortless one-liner or a blistering “burn”, or going “all in” as a zany phony expert, Hamm puts his distinctive mark on the beloved “righteous rascal”. He may be at his “best” when verbally sparring with Wood as the laconic Monroe, whose “laid-back” style lulls many into letting their guards down. Fletch may think that he can charm his way around him, but Wood can “throw down” with him when needed. Though he flummoxes his co-workers, particularly the often exasperated Griz, played with a perfect “slow burn” by Mayeri. And it’s great to see Hamm back with his old “Mad Men” co-star Slattery as they share a warm rapport as two pals who know each other’s “MO”. Much as in ONCE UPON A TIME IN HOLLYWOOD, Izzo is a stunning Italian femme fatale, who pushes Fletch until he needs to push back. Screen vets Hardin, MacLachlan, Punch, and Mumolo also score big laughs as the loopy “red herrings”. Or are they?

So, after countless attempts to bring the character back to the big screen (from Jason Lee to Zach Braff to Joshua Jackson, among others), director/co-screenwriter Greg Mottola (who adapted Gregory McDonald’s 1976 novel with Zev Borow) is the one to “reboot’ (and maybe “revamp”) the wiseacre sleuth. So, can he move out of the shadow of Chevy Chase’s late 1980s efforts? Yes, I’d say that it strives to be “its own animal” and largely succeeds thanks to Hamm (who was part of Mottola’s last film KEEPING UP WITH THE JONESES). and his supporting ensemble. Unfortunately, the new entry has the same problems as its legacy in that the central mystery is, well, almost as stale as Colombo’s cigars. Twists and turns, along with double and triple crosses are tossed in with some “floating” a long, long time before their “payback”. But, like the earlier mentioned Poirot movies, are you that concerned over “pinched” paintings, although the murder “set up” gives it a bit of much-needed urgency (and yet, there’s still that “lull” around the one-hour mark). Nope, this is merely an excuse for our hero to pelt the dense and pompous with insults and try and bluff his way out when a ruse starts to crack. So is this the start of a new movie franchise? Well, probably not though it would be an entertaining occasional cable or streaming feature. So, unless you’re a diehard Chase devotee, you’ll chuckle many times as those in charge try to compel IMF to CONFESS, FLETCH.

3 Out of 4

CONFESS, FLETCH is now playing in select theatres and is streaming as a video-on-demand via most services.

LUCK – Review

Posted on by

Okay parents, the countdown to the return of the school year is close to single-digit days. Really, hard to believe, eh? Well before you start stockpiling blender ingredients for a celebratory beverage, you’ve still got to keep them entertained in the hazy last couple of Summer weekends (naturally the temps are still soaring almost everywhere). So, that may warrant a multiplex trek for some matinee fare for them. If they’re leaning toward the animated features, then it’s almost certain they’ve caught up with the Minions (maybe more than once). And if the kiddos are very “pre-K” the PG-rated superhero slapstick of DC LEAGUE OF SUPER-PETS may be a tad overwhelming. Ah, but there is a PG alternative (very rare) opening this weekend. It’s the feature animated debut of a new “player” in the field, though a few familiar faces are behind the scenes. Like the film’s heroine, these “newbies” are hoping for a big “heapin’ helpin'” of good, good LUCK.


Now that heroine is an energetic eighteen-year-old woman named Sam Greenfield (voice of Eva Noblezada), who we first see helping her eight-year-old BFF Hazel make an online music video to the early Madonna tune “Lucky Star”. The two live in a group foster home and Sam is hoping the project will take her pal’s mind off of her upcoming “weekend visit” with some possible parents. Sam’s been through it many times before, with lots of letdowns, and now she’s aged out. The house’s supervisor takes her to her new apartment in the city, just blocks from her new job at a “plants and crafts” retail store. Believing to be “cursed” with bad luck, Sam almost misses her first “work day” due to multiple calamities (“alarm failure”, “locked in the bathroom”. “drops toast which lands jam side-down”, etc.). Happily her affable boss Marv (Lil Rel Howery) “cuts her some slack”. That night Sam can’t get a table at the neighborhood eatery, so she shares a sandwich with a friendly black cat at the curb. The kitty dashes, leaving behind a sparkly penny. Sam keeps it, intending to give it to Hazel for her art project. The next morning things go extremely well, making Sam think that the coin has reversed her luck. And then she drops it “you know where” in the store restroom. That night Sam returns to the diner hoping to see the cat once more. When he strolls over she tells him what happened. And he talks back! Bob (Simon Pegg) leads her on a merry chase, ending in an alley where he drops down into a magical glowing portal. Sam follows and soon finds herself in the “Land of Luck” where she and Bob begin a hectic quest to retrieve that “lucky penny” and restore the balance of luck in that dimension and in Sam’s world.

Oh, the new studio I mentioned earlier? It’s Skydance Animation a branch of Skydance Media working out of Madrid (formerly Llion Studios). And the familiar name behind the film is none other than John Lassiter. The marketers are hyping the flick as being from the “minds behind TOY STORY”, but not mentioning that he was booted out of Disney Pixar during the MeToo movement. And this irked lots of SA staffers. But how’s the flick itself? Well, he couldn’t have picked a more mediocre first effort there. Perhaps it earned the “G” rating due to its complete lack of “bite”, really it’s toothless and so bland. Eh, aside from some truly unneeded scatology in which we learn that “Bad Luck Land” has a whole subdivision dedicated to canine excrement. Plus we get a long “hold shot” of a drone just grabbed from a sewage treatment plant, looking as though it’s been dipped in Chocolate (oh that it was). And just somehow the main “hero’s objective” is more convoluted than the last two MISSION IMPOSSIBLE flicks (also from Skydance BTW). Oh, the visual look conforms to the generic script, with human characters whose eyes take up two-thirds of their heads leaving them with teeny mouths barely readable. The giant dragon (voiced by Jane Fonda making her animation debut) has an interesting “molded plastic” vinyl toy feel (ready for the merch). However, Bob the Cat is “meh”, along with his voice as Pegg gives out his Scottish brogue from the Trek reboots and makes us think of Shrek. But that’s not the end of the “homages” (more like lifts) as Jeff the Unicorn (voiced by Flula Borg) seems to somehow be a close relation to the bouncing Germanic pig from the SING series (and what’s with the bushy “trash-stash”). The closest the tale has to a “baddie” is Whoopi Goldberg’s “The Captain” who comes off as a mildly annoyed librarian. Here’s a heads up for the talented Mr. Howery: perhaps steer clear of smiling guys wearing name tags as you’re recalling your FREE GUY role. If the film looked interesting it might make the endless 105 minutes seem less of an unending slog as it mercilessly spins its wheels (they’ve got to get another “device”…c’mon). The very smallest viewers may be entranced for a bit by the colors and the animals, but the best bet for adults might be streaming so they can drop “in and out’ of this listless drek. Otherwise, they’ll feel as though they’ve completely run outta’ LUCK.

1/2 Out of 4

LUCK opens in select theatres and streams exclusively on Apple TV+ beginning on Friday, August 5, 2022

TOP GUN: MAVERICK – Review

Posted on by

This holiday weekend’s big (and I mean big) release could set some records at the box office, while already setting one big milestone. It’s a sequel (not a reboot as many websites say) that has had the longest “gestating” time between its original flick. While most “franchise tentpoles” have usually two or three years between entries, here we have a whopping 36 years since the same actor, playing the same character, took to the skies. I’d venture to say that most of this weekend’s audiences weren’t alive when the first one was blasting through the multiplexes (often in malls back in the day). Oh, and that’s not counting its many pandemic delays and rescheduled openings in the last two years. Yes, 80s film fans have had a long wait to return to the “danger zone” in TOP GUN: MAVERICK. So buckle in…

Oh, this flick does begin with that familiar pop tune as the paramount mountain (and a military prologue “card”) fades away to reveal…Navy flier Captain Pete “Maverick” Mitchell (Tom Cruise) enjoying some breakfast in an airplane hangar (I’m guessing this is his home). Soon he’s on the road to a nearby testing station. But there’s a “hitch” in his plans. His old pal “Hondo” (Bashir Salahuddin) tells him that one of the Navy “bigwigs” is on his way to shut down the tests on the new fighter jet. Well, he can’t ground him if he’s up in the clouds, so Maverick hurriedly prepares for the big test flight. And that “big gun”, Radm Cain (Ed Harris) arrives at the gate just as the jet leaves the runway. Of course, Pete pushes the craft too hard and is brought into Cain’s office, for at least a dressing down or perhaps he’ll get “the boot”. But to nearly everyone’s surprise, Cain informs Pete that an old friend “in high places” has ordered that he return to his old San Diego training center to instruct a group of new fighters prepping for a dangerous mission. When Pete arrives he is greeted by his hard-nosed superior Adm ‘Cyclone’ Simpson (Jon Hamm) who outlines the big mission (destroying the new Uranium processing plant of a “rogue nation”) and pretty much rattles off the “riot act”. Later Pete heads off to a familiar nearby “watering hole” and is surprised to see that it’s now run by an old “flame”, Penny (Jennifer Connelly). He also observes the fliers he will train including one that he’s got a big connection with, Lt. “Rooster” Bradshaw (Miles Teller) whose father Goose was Pete’s best pal prior to his death in a mission together. Can the two put their past aside in order to complete “the job” as the deadline rapidly approaches? And can Pete pass along his skills to insure their safe return?

Cruise slips back into the role that catapulted him into big screen superstardom as though he’s slipping on a (slightly worn) bomber jacket (and a pair of sharp Aviators). Though he’s been defying gravity (and time) for the last couple of decades in the MI series, he hasn’t really connected in most other efforts, leaving his fans to dream of him soaring into the stratosphere once more. Well, wishes are now granted as he brings the same stern intensity paired with an affable charm, but now with a touch of patriarchal pride as he takes these jet-crazy kids under his still-muscular wings. But we see the regret etched into his face, as this ‘ace’ ponders the “flight path not taken”. Connelly’s Penny is part of that, as she fights that ole’ attraction while trying to assert her independence, even while hiding the rekindled “flame” from her wise-beyond-her-years teen daughter. What a pleasure to see Connelly’s intelligence, and dazzling smile almost as bright as Tom’s) back on the big screen. The other part of Pete’s not-so-golden past is represented by Teller as Rooster, who struggles to put aside his anger with Maverick while striving to be his own man and fly out of his pop’s long impressive shadow. Teller conveys Rooster’s sadness and his furious anger over Pete’s attempt to “protect him”. Hamm is a terrific sparring partner for Cruise as the CO that will try and tame “the Maverick” ( and we suspect how that’ll go). The splaying the young pilots are quite endearing especially Monica Barbaro as the main female flyer, the “Phoenix”, her skilled by somewhat “dweeby” partner “Bob” (“Just Bob”) played by Lewis Pullman (Bill’s son) and the charming bad boy “Hangman” given a rascally smirk by Glen Powell (and full of surprises). Speaking of, the most pleasant one (and I’m not spoiling things) is the return of Val Kilmer as ‘Iceman’, Pete’s rival from the first flick, who’s now a retired admiral. The brief reunion of the two is the real heart of this story (which may inspire an allergy outbreak of sniffles through the theatre).

Taking over the directing reigns from the late Tony Scott is Joseph Kosinski (TRON: LEGACY), who finds the perfect balance between character interactions and edge-of-your-seat action sequences. It’s been reported that all the actors actually went up in the jets, with several actually working the controls, making for some breathtaking backdrops (no “green screen” or CGI, apart from some missiles), and letting us experience the grueling “G-force’ effects on the cast’s faces (we can really see them start to blackout). So, if you get the chance to watch this in Imax, well, go for it! And the story benefits from the sweet, yet mature courtship of Penny and Pete (there’s a hint of a spark between Phoenix and Rooster, too). And there’s a bit of “fan service” as one scene echoes the big “beefcake” beach sports from the original. Now some of it is more than a bit far-fetched as the big “mission” almost plays like a rehash of the “Death Star” trench run in another big movie series. Credulity is pushed further to the edge when the “dogfights” are grounded in the big climax. Plus the producers go out of their way to never identify the enemy as the pilots from the “rogue nation” are completely covered in black (naturally) when seen in their respective cockpits (which happen to have English labels). Oh, but why nitpick. This is that very rare sequel that easily surpassed the original (I barely made it through in one viewing in 86′), earning its advance “rep’ as a popcorn-fueled entertainment machine. As the song from the first flick crooned (wished they had a spot for it this time), TOP GUN: MAVERICK will “Take Your Breath Away”. Multiplex-mission accomplished!


3.5 out of 4

TOP GUN: MAVERICK is now playing in theatres everywhere