Tag Archives: satire

BUDDY (2026) – Review

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Well, that’s a coincidence. This last weekend of Summer sees another feature film with its roots in Children’s TV pop culture. While the Looney Tunes crew originated as short subjects in movie theatres, when TV arrived, these seven-minute epics had a long-time Saturday morning slot on network TV, while being part of the content for many local “kiddie shows” hosted usually by members of the “news team” (in my area, the longest airing was “Cactus Pete”). This other flick explores the world of puppet shows and other “live-action” programs centering on actors in big puffy costumes that were a staple on “edu-tainment” programs, usually on weekday afternoons on PBS affiliates. Oh, the other big difference between these two movies is that the other one is a satirical comedy while this one is almost purely parody-horror. Yes, you read that right. And, like many other horror icons like Michael, Jason, and Freddy, he’s also best known by his first name. It’s BUDDY.

Oh, and that’s the name of the TV program, “It’s Buddy”.The film’s first moments are the show’s opening titles, introducing the energetic preteen human children cavorting with a six-foot-tall plush orange unicorn. In this bright, shiny pastel-colored world, everything seems to be alive, from the mailbox to the furniture, and even a backpack named “Strappy” that belongs to a young girl named Freddy (Delaney Quinn). There are also some “peripheral adult” humans like Mailman Miles and Nurse Nancy. However, the main”players” are Freddy and her pre-teen pals Wade, Oliver, and Josh. Oh, Buddy is their fuzzy lil’ toy that comes to life and “life-sized” (voiced by Keegan-Michael Key) when the kids speak his name. In this episode, the kids are throwing a big “dance party”, which excites everyone except for the surly (maybe he’s edging closer to being a teen) Josh, who would rather read his SF book. Buddy takes him aside and tries to gently prod him into some dance moves. When Josh balks, Buddy pushes him “off-camera”. On the next episode, there’s a new character in the opening, Hannah. When Freddy and Wade ask Buddy about Josh, Buddy tells them that he’s gone to “Diamond City”. Later, Freddy spies Josh’s book in “Trashy”. And when they see Buddy with Nurse Nancy, the kids know that something is very wrong. Can they escape Buddy’s “slay ground”?The story then switches to the “real world”, as a busy mother, Grace (Cristin Miloti), begins to unravel as she has flashes of a different reality. This concerns her hubby Ben (Topher Grace) and her two sons. These dark thoughts culminate when the TV pops on to reveal a beckoning Buddy, an image Ben doesn’t see. And there’s nothing about this show online. Can she, along with Freddy and her pals, escape the warm, lingering long hugs from this orange “play(slay)mate”?

Most of the heavy human “dramatics’ are handled by two actresses. The one in “reality ” is the talented Ms. Milioti (so wonderful in the HBO limited series “The Penguin”) as the distraught and extremely confused Grace. She is a “woman on the edge” and Milioti draws us into her fearful realizations, while also venting her frustrations when being casually dismissed. In the TV world, it’s Quinn as the increasingly frightened Freddy. She’s the first to see that all is not “sweetness and fun” in their backyard setting. Yet Quinn gives her an inner strength and intelligence that keeps us in her “corner”. Topher Grace uses her sitcom-honed comic timing as Ben tries to understand and stifle this “disruption”. Without spoiling this inspired casting, another one of the trapped humans is played by a cult TV fave who’s a beloved star’s sibling (hint hint). And his fellow traveler is a snarky puppet voiced by a two-time Oscar-nominated actor. But the best vocal performance is Key in the title role (with Sergey Zhuravsky in the big suit), who switches from an all-too-sweet “sing-song” cadence to threatening passive-aggressive menace that is quite chilling.

Much like this year’s big hits OBSESSION and BACKROOMS, this is “high concept horror” on a grand scale, orchestrated by another filmmaker from the online short film arena. Casper Kelly made a big splash with his remarkable 80’s sitcom spoof TOO MANY COOKS a dozen years ago, so he was more than adequately prepared for this deep, deep dive in 1990’s kids’ TV. Crafting the screenplay with Jamie King, they capture the brightly lit, candy-colored fakery of that era, mixing elements of “Pee Wee’s Playhouse”, “Thomas the Tank Engine”, and, well, let’s call him “Purple-saurus Rex”, complete with a quartet of kids a bit too mature for the show’s intended audience. So they have the “look” down pat, but is this an SNL-style TV spoof skit that’s stretched too thin for a feature? This is a fairly brisk 96 minutes, helped by the jumps between the “TV world” and the “real”. And there’s a sustained creepy vibe, heightened by the artificiality of the settings, especially the songs and “hi-jinks”. And, as the online ads promise, it is gory, more than earning its “R” rating, though that is exaggerated to excess. Kudos to the use of practical effects, though some CGI is used sparingly. Kelly and King’s script takes several interesting and unexpected twists and turns that lead to a finale that inspires a deeper dive to explore the hints of a dark, sinister conspiracy. Sure, making fun of that old 90s PBS saccharine slob is an easy target, but there are enough scares, shocks, and gags (in every sense) to warrant a big warm cinema hug for our new movie pal BUDDY. Just remember to smile and do what he says…or else.

3 out of 4

BUDDY is now playing exclusively in theatres

COYOTE VS. ACME – Review

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The summer cinema season (un)officially ends this weekend, not with a whimper, but with a bang. And a boom. And a crash. And a “Meep, meep”. Yes, at last, it’s the movie that a certain studio (hint: rhymes with “Barner Wothers”) could not kill, though they really, “weallee twied…huhuhuh!”. Now, this was supposed to have been a release for the Summer of 2023, but a funny thing happened on the way to the multiplex (As Mr. Kimball would say on “Green Acres”, ” Not funny ha ha, but more funny-weird and sad”). So, did it take a wrong “toin” at Albuquerque? Nope, the studio “suits” didn’t think it had an audience, so it would have more value banished to a vault, never to see the light of day, as a “tax write-off”. Well, I’m hoping that fans of classic comedies and cartoons will prove them wrong and reward the fine folks at Ketchup Entertainment (who also saved THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE) by seeing, in a theatre, COYOTE VS. ACME (cue “The Merry-Go-Round Broke Down, Mr. Stalling).

The story starts way back in 1992, late at night inside the massive Acme factory. One of its research and development scientists (a familiar face for Golden Age film fans) is trying to expose a nefarious scheme by his employers. Sadly, his cover is “blown”. Jump to now, where it’s (funny) business as usual on the almost-deserted desert roads in New Mexico. Wile E. Coyote is trying, and failing, to catch that lightning-fast Road Runner with gadgets from, yup, the Acme catalog. The battered and hungry critter retreats to his cave and tosses the new device onto a huge pile of useless products. As he concocts a new “bird trap”, something on TV captures Wile’s attention. It’s a commercial for the law firm of Avery, Jones, and Maltese (IYKYK), who specialize in cartoon-related mishaps, promising compensation for all manner of defective gizmos. The blueprint is shelved as Wile embarks on a journey to, of course, Albuquerque. There, Kevin Avery (Will Forte) shuffles into the law office, well past noon. His passion is gone, despite the prodding of his eager, ambitious intern/niece Page (Lana Condor). Their principal clientele is indeed cartoons that want compensation from Acme. But burnt-out Kev is a “settler”, preferring to settle for peanuts ($200 or so), rather than go to court. However, the Coyote strolls in and “upends” everything. He brings his magic “bottomless” bag full of hundreds of failed Acme stuff, and tricks one of the staffers into registering all of them in the lawsuit. Kevin is more than a bit annoyed, since the “swag” ups the suit to thousands of bucks. He’ll honor his “unhinged” client by heading to the Acme offices and asking for a bigger-than-usual payout. In the company’s conference room, Kevin’s rival, Acme’s hotshot “mouthpiece,” Buddy Crane (John Cena), presents a fairly generous settlement form. But instead of signing it and collecting a big check, Wile rips it to shreds. The trial is on. As Kevin and Paige prep for its start, they stumble upon a vast dark conspiracy, making them a target for the mega corporation’s CEO, Foghorn Leghorn, and his “fixers” (“wed” by a “widdle” “yewoah” birdie). And, “that’s not all folks!”…

Not to diminish the animated icons involved, but I’ll first discuss the flesh-and-blood acting ensemble. The heavy lifting is from SNL vet Forte, whose role may have the most interesting “arc”. His Kevin is just “going through the motions’ in his life, always opting for the less-challenging route. Forte’s almost a “humanized” yawn or a lurching hangover, But then he’s revived, much to his dismay, and jolted by this “desert mongrel”. This gives Forte a chance to shine, going from bewildered snark to a gradual quest for new purpose. This may be his best feature performance since NEBRASKA, though he was also terrific as TV’s “The Last Man on Earth”. Not having streamed any of her “To All the Boys..,” shows, I was unfamiliar with Ms. Condor, who is impressive as the naive go-getter Paige. She’s a terrific irritant to Forte’s Kevin, but we see that she’s not a “goody-two-shoes” when the threats from the Acme goons excite her (“a danger rush”). They’re an engaging team. After so many “nice guy” roles (well, the Peacemaker’s not that upstanding), it’s refreshing to see Cena as an all-out baddie. He makes Buddy the ultimate bolo-wearing, blustering fratboy bully (aw, don’t hoit da’ boid’!). He has an excellent toadie sidekick in P.J. Byrne (he’s almost part ‘toon as he just bounces back for more abuse). The best “deadpan” performances come from the near-stoic Martha Kelly as Kevin’s partner, the off-kilter Dottie, and Luis Guzmán as Judge Troppogrosso, who will not put up with any of these wacky shenanigans in his courtroom. As for the “non-fleshies”, the uber-talented Eric Bauza is a marvel as most of the Looney legends (check out the recent HBO shorts he voiced), while Candy Milo handles most of the lady Looneys and Jim Cummings provides great grunts and slobbers for a real “devilish” delight.

It appears that the third time feature-directing is the “charm” for David Green, who deftly navigates the chaos created from the script crafted by Samy Burch, Jeremy Slater, and James Gunn (yes, Mr. DC Studios) adapted from the 1990 New Yorker article by Ian Frazier. Happily, it is an adoring love letter to those geniuses who toiled away in the old “Termite Terrace” creating those enduring seven-minute masterpieces. Many scenes can barely contain the “eye candy” as so many supporting and “one-shot” characters dot about (blink, and you may miss a quickie cameo by an MGM star). Though I had lots of praise for 2022’s CHIP ‘N DALE: RESCUE RANGERS satiric retooling, this film is even closer in spirit to the sublime WHO FRAMED ROGER RABBIT (now 38 years old..”paleeze”). But this time around, the “toons” aren’t “second-class” citizens that must stay in the “Toontown ghetto”. They live and work right alongside us. As for their “look”, the animators have recreated and revived them with loving care, emulating all those classic creators (mostly Clampett and Jones homages). And unlike those SPACE JAM flicks, they’re not “over-rendered” with every strand of hair or fur delineated. It’s that classic 2-D “cell” outline with a subtle shadow overtone. The highlight being the lead toon, whose delightfully detailed body language (and a “limited number of signs”) evokes the classic silent film comedy stars. That “varmit” also creates a couple of wonderful “Rube Goldberg” inspired inventions (oh BTW, you really should check out the children’s book series inspired by Rube, lavishly illustrated by the award-winning Ed Steckley; we now return to our regularly scheduled review, already in progress…) We always know the moods of the “plantiff”. Still. I don’t wish to take away from the human cast who greatly aid in making the cartoon feel “real” (Bob Hoskins would be pleased). My only complaint is some listless CGI crowd characters (what’s with the lil’ brown duckie near the end) and the “vewy” mediocre rendition of one of the few human-like cartoon icons. Yes, the laughs are frequent, but though it might seem a cliché, this really has “heart” as Kevin learns to care and the whole WEC/RR dynamic is explored and almost explained (it’s a real relationship). Many moviegoers may go due to the whole “forbidden fruit” trope (“Nobody’s gonna’ say I can’t see somethin’!”), but they’ll also be rewarded by the surprising acting, artistry, and ideas that abound in the “escaped entertainment” of COYOTE VS. ACME. Court dismissed, or as a pantless pig would say, “That’s all folks!!”

3.5 Out of 4

COYOTE VS. ACME is now playing (finally) in theatres everywhere

ONE NIGHT ONLY (2026) – Review

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The last gasps of the Summer movie season are increasing with the arrival of August. However, the box office is booming thanks to a hero in red and blue tights. After his phenomenal and record-breaking ticket power last weekend, Spidey can’t swing through every auditorium in the multiplex. Mind you, that epic ancient adventure is also hanging in, but there’s got to be space for a little romance, and, as they sang in the 1920’s, “makin’ whoopee”. There’s plenty of both in this weekend’s release of a “rom-com” with a futuristic satiric “twist”. So what if the “single-set” could only mix it up on one day? It’s a long evening, actually, as we follow the madcap travails of a duo over ONE NIGHT ONLY.


The story actually begins a couple of hours earlier. The opening prologue text gives us the setting. It is the not-so-distant future in the much more “straight-laced” USA. Three years previous, the feds have instituted “The Mandate”. This is a sweeping “law of the land” that prohibits the unmarried from engaging in all sexual activity except for one night, this very day, from 7 PM to 7 AM. And… they have to use “protection”. Everyone now is marked with a small tattoo (a bat, a lighthouse, etc.) on their wrist that changes from red to green, for “go at it”. We first meet “session ” singer Allie (Monica Barbaro) as she finishes up a commercial “jingle” gig prior to meeting up with her gal pal to meet a nice nighttime “hook-up”. Well, Jacinta (King Princess) hooks up early, so Allie trudges back to the NYC apartment she shares with Arja (Quintessa Swindell). She’s babysitting for some buddies, so she loans her most sparkly, revealing party dress to Allie. Meanwhile, pizza shop owner Owen (Callum Turner) is bringing in the married “night shift” so he can thoroughly “enjoy” the night with his longtime girlfriend Malika (Maya Hawke). Their early fancy dinner doesn’t go as planned when she drops a “bombshell”. She wants to spend the night with someone else, their neighbor, saying that being with others will “strengthen” their bond (um…yeah). So he can’t return to their building. He embarks on a frantic search that appears successful with a sultry bartender, until it seems that no condoms are to be had anywhere. Eventually he has a “meet gross” with Allie, and they soon end up vying for the city’s last bit of latex. That’s just the start of their odyssey through the wee hours as they continue to cross paths. Could the universe be telling them something, or is it just bad, dumb luck? And the clock clicks down to dawn…

The biggest casting surprise here may be the versatile and very photogenic Ms. Barbaro, who was a superb Joan Baez in the Dylan biopic a couple of years ago. Happily, we get another treat from her polished “pipes” in two sequences. She combines those skills with a deft comic touch while still giving Allie a determined “edge” and an endearing charm, even as she nearly pops out of that teeny-tiny “almost” dress. Of course, it helps that she has formidable chemistry with the affable Turner, who is given better material than in his last foray into fantasy rom-coms in last year’s ETERNITY. He immediately has us rooting for Owen as his plans for romance blow up in his face when he is “blindsided” by his “bae” (Ms. Hawke continues to impress, even with this most unsympathetic character). Turner tempers his “action hero” physique with a snarky “wiseguy” everyman vibe. But this dynamic duo doesn’t provide all the laughs, as the flick is peppered with comic vets and newcomers. Owen’s no-filter mother is the iconic Molly Ringwald, who is paired with another 1980s fave, LeVar Burton, as her frisky paramour. Yes, there are lots of “hey, that’s…” moments that I’ll refrain from spoiling, but I’ll single out two big “scene-stealers”. As Allie’s pop music superstar “dream”, Ezra Stone, Charlie Gillespie composes a memorably awkward “love song” (this horny dimwit wants you to remember, it’s not a duet), while Mateo Ray charms as Arja’s ‘charge” Troy, who so wants to be a “playa'” during this long wild evening.


Helming this carnal chaos is movie comedy vet Will Gluck, who last gave us the silly star-fueled rom-com ANYONE BUT YOU (a big surprise hit), though I’m more of a fan of EASY A (and he inexplicably made the 2014 ANNIE and the PETER RABBIT kid-flicks). He keeps the pace flowing as he emulates AFTER HOURS (boy, that movie is so influential), occasionally pulling on the heartstrings just before a nice bit of slapstick (gotta’ get that “glove”). Now, he doesn’t “soft pedal” the political satire in this, as “The Mandate” is mocked in several TV news segments. Perhaps this is the “hook” that put this script from Travis Braun on the 2024 screenplay “Black List”, though it might just have been the concept of a sex-mad riff on THE PURGE (more filthy fun and a lot less gore). Sure, we are hoping that Allie and Owen finally “hook up”, but this trip has lots of unexpected detours and side tracks, with a final stop that doesn’t feel contrived. Even though it’s hard to fathom that these two cross paths in the Big Apple (the location work is stellar, making the city as much a character as with Spidey) so often in this twelve-hour fornicating frenzy. Certainly, its 100-plus minutes needed a good trimming (ten off the “top”), but those filmgoers into some really raunchy R-rated (a deserving rating) ribaldry should find plenty during this ONE NIGHT ONLY.

3 Out of 4

ONE NIGHT ONLY is now playing exclusively in theatres

GAIL DAUGHTRY AND THE CELEBRITY SEX PASS – Review

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A week or so after all the well-deserved celebrations for the centennial of EGOT legend (my fave, BTW) Mel Brooks (one hundred years of him…hurrah, hooray), I was wondering where the comedies are in this cinema Summer season. Sure, there have been lots of funny moments, especially from the toys and the Minions, but nothing like the past warm weather visits from ZAZ (Abrahams and the Zuckers behind AIRPLANE!) or the Farrelly Brothers (THERE’S SOMETHING ABOUT MARY). Of the recent funny flick helmers, Judd Apatow’s streaming stuff, while Paul Feig serves up pulpy suburban thrillers like THE HOUSEMAID. True, we’ve gotten a JACKASS, though many consider it a doc and a reboot of SCARY MOVIE. Well, this weekend gives us two comedies that strive for two different “S words”. “Sophisticated” suits the very provocative THE INVITE, while “silly” best describes GAIL DAUGHTRY AND THE CELEBRITY SEX PASS. And with all these turbulent times, we can use a big helping of the latter…

This sophomoric saga is instigated by Frank (Fred Melamed), the friendly mailman walking the pleasant, picture-perfect streets of a Kansas suburb. On his route is a perky hair stylist named Gail Daughtry (Zoey Deutch) who is weeks away from marrying her high school sweetheart, Tom (Michael Cassidy). Her best work pal, Otto (Miles Guiterrez-Riley), is also looking forward to a “beauty professionals” convention in fabulous LA. The raunchy salon gossip turns to the “celebrity sex pass”. Otto explains it to the confused Gail. Couples agree that each can have one agreed-upon celebrity “pass” for “guilt-free” intercourse. She laughs it off when Otto suggests that she join him so that she can “cash hers in” with her TV crush, Jon Hamm. Later, Gail brings it up with Tom as they take in a book signing by a big TV and film star (I won’t spoil it). On an impulse, Tom had named her, so… he does “cash in”. An angry and upset Gail then tells Otto that she’s changed her mind. She’ll join him in “La La Land” for the convention and a hot, steamy slice of Hamm. But things get complicated upon their arrival when her case of brushes gets switched with a case of top-secret papers meant for an ill-tempered, impatient mobster queen named Ludovica (Sabrina Impacciatore). As Gail enlists the aid of an unlikely, motley “posse”, Otto, a frustrated “paparazzo named Vincent (Ken Marino), Caleb (Ben Wang), an eager ex-CCA intern/agent, and “Mad Men” co-star John Slattery, two “enforcers”, Sergio (Joe LoTruglio) and Niccolo (Mather Zickel) are hot on her trail for that case. Will they “whack ” her before she gets wild with the former but forever “Don Draper”? Only in Hollywood (and the movies)…

A most impressive comedic cast truly “goes for broke’ in every role, even the smallest. Ah, but the lead is the title heroine Gail herself played with pluck and energy to spare (I was reminded of the classic Ed Asner/Lou Grant line, “I hate spunk!!”) by the adorable Ms. Duetch. Far from being the cliche small town “prude”, Duetch gives her an open spirit, eager to experience all (yup) of life’s pleasures. Her “partner-in-crime” (chaos, really) is the equally curious (about everything “bi”) Otto, who’s given a perfect “best pal/ not quite straight man” tone by Guiterrez-Riley. He’s the leader of “Team Gail’ overseeing Wang as a bold “child man” (he’s always talking about “Mommy”). Marino as the “seen it all”, jaded photog Vincent (chuckling at these “rubes”) and Slattery in an inspired bit of self-mockery, riffing on his “second-tier” star status. Oh, that big star, Mr. Hamm, again exudes pure comic charisma, parodying his leading man looks with a buffoonish, bawdy bravado. His arrival late in the last act is well worth the wait, though he’s referenced throughout (Vince can’t get the pic). As I said earlier, I don’t want to spoil the delight in the other big celeb “pass”, but she also revels in skewering her fabulous fame. Melamed sets the mood of anarchy in those first moments, while LoTruglio and Zickel are spot-on on the deadly but dumb duo after the “Gail gang”. Oh, and there are also many other star cameos along with quick bits from comedy cutups (Tobie Windham as Hamm’s “muscle”) from classic TV.

Acting as the co-ordinator of the “crazies” is comedy vet David Wain, who co-wrote the script with his old partner from the cult MTV show “The State”, Marino (there are other alumni from that cable classic along with “Party On’ and “Childrens Hospital”). But Wain has been busy in features, with ROLE MODELS and THEY CAME TOGETHER, among others. Here, he’s following in the tradition of ZAZ with a barrage of gags and bits, with many hitting their target (about 65% or so), although with LA it’s the ole’ “fish in a bucket”. I’d say most of the jokes work, though some recurring bits never “kick in”, like the mob queen’s skin obsession, or Michael Ian Black’s street vendor. And the big, ultra-violent showdown with the baddies gets a bit tiresome. But then, the Hamm arrives and all in gold (or fool’s gold). Unlike the AIRPLANE team, Wain and Marino aren’t adhering to a single source script, but this story’s “inspiration” becomes obvious by the midpoint. To quote the old auto ad line, “your mileage may vary”, depending on your tolerance for the tacky, tasteless, and gloriously goofy. Well, we can use some “silly” right now, much as how my spirits were lifted by BARB AND STAR GO TO VISTA DEL MAR during the waning days of the pandemic. It isn’t Noel Coward or THE INVITE, but it’s pretty inventive, and sometimes witty (much like “The Studio”). So, offset a laughter “workout” with that sweet AC at the multiplex with GAIL DAUGHTRY AND THE CELEBRITY SEX PASS. Now, could I “pull off” a “whip-curl”?

3 out of 4 stars

GAIL DAUGHTRY AND THE CELEBRITY SEX PASS is now showing at theatres everywhere

OUTCOME (2026) – Review

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So, does Hollywood love itself or what? Sure, but to be more specific, Hollywood really loves movies about itself, be they biopics or slightly fictionalized flicks (looking back a few years to the sublime ONCE UPON A TIME IN HOLLYWOOD and the abysmal BABYLON). This even extends to streaming shows, such as the monster hits (and Emmy winners) “The Studio” and “Hack”, which is just starting its final season. And now the service behind the former series is premiering a fiction feature that puts a satiric spin on recent “career crashes’ and full media disasters. One of the reasons that this may feel a bit more “legit” is because it’s directed and co-written by an actor who has been a media fixture himself, and survived a few “hiccups” for the last couple of decades or so. Now we’ll see the “fruits of his labor” as AppleTV presents the final OUTCOME.

After a nifty prologue involving some creative audio “tinkering” of a classic TV show in a flashback, we’re back in the “now” with former child performer turned two-time Oscar-winning cinema superstar Reef Hawk (Keanu Reeves) as he embarks on a career “restart” after a five-year hiatus. The public thinks that he was taking a break to “recharge”, but his “inner circle” knows (and they’re keeping mum) that Reef was kicking a nasty heroin addiction. Luckily, he’s got a couple of very supportive high school pals, Kyle (Cameron Diaz) and Xander (Matt Bomer), in his corner. They love him, but they’re quick to call out any b.s. on his part. Then, after a tense TV interview, some really big b.s. hits the fan. Reef gets a “panic” call from his excitable lawyer/ consultant, Ira Slitz (Jonah Hill). Seems that an anonymous party is in possession of a “career-destroying” video that they’ll leak unless Reef coughs up 15 mil. But he’s certain that he’s never made a video or been part of such a thing (at least willingly). Ah, but Ira has a plan. While they await word from the blackmailer, Ira thinks that Reef should make a list of those who might have reasons for revenge, then contact them and apologize. Reef can only think of a couple of people from his past, but his trusty “girl Friday,” Sammi (Ivy Wolk), rattles off more than a dozen suspects. Thus begins Reef’s long trek down memory lane as he tries to “make amends” and squelch this scandal before it is devoured by the hungry media outlets.

As the story’s main focus, Reeves as Reef, is almost an enigma as we attempt to grasp exactly what’s going on inside him. He’s somber and stoic, almost returning to his John Wick persona (minus all the physical carnage). But, for a few moments, Reeves gives us an insight into Reef’s bubbling-over inner turmoil after finding that nostalgia’s not always a warm and fuzzy journey. He’s the opposite of Hill as the bombastic Ira, a character so abrasive that we are perplexed by his command skills over his high-end law firm. He’s often cringy, but not in an endearing way, making us wish that the director had reigned him in (more about that in a bit). Diaz and Bomer make a strong team as he’s loopy, while she dishes out the needed “tough love.” It’s nice to have Diaz back after a long hiatus from films. There’s a real “murders’ row” of superb supporting actors. I was especially impressed by two daytime TV icons. Drew Barrymore appears to be having a great time skewing her “sweet” image. Ditto for Susan Lucci as Reef’s fame-hungry mama, who will only talk to him while on camera for her reality TV show gig, as she wears a wacky “uplifting” wardrobe. Oh, and both don’t shy from dropping lotsa’ “F bombs”. The most touching work may be from Martin Scorsese as Reef’s long-ago agent, a low-rent (his office is a table at a retro bowling alley) West Coast Danny Rose-type known as “Red”. Those eyes are weary and sad, but Red knows that he’s merely a starting point for fame, to be discarded and forgotten. Oh, and we get a nice underplayed performance by SNL vet David Spade as Reef’s laid-back neighbor, Buddy.

So, the director who didn’t tone down the actor playing Ira is Jonah Hill himself. It is a step forward from his previous fiction flick, MID90S, though he still has a tough time in maintaining a brisk pace. Many scenes need a trim, even though the film clocks at 83 minutes. Perhaps we could’ve seen more of Reef during the heyday of his stardom, and with more time devoted to Ira’s staff, since the great Laverne Cox and Roy Wood Jr. don’t get time for their comedic skills. That might be due to the script by, you guessed it, Hill with Ezra Woods. They do capture the look of sun-drenched decay of “La La Land.” Still, the film feels a bit “under-cooked” with a resolution that’s too abrupt and unsatisfying, as we don’t grasp Reef’s trajectory for his life. Reeves always turns in interesting work, and those Luci and Barrymore cameos are fun, but it’s not enough for a really compelling and concise OUTCOME.

2 Out of 4

OUTCOME streams exclusively on Apple TV beginning on Friday, April 10, 2026

M3GAN 2.0 – Review

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If there’s one thing we’ve learned after more than a hundred years of horror movies, it’s this: you just can’t keep a good “monster” down. That’s certainly true of the “Golden Age” icons, whether it was Frankenstein’s monster or Count Dracula (even in the “Silver Age,” it was a given that Christopher Lee would be back for blood). It may be more certain now in the age of “spin-offs”, prequels, and countless sequel. Plus it also extends to those fiends without flesh, like Chucky of CHILD’S PLAY. And now there’s a “gender flip” on that. Back in 2023 the January film “doldrems”, when often the thriller “dregs” would be dumped into the hungry multiplex, a chiller with a satiric “bite” brought us a new horror “heroine”. Well, she’s baaack! Finally, leaping off the toy shelf and into our nightmares comes M3GAN 2.0.

This one begins far away from the sunny California suburbs of the original. In the Middle East a super secret agent is on a rescue mission, which goes sideways. She’s ignoring all the orders from the US command center, as we learn that the agent is a robot. The story then shifts to an update on the main characters from the first flick. Gemma (Allison Williams) is part of media crusade warning parents about the dangers to their kids in the online world. But she has her own tech company with her loyal staff Tess (Jen Van Epps) and Cole (Brian Jordan Alvarez). Gemma’s still the legal guardian to her niece Cady (Violet McGraw), who channels her trauma into her Aikido lessons. Oh, and Gemma’s in a thriving relationship with a former cyber-security expert, Christian (Aristotle Athari). But what she’s focused on right now is the powerful exo-skeleton they’re trying to sell to the tech billionaire mogul, Alton Appleton (Jemaine Clement). That day doesn’t go well, but the night is even worse, when Gemma and Cady are awakened by home intruders. They’re not burglars, but rather, agents of the FBI. Their commander (Timm Sharp) tells Gemma that they want information about M3gan, whose designs were the basis for their now missing rogue spy assassin Amelia (Ivana Sakhno). After the “guests” leave empty-handed, Gemma is startled when the old M3gan program announces her return via the big screen TV (and other devices). Soon it becomes obvious that the only way to stop Amelia’s path of destruction that leads to a sentient “doomsday” device from the 1980s, is for Gemma and her gang to team up with M3gan. But can the devilish doll ever be trusted despite all the “fail-safe” software that Gemma installs? Will Cady be put in danger once more as they’re drawn into a vast conspiracy that could end the planet? These toys aren’t playin’ around!

Yes, the “old gang” is back together again. And their comic timing is just as sharp two years later. The leader of “the pack” is probably Williams, as the frazzled, but full of steely determination, Gemma. She’s still the protective “mama bear” even as she’s rattling off endless bits of “techno-jargon” while making us root for her as she is often needed to be the “voice of reason” or a real “wet blanket”. Her family “jewel’ is the nearly teenaged McGraw as the sassy and very “pro-active” ( a certain martial arts movie star is her “role model”) Cady. Epps and Jordan are quite the effective loyal but bumbling comedy team as “sidekicks” Tess and Cole. The big comedy MVP might just be Clement as the arrogant, abusive snob Alton, who could perhaps be a satiric riff on a real-life odd uber “tech-bro”. We’re just waiting and yearning for his sneer to be “deleted’ ASAP. Other comic standouts are Sharp as the gung-ho mucho macho spy chef and Athari as the too, too sensitive and empathetic nurturing BF Christian. As for the “big baddie”, Sakhno is the face of pure banal evil, with big expressive but vacant “peepers” as Amelia, the Terminator packaged as a waif-like supermodel. And though she’s a mix of stunt folks, puppetry, and CGi, special kudos should go to M3gan’s main body double Amie Donald and the supplier of her snarky quips, vocalist Jenna Davis.

And this veteran cast is guided by OG director Gerald Johnstone, who also collaborated on the script with Akela Cooper (who created the characters with James Wan). They’ve decided to opt for a completely different tone with this outing, skirting around much of the first one’s horror “vibe” and making a scathing parody of cyber “chaos” and firing lots of parody “salvos’ at the modern action “high concept” blockbusters. While some of the set pieces and sequences take on THE MATRIX, Johnstone and company have some fun with the worlds (and imitators) of JOHN WICK and James Bond (I’m surprised the big secret villain HQ wasn’t inside a dormant volcano). Like ALIENS, it takes on new targets, though the hardcore fans will enjoy a riff on the “meme-fodder” murder-dance of M3gan and her aggressive, snarky “attitude”, guaranteeing that she’ll be a popular costume for the next Halloween and beyond. The doll doesn’t get all the best gags as the evil ‘mastermind’ has a casual “sing song” delivery as he tries to be a “Michael Scott” style cool, friendly boss. Now, as with most of the “straight” action-thrillers it piles on the endings along with the henchmen bodies literally exhausting us with “overkill”. But it’s easy to forgive its over-indulgences when we get a truly uproarious song scene and a “bizarro” AI convention. Sure, the MISSION: IMPOSSIBLE epics need a good drubbing and this demonic doll can certainly dish out the “burns” and cyber “side eye”. If you can handle sharp satire and even sharper weaponry, then you may want to “click”on the upgrade that is M3GAN 2.0. Powering down…


3 out of 4

M3GAN 2.0 is now playing in theatres everywhere

THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE – Review

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This weekend sees a big “first” for two media superstars that have been in the pop culture “zeitgeist” for ninety years! Well, that’s one of them because his “partner” is actually a couple of years shy of that (still impressive). So, how can they still be working in a new flick, let alone pulling off some amazing stuntwork that would make Tom Cruise envious? Okay, ya’ got me. They are cartoon characters, so they never really age (any wrinkles can be easily erased). They aren’t from the “mouse house”, rather they’re from one of the main Disney rivals in the short subjects market, though many would say that their home base really had no rivals for consistently hilarious cartoons from the 1930s to the early 60s. And they’ve never been the stars of a full-length feature, though they have had “supporting roles” in a few. So, it’s finally their time in the spotlight for the manic mallard and the stammering swine on THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE. As the former would bounce about and say, “Woo-hoo! Woo-hoo!”.


Now, they’re “off-stage” as the story opens. A scientist that appears to be right out of a 50s sci-fi flick (glass, lab coat, etc.) is alarmed by a look through his telescope. It’s a massive meteor heading toward Earth. As if that wasn’t bad enough, a flying saucer zips ahead of the rock. The UFO speeds up to take out a big chunk of a home’s roof before landing in a field. The scientist heads to the crater, peers downward, and lets out a scream before a weird green gas envelops him. And now the story’s main heroes are introduced. We learn how the towering “Farmer” Jim (voice of Fred Tatasciore) adopted two orphaned animals and raised them as though they were his human offspring. When they reach adulthood, Jim disappears into the clouds after advising them to always take care of each other and their home. His big farmland has now been taken over by the suburbs of the town of Grandview, but still standing is that home now occupied by Porky Pig and Daffy Duck (both voiced by Eric Bauza), quite an “odd couple”. It’s a hectic morning when they realize that it’s the day of the town’s “home inspection”. They scramble to clean up, but it’s all for naught when the haughty inpector, Ms. Grecht (Lariane Newman) points out (how did the boys miss this) the big hole in the roof (which is dripping with an odd glowing green goo). The place will be torn down in a few days unless the guys get the cash needed to repair it. But the duo fails in every job they attempt, so they stop in at the diner where fate arrives in the form of a sweet sow named Petunia Pig (Candi Milo). She’s a flavor research scientist at Grandview’s big business, the Goodie Gum factory…and they’re hiring! The boys get a job on the assembly line, but while Porky makes time with Petunia, Daffy spies that opening scene scientist lurching like a zombie around the massive vat of “Super Strong-berry” gum (the new big roll-out flavor). The interloper then pours some of that green goo into it. Daffy’s conspiracy instincts kick in. Can he convince Porky and Petunia that something is off? And could it be connected to the meteor and the UFO?

To say this is a “love letter” to the artists at “Termite Terrace” (the Warner’s animation ramshackle HQ back in the day) would be an understatement. Much like the classic shorts, this feature deftly mixes smart satire (SF, zombie flick tropes, and rampant consumerism) with stunning slapstick (Daffy can pull a giant mallet out of thin air). Sure, it is set in the modern age (Daffy wants to be an “influencer”), but there are lots of affectionate nods (even “Easter eggs”) to iconic imagery. They try and become baristas at “Bean’s Brews” (Porky’s original feline sidekick), the duo don caps from the short “Baby Bottleneck” as Raymond Scott’s “Powerhouse” music accompanies the conveyor belt, and even the great silhoutette bit that Tex Avery perfected. Speaking of the great animator icons, the main inspiration isn’t Mr. A, or Friz, Chuck, and R. McKimson, but the wild and wacky Bob Clampett (who gets a “shout out” and a “legacy” voice cameo). All the characters, especially the “lil’ black duck”, stretch, twist, and go delightfully “off model” in extreme forced perspective and screen-filling reactions. Much of the credit for the frenetic pacing and vibrant visuals (the surreal factory abstract sequence is super) has to go to director Peter Browngardt, who was also one of the fourteen (!) credited writers (hey, this is sixteen times longer than those shorts, so it makes some sense). Actually the only time the story starts to sputter is when a big conflict arises in the last act, perhaps to squeeze in some pathos and build some tension. But it doesn’t detract from the rousing finale and the overall sense of gloriously goofy and zany shenanigans.

Hey, here’s the duo from their first meeting in 1937’s “Porky’s Duck Hunt”!

Those stunning visuals are enhanced by the terrific vocal cast, who add lots of inspired energy even to the established toon superstars. I’m talking of course, about Mr. Bauza, who honors the legacy of the “man of a thousand voices” Mel Blanc with these reverent re-workings of the story terrific twosome. Milo also brings a lot of loopy fun to that “flavor fanatic” Petunia. Newman is a haughty hoot as the villainous “house enforcer”. But the main baddie may be the alien invader voiced by Peter MacNicol, who brings a campy menace to the long-fingered overlord, though I kept wondering why this wasn’t Marvin the Martian (perhaps they didn’t want to bring in more members of the classic ensemble). And speaking of honoring the originals, the soundtrack from Joshua Moshier seamlessly blends the Carl Stalling standards with sprightly new melodies, both merry and melodramatic. Oh, and you’ll enjoy that score over the end credits as you drink in the wonderful pre-production sketches and modeling poses (the scientist went through lots of variations). So, if you’re a fan of those original shorts or the recent batch made for the MAX streaming service, or just want to introduce your kiddos to those heroes of past Saturday mornings who actually inspired us to not sleep in after five days of school, do the Daffy “bounce’ into the multiplex for THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE. I hope that’s not all, “folks”!

3.5 Out of 4

THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE opens in theatres everywhere on Friday, March 14, 2025

BOY KILLS WORLD – Review

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

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

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

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


2.5 Out of 4

BOY KILLS WORLD is now playing in theatres everywhere

LATE NIGHT WITH THE DEVIL – Review

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Being an avid fan of “old school” horror (almost a “monster kid” since I devoured “Famous Monsters of Filmland” magazine, built the Aurora model kits, and scooped up the Super 8 Castle Films abridged versions of the 30s ad 40s Universal classics), I try to keep an open mind to the newer films, even the “sub-genres”. One of those is the “found footage” chiller that probably established itself with its biggest hit THE BLAIR WITCH PROJECT. It opened the floodgates for jittery, shakey phony home video slightly “tweaked” via software trickery. The multiplexes are so bombarded that I almost dread a new one. Oh, but an Aussie filmmaking duo has come up with a new “twist’ that keys right into another bit of nostalgia: classic TV not from the “golden age’ of the 50s, but the often “schlocky” stuff of the 70s. Plus it’s not from daytime or prime time (8 to 11 PM EST). I mean what kid 47 years ago wouldn’t try to sneak downstairs to the massive 19-inch console TV, sit close to the screen so you can keep the volume low (and not wake up the parents), and gaze at the “forbidden fruit” of LATE NIGHT WITH THE DEVIL? Oh, the night school day is going to be rough…

The big “conceit” is the existence of a talk show host who tried to topple the “king of late night” Johnny Carson and his “Tonight Show” on NBC. In the opening prologue, we learn of a seedy “upstart” syndicated network, UBC, and their “jewel”, the live show “Night Owls with Jack Delroy”. Its host (David Dastmalchian) is a slightly awkward Chicago DJ who’s now the headliner in the network’s NYC hub. Naturally, there’s a band and a dweeby stooge/sidekick, Gus McConnell (Rhys Auteri). It hit the airwaves in 1971, and soon…made no headway at all against Johnny. Jack’s constantly on the verge of cancellation, despite the influence of his membership in a private secretive millionaire’s club “The Grove”, until he interviews his wife, Madeleine (Georgina Haig), who is in a losing battle with breast cancer. After she succumbs, Jack leaves his show… temporarily. When he returns Jack decides to set the show apart from the landscape of late night by tackling controversial, often exploitive topics and courting confrontation (telling several guests to “hit the bricks”). This all sets the stage for the unaired Halloween show of 1977. After a twitchy monologue Jack brings out a “speaker for the deceased” Christou (Fayssal Bazzi) whose segment takes a truly dark turn when he’s rushed away to a hospital. Perhaps his exit was spurred on by a heated exchange with magician and paranormal debunker Carmichael Haig (Ian Bliss). But this is nothing compared to the night’s “big get” as Jack brings on scholar/author June Ross-Mitchell (Laura Gordon) and the subject of her book “Conversations with the Devil”, teenager Lilly D’Abo (Ingrid Torelli), the only surviving member of the Abraxas satanic cult. Actually, a demon they worshipped, Lilly calls him “Mr. Wriggles”, can speak through her. Soon the show goes completely “off the rails” when Jack pressures June to set up a “session” with Lilly and Mr. W, mostly to humiliate Haig. From then, the Neilsen Ratings are the very least of Jack’s troubles…

One of the busiest character actors, bouncing in and out of several franchises and genres (he’s in the MCU, the DCEU, Dune, the recent Dracula spin-off, even OPPENHEIMER), Dastmalchian truly gets a chance to shine in the lead role as the in-over-his-head Delroy, employing his comic “chops” in the TV monologue sets before settling into weasily desperation and the dread of his plunge into televised Hell. Perhaps Jack was most comfortable riffing into a radio mike since Dastmalchain conveys a near-constant “flop-sweat” making it clear that this guy would never dethrone Carson. He’s certainly not helped by Atueri as the cringyly awkward “second banana” who is easily rattled and demeaned. One of his main bullies is the producer of the show, Jack’s manager and “right hand” Leo Fiske (Josh Quong Tart) an arrogant, unethical opportunist. Much of that is true for Bliss as Haig, a pompous gasbag who fancies himself as a modern Houdini, though he’s playing his own “con” while flaunting his righteous superiority. Gordon is quite good as the morally conflicted doctor who truly cares for her patient despite the blatant exploitation of her trauma. And as that patient, Lily, Torelli effortlessly goes from a sweet helpful young woman to a taunting harpy who could be the conduit for fiery chaos.

Oh, the Aussie duo I mentioned earlier are the Cairnes Brothers, Colin and Cameron, the film’s writing and directing “tag team”. They truly score a “hat trick” with their third feature as they tread a fine line between satire and terror. Working with their artisans they carefully recreated the tacky period from the polyester suits (and massive neckties) to the TV set furnishings complete with multi-color graphic backdrop walls, and even the “stay tuned, we’ll be right back” art card “bumpers” (supposedly made with AI). Once we settle in and stifle our nostalgic giggles, the story shifts gears into nightmare territory as we become invested in the often caricatured “guests”. There’s even a nice nod to horror flicks of that era with the use of practical effects involving puppetry, prosthetics, and mood lighting (when they go to “commercial” the backstage footage is in docu-style handheld monochrome). Sure, we’re kind of stuck in the studio, but it never feels claustrophobic or “stage” as the feeling of dread increases By the final denouncements, we’re left to ponder the fate of the principals and how or who put everything “into motion”. It all makes for a most interesting exploration of TV talk show terror in the imaginative and audacious LATE NIGHT WITH THE DEVIL.

3 Out of 4

LATE NIGHT WITH THE DEVIL is now playing in select theatres.

THE BOOK OF CLARENCE – Review

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Pontius Pilate (James McAvoy) and Clarence (LaKeith Stanfield) in THE BOOK OF CLARENCE. Courtesy of Sony

Director/writer Jeymes Samuel seems to have been inspired by those Hollywood’s long tradition of epic Biblical movies, like BEN HUR and THE ROBE to try his own version of those big-screen extravaganzas mixing Bible stories with adventure and action for THE BOOK OF CLARENCE – but with a big comic twist. With a plenty of humor, some social commentary and with a mostly Black cast playing the Jewish population of “Lower Jerusalem” in 33 A.D., Jeymes Samuel aimed to create a new, entertaining version of this venerable movie genre. The result is a movie with one foot in something like BEN HUR crossed with Monty Python’s LIFE OF BRIAN, with a touch of Mel Brooks’ HISTORY OF THE WORLD PART 1. THE BOOK OF CLARENCE is a cinematic creation that teeters precariously and unevenly between the wisecracking and the reverent, sometimes making head-spinning switches from one to the other.

Often, THE BOOK OF CLARENCE does hit the mark on comedy, and even on social commentary. It also often hits the mark on the touching and gentle faith-inspired moments. It is in putting those two together in one movie where this movie hits rough patches.

THE BOOK OF CLARENCE both honors the classic Hollywood Biblical epic and sometimes mocks it, a film with both faith and low comedy. It opens with wonderfully-ornate classic Hollywood titles to introduce its chapters, and the film has high-quality production values, with fine sets and costumes, so that it evokes the epics that inspired it. Further, it has an excellent cast, led by the gifted LaKeith Stanfield as Clarence, and including Benedict Cumberbatch and James McAvoy.

Clearly, Jeymes Samuel comes at this production from a place of sincere faith but just as clearly he wants the audience to have fun, laugh, and be entertained. But the humor, which tends to low-brow, and the serious, which leans to sentimental or touching, don’t often mesh in this movie. Low comedy in the style of Mel Brooks is hilarious and fine on its own, but it doesn’t work in every movie story, especially one that strays into the sentimental or touching. The two just clash here.

It is an ambitious project and a tough balancing act to pull off, and Samuel deserves credit to the attempt, even if the mix of humor and faith doesn’t always work, sometimes whip-lashing from a serious scene to a joke with head-spinning speed. with a movie that seems often off-balance. Still, for the right audience, one willing to ignore that uneven tone and whiplash shifts, THE BOOK OF CLARENCE’s underlying sincerity might come through.

Like in LIFE OF BRIAN, this story is set in Jerusalem in the time of Jesus, and the central character, Clarence (LaKeith Stanfield), is someone who is continually mistaken for Jesus. But in this case, it is not an accidental case of mistaken identity. No, Clarence is a con-man, a non-believer who deliberately creates that confusion, with faked miracles and the aim of gathering donations from a crowd of followers.

Like BEN HUR, there is a chariot race, in this case the opening scene where Clarence and his buddy  Elijah (RJ Cyler) attempt to win a chariot race to win a big cash prize, bankrolled by a local tough guy called Jedediah the Terrible (Eric Kofi-Abrefa), They lose, leaving Clarence in debt to this loan shark.

But this 33 A.D. Jerusalem is full of Messiahs, something that makes the Romans rulers nervous, fearing it is a lead-up to rebellion. Clarence is an ambitious young man, hoping to be “somebody” and struggling under the ruling Romans’ thumb like everyone else and a host of personal problems. Ironically, he loses that opening-scene chariot race to the fiercely independent woman (Anna Diop) he is secretly in love with, who also happens to be the sister of that loan shark to whom he now owes money. Clarence is also the twin brother of Jesus’ apostle Thomas (also Stanfield), who looks down on his never-do-well twin, while Clarence resents his brother for abandoning their sick mother (Marianne Jean-Baptiste) when he left to follow Jesus, leaving Clarence to nurse her back to health.

Director Jeymes Samuel clearly knows the Gospels well but has no problem playing around with the Jesus story to suit his film. Clarence lives in economically depressed “lower Jerusalem” and the residents of Jerusalem are played by a mostly Black cast, while the Romans are played by white actors. Although we see what appears to be Hebrew writing on the signs and walls, there is no mention of Jews or Judaism.

The humor tends to be low-brow and sometimes even slapstick, like when Clarence meets Jesus’ mother Mary (Alfre Woodward) and pointedly quizzes her about being a virgin, resulting in a slapstick scene. That style of comedy is hard to integrate with more serious or reverent scenes. Some serious scenes are touching but others are melodramatic or too pat, which also does not help matters.

The film is filled with familiar Biblical figures. Nicholas Pinnock plays Jesus, while David Oyelowo plays a hyper-critical John the Baptist and Omar Sy plays a superhero type Barabbas, who becomes Clarence’s pal. James McAvoy plays a chilling Pontius Pilate, rounding up all those roving Messiahs, while Benedict Cumberbatch plays a beggar covered in dirt and rags, who gets a makeover and a bath, transforming him into the Renaissance image of Jesus, with the expected adoration results.

BOOK OF CLARENCE has plenty of problems, including not quite being able to decide if it wants to be a comedy or a more serious film about faith and belief. But in a movie world of re-makes, re-boots, sequels and prequels, one has to give Samuel credit for doing something fresh.

In a movie world of re-makes, re-boots, sequels and prequels, I want to give Samuels credit for doing something fresh. But if you come to THE BOOK OF CLARENCE looking for a revival of the classic Hollywood Biblical epic, you may be disappointed. If you come for comedy and action only, you also may be disappointed. However, for some audiences, more willing to just go with the movie’s shifts of tone and style and embrace it for the quirky, faith-based thing it is, THE BOOK OF CLARENCE may be just the funny, inspiring, quietly reverent film they are looking for. It isn’t everyone but there may be an audience for this sincere cinematic if offbeat effort.

THE BOOK OF CLARENCE opens Friday, Jan. 12, in theaters.

RATING: 2 out of 4 stars