Tag: Sony Pictures Entertainment

SCARLET – Review

2026 is turning out to be a big year for those fans of the bard, but then, William “Big Bill” Shakespeare has never really had a bad year in popular culture, and we’re not talking years, but centuries. And not merely on stage, the first venue for his works, but in the movies. Now, many films are “line-for-line” adaptations, while others have used his themes as a “starting point”, much like WEST SIDE STORY, which has had its “progeny” (GNOMEO AND JULIET). Of the scribe’s plays, it’s “Hamlet” that seems to be this year’s big “inspiration”. Though it was technically a 2025 release, it’s almost a “sure bet” that HAMNET will snag some Oscar gold. That story of the “melancholy dame” has even been translated into animation. Yes, way back in 1994, there was THE LION KING (which got sequels and a CGI “live-action” remake), but now it’s getting another animated “spin”, though it’s closer to anime. And there’s a “gender swap” too, as its title character is a princess named SCARLET.


As the story begins, Princess Scarlet (voice of Man Ashida) is wandering alone through a dusty desert. The desolation ends when she is dragged down a watering hole by gnarled, claw-like hands. An elderly woman appears to tell her that she is in the “Otherworld”, a limbo-like region for the recently deceased, before their journey ends either dissolving into “nothingness” or basking in the heavenly afterlife of “Infinite-land”. Scarlet screams at the old woman, explaining that she can’t be dead, which prompts her to think about her past life. In 16th-century Denmark, she is the only daughter to kindly King Amulet (Masachika Ichimura), a widower who weds the cruel Gertrude (Yuki Saito). She plots with the king’s envious brother, Claudius (Koji Yakusho). Soon their plot to seize the throne succeeds when Amulet is framed for criminal misdeeds and is executed. A distraught Scarlet devotes herself to becoming a fierce fighter, with fists and swords. The conflict erupts at a big celebration ball when we see that a potion is poured into a goblet. Cut to Scarlet writhing in agony, then back to the Otherworld as she frees herself. Along the barren landscape, she encounters strangers from many eras (bandits with guns, camel caravans, etc.). Then, somehow, she bonds with a paramedic, a young man from modern-day Japan named Hijiri (Masaki Okada). He wants to continue healing others, while Scarlet embarks on a trail of revenge when she learns that Claudius and several of his underlings are also in this weird place. Can this mismatched duo work together in order to enter the Infinite-land, or will Scarlet’s uncle triumph? And is there a chance either or both will return to the land of the living?

This imaginative spin on a classic was written and directed by Mamoru Hosoda, who gifted moviegoers with another unique artistic interpretation a few years ago with his “Beauty and the Beast”-inspired BELLE. Huzzah to his dedication to classic drawn animation, which he has cleverly integrated with modern tech to provide detailed textures to figures and backdrops. It also stylistically separates the two “worlds” that Scarlet occupies. The real Denmark has a linear look resembling a children’s book illustration from early in the last century. The “in-between” Otherworld has a more “lived-in” appearance as each traveler carries the dust, dirt, and “mileage” of their journeys. Hosoda also provides a nice “tribute” to a couple of celebrated cartoon “gizmos” from the Fleischer Brothers Studio, a rival to Disney from the 1920s to the 1940s (the creators of Betty Boop, who also made the first screen incarnations of Popeye and Superman). At a couple of points in the story, we’re treated to elaborate dance numbers with characters whose renderings seem to be drawn over live footage of dancers, much like the use of “rotoscoping” (tracing over film of live actors) as used by many “Golden Age” US studios. Also, for heightened dramatic effect, Hosoda utilizes photographs and miniature sets, much as the Fleischers did by framing their clear cartoon drawings against tiny sets on a turntable (an early 3D feel). But these flourishes would falter without the superb storytelling and the expertly crafted staging and movement (concise acting and gesturing), from the quiet moments of the romance between Scarlet and Hijiri to the violent battle set pieces (the princess is quite a fighter). Yes, there are some tropes here from the anime world (the principals scream with wide-open mouths), but it never detracts from this fable of the afterlife. For lovers of animation who want something beyond the usual slapstick and adorable animals, Scarlet is quite an engaging cinematic fantasy.

3 out of 4

SCARLET opens in select theatres on Friday, February 6, 2026

CAUGHT STEALING – Review

And now I believe we’re officially in the Fall movie season, as the newest project from one of the most acclaimed “indie” filmmakers of the last twenty-five years or so releases his newest work into theatres, not just in the “art house” cinemas, but in multiplexes everywhere (and maybe a few drive-ins). That’s because it’s a much more general audience “accessible” than many of his previous projects. For one thing, it boasts a stellar cast headed by a “rising star”. And it’s in the “area” of one of the most popular genres, one that’s usually abundant in the summertime, the “crime thriller”, mixed with a few quirky comedy touches. It’s based on a popular novel, actually part of a “series” whose “double meaning” title becomes apparent while watching CAUGHT STEALING.

After a bright and sunny prologue at the final moments of a big high school baseball game, we’re sent to the grimy Lower East Side streets of NYC circa 1998. Twenty-something Hank Thompson (Austin Butler) has a pretty great life “slingin’ suds” at a rowdy “dive bar”. The best part of his gig is “last call” when his gorgeous EMT girlfriend Yvonne (Zo Kravits) waits for him to lock up. From there, the duo heads to his grungy walk-up apartment. In the hallway, they run into Hank’s punk-rocker (mohawk and spiked leather jacket, natch’) Brit neighbor, Russ (Matt Smith). He’s gotta’ fly home to see his dying Dad, so he asks Hank to take care of his cat, Bud. No prob. After some “sexytime”, Yvonne leaves for work in the morning as Hank nurses one of many nasty hangovers. Seems he’s trying to numb the pain of a painful memory. A call to his mother in Patterson, CA eases his head as they bond over a love of the San Francisco Giants baseball team. Later, he accosts two tough-looking Russians trying to break into Russ’s place. The thugs think that Russ gave Hank something they want. He tells them that he has nothing aside from Bud the cat, which earns Hank a severe beating from the two. Waking up in a hospital bed, he tells Yvonne that he can’t wait to be discharged. Back at his place, Hank is interviewed by Narcotics Detective Roman (Regina King), who informs him that Russ is into some shady business with the Russian mob, and he’s also involved with two “scary monsters”, the vicious Hasidic Drucker brothers (Liev Schreiber and Vincent D’Onofrio). After they leave, Hank uncovers a key that Russ left. He heads back to the bar to hide it, but begins a “bender” that leaves him unable to recall what he did with it. This doesn’t sit well with the Russians, who return with their equally violent boss, a Puerto Rican club owner named Colorado (Benito A Martinez Ocasio, AKA pop music superstar “Bad Bunny”). Can Hank escape them as he tries to cut through the drunken fog of the previous night? And if he does lose them, what will happen if the Drucker brothers catch up to him? And when will that darn Russ return?

That rising star I mentioned earlier would be the very charismatic Mr. Butler, who is steadily building an interesting movie resume after his breakthrough as Elvis. He is the reluctant hero with roots in classic noir cinema. Hank is a fairly good guy who is plunged into the dark netherworld of 90s drug gangs. But he’s not without his own darkness. Butler shows Hank’s inner torment as he wakes up from memories of a not-so-long-ago time when his poor judgment took away everything from him. But there’s little time for pity, or for boozy amnesia, as the walls close in. Through his expressive eyes, Butler shows us how Hank must drink in his new situations while formulating a plan at near light speed. He’s also terrific in the lighter moments, especially in the crazy, flirty chemistry-fueled scenes with the bubbly Kravitz as his sexy voice of reason, Yvonne. She truly cares about Hank, which exacerbates her frustration with his lifestyle choices, revved up after that hospital stay was cut short. Another calming influence is King, whose tough but still tender cop may be just the guide to get Hank past this nightmare alive. Smith brings some angry, funny energy as the Cockney rocker who fights to keep his 80s style while adoring his kitty. Schreiber and D’Onofrio are very compelling as the brothers whose religious adherence and attire juxtapose with their murderous intent and ruthlessness. They seem reasonable at times, until they see an opportunity to strike with deadly force. At least they’re sweet with their Bubbe, played by the always endearing Carol Kane as the stern and nurturing matriarch, though there’s a touch of menace in the advice she offers to Hank.

The filmmaker of this intricately layered bit of “pulp fiction” is the man behind many “offbeat” cinematic “trips”, Darren Aronofsky. Here he’s working with Charlie Huston’s screenplay adaptation of his novel of the same name. For the most part, Mr. A keeps us firmly on “ground level” with few “flights of fancy” or flashy flourishes (he makes good use of slo-mo and drones). He keeps us right with Hank as we can almost smell his sweaty panic as he races through a very dirty and dangerous NYC (really wonderful location work). And as I mentioned, Darren puts a unique spin on several tropes of the classic noir thrillers of the 40s and 50s. With a flawed hero struggling to keep “afloat” while straining to recall a boozy night, the story riffs on films like D.O.A., DETOUR, and AFTER HOURS (which makes the casting of its star Griffin Dunne as Hank’s biker/hippie boss a great “nod”). I should mention that the folks behind the marketing are doing the film a disservice by selling it as a wild comic “caper” romp, since Mr. A doesn’t shy away from the brutality and “ick” factor around alcohol abuse (yes, Hank rarely makes it to the “porcelain throne”). Yes, there are a few sluggish sequences prior to the big action, with twists, finale, but it delivers all the thrills, though not as deftly as the recent RELAY (more stunts and explosives with this new one). Aronofsky appears to be working very well out of his “arty” comfort zone with the gritty thriller CAUGHT STEALING.


3 Out of 4

CAUGHT STEALING is now playing in theatres everywhere

KARATE KID: LEGENDS – Review

And with the first official post-holiday “Summer cinema” weekend at the multiplex, here comes the return of another beloved movie franchise. Though it doesn’t boast the longest wait between installments, its storied history is one that the IMF might have a tough time sorting through. It’s hard to believe that the initial was over forty years ago. That flick and its two sequels became cable TV staples in the 1980s. Then, a reboot was attempted with one of the stars in 1994 with a “gender switch” for the title lead. Didn’t work, but that didn’t stop a complete remake/reboot 15 years ago, which was a modest hit. Now, after a popular “spin-off” streaming TV, here’s a “re-do” that combines and unites the original trilogy and that 2010 version. With those mixed characters and legacies, it’s no wonder that this one is labeled KARATE KID: LEGENDS.


This new flick begins with footage from 1987 as the late Mr. Miyagi (Pat Morita) relates a bit of family history. It seems an ancestor took a “slow boat to China” many years ago, where he exchanged martial arts techniques with the Han family (or is it a dynasty). Flash forward to modern-day Beijing, where a member of that lineage, Mr. Han (Jackie Chan), runs a popular wuguan (a kung fu school). Well, it’s not popular with his niece, Dr. Fong (Ming-Na Wen), who abhors fighting after losing her eldest son, Bo, to a vengeful rival after a big match. Unfortunately his kid brother Li (Ben Wang) studies there while hiding from Mom. But that will end as she is headed to the states, where she’ll join the staff of a NYC hospital. Just after relocating, Li befriends a bubbly young woman named Mia (Sadie Stanley) will helps her father Vic (Joshua Jackson) run his Victory Pizza eatery. Things get complicated when Li learns that Vic owes some dough (get it) to a cruel local loan shark, who happens to run the MMA school, Demolition Dojo, whose “star student’ is the vicious Conor (Aramis Knight), the jealous ex of Mia. When some of the loan shark goons try to rough up Vic, Li thwarts them with his skills. Vic insists that Li help him train to get back in the ring to earn a cash jackpot that’ll get him out of debt. But when an illegal blow sends Vic to the hospital, Li decides that he must enter the city-wide fighting competition known as the “Five Boroughs”. Now, he’ll need a coach. After explaining his problem over the phone to Mr. Han, the master unexpectedly shows up at the Fong home. There’s less than two weeks to train, so Han hops on another jet, this time to the west coast to recruit the former student of his old pal Miyagi, Daniel LaRusso (Ralph Macchio). But with the start of the tourney quickly approaching, can Li take down Conor, even with the coaching of these two seasoned fighting masters?

In talking up the cast, I suppose we should begin with the new “double K” (and yes, he’s also “special”) himself. Wang as the reluctant young warrior. He effectively balances a snarky sense of humor with a beguiling sweetness, which had me thinking of the actors who donned the Spidey suit (actually, one character refers to Li as the “Asian Peter Parker”). He’s a good kid, despite his bouts fighting a painful loss, and like Parker, he blames himself. But we’re rooting for him, especially in his romantic pursuit of the tough, though vulnerable, “street smart” Stanley, as Ms. Mia. Yes, they’re both charming, but the master of that is the always entrancing Mr. Chan as Mr. Han. Sure, he’s often a terse taskmaster, but his quieter scenes with Wang convey a great warmth as a most comforting coach and mentor. Plus Chan has great comic rapport with Macchio as the reticent “side man”, giving Wang the wisdom of his own teenage struggles. As for the actual “parental figures”, Jackson also piles on his own brand of “Bronx bro” charm as the pizza man papa who hopes he has one more title bout in him. Then there’s that ethereal beauty, Ms. Wen as Li’s loving, but firm mother, who barely contains her concerns over losing another child to the martial art “battlezone.”, It’s a shame this terrific talent (maybe the fiercest “Agent of SHIELD”) isn’t given more to do. Of course, an action movie needs a compelling villain. Here, Knight is a swaggering, sneering hellion who encompasses the dark side of competitive combat. And happily a bit of comic relief is provided by the very funny Wyatt Oleff as Li’s dweeby tutor Alan.

In his feature film directing debut, Jonathan Enwistel keeps the pace flowing smoothly through its 94 minutes (huzzah for brevity) while providing some effective visual “razzle dazzle”. Big kudos to him for using several bits of classic 2D-style animation for the locale “bookmarks” ( the boroughs, round numbers, and “contact points”), and especially for the early illustration of the Myagi family history. Now, I know that “training montages” are a staple of sports-themed stories, so we get plenty of them, not only with Han and Daniel working with Li, but also with Li using kitchen utensils to get Vic in shape, so I expected them. Luckily, Enwistel keeps its length fairly “pared down” with a minimal mix of “slow-mo” and pop anthems. These set pieces harken back to the original concept, which is tweaked here (instead of NYC to LA, we get China to NYC), but the tropes of picking one’s self up to continue the fight are solidly in effect. Yes, there are few surprises here, other than the fun of pairing Chan with Macchio, so series fans will get a big steaming bowl of cinematic “comfort food”, a warm movie cookie (maybe a “fortune” inside). Well, at least Montreal doubles nicely for the Big Apple, and as “re-imaginings” of 80s classics, there’s still a lot of punches and kicks to be had with KARATE KID: LEGENDS.

3 Out of 4

KARATE KID: LEGENDS is now playing in theatres everywhere

PADDINGTON IN PERU – Review

Paddington in PADDINGTON IN PERU.

Although there are still a few weeks before most kids get their much anticipated Spring breaks, another “family-friendly” franchise flick arrives which hopes to give a bit of warmth to the chilly last weeks of Winter. Now December, and 2024, finished up with two such films, MUFASA: THE LION KING which is a rare sequel/prequel in Disney’s series, and another adventure of the video game superstar, SONIC THE HEDGEHOG 3. Like the latter, this new release is the third outing, and it also mixes a CGI-animated character in a live-action world. However, it also shares its origins with the current (for the last two weeks) box office champ DOG Man, which is based on a beloved series of children’s books. Now can the filmmakers score a rare “hat trick’ as the first sequel is so admired that it was ‘name-checked” at the end of the Nicholas Cage comedy THE UNBEARABLE WEIGHT OF MASSIVE TALENT? Perhaps that’s why they’re “shaking things up” with a change in locale as we join PADDINGTON IN PERU.


The film actually starts off in that exotic land with a short flashback as our hero Paddington the bear (voice of Ben Whishaw) has a last visit with his adored Aunt Lucy (voice of Imelda Staunton). Then it’s back to the present day as Paddington returns to his train station to obtain a photo, in a coin-automated booth, for a passport, which will confirm that he’s now a legal British citizen. Back at his home with the Browns, matriarch Mary (Emily Mortimer) is concerned that the family is drifting apart. Son Johnathan (Samuel Joslin) barely leaves his room as he invents gadgets to aid in his video game mania, while daughter Judy (Madeleine Harris) is (sigh) deciding on a college, Even papa Henry (Hugh Bonneville) is busy trying to impress his new American boss (who thinks he “plays it safe”) at the insurance company. A postal letter changes everything as Paddington gets news from the Reverend Mother (Olivia Colman) who runs the Home for Retired Bears in Peru. It seems that Aunt Lucy deeply misses him as her behavior has become increasingly odd. Paddington must return to his homeland, and the Browns will join him on the trip (that’ll show Henry’s new boss). But when they arrive the Reverend Mother informs them that Lucy wandered away, into the dense jungle. Later, Paddington visits her room and discovers a note with a map that leads to Rumi Rock. Grandmother Bird (Julie Walters) stays behind with the RM (she fears the outside world), as the Browns venture out to the village in hopes of hiring a guide and a boat. Luckily both appear as they meet Captain Hunter Cabot (Antonio Banderas) and his “first mate”, daughter Gina (Carla Tous). Ah, but things take a turn as he discovers that the map will take him to the fabled lost land of gold, El Dorado, which was sought by his greedy ancestors. Gina suspects her papa has “gold fever”, but can she ‘snap him out of it” before his zeal causes disaster for the Browns and prevents a reunion between Paddington and Lucy?


Although it’s been nearly eight years since our last cinema “visit”, the cast of regulars nimbly slip into their roles as though they were comfy slightly worn slippers. Whishaw still gives a mellow melodic gentle tone to the little bear’s “pipes”. Bonneville also brings lots of warmth to the bumbling, often befuddled, but caring patriarch. Harris and Joslin ease into the “young adult” stage of the Brown siblings. Walters is a grey-haired energetic dynamo as the plucky Granny Bird. Plus we get a nice cameo from Jim Broadbent as sage shopkeeper Mr. Gruber. As for the new “additions”, Mortimer takes over from Sally Hawkins as the sometimes melancholy (feeling the empty nest blues) matriarch, who provides a gentle “nudge” to point everyone in the correct direction. That’s when she’s not stifling a “swoon” over the dashing seafarer Cabot given the full swashbuckler swagger from the wry Banderas. He’s having a blast, especially when he’s donning wigs and period costumes to play the branches of the Cabot family tree. Tous is a terrific “level head” as she sees her papa “going for the gold”. Matching Banderas in the “embracing the silly” is the zany Colman, spicing up her lines with a sweet “sing-song” cheerfulness deftly parodying cinema’s “cute clergy” (crooning like a crazed maria from THE SOUND OF MUSIC), or evading inquiries with a vapid vagueness. These screen vets are happily enjoying a romp in the Paddington playground.

Oh, that playground has a new supervisor in director Dougal Wilson who takes the reigns from Paul King (who contributes to the whimsical screenplay). Thankfully he keeps the tone light and breezy presenting a magical timeless version of London while expanding the focus to present a very adventurous, slightly dangerous (the fishes nibble too much) classic pulp-novel version of Peru. Unfortunately, the pace lags a bit once the Browns are separated in the lush leafy jungle, and Cabot’s pursuit resembles a mix of the Looney Tunes Coyote and Indiana Jones (a boulder that seems to have a mind of its own) which may get the tykes a bit squirmy (a six or seven minute trim would’ve been a help). That and the lack of a great campy villain (miss you Phoenix B.) contributes to this being the weakest of the trilogy. But the standards set by the previous two are so high, especially among so much dreary family fare, that this is still an engaging watch. And really, we’d follow the Browns anywhere, especially when they join PADDINGTON IN PERU.


3 out of 4


PADDINGTON IN PERU opens in theatres everywhere on Friday, February 14, 2025

ONE OF THEM DAYS – Review

So what’s the cinema antidote to the brutal and frozen tundra outside our doors (and let’s not get into the West Coast)? How about a raunchy, rollicking buddy comedy? Hmm, that’s usually Summer popcorn fodder, but that’s not the only “rule” that this new flick is breaking. Rather than two mismatched male comic actors, this focuses on the friendship (though strained at times) of two twenty-something African American women. That’s a nice “flip”, along with the pairing of a screen “vet” and a star from the world of hip hop (and R&B/pop). Now that’s a combo sure to end those winter doldrums, along with its “Cali” backdrop. So that’s the setting, as the principals frantically try to survive a zany twenty-four hours that certainly qualifies as ONE OF THEM DAYS that will put their bond to the test.

It’s the morning of the first day of the month, and the head waitress at one of those family diner-style chain restaurants, Dreux (Keke Palmer) is making sure her staple of longtime “regulars” are enjoying their breakfast. When her shift ends, Dreux waits for a ride from her BFF/roommate, struggling artist/painter Alyssa (SZA) to pick her up and return to their shared apartment. Later that afternoon Dreux will have what could be a life-changing interview at the corporate HQ of the eatery chain, in hopes of snagging a a manager spot at a location. After saying hello to several of the neighbors, more like surrogate “aunties” and “uncles”, they head into their upstairs (above the courtyard) unit, where Alyssa’s hunky but between jobs and homes bae, Keshawn (Joshua David Neal), is snoozing. Suddenly there’s someone pounding on the door. It’s the no-nonsense landlord Uche (Rizi Timane) demanding the $1500 rent (it is the first) from Dreux, otherwise their furnishings will be on the street at 6 PM. When he leaves, Dreux double-checks that Alyssa has already given him their combined rent amount. Sure, she gave the cash to Keshawn to give to Uche. The duo tries to confront him, but Keshawn has split. Through the “gossip grapevine,” they find out about his “side girl”, the aggressive, always angry Berniece (Aziza Scott). At her place Alyssa grills Keshawn about the dough, but he’s already “invested” it. Then Berniece barges in and makes Alyssa and Dreux her target for revenge. Can the desperate duo raise the rent by six? And will Dreux make it to that big interview? And what happens when the BFFs incur the wrath of a brutal crime kingpin named King Lolo (Armin Joseph)? The clock is ticking as they wonder what else can go wrong…

The film soars on the effervescent energy of the two lead actresses. First off, the vet I mentioned is Palmer who builds on the street-smart, slightly manic persona we saw in supporting roles in NOPE and HUSTLERS. Her Dreux is the quick-thinking brain of the duo, always creating a new angle (or line of BS) to try and succeed. And yet she has an endearingly awkward quality as she tries to flirt with a new neighbor in an early scene. Palmer also has a “clown’s grace” as she uses her body language to convey the chaos of this long day. Ms. Palmer is also an excellent scene partner with the confident and sassy SZA as Alyssa, and it’s amazing that this is her first major acting role, though she’s been featured in many music videos. Alyssa is the more spiritual of the two (“Gotta put it out in the universe!”), though SZA delivers some great profanity-filled tirades when not utilizing her zaftig charms (watch her work her “magic” on a food cart vendor). And though her head is often “in the clouds”, SZA displays a gutsy talent for slapstick comedy right from the classics (there’s a lot of Lucy and Ethel in these two “besties”). Neal is the perfect dimbulb but well-endowed “boy toy”, while Scott is a hard-twerking Tazmanian Devil, With a bit of Tex Cobb from RAISING ARIZONA as the “rageaholic” Berniece. There are also some great comic turns by Maude Apatow as the bubbly new tenant Bethany (who is the only white resident, much to Uchi’s delight), Katt Williams as the ironically-named street “prophet” Lucky, and Lil Rel Howery who figures in one of the big cash schemes.

Director Lawrence Lamont keeps the pace rolling along at a brisk clip while hitting all the playful dialogue exchanges of the duo provided by screenwriter Syretta Singleton. Lamont ups the suspense factor by slapping on reminders of the time passed with a bit of foreboding (“Six hours till eviction”) that reminded me of the 80s cult comedy THREE O’CLOCK HIGH, which had a similar sense of urgency. Yet, with all the calamity, Singleton delivers some smart satiric jabs at the “cash advance” industry, along with the warm feeling of community in the apartment complex (the “matriarch” there has set up a “mini 7-11” in her living room). Unfortunately, there is the frequent, for comedies, lull just past the hour mark as the buddy romp cliche has to include a big blow-up between the pals that threatens to split them up for good. Nah, I didn’t buy it because their bond feels impossible to break. And while many may feel that all the subplots get resolved too neatly, almost with a big sparkly bow, by the final moments, the laughs and the chemistry between Palmer and SZA are so strong and engaging, not to mention the great LA locales, that those small missteps are wiped clean by the high-spirited hijinks that fill up ONE OF THEM DAYS.

3 Out of 4

ONE OF THEM DAYS is now playing in theatres everywhere

VENOM: THE LAST DANCE – Review

Okay “Marvel maniacs”, are you ready for a deep deep dive into another franchise? After all, it’s been nearly three months since the blockbuster “mash-up” DEADPOOL AND WOLVERINE. Of course you are, but hold up, true believer. This isn’t the beloved MCU (Marvel Cinematic Universe). Rather, we’re back in the “Sony Spider-verse”. So Tom Holland is off polishing his web-shooters (not a metaphor), as we get another “spin-off” from Spidey’s long-running comics series. And, unfortunately, this isn’t another romp in the surprisingly fun animated epics. No, this is the second live-action flick this year, after the “so bad it may be good” MADAME WEB, and while Kraven sharpens his claws for his December attack. And, sorry that vapid vamp MORBIUS is not returning, although this film’s focus has had better luck with two previous outings in 2018 and 2021. Now, with this third entry, Sony promises that this is the “finale of the trilogy”. Hence the full title VENOM: THE LAST DANCE. But that all depends on those all-mighty box office returns, so…

This time the story begins on the symbiote home world (or universe, perhaps) as its ruler/king Knull sends out several reptile/spider-like “hunters” to locate the “codex”, an energy portal that grants him access to all worlds, which Knull will conquer. So, who has the codex? None other than Eddie Brock (Tom Hardy) and his own BFF symbiote entity. When we last saw him (them) during the end credits of SPIDER-MAN: NO WAY HOME, he was getting blotto in a bar on our Earth (#616). Brock and V then pop back to his homebase, where his black-ooze buddy dispatches some baddies. Ah, but it turns out that morphing into Venom sends out a homing beacon to Knull’s hunters. Also, an elite group of special ops soldiers led by Rex Strickland (Chiwetel Ejiofor) is also trying to capture Eddie. He and his “inner voice” escape and set their sights on the “Big Apple”. We soon learn that Strickland is working with a team of scientists headed by Dr. Teddy Payne (Juno Temple) who operate out of a secret symbiote research lab deep below the soon-to-be demolished Area 51. In order to evade their “radar”, Eddie hitches a ride with the groovy Moon family in a van driven by daddy Martin (Rhys Ifans) and mom Nova (Alanna Ubach), who want their kids (Hala Finley and Dash McCloud) to take in 51 before it’s gone. They drop Eddie off in Vegas where a reunion with an old friend leads to a battle atop the casino canyons which spills into the desert and that iconic military locale, as Venom must make its “last stand”…with some unexpected support.

As with the previous two flicks, everything’s resting on Eddie B, the “host with the most” who is given a world-weary gravitas by Hardy. Again, he’s a bit baffled by his fate, and has a “push/pull” relationship with the toothy ebony puddle. He’s convincingly hungover in the opening sequence, but his hangdog grousing becomes a tad tiresome, even as he’s a “symbiote straight-man”. It’s odd that Brock is so often “one-note” since Hardy worked on the script (as he did with the last one), and too often sounds like his “cycle-poppa” from BIKERIDERS. Most of the supporting cast get little to do, perhaps to leave more time for the CGI chaos. The very talented Ms. Temple (so good in the streaming shows “Ted Lasso” and “The Offer”) does her best to bring nuance to the standard “don’t destroy my discovery” scientist from countless 50’s sci-fi flicks, but too often she’s shouting while doing a “deer in headlights” expression. Much of the same can be said for the equally gifted Ejiofor, who’s another “late show” cliched “kill this thing!” soldier, who is there to bark orders while spouting exposition. The biggest misuse of talent may be Ifans as the “Earth papa” who offers support to Eddie while having to deal with a corny “moonbeam” stereotype (ditto for Ubach). There is a nice “Lasso” reunion with Cristo Fernandez as a really patient “booze-slinger”.

This film marks the feature directing debut of actress/writer Kelly Marcel, who wrote the last two Venom flicks and teamed up with Hardy on the script for this one. She is adept at keeping the plot moving at a brisk pace for the first act or so, but the requirements of an action/effects “tentpole”, sends any character development and humor far into the background. There’s also some irritating “fan service” as a supporting character from the first films is clumsily “shoe-horned” into the big finale in Nevada. This one’s an improvement over CARNAGE as they make great use of the dusty locales. And we’re not stuck in those near-pitch black alleyways as the tenements crumble. Plus there’s a few nifty visual tricks as the symbiote bonds with various wildlife (be warned, his equine form is fleeting). But, by the time we get back to 51, the script desperation kicks in as we get an “Avengers-team” of “Venom-lites” to dash up and fill the screen with fire and pixels. As the smoke clears, we’re feeling as tired as Eddie Brock appears. This is one alien that should “phone home” since it has truly worn out its welcome (along with the moviegoers patience). But since the Spidey series is so strong. it’s a given that he’ll be back to bare his teeth and wiggle that serpent-like tongue despite the promise in the title of VENOM: THE LAST DANCE. I can almost hear that growling gravelly voice (I could only “get” two thirds of its quips) chuckling…

1.5 Out of 4

VENOM: THE LAST DANCE is now playing in theatres everywhere

SATURDAY NIGHT – Review

Gilda Radner (Ella Hunt), Jane Curtain (Kim Matula), Dick Ebersol (Cooper Hoffman), Rosie Shuster (Rachel Sennott), Garrett Morris (Lamorne Morris), Alan Zweibel (Josh Brener) and Lorne Michaels (Gabriel LaBelle) in SATURDAY NIGHT.

Ah, the weekend, a time to kick back and relax after the drudgery of the nine-to-fives grind. Well, that’s the case for most of us. For the folks working at “30 Rock” in the “Big Apple” it’s truly “crunch time” Most weeks, that is. And it all started exactly 49 years ago. That’s when one of the “big three” networks (in those “prehistoric’ times before cable and streaming), the National Broadcasting Company decided to gamble on a risky concept, one that was once the “norm” nearly twenty years prior. Back in the 1950s almost everything on the tube (other than creaky old movies) was aired live. But with the advent of video tape, most of the entertainment or “variety shows” shows were run free of glitches and goof-ups thanks to meticulous editing of the “pre-recorded” content. Due to pressure from “the king of late night” NBC wanted something new and off beat, a show that could appeal to the coveted 18 to 34 demographic that sponsors love, to run rather than repeats of “The Tonight Show Starring Johnny Carson”. After corraling a motley team of eager energetic twenty-somethings, a ninety minute original comedy and music “revue” would air at the weekend’s “epicenter”. And this new film tells the backstage story of that fateful night. To paraphrase one of the show’s many “catchphrases”, “Filmed In New York (and Georgia), it’s SATURDAY NIGHT!”. And thank you, Don Pardo…

The film takes place in the ninety minutes prior to the premiere on October 11, 1975. It’s 10 pm and a frustrated NBC page (Finn Wolfhard) can’t even give away free audience passes to the new show. His “spiel” is interrupted by the program’s creator/producer Lorne Michaels (Gabrielle LaBelle) as he greets a “featured performer” Andy Kaufman (Nicholas Braun), who has been dropped off by his parents. After getting past the security team, they two take the elevator to the “nerve center” on the eighth floor. Lorne is quickly approached by the NBC VP of late-night programming Dick Ebersol (Cooper Hoffman) who is his “sounding board” and advisor. Priority one is the on-air talent. Chicago Second City vet John Belushi (Matt Wood) balks at wearing the bee costumes and avoids signing his contract. Garrett Morris (Lamorne Morris) questions his place in the show. As does the “classicly-trained” actress Jane Curtin (Kim Matula). Dan Ackroyd (Dylan O’Brien) doesn’t like his props while Gilda Radner (Ella Hunt) fears being typecast as everybody’s “kid sister”. And Laraine Newman (Emily Fairn) wants to change costumes quicker. Towering over them all is the snarky, confident Chevy Chase (Cory Michael Smith). The loudest complainer may be the host, counter-culture stand-up comedy icon George Carlin (Matthew Rhys), while the softest may be Muppet master Jim Henson (Braun again). And as the sets are still being built, Lorne is getting “pitches” from his writing staff led by the acerbic dark-humored Michael O’Donogue (Tommy Dewey) and Lorne’s soon-to-be ex-wife Rosie Shuster (Rachel Sennott). And if that weren’t enough, the NBC talent relations exec David Tebet (Willem Dafoe) has brought in a horde of middle-aged NBC station affiliate owners and the network’s first “superstar”, Milton Berle (J.K. Simmons), who act more like sharks that just smelled blood in the water. Tebet has a big reel-to-reel videotape of Carson ready to go. Will Lorne’s “dream” be scrapped before it’s even aired? Well, we know the answer to that…

But it’s still a fun, exhilarating ride thanks to this superb cast led by LaBelle who follows up his lead role in THE FABELMANS by playing another media icon. Sure, he often resembles a “deer caught in headlights” as everything appears on the verge of self-destruction, but LaBelle imbues Michaels with a steely determination and a strong backbone when the “suits’ encircle him. He’s got to put on a brave face, but lets the mask slip away with his two biggest “back-ups”. One is Shuster given a smart and sassy air by the engaging Sennott. She’s truly walking a tightrope as she tries to bolster Michaels just enough without leading him to think that their marriage will be “patched up” while engaging in some flirty banter with O’Brien’s Ackroyd. Plus she’s also the “Belushi-whisperer” as hers is the only voice that seems to calm his “savage beast”. The other person in Michaels’ “corner” is Ebersol played with great energy and empathy by Hoffman who cares about the project but isn’t afraid to “lay it on the line” to the frazzled producer (and his “product placement” rant is pretty funny). The story’s “villain”, other than the clicking countdown to air, might be Dafoe, at his most reptilian (and that’s saying a lot) as the sinister Tebet, a blow-dried Lucifer dangling stardom in front of Chase, while cooly pushing Michaels to “try for next week” in a passive-aggressive whisper. Almost matching him is Simmons whose “Uncle Milty” swings his “BDE” as he clings to his past glories. While they aren’t “perfect doppelgangers” for the original “Not Ready for Prime Time Players”, all of the ensemble can suggest them via subtle voice inflection and gestures especially the aforementioned O’Brien who captures the aggressive super-focused nerdiness of Ackroyd as he rattles off the specs of a pistol in one breath along with Morris who conveys the inner-conflict and turmoil inside Garrett as he fears that all of his schoolings may be in service of TV “tokenism” (“I’m an opera singer, now I’m a pimp?”). Kudos also to Robert Wuhl as bemused journeyman director Dave Wilson and Tracy Letts as grizzled comedy guru Herb Sargent, who outlines Chevy’s future (Smith’s terrific as the swaggering comic “alpha”). But the MVP may be Braun doing delicious “double-duty” as the strange Kaufman and the quietly eccentric Henson.


And who’s the talented filmmaker that imbues a vibrant vitality to a tale so familiar to TV fans and historians? Why, it’s none other than Jason Reitman, who himself is part of a comedy dynasty that mixed with many SNL vets ( he and his late father directed Ghostbuster flicks with Ackroyd). He also co-wrote the film with Gil Kenan, and sure some of it is probably “dramatically-altered” embellishments to the legends (certainly no live show would bring in the audience with only minutes to spare as the set floor was still being built), but it’s a movie, not a TV mini-series (which would be pretty cool, too). More important than 100% accuracy is the immediacy Reitman gives this fable, which at times seems to be a fever dream from Michaels who is constantly “spinning plates”. This takes the “walk and talk” trope of Aaron Sorkin to dizzying heights as the always-in-motion- producer is cornered by questioners from the left and right (30 Rock has some long hallways). Several bits from much later sketches are referenced (did these comic ideas gestate for years), but it adds to the manic footloose frenzy. It’s all given a gritty smoke-filled haze (so much chain-smoking) thanks to the 16mm cinematography by Eric Steelberg and accented by the score from Jon Batiste, who doubles as “musical guest” Billy Preston. And let’s give ‘props” to the prop department along with the art and design teams and the funky period costuming of Danny Glicker. Yes, the pace is a bit overwhelming at times, but this film takes its place amongst the great films set around classic TV shows both real (BEING THE RICARDOS) and fictional (MY FAVORITE YEAR) as it balances the emergence of the new “raised by the tube” creators and the zeal of the Judy and Mickey “let’s put on a show” flicks. Best of all it reminds us of that magic time hanging out with your school pals hunkered around the TV (not too loud since the folks are in bed) waiting for the clock to hit 11:30 (10:30 central) to finish the big lazy day with some laughs and music on SATURDAY NIGHT.

4 Out of 4

SATURDAY NIGHT is now playing exclusively in theatres everywhere

FLY ME TO THE MOON – Review

Yes, I see that title and I immediately picture “ole’ blue eyes”, a trench coat draped over a shoulder, crooning that catchy 1954 Bart Howard classic. And that’s just what the producers want to evoke, to get you in a nostalgic mood for a frothy romance set against the backdrop of the “space race”. Mission accomplished, but could a “rom-com” really work against the somber historical backdrop we’ve seen in heavy, serious films like FIRST MAN, A MILLION MILES AWAY, HIDDEN FIGURES, APOLLO 13, and the HBO miniseries, “From the Earth to the Moon”.Now, that’s the trick, much like the possible results facing NASA, Will it blast off or crash land? But it’s “star power” rather than rocket fuel that propels FLY ME TO THE MOON.

Modern movie audiences need a short primer on events 55 years ago, and the filmmakers provide a brief one for the film’s prologue, In 1968 the “whiz kids” in Cocoa Beach Florida are rushing to make good on JFK’s promise to land a man on the moon before the end of the decade. Leading the “brainiac bunch” is former fighter pilot Cole Davis (Channing Tatum) whose steely determination stems from his part in the tragic events of Apollo One a few years before. The story shifts to NYC as we meet advertising/marketing expert Kelly Jones (Scarlett Johansson) who has just “put one over” on some auto execs. But her celebration is brief when she’s exposed by Nixon’s “special operative” Moe Berkus (Woody Harrelson). Why? Well, he has a bigger client for her and her trusty aide Ruby (Anna Garcia) because the Prez needs help “selling” the space program to the populace. The women fly down to Florida in time for Kelly to have a “meet cute’ with Cole at Wolfie’s Diner. Things take a sobering turn when they meet again, as Cole has little time or respect for their publicity plans. But they finally realize they must work together to get the money pipeline flowing from a stubborn group of congressmen. But then their renewed attraction is almost snuffed out by the return of Berkus who tasks Kelly with creating a “set” where they can film a phony moon landing, in case Apollo 11 fails. Can she get everything together for this fraud without Cole finding out? Or will she listen to her heart and do the right thing for “the right stuff”?

That aforementioned “star power”? That is ably supplied by the pairing of the lead duo at the center of the plot, bringing true sparks to the often formulaic rom-com genre. Tatum proves that he’s got more dramatic depth than you might gather from his mesmerizing moves as MAGIC MIKE. He projects an “old school” screen hero’s sense of decency as the project-focused Davis who has a huge weight on his shoulders that could be erased if he can get this job done to honor his fallen teammates (the first trio) and perhaps his “captain”, who set the stage but can’t be there for the finale. Not surprisingly, fun and romance are neglected until he meets her. In a nice twist on the genre’s conventions, Johansson’s Kelly is the free spirit with shaky morals who lightens the load for Cole, who helps her regain a sense of right and wrong, putting honor before profit and chipping away at her cynicism (in her first scenes, Kelly is almost a “Donna Draper” in a riff on “Mad Men”). This role really taps into the charm she gleaned in her MCU role of the Black Widow.


The “support team” is led by the always interesting Harrelson whose laid-back persona is given a dangerous edge as a quip quickly morphs into a threat, punctuated by his black attire and ever-present switchblade (to slice citrus for cocktails, of course). And there’s some great work here by two other TV sitcom vets. Ray Romano uses his hangdog everyman charisma as Cole’s right-hand man, who feels more like a proud “uncle’ as he fills in the “backstory” for Kelly. The biggest “scene stealer” is Jim Rash, an Oscar-winning screenwriter but forever Dean Pelton of “Community”, as Kelly’s snippy, flamboyant director Lance Vespertine (the name speaks volumes) who brings a bitchy sense of camp to the fairly somber “conspiracy”. Kudos also to the “junior squad” led by the energetic Garcia who can’t suppress her hippie leanings along with the NASA comic tag team of Donald Elise Watkins and Noah Robbins who provide a great jolt of manic comic energy.

Kelly Jones (Scarlett Johansson) and Cole Davis (Channing Tatum) in FLY ME TO THE MOON.

Guiding this talented ensemble is someone who’s best known for being a guiding force on the TV versions of several DC superheroes (streaming and broadcast), Greg Berlanti. This is actually his third feature film and a big dive into the mainstream as he harkens back to the “above the title” pairing of classic movie couples (Gable and Lombard, Bogie and Bacall, Tracy and Hepburn). Despite the somewhat lengthy 132-minute runtime, he keeps the story from Keenan Flynn and Bill Kirsten that Rose Gilroy crafted into a screenplay from getting too slogged down in space nostalgia. Like that neglected 80’s classic THE RIGHT STUFF it highlights the awe and wonder along with wit while mixing in the movie “mating rituals”. But it doesn’t leave out the sense of danger with several flashbacks to that fatal pre-launch tragedy to the hovering Berkus who could be more “spook” than a spy. The time period is recreated very well, though it may seem that it’s the early 60s since the engineers all have the white shirt/thin black tie basic except for the pseudo-turtlenecks favored by Cole, perhaps to set him apart or to better highlight Tatum’s rugged physique. As for Johansson, Kelly appears to channel Marilyn Monroe in her early makeup and hairstyles (those blonde “bobs” are dazzlin’) but she “loosens up’ by the finale, perhaps to reflect the changing times and her embracing a new “morality”. Unlike the teaming of Gosling and Blunt at the start of the Summer, this pair really connects as they size up each and verbally spur before the big “clinch”. The great “needle drops” of classic tunes really help “seal the deal” and send Kelly and Cole piloting fans of retro romance soaring “among the stars” in FLY ME TO THE MOON.

3 Out of 4


FLY ME TO THE MOON is now playing in theatres everywhere

NAPOLEON (2023) – Review

The end-of-the-year awards contenders naturally include several biographical films, usually, they’re intimate tales of triumph and tragedy, such as NYAD and the upcoming MAESTRO. This holiday offering has that crossed with another genre, namely that it’s also a big sweeping historical epic. Fitting, since its subject made a huge impact on the entire world two centuries ago. In the director’s chair is a filmmaker known for such big, broad sagas, though he’s done several smaller dramas. And he’s comfortable setting his films in the far distant past and the far distant future. Here he’s flexing his considerable skills as he reunites with a former acting collaborator to tell the spectacular story of NAPOLEON.

It doesn’t begin with the title subject’s childhood, instead taking us right into France’s “Reign of Terror”, just in time for a royal appointment with “the blade”. Soon after, Lucien Bonaparte (Matthew Needham) encourages brother Napoleon (Joaquin Phoenix) to take command of the military forces and protect those now in power from the gathering angry mobs of citizens. From Paris, Napoleon, now artillery commander, is sent far away to end the British blockade of the ports at Toulon. After that violent battle, he returns to France where the son of a naval officer killed in the Revolution pleads for the return of the family sword. Breaking protocol, Napoleon personally returned the weapon to the lad’s home where he becomes enamored of the widowed mother Josephine (Vanessa Kirby), Napoleon courts and weds her while gaining more political and military power as he leads the forces of France in victories across the globe, even triumphing in Egypt. Eventually, he takes over the reins of royalty in his homeland, crowning himself Emporer of France with Josephine as his queen. Their marriage proves to be quite turbulent as she cannot bear him a male heir. This leads to a divorce, a remarriage to a much younger foreign royal, and a disastrous campaign in wintery Russia. Soon Napoleon is banished to the island of Elba, but homesickness prompts a return home and an effort to resume his conquests after earning the loyalty of his army. But this all may be dashed by the plans of the Duke of Wellington (Rupert Everett) as he makes a final stand at Waterloo.

Bringing his off-beat acting stylings to the title role, Phoenix makes several unexpected performance choices. This makes for an odd juxtaposition with the grand spectacles of the historical recreations. Perhaps this is an effort to make the story more contemporary for multiplex audiences, but it serves to distance us from the iconic military mastermind. With his hesitant line reading and guttural grumblings, Phoenix feels more suited to recent roles like JOKER and BEAU IS AFRAID than this leader who somehow inspires troops to rejoin him after exile. Perhaps his performance is meant to comment on the recent resurgence of arrogant thugs in positions of power, but we never get inside his head. Unfortunately, one of the screen’s most interesting actresses is given little to do, other than react to his cruelty. Ms. Kirby has given us superb performances in both “indies” and blockbusters, but here she was left to be “lady in waiting” and relegated to “broken breeder”, usually with a dead-eyed grimace as “her king” goes about his “business”. One of the film’s unexpected pleasures is the return of Everett as the haughty but determined Duke who barks out commands with a sneer as though having to “put down” the French “mongell” were a distasteful chore.

Oh, the previously mentioned filmmaker is none other than the esteemed Ridley Scott, who seems to be almost “returning to his roots” with this story’s setting harkening back to his first feature from 1977 THE DUELLISTS. Perhaps that’s why the sweeping battle scenes have so much energy, plunging us dangerously close to the warriors as they dodge bullets and cannonballs (the early equine carnage may haunt you). Those bloody battlefields are effectively grim and grimy, as the cavalry attempts to dodge the cadavers that litter the countryside. And there’s an effective use of extreme locations, from the sands of Egypt to Russia’s frozen tundra (an ill-timed December surge). But then there are the long stretches between campaigns as we must bear witness to the convoluted political chaos (there are some needed ID titles for the principals) and the bickering Bonapartes which devolves into one of the most ridiculous sequences at a fancy state banquet. Napoleon’s loud public complaints over Josephine’s infertility dengerates into a clumsy “food fight”.There’s never a sense of passion between them aside from his jealousy over his “possession”. It’s not helped when major historical incidents are glossed over and even discarded. Josephine’s matchmaker son vanishes, and we never hear the fate of Napoleon’s son by his second marriage. Perhaps they’ll be seen in Scott’s proposed four-hour-plus “cut” for AppleTV+. After slogging through this 158 minute mishmash of a film that’s so uneven, it’s tough to be interested in a chance of more clunky palace verbal sparring. It seems that the biggest battle is between Scott and the “all over the place” script that proves to be the true Waterloo for NAPOLEON.

1.5 Out 4

NAPOLEON is now playing in theatres everywhere

NO HARD FEELINGS (2023) – Review

Cinema roll-call! Alright, it’s the Summer movie season, and what stalwarts have already taken over the multiplex? Big superhero epic? Check and double-check! Action blockbuster franchises? Check? Family-friendly animated features? Check! Raunchy slapstick comedy? Hello…Anyone there? Oh yes, finally it’s here just as Summer officially begins. And this is indeed rated “R” as in raunchy, ribald, and risque. much in the same vein as THE HANGOVER trilogy and the AMERICAN PIE dynasty of flicks (theatres and straight-to-video). Oh, for those of you that think these flicks are too “low brow” and “classless”, well the “above the title” star is an Oscar winner, so there! And if you think such a genre is “beneath her”, I’m sure she hopes you’ll laugh and that there will be NO HARD FEELINGS.


The star in question is Jennifer Lawrence, who plays the “barely making ends meet” Maddie Barker. She’s in the “gig economy” as an Uber driver and a bartender in order to hang on to her family home in the now pricey burg of Montauk in Long Island, NY. It seems that the houses there are desired by Big Apple dwellers wanting a getaway residence making the property taxes skyrocket. This story begins on an early morning when Maddie’s fiscal luck runs out and the “repo-man” (an ex-beau, naturally) hauls away her vehicle (thus ending her Uber “side hustle”). She’s gonna’ lose her place! What to do? Then, like an answer to her prayers, she spots an ad on “that online job mart”. A pair of those rich NYC parents are looking for a young woman to “date” their shy, introverted nineteen-year-old-son before he heads to Princeton in the Fall. And they’re offering the title to a nearly brand-new Buick-Regal! Maddie meets with the “helicopter parents” (Laura Benaanti and Matthew Broderick), who clumsily define the “date” agreement and set down some guidelines along with a way for her to “run into” him at the local animal shelter where he volunteers. Donning her tightest lil’ red dress Maddie approaches nervous, nerdy Percy (Andrew Barth Feldman). Her botched seduction tactics somehow lead to a date, revealing that Percy is a lovely soul. Can Maddie go through with the “deal”? What if she begins to like him? And what if he somehow falls for her?

After several years of very amusing talk show interviews, the talented Ms. Lawrence finally gets the opportunity to flex those impressive ‘comedy chops”. Sure, she’s had funny moments in films like AMERICAN HUSTLE and DON’T LOOK UP, but she’s never been given a role that’s the comedy “full monty”. Lawrence gives us a terrific comic heroine in Maddie, a woman that’s often a bit dim-witted, yet is a plucky survivor of life, plunging ahead even if she ends up face down in the muck and mire (yes, she’s a slapstick athlete). Yet somehow she retains that star glamour and charisma making us root for Maddie even at her most devious. Plus Lawrence is a generous “team player’ giving ample support to relative screen newcomer Feldman, who makes Percy more than the typical virginal dweeb of some many movie sex farces. He’s too smart to be wowed by Maddie’s over-the-top vamping, yet he wants to make a personal connection with this “free spirit”. And he’s also a gifted comic (I’m still chuckling over his panic at the sound from a pool table). The story gets a great lift from two very different duos. Broadway royalty Benanti and Broderick are nearly pitch-perfect as the overbearing parents of Percy, who aren’t quite “in sync” with the scheme (she’s a tad mortified by his delight over their boy getting some “experience”). The other married couple is best buddies with Maddie cheering her on while still being stunned by the whole “deal”. Natalie Morales is the very pregnant Sara who shares Maddie’s ire at the rich “invaders’ while trying to keep her often clueless hubby, Jim (Scott MacArthur) focused . It’s a playful teasing rather than nasty bickering, as they’re “in it for the long haul”.Oh, and Ebon Moss-Bachras scores several laughs as the indecisive repo guy still pining for Maddie.

Right from the opening titles the movie has a “go for broke” comic mania, thanks to director Gene Stupnitsky, a TV vet who’s following up his modest coming-of-age comedy of 2019, GOOD BOYS. Maddie’s desperation coupled with the quiet awkward behavior of Percy makes for some amusing set pieces (ditto for the “interview” with the parents). Lawrence as Maddie is a great satiric riff on the sultry “maneaters” of late-night cable TV (y’know, “Skin-a-max”), while Feldman holds the screen with her. Unfortunately, this film succumbs to the dreaded midpoint “lull” in which the laughs are sparse and the pace begins to drag. Sadly it never really recovers despite a couple of ill-conceived roles for a vet of SNL and a Daily Show alum. Then the main characters behave in ways that don’t really make sense and the filmmakers begin to morph the racy giggle-fest into a more mature afterschool special in which everybody “learns something” and “grows emotionally” by escaping past traumas. Yeesh, that’s a big detour from the notion of Lawrence doing a female spin on the familiar “man-child” vehicles in the “wheelhouse” of Sandler and Ferrell. It all builds to a “feel good” upbeat finale that seems too convoluted and more than a touch “pat”. Putting the talented Ms. Lawrence in a zany comedy was an inspired idea, but this script needed at least a couple more “passes”. Hey, at least all the gags aren’t in the trailers, so …um… NO HARD FEELINGS, right?

2 Out of 4

NO HARD FEELINGS is now playing in theaters everywhere.