Tag: Prequel

MINIONS & MONSTERS – Review

So, after seeing the new TOY STORY installment (at least once), you say that ya’ just can’t get enough of CG animated franchises? Well, the multiplex movie gods have answered your prayers. Less than two weeks after the return of Woody, Buzz, and their plastic pals comes the newest flick in a series that’s almost half as old. Technically, this is the seventh one in the series, but it’s really the third of the spin-offs. So, has this gang of jabbering yella’ fellas “worn out their welcome”, or do families need another visit from them? Hold on, looks like they’ve brought some company, since this comic adventure is titled MINIONS & MONSTERS.

After a really nostalgic and clever opening credit sequence, we join an inquisitive tour group at a Hollywood movie history museum. When their guide, Olivia (the voice of Allison Janney), shows them the display honoring the Minions, the kiddies are perplexed. She explains as we begin a flashback to a time long ago when the Minions were in search of a “big boss” (they have to be sidekicks to somebody evil and worthy). When things don’t work out with several potential candidates, they make their way to North America. Naturally, there are rebels in the mix (a trio): the plump, silent Ed, artist James, and the dreamer, the writer of stories, Henry. In a desert out West, the team spies a desperate bandit on horseback as he tries to elude a determined posse. Ah, but it seems that the “M squad” has stumbled onto the set of a silent movie in the 1920s. When the chase ends in bustling LA, the flick’s director, Max (Christoph Waltz), believes his epic is ruined. But when he shows the footage to his bosses, Frank and Elwood, the heads of Bright Brothers Studio, it’s a sensation. The duo proclaims that the lil’ guys will be in all their features from now on. Max finds them and proceeds to make the Minions big, popular movie stars. Still, Henry and James want to tell their own stories. But fame is fickle, and the guys fall out of favor with the arrival of “talkies,” AKA sound films. Henry believes that the sure way to get back “on top’ is to make a monster movie. However, all his yellow buddies, except James and Ed, decide to resume their “big boss” quest. Luckily, Henry still has a book of spells from a wizard, so they conjure up a monster, saving on special effects and makeup. Ah, but the lil’ green guy, Goomi (Trey Parker), has an evil scheme up his sleeve. Can he deceive the trio? And what happens when the other Minions find a new “candidate”, a robot-costumed science-fiction fan named Dort (Jesse Eisenberg)? Will they reunite to stop Goomi and finally meet their dream “mastermind”, Gru?

As the old TV commercials used to say (maybe still do) “your mileage may vary”. Here, I’m referring to your own feelings and tolerance for the lil’ “banana bros”. I still find them somewhat amusing in small doses, so I had some trepidation about a third feature. However, much of this does work, at least in the first act or so. By delving into their past, we’re given new backdrops for their comic chaos with some nicely designed “masters”. The international settings are great, but the artisans really shine as they recreate La-La-Land from a hundred years ago. The colors are dazzling with the city still shiny and new. Plus, this works in lots of nifty tributes to the classic stars of the time, though the museum settings also do this with a fun filmmaker cameo. We get a nice riff on the oft-told tale of silents going from sound, perhaps best seen in SINGING IN THE RAIN and THE ARTIST (let’s try to forget the wretched BABYLON). Oh, this would be a terrific TV special, a splendid streaming thirty minutes or so. But then, it keeps going. The plot requires the M’s to split up and bounce between the “A and B’ stories. And neither are half as engaging as the opening. Per the title, we’ve got to meet those monsters, led by the Lovecraft-inspired Goomi, with Parker tweaking his Cartman tone. His larger henchmen, Howard and Phil (aha, H P), aren’t that interesting, though Irene, the “mega-monster”, is more compelling with her zillion eyeballs floating in caramel pudding look. In the “B” zone, Dort doesn’t transcend the old “nerd SF geeks” cliches even as he begins a romance with a sweet suffragette, Debbie, voiced by Zoey Deutch. As for the other vocal talents, Bridges seems to be having fun as the twins (one mellow, as the other fumes), and Waltz brings lots of Stroheim-zeal to Max. Once more, all the Minions are played by this film’s director, Pierre Coffin. It’s a shame he has to pad out the plot, since the physical acting is superb and the images compare favorably with the Pixar wizardry. But by the time the extended finale showdown finally concludes (guessing this is a kaiju/Kong satire), the kids may be exhausted beyond the somehow lengthy ninety-minute runtime. It’s an improvement over the previous two flicks, but the separate plots and urban destruction detract from the silent era celebrations at the heart (and opening) of MINIONS & MONSTERS. And, speaking of the latter, why are there none of the classic movie monsters in this release from Universal Studios (at least Lon Chaney, Sr.)?

3 Out of 4 Stars

MINIONS & MONSTERS opens in theatres everywhere on Wednesday, July 1, 2026.

WICKED: FOR GOOD – Review

So, here’s a riddle that could flummox a few filmgoers. When is a sequel technically not a sequel? Now, we’re not referring to a number following a title (GODFATHER II comes to mind), or an entry in a series (as with James Bond or even Sherlock Holmes). That’s when a new film is a conclusion, ending a big story that’s split in two, usually shot at the same time. Pierre Spengler and the Salkind family famously produced two 70s adaptations this way, with the Three Musketeers (allegedly some of its stars weren’t told the movie was going to be split) and the big budget Superman (replacing the director for the concluding flick). That method was revived with Peter Jackson’s Lord of the Rings and Hobbit films. And when the last Harry Potter book was too epic, it was spread over two (as was the big Avengers/Thanos battle). Now, we come to the case of a big Broadway stage musical hit (it’s still running there), that the producers felt was just too complex for one cinema experience (plus, they could perhaps double the box office). The “first act” was a huge smash at the end-of-the-year holidays in 2024 at the multiplex, so now they’re hoping that much of that massive audience will want to “return to Oz” in 2025 for WICKED: FOR GOOD. Grab your brooms and wands…


The fantasy fable begins just a few miles from the Emerald City as the Wizard’s workers and official guards crack the whip on some harnessed lumbering beasts (looking like a hybrid of the buffalo or yak) in order to finish the long, winding Yellow Brick Road. But those abused animals have an unlikely rescuer. Soaring down through the clouds is not a caped superhero, but a wicked witch, Elphaba (Cynthisa Erivo). She frees the creatures after a brief battle, then heads skyward. Meanwhile, the Emerald City and Munchkinland are littered with banners, posters, and leaflets warning the populace of this “green-skinned menace”. There, her old Shiz College roommate Glinda (Ariana Grande-Butera) is the spokesperson (a bright, calming face) for the Wizard (Jeff Goldblum), while Madame Morrible (Michelle Yeoh) is his crafty consort in the shadows. The duo convince Glinda that it would help unify the citizens if she announced her engagement to the newly appointed Captain of the Wizard’s Guards, Fiyero (Jonathon Bailey) at that day’s big city ceremony. This comes as a surprise to him, since he still secretly harbors feelings for the “enemy of Oz”. Later, Elphaba encounters several animals trying to leave Oz through a tunnel under the YBR that would lead them to a desert land far away from oppression. She tries to rally them, but the animals reject her when a certain timid feline explains that “El” cast a spell that made the monkeys sprout wings. From there she visits her estranged sister Nessarose (Marissa Bode)who has been appointed governor of Munchkinland after the death of their father. In her office, her former beau Boq (Ethan Slater) is now her servant and is prohibited from traveling, along with all the Munchkins. After enchanting Nessa’s shoes (really slippers), Elphaba is stunned when her sister snatches her book of magic, the Grimmerie, and tries to put a love spell on Boq. When this threatens his life, El uses her powers to avert a fatal tragedy, changing him forever. It’s then that she decides to return to Emerald City to strike a truce with the Wizard to free the animals. This also results in a happy reunion with her “Shiz sister”, but El soon learns of the Wiz’s sinister future plans. As she speeds away on her broom, Morrible hatches a deadly plot. She’ll use her weather manipulation magic to endanger Nessa and lure El to her doom. But what happens when an innocent from another world is thrown (lands, really) into the conflict o Oz?

While the focus of part one was “up for grabs” (and wasn’t Universal a bit wicked for hiding that “listing’ in the 2024 marketing), here it’s clearly Erivo as the often distraught but determined Elphaba. Sure, she’s an avenging rebel in many sequences, streaking out of the sun with more speed than any action hero from Marvel or DC, but there’s a real sadness hovering just under that pointy hat. Erivo’s haunted gaze informs us of her sacrifices, as she must endure the vilest of hateful propaganda in order to help all of Oz. That’s in addition to her musical mastery that’s matched by her best screen partner, Grande-Butera as the now “less-flighty” Glinda. She’s also torn by her faith in the Wizard and her still-present affection for her Shiz sister. We get fewer funny moments with her this round (only a couple of “hair-flips”), as the character becomes more, dare why say, introspective, even examining her privileged younger years. This time out, Bailey is more of a swashbuckler than a flamboyant song-and-dance dude as the now military-minded Fiyero. Ditto for the much darker, dramatic turn as the tormented Boq. His former sweetheart has also taken a turn to tyranny, and Bode as Nessarose conveys her conflict as she yearns for the better times with her sister and old beau. And is there a better devious duo than the quirky but still charming Goldblum and the slinky, sinister Yeoh (love her sneering at Glinda) as the Wizard and Morrible? Happily, Bronwyn James and Bowen Yang return as Glinda’s old classmates, Shenshen and Pfannee, who are now Oz PR staff while bringing some much-needed levity.

Finishing the fantasy is director Jon M. Chu (unlike Richard Donner on the 78 Superman), who keeps the story rolling along and even inserts an action thriller aesthetic recalling his time in the GI Joe franchise. But he really shines in crafting the incredible production numbers, either the soulful ballads by Elphaba and Glinda or the big brassy bits with nearly of the Emerald City, which is just as gorgeous and green as before. Yes, like the first half, the production design, costumes, and backdrops (all the colorful flora and fauna) are delicious eye candy (what a great fodder for a “making of” coffee table tome). The expert effects work add to the visual wonders, with CGI making us believe in the Oz animals (especially those “winkeys”), even helping to put a new spin (no doubt to appease MGM/WB) on that iconic OG quartet. And in order to fill out the story’s second act (on stage, act two is usually shorter) musical wiz Stephen Schwartz has created a couple of new tunes. They’re hummable, but the real highlight is the title number “For Good”. But really, the most sensational songs are in the part. Nothing here has the infectious bounce of “Popular”and “What is This Feeling?” or the soulful yearning of “The Wizard and I” (the “I want” number) or the soaring majesty of “Defying Gravity”, but they’re going for the action and drama which isn’t quite as fun as the “big set” and character intros of last year’s flick. Still, this is a big splashy spectacle which should delight fans and families (though the tots may need some help through scarier violent bits) who want to continue the epic fantastical fable that concludes (maybe) with WICKED: FOR GOOD.


3 Out of 4


WICKED: FOR GOOD is now playing in theatres everywhere

BALLERINA (2025) – Review

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


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

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

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

2.5 Out of 4

BALLERINA is now playing in theatres everywhere

MUFASA: THE LION KING – Review

With Christmas less than a week away, the “Mouse House” has decided to send another family-friendly flick into the multiplexes to share space with its recent “box-office behemoth” MOANA 2 (which is still in the number one spot). Oh, and this is somewhat of a sequel, too. When the Marvel Cinematic Universe made a huge cinematic splash, many studios wanted to create their own versions of a “brand”. Naturally Warner Brothers had their DC Comics line (which is getting a big “re-do”) and Universal keeps attempting a “Dark Universe’ based on those classic monsters (THE WOLF MAN is on the way next year). And though Marvel is a partner, Disney itself is “getting into the act” with their legacy of classic animated tales, the twist being that they’re being remade in “live-action”. This new film is unique in that it is “technically” an animated film with pixels replacing the pencils involved with 2-D “hand drawn” films. And, as I mentioned earlier, this is the first sequel. to one of these remakes. Ah, but it’s actually more of a prequel, since its main focus is the “origin” story of MUFASA: THE LION KING.

This film begins a few years after the finale of THE LION KING, as we return to the denizens of Pride Rock. Nala (voice of Beyonce Knowles-Carter) has embarked on a “sabbatical” in the deep woods leaving her daughter Kiara (Blue Ivy Carter) with Papa Simba (Donald Glover). But now it’s time for him to join her so he enlists three “babysitters”: Pumbaa the warthog (Seth Rogan), Timon the meerkat (Billy Eichner), and the shamen-mandrill Rafika (John Kani). Kiara is frightened by the approaching thunderstorm, so Rafika decides to calm her by telling the story of her grandfather, Mufasa. His blissful life as a royal cub is shattered by a flood that separates him from his adored parents. Mufasa is swept far away by a swift stream until another cub, Taka, pulls him onto the shore. The two return to Taka’s pride, where their king, Obasi (Lennie James) shuns him and pushes him toward the females, led by his mate Eshe (Thandiwe Newton). Luckily she is a nurturer and encourages Mufasa’s “gifts”. The years pass, and teenaged Mufusa (Aaron Pierre) and Taka (Kelvin Harrison Jr.) practice their hunting skills and encounter a pride of white lions known as “The Outsiders” ruled by the cruel and avaricious King Kiros (Mads Mikkelsen). When they attack Obasi’s pride, the two teens begin a desperate journey to find the bountiful land known as M’Leilei. Along the way, Mufasa and Taka are joined by a young lioness named Sarabi (Tiffany Boone) and her scout/servant, the hornbill Zasu (Preston Nyman). And they luckily run into their guide, the younger Rafiki (Kagiso Lediga), but can his mystical skills protect them as Kiros and his pack trails them in order to enact his vengeance? Friendships are tested and changed for good during the long hard trek.

Though it’s been five years since the remake (the original just turned thirty), those returning voice actors slip right back into their roles as though they were in the recording studio yesterday. Especially potent is the comic chemistry between Eichner and Rogan who riff like a classic vaudeville comedy team, with Pumbaa a bit more of a lunkhead who beams with pride about his “fragrance” while Timon is the motor-mouthed wiseguy who delights in breaking (not the wind like his BFF) the “fourth wall”. Spin-off, please. In her acting debut, Miss Carter projects a sweet energetic innocence as the future queen. Both Kani and Lediga give Rafiki the proper gravitas and magical mentoring. Pierre is an engaging lead who goes from confusion to confidence as the king-to-be, while Harrison relates the pressure of his lineage while slowly succumbing to very human emotional faults. Boone is a spunky heroine who can dive into the action right alongside the fellas. James is a great blustering and conniving king as Obasi. The film’s best asset might be the compelling Mikkelsen who accentuates each threat with a sneering snarl making Kiro a fearsome villain. He’s pure silky menace.

Aside from the film’s unique structure as a sequel/prequel, it’s got another unusual filmmaker for an animated film in the director’s chair. It’s helmed by the acclaimed crafter of live-action dramas (MOONLIGHT, IF BEALE STREET COULD TALK), Barry Jenkins, who is working from the screenplay by Jeff Nathanson (based on the 1994 film). He gives the story an added emotional heft, slowly zooming in during essential conversations and confrontations. Of the latter, he brings lots of excitement to the deadly encounters, from hungry crocs to the revenge-obsessed Outsiders. The African environments are stunning, going from arid plains to snowy mountains and particularly the utopia of M’Leilei with its lush vegetation. But despite the advancements in CGI, the animals (though expertly rendered) just can’t convey the bravada acting and emoting of those hand-drawn icons of that 90s classic. Though they’re caricatures the gestures and expressions tell us so much more than these computer creations. It helps that the coloring and voices make the main characters here more distinct, along with the voices, but I can still mix up the principals. Wisely, the narrative cuts back to the present, to provide some welcome comic asides from T & P, but the pace seems to drag before the big reveals of the third act (key settings and props are introduced). Perhaps another “pass” at the script was needed to trim a few minutes. Still, it’s a well-crafted extension of the story rather than a quick “cash grab” like the straight-to-home video follow-ups back in the VHS “glory days”. A few more memorable songs might have helped since none of the new tunes comes close to the stellar work of Elton John and Tim Rice. But kids that are “crazy about critters” will be happy to return to the exotic “pride lands” as they explore the legend of MUFASA: THE LION KING.

2.5 Out of 4

MUFASA: THE LION KING is now playing in theatres everywhere

A QUIET PLACE: DAY ONE – Review

After a weekend with some original (though nostalgic) content at the multiplex, we’re back with a new installment of a very popular SF-thriller franchise that’s now six years old. It’s the third follow-up, though not a continuation of the last one from 2020. That’s because this is not a sequel, but rather a prequel, giving us the “backstory” to the event of the original. And since there are no characters from that flick, this could be considered a “spin-off”. Not to worry as this is no confusing “hybrid” unlike a similar action blockbuster (which didn’t “bust many blocks” at the box office) from a few weeks ago, FURIOSA: A MAD MAX SAGA. While that one certainly tested many theatre sound systems, the decibel level should be much lower when in use for A QUIET PLACE: DAY ONE. Shhhh…

The setting for this cinematic “flashback” shifts to the Big Apple, although the opening scenes take place a few miles away, in the NYC suburbs at a hospice facility. A senior nurse, Rueben (Alex Wolff) conducts a group therapy session for several of the terminal residents. But one of them is not “into it”. That’s Sam (Lupita Nyong’o) who has no filter (“This place is s*#t”) and would rather just wait for the end with her beloved cat Frodo. Rueben thinks he can get her out of her “funk”. He’s organized a field trip into Manhattan for a (short) theatrical presentation. Sam strikes a deal that she’ll come along if, and only if, they grab some pizza in the city. On the bus ride there she observes several fighter jets zooming overhead. Finally, they arrive for a (oh no) puppet show. When Sam and Frodo duck out to grab a snack at a nearby bodega, sirens are heard. They run into Rueben as he tries to hustle everyone back on the bus as per the loud warning messages from several rapid military vehicles (no pizza). The trip is cut short as objects from the sky (maybe bombs or meteors) explode onto the street. Sam’s knocked down during the chaos and awakens back inside the theatre. The city is under attack, overrun by huge spider-like sightless creatures that destroy anyone that makes a sound. Helicopters using loudspeakers (agitating the monsters) blare out a message that all survivors should make their way, silently, to the south dock area where boats will ferry them to safety since the aliens can’t swim. As the throngs march quietly through the streets, Sam goes against “the tide” to Harlem for her favorite pizza. On her journey, she and Frodo become part of a trio when a lost British law student named Eric (Joseph Quinn) joins them, much to Sam’s chagrin. Does she have the strength to evade the invaders? And can she and Erik make it to the boats in time?

The script brings a great challenge to the cast as they must communicate and express their emotions mainly through their eyes and body language, harkening back to the early days of silent cinema. And the compelling Ms. Nyong’o is more than up to the challenge, though she’s also terrific in the opening, pre-attack sequences as she verbally tosses snarky spears at nearly everyone around her (and then there are the eye-rolls as she discovers the type of show she’s agreed to see). Yes, she conveys the wide-eyed fear and panic, while never letting us forget that Sam is also pushing through agonizing pain as cancer ravages her body. Later, there’s her frustration as this “dufus in a suit” just won’t be on his way, which finally melts into admiration and real, and probably final, human connection. As her unlikely sidekick. Quinn also must temper the terror with his need to forge that connection and dissolve Sam’s “steel wall” of negativity. Plus he proves to be an unorthodox action hero as he ventures into the scary empty city in search of the meds that will ease Sam’s suffering (and discovers the monsters’ secret lair). Wolff is very good as the “by the book” official who secretly is amused by the defiant Sam. Kudos also to the impressive supporting work of Djimon Hounsou as the powerful father figure who’s the big “carryover” character in another part of the series. The scene where he must do the unthinkable to protect his son (while hoping that he’s not seeing it) is heartwrenching.

Aside from the new central characters in this entry, a big “player” behind the scenes has stepped away from the director’s chair. John Krasinski was busy with a more pleasant vision of the Big Apple full of friendly beasties in IF, so he’s handed over the helming reigns to Michael Sarnoski (PIG), though they teamed up on the script. Sarnoski captures that feeling of doom and dread, especially as we get several hints early on (jets in formation) that all Hell was soon “break loose”. When it does the city blocks are covered in white ash, almost as though a sudden blizzard has stopped everything (and reminding us of that fateful September morning in 2001). And while there are grand, epic “set pieces” of the aliens scurrying up buildings, Sarnoski really focuses on the folks at ground level. This is best highlighted in a mass exodus street scene in which the smallest noises alert the beasts who zip through the crowds, picking off the marchers with swift efficiency. It’s nightmare imagery, building on the hopelessness hinted at as the bridges to the city are taken out hinting that the feds think that our greatest metropolis is a “loss”. Yet amidst the carnage we’re really drawn into the dynamic of Sam and Erik as she finally finds something to live for just as everything seems to be over for humanity (and her rejoining it). Sure, it’s an “end of the globe” spectacle (with splendid CGI effects of the insect-like “rippers”) much like the variations of I AM LEGEND, but it’s the blossoming friendship that offers a glimmer of joy and hope in the truly original origin story at the center of A QUIET PLACE: DAY ONE.

3 Out of 4

A QUIET PLACE: DAY ONE is now playing in theatres everywhere

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

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

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

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

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

One Out of Four

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

PEARL – Review

So, it’s looking like 2022’s box office final returns will be dominated by a film that’s already nabbed a spot in the all-time “top ten” earners, that’s TOP GUN: MAVERICK of course. Ah, but will the year be mainly known for one big sequel? No, perhaps not since a prequel did very very well, the last Gru/Minions outing while another did, hmm…not so well (LIGHTYEAR). But we’re about to get another prequel that’s not animated and it’s from a flick that was released just six months ago. And since its focus is on a character from the earlier film, it could also be considered a “spin-off”. Oh, that March film was titled simply X. And I have not seen it. So this puts one of my staunchest movie beliefs to the test: you shouldn’t have to see the original to enjoy (or not) a follow-up. Naturally, I hold the same belief for novels, plays, and even old TV shows (never saw a single “ep” of “Downton Abbey”, but liked the first feature film). So I’ve got “fresh eyes’ to gaze upon the gleaming gem that )maybe) is PEARL.


The A24 logo fades into an idyllic Texas farm, bathed in, some might say, oversaturated colors, way back in 1918 (maybe the pseudo-Technicolor evokes nostalgia). Oh, but the gloom in the house offsets the rosy hues. Eighteen-year-old Pearl (Mia Goth) has dreams of worldwide fame and fortune, but for now, she has to deal with her “uber-stern” German-born mother Ruth (Tandi Wright) and tend to her near-comatose mute quadriplegic papa (Mathew Sunderland). She also has to tend to the animals in the barn that she’s named after movie actresses (the lamb is Mary, natch’). And there’s another animal she “provides” for, a ravenous alligator named Theda, who glides through the nearby pond in the woods. Luckily Pearl has one human friend that occasionally visits, her upbeat blonde sister-in-law Misty (Emma Jenkins-Purro). Yes, sister-in-law. Pearl’s married to her brother Howard who’s serving his country in the last months of WWI, while back home everyone’s in a panic, or pandemic, over the Spanish Flu outbreak. Yet somehow Ruth allows Pearl to bicycle into the nearby town to pick up medicine for papa. Of course, Pearl has to take in the newest “flicker” at the movie palace where she can dream of being one of the chorus girls on the screen. It’s there that she encounters the theatre projectionist (David Corenswet), whose matinee-idol smoldering looks inspire more fantasies. Soon, Misty tells Pearl of the auditions at a local church for a dance troupe that will tour the country. But when word of it reaches Ruth she forbids Pearl from trying out and promises to keep her locked in her bedroom. Oh, she doesn’t realize that nothing’s going to stand in the way of Pearl’s quest for stardom. Nothing and no one, so Pearl will take whatever steps, even….

Well, you can probably guess, even if you were in the dark like me. And that’s just one facet of the “go for broke” performance in the title role by Goth (what an apropos last name for someone doing horror flicks). In nearly every scene, her animated face nearly leaps off the screen (no 3D needed), so you can imagine that Pearl would be a silent screen siren. Her upbeat smile adds to the comic interludes while her tears elicit sympathy for the put-upon heroine. But then the light goes out of those eyes and Pearl switches into a relentless being of chaos and sends chills down our spines. Her energy is almost matched by Wright, who seems to spew Old World venom (much of her dialogue is in German) as she unleashes her anger over “the bug” and the hatred towards her birthplace on her daughter. Counter-balancing that intensity is the “laid-back” laconic delivery of Corenswet who tries to trap Pearl in a web of his lusty charms. His cool, yet creepy demeanor doesn’t result in the “love em’ and leave em'” scenario that may have worked in other tiny burgs. Jenkins-Purro is the light to Goth’s darkness, a kind soul who only wishes to offer a helping hand and is dragged into the mire instead. It seems there’s no room in this world for her warm glow. And several scenes work due to the restrained work of Sunderland who gives weight to the adage that “the eyes have it”. His widened moist glare says more than any histrionics.

Word is that director Ti West concocted the screenplay via Zoom with Goth during the making of the first flick, X. This enabled them to go right from the previous one to this in a matter of days, which is pretty unique. And I’m thinking that the “behind the scenes” story might make for a more compelling film. Despite my admiration for Goth’s emoting, the rest of the flick just seems “all over the place” in tone and style. It starts as “high camp” with Golden Age Movie titles superimposed over the candy color farm and enhanced by the overly-lush orchestral score by Tyler Bates and Tim Williams. Then there are the tragic dramatic elements of soul-draining family life as Ruth squelches the joy from Pearl’s spirit. It’s then a sharp turn into an erotic thriller as Pearl watches a real silent “stag film” while the projectionist looms over her to savor her reactions. This all builds up to a third act packed to the gills with patricide, “gross-out” imagery (that pig), and mean-spirited cruelty in lingering close-ups, proclaiming once more, that in the “edgy” modern horror flicks, evil must triumph and the good are punished for their compassion. And to nitpick a bit, what 1918 theatre had a synchronized record for their feature.?And why do the audition judges dress in old wild west costumes? To sum it up, Goth’s great didn’t need to see the original (if it’s streaming on a rainy day…maybe I’ll catch up), wildly uneven, though it’s got more style than most of these thrillers. It’s not unflawed, but there are a few sparkles found in PEARL

1 and a 1/2 Out of 4

PEARL is playing in theatres everywhere

LIGHTYEAR – Review

SCI-FI ACTION ADVENTURE – The definitive origin story of Buzz Lightyear (voice of Chris Evans), the hero who inspired the toy, “Lightyear” follows the legendary Space Ranger on an intergalactic adventure. Also featuring the voices of Uzo Aduba, James Brolin, Mary McDonald-Lewis, Keke Palmer, Efren Ramirez, Peter Sohn, Dale Soules, Taika Waititi and Isiah Whitlock Jr., Disney and Pixar’s “Lightyear” releases June 17, 2022. © 2022 Disney/Pixar. All Rights Reserved.

This weekend’s big new studio release is another bit of a Summer celebration (as if there aren’t lots of such warm weather happenings). Is it because it’s an animated feature? Sure, it’s the first big one of the season, but there are other, major reasons. Well, it is a prequel to a much-beloved nearly thirty-year-old franchise. Oh, but most importantly, it’s from the fine folks at Pixar. And why are they cheering down at their HQ in Emeryville, CA? If the main title had a “sub-heading” that followed a colon, that might state “Escape from Streaming”, maybe. At long long last, A Pixar flick is heading straight to the multiplexes, and not premiering on the Disney+ streaming app, after more than two years (ONWARD opened in early 2020 just before everything closed). And this is a big epic blockbuster that deserves the widescreen treatment since we’re headed to (say it with me) “infinity and beyond”. It’s the “pre-toy” saga of everybody’s favorite Space Ranger, the hero known as LIGHTYEAR.

Speaking of the “T” word, an opening title card informs us that this is the movie that young Andy saw before he got his new favorite plaything a year later, in 1995. The action begins as a huge interplanetary transport cruiser lands on a distant world, far from Earth. it is piloted by former Space Ranger ‘Buzz’ Lightyear (voice of Chris Evans) and his BFF Alicia Hawthorn (Uzo Aduba). And. wouldn’t ya’ know, it’s a very hostile planet with serpent-like vines grabbing at the duo (and an unlucky cadet), and the ground trying to swallow the entire ship. The trio barely makes it back to the cockpit, allowing Buzz to rocket them back into the cosmos…almost. A jutting mountain cliff damages the engine, forcing him to land on a vast mesa, high above the dangerous ground level. After much effort, Buzz and the ship’s crew believe that they have repaired and re-charged the crystal that powers the vessel. But just to make sure, Buzz will make a test run in a small jet-style explorer. All seems to go well until the crystal fails in his final approach to the return airstrip. Only minutes after he took off, Buzz is stunned to see that the crew is building a city. And Hawthorn is now the commander (and has a few grey streaks). She tells him that six years have passed while Buzz feels he’s been away for mere moments. He throws himself into preparing for another test run, as Hawthorn gifts him a robot cat named SOX (Peter Sohn). He begins a series of flights with the same result: he doesn’t age while Hawthorne starts a family. Eventually, she’s not there to greet him upon his return. Instead, her job has been filled by the “iron-fisted” Commander Burnside (Isiah Whitlock, Jr.), who tells him that the tests are over. Ah, but SOX has solved the crystal problem, so Buzz steals a fighter, which leads to him meeting a ragtag trio of cadets on the surface and facing off against an army of aggressive robots and their black-cloaked master.

Well, let’s get this right out of the way…Buzz has a different voice with “Tim the Tool-Man” re-imagined as the “one true” (yup, my childhood hero) Captain America. But it’s not a huge leap as this Buzz is so different from the often delusional “action figure” in Andy’s room. And Evans is just perfect as a swaggering SF movie hero, who, honestly can also be a bit of a doofus. He says that his “self-narration” helps him focus, but it just adds to his child-like charm. But that’s not to take away from some of the big adult decisions Buzz must ponder in the story’s thoughtful, but still exciting finale. Aduba is a great “straight woman”, big sister, and a nurturing matriarch to him as Alicia. She’s in stark contrast to the energetic and often bombastic “next-in-line” Burnside given a snarling growl by Whitlock. They all take a backseat in the cockpit to the film’s big scene-stealer SOX whose mellow tones and “robo-talk” (bee-bop-boop) are courtesy of the gifted Sohn. Still, there’s lots of comedy to spare thanks to the wonderful trio of misfit space cadets who often baffle Buzz. Keke Palmer is sprightly upbeat and determined as Izzy, who offsets the often surly and grumbly Darby voiced by Dale Soules. The duo gives great support to the dim, “Inkpen-obsessed” Mo whose vocal stylings come from comedy “jack-of-all-trades” Taika Waititi. And I can let spill that the “big baddie”, Zorg (hey, he’s in the franchise’s “merch”) is given gravelly gravitas by James Brolin.

This could be considered a bit of a “direction change” from the Pixar artisans, as this plays almost like a straight adventure film, though a lot of humor is sprinkled throughout. Sure there are several nods to the TOY STORY films, but it earns its PG-13 rating with lots of suspenseful action set pieces and some truly scary alien “creepy-crawlies”. First-time director Angus MacLane (he co-directed FINDING DORY) wass up to the challenge of putting a “new spin” on a now-iconic movie character, as this version of Buzz had to look more like the “human” designs of Andy and his family rather than the “plastic-modeled” product we’ve seen since 95. And it had to be similar to the cinema of that year leaning more into STAR TREK (the features and TV shows) than STAR WARS (still a couple of years away from the prequel trilogy). It’s at first jarring to see Buzz out of his “purple swimming cap”, but it helps bring out his humanity. It also helps that the overall character designs are so appealing, especially the animation “acting” of Mo and the usually “exploding” Burnside. Ditto for the look of the film, from the “monster world’ to the different ships and spacesuits. Extra credit to MacLane for his work on the script with Matthew Aldrich and Jason Headley, which mixes the action melodramatics with a subtle affectionate satire. Sure, some will miss the old “play pals”, but most fans (even the older teens) will find lots to like in imaginative, inventive LIGHTYEAR. This “blast-off” is truly a blast.


3 Out of 4

LIGHTYEAR opens in theatres everywhere on June 17, 2022

THE KING’S MAN – Review

Ralph Fiennes as Oxford in 20th Century Studios’ THE KING’S MAN. Photo Credit: Courtesy of 20th Century Studios. © 2020 Twentieth Century Fox Film Corporation. All Rights Reserved.

So, here’s a bit of a “flip”. This pre-holiday Wednesday sees the release of two sequels, SING 2 and MATRIX: THE RESURRECTION (not that unusual for the big studios). So, what almost “balances” them out? Why a “prequel”, naturally. And though you’d think that the first film of this franchise back in 2015 would count as an “origin” story, this one goes further back. Much further, nearly a hundred years really. In that first flick, a super-secret society was in full operation, but we didn’t know how or when it was first formed. Well, wonder no more. It’s time to head down for a “fitting” and learn about that original “sharp-dressed man”, THE KING’S MAN.

It all really begins near the turn of the 20th century, as the wife and son of British military man Orlando Oxford (Ralph Fiennes) visit him at a remote foreign outpost. A surprise attack results in tragedy despite the best efforts of their trusted valet, Shola (Djimon Hounsou). The now widowed Oxford must raise his son alone. As he becomes a strapping teenager, Conrad (Harris Dickinson) displays great fighting skills as he trains with Shola. Ah, but the now Duke of Oxford will not allow his son to follow him into the armed forces. This even after a meeting with old friend General Kitchener (Charles Dance) and his aide Morton (Matthew Goode) concerning foreign agents activity. Most of these operatives are part of the “Shepherd’s Flock” who report to a mysterious shadowy leader working atop a nearly impenetrable mountain mesa. At his table are Mata Hari (Valerie Pachner), Hanussen (Daniel Bruhl), and the sinister Rasputin (Rhys Ifans). They devise a plan to plunge Europe into world war by manipulating King George, Kaiser Wilheim, and Tsar Nicholas (all played by Tom Hollander). When one of these spies tries to kill Conrad, the Duke decides to get involved and confess that he’s using his own spy network of servants, with the help of Shola and housekeeper/nanny Polly (Gemma Arterton). As global conflict looms the quartet travels the globe trying to thwart the master plans of “The Shepherd”. But when war does break out can the Duke stop his son from enlisting? And should he expand his society in order to prevent future masterminds?

After the previous films in the series, it’s a bit of a surprise that the main “man of action” this time out is screen vet Fiennes. He propels the story deftly going from will action, yes I know there are doubles, but it’s still fairly impressive) and moments of great sorrow and angst. Earlier this year he did great work on THE DIG (if you’ve got Netflix make time for this) and NO TIME TO DIE (a pro-active “M”), and he does the “heavy lifting” on the uneven script. The Duke can’t quite bring the same intensity to his son’s character. Conrad is earnest, smart, but a bit bland despite the best efforts of Dickinson. Aside from butting heads with his papa, he’s a catalyst to the agency’s start. Ifans seems to be having a grand time as the truly unstoppable real-life ghoul of history, Rasputin, exuding unbridled lust and feral ferocity. He doesn’t give off the same exotic charisma as Christopher Lee did over fifty years ago, but he’s a worthy adversary for the Oxfords. Hounsou is a terrific advisor and “gadget guru” as he toils in the shadows making much more of an impression than the criminality underused Arterton as third-in-command Molly. She does make a mark in a big action sequence, then seems to vanish for too many scenes only popping up to inspire the Duke and hint at her romantic “pining” for him. My hopes that we’d see a bit of her Gretel role in this film were coldly dashed. Almost having as much fun as Ifans is Hollander who juggles lots of mannerisms and accents in his multiple roles.

Veteran franchise director Matthew Vaughn still brings a lot of kinetic energy to the splashy action sequences, though his jumps into ultra “slo-mo” can curtail the momentum. Unfortunately, these bits of daring feel few and “far between”. There seem to be far too many conversations setting the historical settings and the big action-setpiece final act. Perhaps another “pass’ at the script that Vaughn co-wrote with Karl Gajdusek might have smoothed it out. As it stands, the script lurches about, changing tone so swiftly as to induce whiplash. One minute it’s a tragic adventure, then suddenly it’s a raucous comedy full of buffoonish caricatures, then it’s a tale of high political intrigue. The biggest stumble might be a sequence set during the “last great war’ with the trenches seemingly leftover from the much-better 1917, along with a desperate clash in “No Man’s Land” that pales next to a certain Amazon’s charge toward the guns. Its harsh reality doesn’t fit with the outrageous fantasy elements, let alone the raunchy slapstick of the ghoulish horny Russian. Then all the plots collapse on themselves (blackmail in the White House), in order to get to the “franchise formation”. It just all feels tired and more than a little stale (the film’s been sitting in a vault for two years, so it’s well past its “expiration date”). If you’re in the mood for a big comics-inspired “thrill-machine” there are much better choices than the tepid, tedious, “back-story” of THE KING’S MAN.

1.5 Out of 4

THE KING’S MAN opens in theatres everywhere on Wednesday, December 22, 2021

THE MANY SAINTS OF NEWARK – Review

(L-r) BILLY MAGNUSSEN as Paulie Walnuts, JON BERNTHAL as Johnny Soprano, COREY STOLL as Junior Soprano (in back), JOHN MAGARO as Silvio Dante, RAY LIOTTA as “Hollywood Dick” Moltisanti and ALESSANDRO NIVOLA as Dickie Moltisanti in New Line Cinema and Home Box Office’s “THE MANY SAINTS OF NEWARK,” a Warner Bros. Pictures release. Photo credit: Barry Wetcher / Warner Bros. Courtesy of Warner Brothers Studios

The highly-anticipated “Sopranos” prequel THE MANY SAINTS OF NEWARK finally arrives in theaters and proves that it was worth the long wait. “The Sopranos” was the influential, award-winning television series that likely started the binge-watching phenomenon, but one of the nice things about this mobster drama is that there is no need to be a fan of the long-running series, or even to have seen a single episode, to fully enjoy this film and be drawn into its well-rounded world and thrilled by its surprise-around-every corner plot. There is plenty here for any fan of mobster movies or twisty thrillers generally. But if you are a Sopranos fan, there are plenty of extra thrills in seeing characters only talked about in the series or younger versions of favorites like Paulie Walnuts and Silvio Dante, and discovering how New Jersey mob boss Tony Soprano and his world came to be.

Focusing on the Soprano-Moltisanti branch of New Jersey’s DiMeo crime family, the film gives an introduction to the world of “The Sopranos” and every major figure from the series at an earlier time. However, if you are a Sopranos fan expecting this film to deliver you right to the doorstep of Tony’s home, with the late James Gandolfini as the grown mob boss trundling out in his robe to get the morning paper, this ain’t it. The story ends with Tony still young but with a brilliant script by series creator David Chase and Lawrence Konner and strong direction by Alan Taylor (whose work included episodes of The Sopranos and Game of Thrones), THE MANY SAINTS OF NEWARK has creator David Chase’s fingerprints all over it and fully sets up how Tony Soprano and his world came to be, setting the stage for that iconic shot that opened every show but with room to fill in more details.

Set in the turbulent late ’60s and early ’70s in Newark, New Jersey, the story incorporates real historical events, as rival gangs challenge the powerful DiMeo crime family and racial tensions and changing times rock the city of Newark. The film’s striking cinematography by Kramer Morgenthau brings the turbulent times to life, while production designer Bob Shaw (who was with “The Sopranos” for five seasons), effectively recreates the period and the feel of the Sopranos’ world.

THE MANY SAINTS OF NEWARK introduces us to 11-year-old Anthony Soprano (William Ludwig) and then 16-year-old Tony Soprano (Michael Gandolfini, son of the late Sopranos star). But the young Tony is less the central figure in this tale than his Uncle Dickie Moltisanti (Alessandro Nivola), who was the unseen, but often spoken of, mentor to crime boss Tony’s in the series, as well as the evolution of this world into the world of the Sopranos series. Although young Tony Soprano is in the opening scene, the narration that introduces it comes not from him but from an unseen Christopher Moltisanti, Uncle Dickie’s not-yet-born son. Dickie isn’t really Tony’s uncle but a close friend of Tony’s father and a fellow member of the DiMeo crime family. Dickie, also known as “Gentleman Dick” for his nice manners and smooth style, is a father figure to young Tony while his father Johnny Soprano (Jon Bernthal) is in prison, also serving as Tony’s role model with the approval of Tony’s mother Livia (Vera Farmiga). Dickie’s own father, “Hollywood Dick” Moltisanti (Ray Liotta), a crime boss who once rubbed elbows with stars, has stepped back from running things, turning them over to Dickie. But his hot-tempered father still brings lots of stress to Dickie, after he and his new young Italian wife Giuseppina (Michela De Rossi) move into a shared duplex with his son and his family.

You might wonder who the “saints” are in this crime tale. Moltisanti means “many saints” in Italian but it is not the only reference the film slyly reveals throughout. The first of these “saints” are a street gang of Black youths named the Black Saints, who are stepping on the toes of this established Italian American crime syndicate in Newark. To deal with them, Dickie has brought in childhood friend and former high school football team mate Harold McBrayer (Leslie Odom Jr) to deal with one particularly bold Black Saint. Harold and Dickie are friends but Harold does not find a warm welcome from the rest of Dickie’s Italian American crime family. Both Harold and Dickie are ambitions but circumstances of the times are frustrating Harold’s ambitions.

THE MANY SAINTS OF NEWARK is an ensemble film that blends many story lines as it weaves a picture of its times and the world young Tony Soprano is growing up in. Yet, the film is very cohesive, never losing us as it brings the various thread together, thanks to the well-crafted script. We are kept on the edge of our seats by every unseen turn in the plot but the film effectively mixes family drama and psychological character studies with crime film action and violence.

The crime family is on the verge of change and all their maneuvering is set against the changes and upheaval of Newark in the 1960s, particularly the race riots of the summer of 1967. The time period allows the introduction of a subplot about Harold McBrayer, played marvelously by Leslie Odom Jr., and an emerging Black crime syndicate. Early on, McBrayer’s experience with the Italian Americans parallels the path of Jewish and Irish mobsters in an earlier era, but the changing social and racial landscape alters that path and deepen the story.

Racial tensions are a big part of the story, not just historical backdrop, and some pivotal scenes take place during the summer 1967 Newark riots, which set large parts of the city aflame. In 1967, Newark is undergoing changes, as migration from the South brings increasing numbers of Black people into its working-class Central and North Wards, neighborhoods once dominated by Italian immigrants, cause clashes. The summer of 1967, the Summer of Love, sees the explosion of race riots, setting large portions of the city on fire, as changing times roil this branch of the DiMeo crime family.

Like the original show, the casting is superb, the characters striking, and the clever script provides drama, humor and mob thrills in satisfying measures. As Dickie Moltisanti, Alessandro Nivola is superb as a man torn by maintaining the smooth veneer of his family persona and coping with burning ambitions to discover his own path. All the characters in this tale are complex and multi-layered, chief among them this central one. Leslie Odom Jr has the character, Harold, who undergoes perhaps the greatest shift, and Odom handles the role masterfully.

Two of the most pivotal roles go to Ray Liotta, who plays both boss “Hollywood Dick” Moltisanti, a flashy, egotistical character with a short fuse, and his imprisoned brother Salvatore “Sally” Moltisanti, a looming figure who has embraced jazz, Buddhism and honesty in prison while still maintaining the requisite mob silence. A standout on the comedic side is John Magaro as the younger balding consiglieri Silvio Dante (played memorably in the original by Steven Van Zandt) – before the wig. The gifted John Magaro (who really should have been nominated for an Oscar for his moving performance as Cookie in last year’s unjustly-overlooked FIRST COW) is both delightful and unrecognizable in this role, capturing Silvio’s vanity and distinctive mannerisms while missing none of his underlying menace.

A standout on the drama, and psychological, side is Vera Farmiga’s performance as Tony’s troubled mother Livia, a role played so masterfully by Nancy Marchand in the original and matched here in intensity by Farmiga. Corey Stoll likewise shines as Junior, a character we meet in his dotage in the series but here a conniving striver with a penchant for accidents. Tony’s associates Paulie “Walnuts” Gualtieri, played by Billy Magnussen and Sal “Big Pussy” Bonpensiero, played by Samson Moeakiola in his screen debut, are also well-drawn and help craft that evolving Soprano world. Italian actress Michela De Rossi plays Hollywood Dick’s much younger Italian trophy wife, a figure that evokes thoughts of THE GODFATHER in a different form.

Shot on location in New Jersey and New York, the film also perfectly captures the period look and feel, with portions of Patterson and other New Jersey towns along with areas of the Bronx, Yonkers and other parts of New York standing in for an earlier Newark. While the mobsters are playing out their operatic dealings, the landscape around them is in flames. The camera work is breathtaking and the framing of the crime family dealings against the historic backdrop is stunningly jarring. All the costumes and props are properly vintage but so are the mannerisms, the racist undercurrents, and sense of seismic shift at work. Period music individually suited to each character compliments each scene.

Whether you are a fan of The Sopranos or never saw an episode, THE MANY SAINTS OF NEWARK delivers as a satisfying experience, a crime tale set in a volatile period, packed with depth, striking characters, drama and action, sprinkled with sly humor and crackling dialog.

THE MANY SAINTS OF NEWARK opens Friday, Oct. 1, in theaters nationally.

RATING: 4 out of 4 stars