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RESIDENT EVIL (2026) – Review

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Okay, let’s continue on with the Halloween-themed films this weekend (yeah, it’s still nearly six weeks away). Now, this one’s not specifically set during the holiday, and it’s definitely not for families (as the old joke goes, unless it’s Addams or Manson), like those punkin’ luvin’ sheepies. However, this is also an “IP”. The new Shaun film comes from a nearly twenty-year-old TV show. This one’s a bit more convoluted. It was a computer game first introduced thirty years ago, then a movie series six years later, followed by several more. Off the theatre screens since 2019, the studio behind it thinks that it’s overdue for a “reboot” or “re-imaging”. And what better director for the project than the man behind one of the surprise horror hits of last year (it even scored an acting Oscar). So, is there still life (or afterlife) in the world of RESIDENT EVIL?


In the opening moments, we’re introduced to a bedraggled, frazzled medical courier named Bryan (Austin Abrams). He’s making an organ delivery at a Colorado hospital during a cold, snowy night. He’s eager to clock out and head home to his girlfriend (she just told him over the phone that she’s “preggers”), but a doctor pleads with him to make one more delivery to a hospital in Raccoon City. And since it’s “double overtime”, Bryan agrees, despite his lack of snow chains on his clunker of a car. The combination of icy conditions and his ongoing “convo’ with his “bae” leads to him striking a woman who dashes out of the forest. He skids to a halt and gets out. Walking back, Bryan sees her body’s snow imprint, but…no body. He follows her footprints and finds her lying in the snow, wearing a cocktail dress and barefoot. After an encounter with a local policeman, Bryan heads away to a distant farmhouse. He’s chased by the watchdog, whose head explodes into a tangled mass of razor-sharp fangs and writhing tentacles. Just what has happened? Somehow, Bryan must find a way to reach a research hospital in downtown Raccoon City. But could this desperate delivery take Bryan into a horrific hellscape teaming with mutated monsters bent on making him one of their own? What a way to earn a couple of overtime bonus bucks!

Unlike many action game movie adaptations, this centers on one character, who’s in nearly every scene. Luckily, the talented Mr. Abrams is more than up to this formidable task. His Bryan is the ultimate “everyman”, thrust into a situation well past his abilities and “skill set,” as his ongoing mantra may be, “I’m not good with (fill in the blank)”. This “wage slave” would be having the most stressful night of his life, even without the slimy horrors lurking in every shadow. Abrams shows us how his heart is with his ladylove, as their relationship jumps to the new, higher level of parenthood. His voice cracks as he struggles to say the right words. And then the world goes “wonky”. With his frantic body language and darting eyes, Abrams conveys Bryant’s panic as he must concoct a defensive strategy very, very quickly. And with his humanity, we also get his “keep going” courage and his snarky sense of humor that prevails (his “f-bombs” hit on target, more than his bullets). It’s wild to think that Abrams will be in more deadly danger as the lead in WHALEFALL next month. Here, he does get a few other terrific actors to share his panic. Of note is the hilarious Paul Walter Hauser as a shadowy “secret spook” named Paul (yes, but his unsaid last name could be Ex Machina, as he “spills the beans” on the cause of this “s#*storm”) in a couple of brief scenes, who has us wanting more (he and Bryan are a superb team). And in the final moments, we get some chaotic chuckles from Zach Cherry as an exasperated head genetics geek. But still, this is Abrams’ “showcase”.


So, who’s this horror movie “wonderkind” who has been given the keys to this decades-old IP? Why, it’s director Zach Cregger (“Mr. WEAPONS”), who co-wrote this script with Shay Hatten. Sure, he gives us lots of excellent “jump scares” and “edge-of-your-seat” suspense sequences, while maintaining an overriding vibe of impending doom. That’s not what surprised me. I was not expecting the humor, as I may have laughed more than I gasped (frequently on both counts). Now, I’ll admit that I’ve never played the game, nor have I seen any of the previous flicks (it seemed like one screen in the multiplex always had one), as I went in “fresh”, so I’m not one of the critical “gamers” who are kvetching online about the jokes. And I enjoyed Cregger’s “spin” that plays on how one of us would try to survive in a “mutant monster-verse”, figuring out weapons and security (padlocks are tougher than we’ve been led to believe). Speaking of the creatures, they’ve found a great balance between the CGI and practical effects, which reminded me a bit of the work of Rob Bottin (1982’s THE THING) and Chris Walas (1986’s THE FLY). They’re truly the stuff of “body horror” nightmares. My only quibble may be the ending, as it feels like a bit of a downbeat detour to Bryan’s jolt-fueled journey. Ah, but this is a full banquet of terror and thrills with a tasty side dish of gags (in every sense), giving a new saucy, spicy spin to the plague-filled play(or slay)ground of RESIDENT EVIL. At least it’ll remind you to tip those delivery workers.


3 out of 4

RESIDENT EVIL is now playing in theatres everywhere.

SPRINGSTEEN: DELIVER ME FROM NOWHERE – Review

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We must be “all in” for the end-of-the-year awards season as we’ve got a new big biographical film of a music superstar from an acclaimed director. Last year, Christmas Day to be exact, filmgoers got to do a deep dive into the 60s musical odyssey of Bob Dylan with James Mangold’s A COMPLETE UNKNOWN. Though it didn’t garner as many awards (and box office) as BOHEMIAN RHAPSODY in 2018, it still racked up lots of critical raves (and even a Sag Best Actor for its star Timothee Chalomet). Now, like that earlier biopic, this one showcases another rising young star who is best known for an acclaimed TV show. Oh, but the big difference is that this is set a couple of decades later, at the start of the 1980s. Still, there’s a lot of musical “common ground between “Mr. Zimmerman” and SPRINGSTEEN: DELIVER ME FROM NOWHERE. As “the Boss” might say, “One, two…”.

After a brief black and white prologue with our young hero riding his bike through the means streets of Long Branch, New Jersey, the story jumps ahead to the splashy color of 1981 as fans are left breathless after the final concert number from Bruce Springsteen (Jeremy Allen White) at a packed arena. As he winds down backstage, his trusted manager Jon Landau (Jeremy Strong) tells him that after a few post-concert dealings (including an interview with “Creem” magazine, remember it), his rental home on a lake in Colts Neck, New Jersey is ready. After he settles in there, the Boss contemplates his next album while recalling his turbulent early life with dutiful mother Adele (Gaby Huffman) and his boozing, abusive father Douglas (Stephan Graham). Later, in an effort to “blow off some steam” he joins the local rockers at The Stone Pony bar/music venue in Asbury Park. As he leaves, Bruce runs into an old high school buddy, who introduces him to his sister Faye (Odessa Young), a single mother working at a nearby diner. She gives him her number, in case he wants to “hang” sometime. Chilling back at his lake house, he does a bit of channel “surfing” and stumbles upon the 1973 Terrence Malick classic BADLANDS. Bruce is riveted, heading to the library to gather more info on the film’s inspiration, killer Charles Starkweather, then returning home to jot down lyrics and strum on his guitar. He has an epiphany: the new song collection “Nebraska” will have no polished studio sound. He brings in his audio-tech Mike Batlan (Paul Walter Hauser) to record a demo tape using very low tech (cassettes). When Landau meets Columbia Records’ Al Teller (David Krumholtz), the exec is stunned by Bruce’s subject matter and his rules. There will be no singles, right after Bruce landed a single on the Billboard top ten. But Jon and Bruce persist. Meanwhile, the Boss struggles to get “the sound” just right while the process dredges up brutal memories from childhood. Can a burgeoning romance with the “hometown gal” vanquish the inner demons inside the rising rock and roll superstar?

Wow, in this film you get two (yes two) great Jeremys heading the ensemble. First, of course, is White, who we’ve not seen on the big screen since 2023’s THE IRON CLAW (though he continues to cook up a storm on TV’s “The Bear”). Without the use of prosthetic makeup, but with a little color “tweaking” in his curly mane, he makes us believe that he’s the “Boss”. He’s got that confident strut as he wields that guitar like a gladiator’s broadsword before the adoring throngs. But he’s more Clark Kent as leaves the backstage door, trying to blend in with the “average Joes”. However, White shows us his simmering intensity, whether achieving his artistic goals, struggling to put the right words in his battered notebook, or clamping down on his childhood monsters. Plus, he projects an almost boyish charm during his “downtime” with Faye. The other J is the superb Mr. Strong (so wonderful in last year’s THE APPRENTICE) as the laser-focused Landau. He’s Bruce’s strong right hand, whether he’s dealing with the press or anxious record execs demanding more “hits”. Strong’s stare seems to burrow into White’s brain, forming a connecting line of creative thought. The two actors’ performance anchor the tale. But then they have a great supporting cast. Young exudes a sexy “tough gal” persona as the smitten, but steadfast (not putting up with any “Boss BS”) as Faye. Hauser provides a few needed laughs as the perplexed but hard-working audio geek, Mike (he questions, but never refuses Bruce’s needs). The other big emotional role may be Graham as the stoic papa Stephan who lashes out in order to “toughen up” his boy, while casting a dark shadow that looms over the crumbling house, leaving Hoffman as mama Adele as the sole bright light in the lad’s life. Krumholtz is also funny as recording bigwig Teller, while the great Marc Maron shines with just a few lines as audio mixer Chuck Plotkin.


The acclaimed filmmaker is director/screenwriter (adapting the book “Deliver Me from Nowhere” by Warren Zanes) is Scott Cooper (CRAZY HEART), Wisely, he decided to focus in on an important year or two in Bruce’s life, rather than giving a full “life story” (though we do have those 1957 snippet flashbacks), to not get into the cliché biopic “checklist” (then he did this, then that, then…) which gives the personal drama more room to “breathe”. Also, it allows Cooper to really explore the creative process of an artist, which is usually a “stumbling block” (always a problem with stories about writers). At times, Bruce seems rigid and too unwavering, but Cooper shows us that it’s a quest for purity in the music’s intent. The era of the early 80s is painstakingly recreated with nods to pop culture and a big ode to the power of cinema, not only BADLANDS (young Bruce watches a 1950s cult classic with his pop). The pace is rather languid, with bursts of the remarkable rock and folk anthems. At times that measured pace is sidetracked by the romantic subplot, (it somewhat evaporates by the final act) which doesn’t add much to the story of the creation of an album. And a few fans may wish there were more recreations of the marathon concerts, but Cooper gives us enough of a taste to convey the power of Mr. S. But in those final moments, Cooper provides a positive message about seeking help from mental health professionals (might nudge those struggling to see a “rock god” getting back on track) It’s not a bombastic tune-filled spectacle, but rather a powerful, intimate portrait of a man exploring new artistic territory while exploring his own past. That power of creation fuels SPRINGSTEEN: DELIVER ME FROM NOWHERE.

3.5 Out of 4


SPRINGSTEEN: DELIVER ME FROM NOWHERE is now playing in theaters everywhere

THE NAKED GUN – Review

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Pamela Anderson plays Beth and Liam Neeson plays Frank in The Naked Gun from Paramount Pictures.

So, is it too late to “jump start” a beloved comedy franchise if that last entry was released before many moviegoers were born, way back in 1994? Well, Paramount’s more than willing to “roll the dice”, since the original feature flick was a big gamble on bringing a TV show to the big screen. But since several successful films have had their start on the small screen (there have been 13 Star Treks and eight Impossible Missions), is it really a risk? Indeed, it was because that source material, a TV comedy classic, only ran for six (?!) episodes. Here’s a bit of personal trivia: “Police Squad” was the first series that I recorded off the air with a VCR (look it up, kids). Yes, it was broadcast over six glorious weeks on ABC in the Spring of 1982. But some serious movie muscle (AIRPLANE), often referred to as ZAZ (Zucker, Abrahams, Zucker), were behind it, so a feature film was released in 1988 and was a huge hit, spurring follow-ups in 1991 and 1994. And now it’s back, making a fourth film inspired by a failed TV show. So, is the comedy ammo still potent, and is the aim for laughs still right on target in THE NAKED GUN? Somewhere Leslie Nielsen is looking down and laughing as he works his portable “fart-noise machine”.


The film’s opening sequence is the main source of the popular trailer that’s been around since the Super Bowl. A bunch of heavily-armed thugs are interrupted during their bank robbery by the intrepid Lt. Det. Frank Drebin Jr. (Liam Neeson). But while all the gunplay occurs in the lobby, a trio led by Sig Gustafson (Kevin Durand) is grabbing a gizmo from a safe deposit box, and escapes from the building. Back at the police station, Drebin is chewed out for his ultra-violent methods by his exasperated superior, Chief Davis (CCH Pounder). In order to remove him from the heist investigation, she sends him out with Cpt. Ed Hocken Jr (Paul Walter Houser) to look into a bizarre highway accident fatality. It appears to be a “cut and dry” case of impaired driving until Drebin gets a visit at the station from the victim’s grieving sister, Beth Davenport (Pamela Anderson). She thinks it was no accident, but rather a murder that may be linked to her brother’s business partner, tech guru Richard Cane (Danny Huston). Drebin’s interested in her theories and in the gorgeous lady herself (he’s a lonely widower). Soon, Frank’s up to his neck in an evil scheme that involves that bank job and an effort to frame him. Can he honor his papa’s legacy by taking down the “perps’ while racking up thousands of dollars in property damage (and really, really bending the law)? Carnage, chaos, and comedy are all part of this big case.

Neeson’s performance here is a big dive into the world of comedy, a “hello” if you will, while also being a huge “goodbye” to the “I’m gonna’ kill all of ‘youse” roles that he looked to be trapped inside, though paid well, I’m sure, since 2008’s TAKEN. And he appears to be having a grand ole’ time. But there’s a big difference from the original beloved star Leslie Nielsen (though they do share the same initials). He had left the hunky leading man roles long before he boarded that AIRPLANE, often popping up as the “well-heeled” suspect in Quinn Martin-styled crime shows. However, Neeson is still a solid movie star, though they both seem to relish “tweaking” the cliches. Though Liam’s not the same silver-maned buffoon, he still barks out the quips with the proper seriousness. Much of that can apply to his leading lady. After bowling the naysayers over with her “deserving of an Oscar nomination” work as THE LAST SHOWGIRL. Ms. Anderson uses her high heels to puncture the femme fatale “bombshell” image built up over 30 years. And kudos for her character name, a nod to the adored legal counsel of a beloved P.I. on the TV classic “The Rockford Files” (brought a smile to my face). Just last week, he was scoring laughs as reformed super-villain the Moleman and now the always watchable Mr. Hauser is still siphoning giggles from the leads as Drebin’s loyal but equally bewildered partner Ed Jr. As for the wrongdoers, Huston is a compelling, smirking rich jerk as the wesally Cane, riffing on current tech despots while recalling his papa’s wealthy wastrals in classics like CHINATOWN. He’s also well served by Durand, spoofing his frequent work as the ruthless hired “muscle”. Plus Pounder is an excellent “straight-woman” as the “more irritated than happy” police chief trying to “clean up’ after Frank and his squad crew.

So, no member of the original ZAZ team, nor their own “juniors,” were behind the camera on this “restart”. Instead, the directing reins were handed off to a member of another acclaimed comedy troupe, the Lonely Island. Coming off the surprisingly clever streaming hit feature reboot of CHIP ‘N DALE: RESCUE RANGERS, Akiva Schaffer certainly has a good comedic eye for the slapstick sequences that mock the “over the top” pyrotechnic pandemonium of so many noisy Summer action blockbusters, particularly in that opening bank heist. And he paces the flick accordingly, coming in just a tad under 90 minutes like much of that original trilogy. But somehow it feels a bit too drawn out, perhaps due to a couple of sidetracks (the plot halts for a weird horror parody), some gratuitous bodily function bits, and a rather aimless final showdown (but then the originals had that problem). It seems that about 65% of the gags really land, with a handful of clever “howlers”, though with any comedy, “your mileage may vary”. Still, that’s a nice “score” over what passes for funny flicks today. Plus Schaffer’s team gets the look and sound “right” as a spoof of police thrillers of the last 40 or so years, while the Nielson trilogy (and his TV show) took on 1960s crime flick and stoic TV shows (I was stunned to recently discover Lee Marvin in “M Squad” a beat-for-beat blueprint for ZAZ). Sure the coffee cup and driving gags wear thin (perhasp they need a couple more to be funny again in the old comedy rule), and you may feel a tad exhausted by the final fade out since Schaffers and his co-writers Dan Gregor and Doug Mand pack in enough bits to fill out another six episode sitcom, but they’re to be commended for the effort to honor a beloved IP. And the enthusiastic cast certainly strives to polish THE NAKED GUN until it sparkles like Nielsen’s cropped-cop coif.

2.5 Out of 4

THE NAKED GUN is now playing in theatres everywhere

See Mr. Fantastic, Invisible Woman, Human Torch And The Thing In Final Trailer For THE FANTASTIC FOUR: FIRST STEPS

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In one month, Marvel’s first family flies into theaters around the globe. Mr. Fantastic, Invisible Woman, Human Torch and The Thing are joined by H.E.R.B.I.E., the Silver Surfer and planet-eating cosmic being Galactus in a retro-futuristic thrill-ride.

Opening in theaters on July 25, check out the final trailer for THE FANTASTIC FOUR: FIRST STEPS.

Set against the vibrant backdrop of a 1960s-inspired, retro-futuristic world, Marvel Studios’ “The Fantastic Four: First Steps” introduces Marvel’s First Family – Reed Richards/Mister Fantastic (Pedro Pascal), Sue Storm/Invisible Woman (Vanessa Kirby), Ben Grimm/The Thing (Ebon Moss-Bachrach) and Johnny Storm/Human Torch (Joseph Quinn) as they face their most daunting challenge yet. Forced to balance their roles as heroes with the strength of their family bond, they must defend Earth from a ravenous space god called Galactus (Ralph Ineson) and his enigmatic Herald, Silver Surfer (Julia Garner). And if Galactus’ plan to devour the entire planet and everyone on it weren’t bad enough, it suddenly gets very personal.

The action adventure also stars Paul Walter Hauser, Natasha Lyonne and Sarah Niles. “The Fantastic Four: First Steps” is directed by Matt Shakman, produced by Kevin Feige and executive produced by Louis D’Esposito, Grant Curtis and Tim Lewis.

Tickets are on sale now.

Ebon Moss-Bachrach as Ben Grimm/The Thing in 20th Century Studios/Marvel Studios’ THE FANTASTIC FOUR: FIRST STEPS. Photo courtesy of 20th Century Studios/Marvel Studios. © 2025 20th Century Studios / © and ™ 2025 MARVEL.

Liam Neeson Is Lt. Frank Drebin Jr. In THE NAKED GUN Trailer And Leslie Nielsen Would Be Proud

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Check out the brand new trailer for THE NAKED GUN.

Only one man has the particular set of skills… to lead Police Squad and save the world! Lt. Frank Drebin Jr. (Liam Neeson) follows in his father’s footsteps in THE NAKED GUN, directed by Akiva Schaffer (Saturday Night Live, Popstar: Never Stop Never Stopping) and from producer Seth MacFarlane (Ted, Family Guy).

Joining the case are cast Pamela Anderson, Paul Walter Hauser, CCH Pounder, Kevin Durand, Cody Rhodes, Liza Koshy, Eddie Yu, with Danny Huston.

The “Naked Gun” film series is the hilarious slapstick comedy franchise starring Leslie Nielsen (a comedy god) as the bumbling police lieutenant Frank Drebin. The films are known for their rapid-fire jokes, visual gags, and parody of police procedural tropes.

For those who have never seen the 3 previous films, you can stream them on Paramount +. Prepare yourselves for COMEDY GOLD!

The Naked Gun: From the Files of Police Squad! (1988): This was the first film in the series, directly spun off from the short-lived but critically acclaimed TV series “Police Squad!” It follows Drebin as he tries to thwart an assassination attempt on Queen Elizabeth II.

The Naked Gun 2½: The Smell of Fear (1991): The sequel sees Drebin entangled in a plot involving a scientist specializing in solar energy.

Naked Gun 33⅓: The Final Insult (1994): The third installment has Drebin going undercover to stop a terrorist plot to detonate a bomb during the Academy Awards.

All three films combined have a worldwide box office total of $477,091,186.

THE NAKED GUN opens in theatres August 1, 2025

Paul Walter Hauser plays Ed and Liam Neeson plays Frank in The Naked Gun from Paramount Pictures.

Galactus Has Arrived! Pedro Pascal, Ebon Moss-Bachrach, Joseph Quinn and Vanessa Kirby Launch The First Trailer For Marvel Studios’ THE FANTASTIC FOUR: FIRST STEPS

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(L-R): Ebon Moss-Bachrach as Ben Grimm/The Thing, Vanessa Kirby as Sue Storm/Invisible Woman, Pedro Pascal as Reed Richards/Mister Fantastic and Joseph Quinn as Johnny Storm/Human Torch in 20th Century Studios/Marvel Studios’ THE FANTASTIC FOUR: FIRST STEPS. Photo courtesy of 20th Century Studios/Marvel Studios. © 2025 20th Century Studios / © and ™ 2025 MARVEL.

Marvel Studios’ THE FANTASTIC FOUR: FIRST STEPS – in theaters July 25, 2025 – invited a live audience and key cast members to U.S. Space & Rocket Center, HOME of Space Camp®, in Huntsville, Alabama, to officially launch the film’s inaugural trailer. Fans from around the world tuned in via a Marvel livestream to catch the big debut in real time with the Saturn 5 rocket serving as the backdrop.

HUNTSVILLE, ALABAMA – FEBRUARY 04: (L-R) Pedro Pascal, Ebon Moss-Bachrach, Joseph Quinn and Vanessa Kirby attend the Fantastic Four Trailer Launch at U.S. Space & Rocket Center on February 04, 2025 in Huntsville, Alabama. (Photo by David A. Smith/Getty Images for Disney)

Cast members starring as Marvel’s First Family – Pedro Pascal, Vanessa Kirby, Joseph Quinn & Ebon Moss-Bachrach – commandeered the countdown and launch surrounded by fans outside the National Geographic Theater. Angélique Roché hosted the event that included a Q&A with the stars.

Watch the countdown here.

Set against the vibrant backdrop of a 1960s-inspired, retro-futuristic world, Marvel Studios’ “The Fantastic Four: First Steps” introduces Marvel’s First Family—Reed Richards/Mister Fantastic (Pedro Pascal), Sue Storm/Invisible Woman (Vanessa Kirby), Johnny Storm/Human Torch (Joseph Quinn) and Ben Grimm/The Thing (Ebon Moss-Bachrach) as they face their most daunting challenge yet. Forced to balance their roles as heroes with the strength of their family bond, they must defend Earth from a ravenous space god called Galactus (Ralph Ineson) and his enigmatic Herald, Silver Surfer (Julia Garner). And if Galactus’ plan to devour the entire planet and everyone on it weren’t bad enough, it suddenly gets very personal.

The action adventure also stars Paul Walter Hauser, John Malkovich, Natasha Lyonne and Sarah Niles. “The Fantastic Four: First Steps” is directed by Matt Shakman, produced by Kevin Feige and executive produced by Louis D’Esposito, Grant Curtis and Tim Lewis.

Laura Dern, Annette Bening, Paul Water Hauser, DeWanda Wise, Michael C Hall, Common Featured In BEHIND THE LINES Documentary

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Sypher Studios and Lon Haber & Co announce the AFM World Market Premiere and first-look footage of the new feature documentary, Behind the Lines, based on the New York Times bestselling book of the same name by the renowned historian Andrew Carroll. The film follows Carroll’s decades-long journey, including into active war zones, to find “the most extraordinary war letters ever written” from the American Revolution to the present day. Behind the Lines differs from other war letters-related films in that it includes correspondences from the home front as well as by civilians who are literally “caught in the crossfire.” 

Narrated by Annette Bening, the film features on-screen letter-performances by a star-studded cast including Laura Dern, Michael C. Hall, Paul Walter Hauser, Common, DeWanda Wise, Gary Cole, Kelvin Harrison Jr., and many more. Directed by first-time feature director John B. Benitz and written by Andrew Carroll, John B. Benitz, and Bryce Cyrier. Producers include Jason Pamer, Jens Jacob, Bryce Cyrier, John B. Benitz, and Andrew Carroll. Executive producers include Kerry Patton and David Lopez.

The talented, international and diverse star-studded ensemble cast includes, in order of appearance, Kelvin Harrison Jr., Abigail Cowen, Dylan Sprouse, Monique Edwards, Michael C. Hall, Garrett Schweighauser, Gary Cole, Thurn Hoffman, Jay Lee, Laura Dern, Sandra Seacat, Richard T. Jones, Rachel Bloom, Chase Cargill, Paul Walter Hauser, Kathleen Goff, Erick Lopez, Darwin Shaw, Jörg Witte, Takuya Iba, Wes Studi, Eliza Bennett, DeWanda Wise, Piotr Brozda, and Genia Michaela.

Behind the Lines was one of six finalists of the coveted Library of Congress Lavine/Ken Burns Prize for Filmwhich recognizes exemplary documentary films that tell compelling stories about American history. 

“We’re thrilled and honored to be working with the stellar cast and crew of Behind the Lines and to be able to introduce such a profoundly meaningful film to the global marketplace at the American Film Market (AFM) at a time when it is essential that stories like these are told. Behind the Lines is a rare gem that offers a first-hand, well-rounded glimpse into the personal dynamics of war and the far-ranging ripple effects it has on everyone, all over the world,” said Lon Haber, Founder of Lon Haber & Co – IPPR, who is presenting the film to buyers at AFM for the very first time. “Behind the Lines is a commercially viable product with heart, that stays true to its artistic and historic integrity, and one to which audiences from every corner of the globe can relate,” Haber continued.

“Instead of merely focusing on the wars, Behind the Lines delves into the humanity of all who serve and those connected to them with first-hand accounts spanning two and half centuries that range from heart-wrenching to heart-warming and even comedic, depicting what it’s like for those on the frontlines and their families at home on a daily basis,” said producer Jason Pamer. 

“I couldn’t be more proud of this film and how it emphasizes the service and sacrifice of our troops, our veterans, and their families. And we have so many letters and emails that I think this film could be the kick-off to a whole series in which every episode focuses on a single topic or story,” said writer and film subject Andrew Carroll.   

“This personal and emotional journey into the war experience uncovers in stark reality our worst impulses but also the secrets of our shared humanity offering hope, understanding and perhaps even compassion and reconciliation in these divisive times,” said director John B. Benitz. 

Sypher Studios is repped by Neil Sacker at Sacker Entertainment Law. 

THE INSTIGATORS – Review

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It’s funny how an old TV catchphrase will just magically pop into your brain. While watching this new comedy action caper I recalled George Peppard as Hannibal Smith, leader of the NBC 80s ratings juggernaut, “The A-Team”. With a big cigar clenched between his pearly whites, he’d grin and exclaim, “I love it when a plan comes together” as the bad guys’ vehicles would flip over (though there had to be a shot of them climbing out of the windows unscathed for the censors). Well, the two main characters of this film might say, “I hate it when a plan falls apart”. And it does spectacularly for these luckless schmoes, actually played by members of the “Ocean’s Crew” (the 2000s reboot). And though they spend most of the story’s runtime trying to escape and survive, the title ironically labels them THE INSTIGATORS.


In the film’s opening minutes we meet one half of the duo, the stoic Rory (Matt Damon). He’s attending one of his mandatory therapy sessions at a Boston area VA hospital. He says very little, but a few comments concern the staff psychologist Dr. Rivera (Hong Chau). He talks of making a set amount of money (down to the decimal) and then “cashing in his ticket”. Meanwhile, a “low-rent” petty criminal named Cobby (Casey Affleck) gets a grade-schooler to activate the breathalyzer activator on his motorcycle. The two men cross paths at Mr. Kelly’s neighborhood bar. where a hustler named Scalvo (Jack Harlow) enlists them in a heist. The real mastermind behind it is restaurant owner/crime-boss Mr. Besegai (Michael Stuhlbarg) and his partner, bakery chef Richie (Alfred Molina). The big score ties in with tomorrow’s mayoral election. They think the challenger is no match for long-time crooked incumbent Miccelli (Ron Perlman). The big victory party will be held at a fancy riverport ballroom facility where lots of local business owners will show up to “kiss the ring” as they pass along huge amounts of cash. Before the armored car arrives to pick up the payola, the trio plans to sneak in via motorboat and lift the moola. But the next day, the unthinkable happens…a major political upset. However, Scalvo and his bosses decide to proceed. Everything that can go wrong does, and Rory and Cobby are on the run from Besegai’s “retriever” Booch (Paul Walter Hauser) and Michelli’s ex-police enforcer Toomey (Ving Rhames) along with the entire Boston police force. Can these two bunglers “blow Beantown” and cross the border to chilly Canada? And how does Dr, Rivera fit into the big getaway?

The two main actors prove to be a fairly potent comedy pairing. Damon would be the “straight man” of the two, and he more than fulfills that function as Rory is rigid, maybe “uptight”, and somewhat obsessive over the details, frustrating partners as he wants to write everything down, or needing tidbits repeated. Affleck’s Cobby is the wildcard as he scoffs at Rory’s concerns and fears, while making sure his needs are met, insisting he drive with a painful shoulder wound for fear that he’ll be dumped out on the road. The duo becomes a trio with Chau as the clinical Rivera who upholds her ethics and throws out bits of “self-help jargon” as they dodge bullets and evade endless police cruisers. Harlow is quite funny as the team leader who really doesn’t inspire fear or respect as he tries to mimic pop culture tough guys. Much more intimidating is Stuhlbarg as the perpetually annoyed crime boss, who can’t believe he can’t get smarter “goons”. Molina is much more “laid back” as his “right hand” who’d rather just “make the donuts”. Perelman dominates every scene as the blustery, greedy politico who can’t give up his power, or the graft. And he’s hooked on heaping abuse on his assistant, played as a jittery “toady” by the marvelous Toby Jones. Hauser is dripping with sarcasm and snark as Besegai’s “clean-up man”, while Rhames is at his scary surly best as the SWAT tank-driving “muscle” for the Mayor.

So, how do you celebrate 30 years of feature film directing? If you’re Doug Liman you release two big action comedies…to streaming. Earlier this year he was in a big “kerfuffle” with Amazon Prime over his remake of ROAD HOUSE, and now the main outlet for his newest flick is Apple TV+, though it got the briefest, very limited theatrical run. It’s a shame since both movies would have great appeal for fans of big stunt sequences. While the earlier film focused on the fisticuffs, this one has the most auto-destruction perhaps since the original BLUES BROTHERS (both leave piles of “cop cars”) thanks to that SWAT tank, an armored car, and a fire truck! It’s just a shame that the terrific tech crew (stunts and pyrotechnics) weren’t in service of a stronger script. All we are told of Rory is that he’s a vet who wants to do right to the son taken from him, and we know even less about Cobby, other than his boozy behavior and a wonky flirtation with Rivera (talk about rooting for a couple not to “hook up”). Earlier I noted Damon and Affleck’s part in the Oceans franchise, which helps hammer home that this is the opposite of those slick caper stories, as these bunglers are closer to the early 70s cult fave THAT GANG THAT COULDN’T SHOOT STRAIGHT. If only some of the earlier movie’s grimy charm was upgraded. The impressive supporting cast is really putting in an effort, but some of the twists and turns stretch reality and logic too much. The Boston locales are great (unlike this week’s IT ENDS WITH US this town looks frigid and very “lived in”). Unfortunately all that talent never truly ignites or invigorates THE INSTIGATORS.

2 out of 4

THE INSTIGATORS is now streaming exclusively on Apple TV+

INSIDE OUT 2- Review

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Well, now we’re in “prime” Summer movie season mode as one of the big “crowd-pleasing” studios drops its 28th feature film into the multiplexes this weekend. Oh, and it is truly animated with eye-popping visuals and splendid imaginative designs. And after the animal stars dominating the cartoon landscape this year with Kung Fu Panda and Garfield, we’re focusing on a human being, Well, mostly what’s going on in this teenager’s head, so we’re revisiting a set of creatures based on emotions and meeting a bunch of new “feelings”. Of course, I’m speaking of Pixar, who have decided to produce a sequel to a much-admired Oscar-winning 2015 “dramedy/fantasy”, after several interesting original flicks like SOUL, TURNING RED, and ELEMENTAL (so don’t think they’re just exploiting their “IP”). Yes, it’s been nine years, but animation can “tweak” time, so it’s only been a couple of years since we’ve checked in with that young woman named Riley. And there’s a lot going on at her brain’s control center at the start of INSIDE OUT 2.

But there are lots of familiar faces and emotions pushing buttons at “the board”. Joy (voice of Amy Poehler) is still mainly in charge, aided by Sadness (Phyllis Smith), Anger (Lewis Black), Fear (Tony Hale), and Disgust (Liza Lapira). As for Riley( Kensington Tallman), she’s enjoying the last year of grade school playing alongside best pals Grace and Bree on the school’s championship-bound hockey team, the Foghorns. Joy believes a bit part of her success is Riley’s developing “Sense of Self”, a glowing sculpture that emits phrases like “I’m a good person”, which is proudly on display in the control room (Joy made room for it by creating a “launching device’ that hurls “bad” memories way to the back of the brain). The last Summer before high school looks to be even better when Coach Roberts (Yvette Nicole Brown) of the high school’s team the Firehawks, invites Riley and her pals to be part of a hockey camp. It’s quite a lot to dream about, but the emotions’ slumber is interrupted by a loud siren from a flashing red light on the board. Oh no, “puberty’ has “hit”! As Joy and her crew scramble, a construction team bursts through a wall. After the control board is”upgraded”, a new set of emotions arrive. There’s Envy (Ayo Edebiri), Ennui (Adele Exarchopoulos), Embarrassment (Paul Walter Hauser), and their leader, Anxiety (Maya Hawke). During the chaos, Riley learns that Bree and Grace will be going to different high schools. That bad news is offset by the fact that the star Firehawks player, the ultra-cool Valentina (Lilimar) will also be at the hockey camp. This “ramps up” the rivalry between Joy and Anxiety leading to the SOS being flung to the bad memory “dump” just before the hulking Embarrassment stuffs Joy’s team into a jar to be taken far away to a dark vault, and eventually forgotten. Can they escape, retrieve the SOS, and “take back” the control board before Anxiety guides Riley into some terrible decisions? Oh oh, it all rests on the slumped shoulders of Sadness!

Quite an impressive roster of performers has been assembled to give these emotions distinct voices. As for the returning “team”, Poehler just super-charges Joy with an infectious energy and an engaging lilt, though she gets to delve deeper into the frustration of always being the positive “guiding light”. And Black explodes as Anger, pummeling each hilarious retort, a great counterpoint to the halting sweet delivery of Smith as Sadness Oh, I’ve got to also mention the return of the wonderful Diane Lane and Kyle MacLachlan as Riley’s parents, who become more a part of the “framing plot” of the main “sports” story. Now, on to the “newbies”, which include a couple of replacements on Joy’s “squad”. Lapira is an excellent snarky Disgust, while Hale brings a Don Knotts-like jittery panic to Fear. Oh, and as the now teenage Riley, Tallman hits “all the right notes” from sweet to awkwardly desperate and even conniving. And now we get to the new crew, led by the wonderfully zany Ms. Hawke who literally bounces across the backgrounds with a frantic confidence, becoming, at times, the accidental villain of the tale. Her manic delivery is almost matched by the exuberant Edebiri as her “right hand” Envy. The big “scene stealer” might just be Exarchopoulos as the bored, detached Ennui who only awakensr from her sleepy state when her phone-like control device goes missing. And though he has only a couple of lines, aside from some sighs and groans, Hauser is quite effective as the conflicted Embarrassment. In smaller, but pivotal roles, Ron Fuches is achingly funny as the goofy 90s kids TV show icon Bloofy and June Squibb is endearing as the “we’re not really ready for you” emotion Nostalgia.

This is the feature directing debut of Kelsey Mann who truly “hits it out of the park” (maybe a hockey analogy would be more appropriate) with perhaps the best Pixar sequel since TOY STORY 2 (though 3 and 4 are also great). It’s a delicate “tightrope walk” as the familiar elements of the beloved first flick are melded with the new story and the older main character. While Riley had to deal with the big family move last time, now she must decide how to deal with her friends, both old and new. All comlicated by the “P” word in the sophisticated and very funny script by Mann, original scribe Meg LaFauve, and Dave Holstein. Unlike the recent IF, they didn’t hold back on the jokes in favor of the big “heart moments” (and there are plenty). Happily, the talented artisans at Pixar have given this story a dazzling life with vibrant colors and outstanding designs. like Anxiety’s frazzled vertical “water fountain” hair, Embarassment’s bulbous nose sticking out of his tight hoodie, and Ennui’s rubbery body (as though her spine was replaced by the classic toy “Slinky”) who’s always draped over the furniture. I still love that the emotions have no hard “outline” (color or black), but have a grainy edge with specks always moving (much like the leads in ELEMENTAL), unlike Riley and her pals in the “real world”. They’re nice subtle caricatures not too removed from us, unlike the often child-like cartoony looks of the emotions (Anxiety is almost a child’s enhanced “scribble”). And for the first time, the CGI figures are acting alongside 2D “drawn” characters (usually left for the end credits) such as Bloofy and his pal Pouchy who are joined by an “8-bit” video game icon named Lance Slashblade. This leads to some delicious satirical gags about cable kids TV and gaming (love the efforts of Lance to walk out a door). Speaking of gags, one sequence pokes fun at 90s animation “sweatshops”. Plus there are perfect puns a’ plenty, though a few are “groaners”. Yes, there are a couple of moments in the third act, when the pace begins to soften, but the “big game” (excellent action movement) finale brings all the plot threads together into a beautiful bow making us eager to see how Riley and her “brain buddies” handle the new challenges of high school after the touching, clever, witty, and inspiring INSIDE OUT 2.

3.5 Out of 4

INSIDE OUT 2 is now playing in theatres everywhere

Watch Casey Affleck And Matt Damon In First Trailer For Doug Liman’s THE INSTIGATORS

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Apple TV+ has dropped this first trailer for the comedy heist thriller THE INSTIGATORS starring Matt Damon, Casey Affleck, Hong Chau, Michael Stuhlbarg, Paul Walter Hauser, Ving Rhames, Alfred Molina, Toby Jones, with Jack Harlow and Ron Perlman.

Directed by Doug Liman and written by Chuck MacLean and Casey Affleck, check out this first look now.

Rory (Matt Damon) and Cobby (Casey Affleck) are reluctant partners: a desperate father and an ex-con thrown together to pull off a robbery of the ill-gained earnings of a corrupt politician. But when the heist goes wrong, the two find themselves engulfed in a whirlwind of chaos, pursued not only by police, but also backwards bureaucrats and vengeful crime bosses. Completely out of their depth, they convince Rory’s therapist (Hong Chau) to join their riotous getaway through the city, where they must put aside their differences and work together to evade capture—or worse.

An Apple Original Film hailing from Artist Equity, Studio 8 and The Walsh Company, “The Instigators,” is directed by Doug Liman, written by Chuck MacLean and Casey Affleck,  produced by Ben Affleck, Matt Damon, Jeff Robinov, John Graham, Kevin J. Walsh, Alison Winter with Celia Costas, Dani Bernfeld, Kevin Halloran, Michael Joe, Cynthia Dahlgren, Luciana Damon serving as executive producers. 

THE INSTIGATORS will premiere in select cinemas and stream globally on Apple TV+ from 9 August, 2024.