Tag Archives: Universal Pictures

FORGOTTEN ISLAND – Review

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Even though Summer vacations are a not-too-distant memory as Fall begins, that’s not stopping the multiplex from taking us around the world, with movies set in faraway lands. And like last week’s charmer, SHAUN THE SHEEP: THE BEAST OF MOSSY BOTTOM, this is animated, too. No, we’re not back in the northern U.K.; rather, we’re headed to the warmer climes of the Philippines. Oh, and it’s not told in stop-motion clay-figure animation, but in glorious, gorgeous CGI, with some brief detours into “classic” 2-D. Plus, we’re treated to a terrific introduction to the local customs and mythology. But, not to worry, kids, it’s far from a dry historical lecture. That’s because there are laughs a’ plenty, with the magic and monsters (maybe a bit scary) found on FORGOTTEN ISLAND.


This fantasy fable focuses on two young women, whom we meet during their early grade school years. The raucous, uninhibited “Jo” Yuson gets a bit too energetic and destructive during her class presentation (with a “splash zone”) all about her Grandma Lola’s time on the legendary island of Nakali, home to strange creatures. While waiting outside the principal’s office, Jo meets the shy, bookish, bespectacled Raissa. The duo quickly bond, and after a visit to the home Jo shares with Lola (voice of Dolly De Leon), they decide to become BFFs, cementing the bond with friendship bracelets. Through the years, the two become inseparable, spending many hours on the nearby beach, in search of the magical “sand dollar” that will open a portal to Nakali. Finally, the end of high school nears; Lola has passed, and Jo (H.E.R.) bounces from job to job in the local mall’s food court. But Raissa (Liza Soberano) has big, big plans: she’s been accepted to Caltech and will be flying off to America. Jo tries to convince her to stay, but settles for one last night together on the beach before the flight early in the morning. And, who would have guessed it, they find that mystical sand dollar (or does it find them). A glowing portal entrance appears in the sand and draws the duo into a dark void. They wake up hours later in Nakali, with no idea what they did after arriving. Plus, the sand dollar is missing, so they’ll have to retrieve it in order to make Naissa’s flight. Luckily, they meet Raww (Dave Franco), a “were-dog (were-aspin, actually)”, who tries to help “fill in the blanks”. Unluckily, they’re pursued by the very angry (Raissa has her wings) Manang (Lea Salonga), a vampire-like demoness. In their frantic search for a way home, Jo and Raissa team up with many exotic creatures and friendly demons and explore several cultures of Nakali. It’s all wondrous, but the clock’s ticking, and Manang’s not far behind. Will they make that flight?

Usually, I begin my critique of the actors involved, so I’ll tell you that both H.E.R. and Ms. Soberano are splendid as the two leads, capturing the emotional bond of the BFFs. Franco brings lots of frenetic energy to the “teen-dog”, while Salonga is quite intimidating as the vindictive vamp. I should also single out the wonderful work of Jenny Slate (yes, Marcel the shell with shoes on) as the memory-craving, cat-like demon Batiba and Manny Jacinto doing an infanilized riff on his “The Good Place” TV role os the baby demon, the massive, three-eyed blue Bungi.Kudos also to Ronny Chieng as the adorably angry king Truffle Wuffle, Jo Koy at “tree royalty” Datu, and Kevin McCann as the vain, silly aquatic hunk, not “merman”, but Mermahn (many might think him a parody of Jason Momoa’s Aquaman in the DCEU, but I thought of Prince Namor, the Sub-Mariner from classic Marvel Comics).

Yes, they’re great, but the real stars of this film are the legions of talented artisans that lent their considerable talents to making a masterpiece that’s bursting with creativity and visual splendor. At the forefront is the excellent directing team of Joel Crawford and Januel P. Mercado, following up on their much-better-than-expected PUSS IN BOOTS: THE LAST WISH. Yes, that was terrific, but this is a major step forward, matching the animation innovations we’ve seen in the “Spider-Verse” films. There is a tactile, textured quality that’s not overdone to the point of being live-action mimicry, although the rich camera techniques expand on iconic movies like THE MATRIX and AVATAR. For dramatic and comedic emphasis, characters suddenly shift into Anime tropes and pop with manga-inspired line drawings. This leads to several superb 2D “hand-drawn” (though probably using the “Flash” methods) sequences (Raww’s “version” of the first meeting with his two new pals). Speaking of that fuzzy fellow, he’s the source of some great slapstick as parts of him go from human to “weredog” to tiny pooch puppy. That’s just a small sample of the astounding “physical acting” and movement showcased. There’s a wonderful bit of visual emoting from an intense karaoke singer at Raissa’s graduation party 9those poses) to the vamp vixen as she stalks and struts as her body literally breaks in two (I like the crazed frozen smile of Batiba, also). The dazzling color scheme immerses us inside, not only in Nakali, but also in the streets of the women’s home village. And yes, this is a wonderful intro to the culture and its wonderful mythology. Plus, the musical choices are excellent, mixing new tunes with pop classics. Everything is so engaging, but I wish that the editing could be a bit tighter, as a third act “recap” should have been trimmed of a couple of set pieces (save them for a special edition disc). It’s a minor quibble, since this is such an invigorating, phantasmagorical journey that not only rewards the eyes and ears, but also fills our hearts with the joys of lifelong friendship and devotion. And that’s what makes FORGOTTEN ISLAND truly unforgettable.

4 Out of 4

FORGOTTEN ISLAND is now playing 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

MINIONS & MONSTERS – Review

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

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

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

3 Out of 4 Stars

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

MICHAEL (2026) – Review

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Okay, many would say that the Summer season got off to a very early start with the still-playing PROJECT: HAIL MARY and the animation “one-two-punch” from Pixar and Illumination. That could be the case, since the big box office race had, until recent years, its “starting line” on the first of May, and the “finish line” just before Labor Day. Well, the “starting gun” has been fired with this big-budget musical “biopic”. While many of these have been relegated to the “prestige” months near the end of the year (to qualify for awards), this one is setting its sights on a big “wide” opening in many, many screens. This makes sense, since the subject held a “royal” moniker. We’re talking about the “king of pop”, the sparkly “gloved” one, MJ, though this potential blockbuster’s title simply uses his forename, MICHAEL.


This cinematic retelling doesn’t begin with his birth. Rather, it opens sixty years ago, as an eight-year-old Michael Jackson (Juliano Valdi) and his four brothers, now dubbed the “Jackson 5,” are coached and trained by their papa Joe (Colman Domingo) while mama Katherine (Nia Long) adoringly watches. But the road to fame includes long, grueling hours of rehearsal and the savage punishments from Joe. Eventually, they are discovered by Motown Records exec Suzanne de Passe (Laura Harrier), who brings them to her boss, the company founder Berry Gordy (Lorenz Tate). He’s a kind, nurturing mentor, the opposite of Joe, who patiently tells the lad not to “move around so much” in the studio. The team is a sensation, as the story springs ahead to 1978, with the family now living in an Encino, CA mansion. But now 20-year-old Michael (Jaafar Jackson) lives a sheltered life in a bedroom filled with toys, animals, and ideas for a solo album, which irritates Joe. Thinking this will “derail the gravy train,” he tells Michael’s agents that he can do a solo album in his “off time” (after the team’s 9-to-5 schedule). MJ’s a smash “single act, and soon yearns for more artistic freedom. Encouraged by his Mom, bodyguard/driver Bill Bray (Keilyn Durrel Jones), and new attorney John Branca (Miles Teller), Michael becomes a solo superstar, hitting new heights with the most successful record of all-time, “Thriller, produced by Quincy Jones (Kendrick Samson). As the years pass, MJ dominates MTV with lavish music videos, amasses a zoo on the grounds of his home, “steals the show” on the “Motown 25th” TV special, and indulges in cosmetic surgeries (he’s haunted by the childhood taunts of “big nose”). But Joe’s not finished with him, as he pressures his son to join his brothers on the “Victory” tour and be part of a “tie-in” commercial shoot for a soft drink company sponsor. This leads to a life-changing on-set accident that sets in motion a plan for Michael’s independence.


The ensemble cast works hard to recreate these pop culture icons, especially the title role, which is shared by a pair of talented screen newcomers. Getting the “lion’s share” of screentime is Jackson (yup, he’s the nephew of the “superstar”), who is a striking physical recreation, particularly in the musical numbers. Yes, he’s got the “moves” down so well that it’s a shame that he’s given such a limited dramatic arc. In most scenes, Jaafar flashes a frozen, immovable smile as he’s showered with praise or deals with family drama. Still, there are a few flashes, as he picks his lawyer, or during a “creation” sequence. Valdi is completely captivating as a ten-year-old (claiming to be eight) Michael, effortlessly earning empathy, whether serenading an adoring throng or enduring Joe’s “guidance”. As the story’s main “villain”, the superb Domingo deftly conveys Joe’s bullying swagger, though, again, we’re not given much insight into his motivations, other than greed. Teller also has little to work with, as Michael’s champion, who is often just a supportive ear and often verges on the old “white savior” cliche. Much could be said of Jones as the “dad surrogate” Bray. Long is solid as mom Katherine, who is finely given some strong scenes against Domingo in the third act. And kudos for casting a beloved comic treasure in a cameo role that harkens back to another musical biopic (no spoilers from me).

As I said, the musical recreations are exhilarating, reminding us of the exuberant sense of nostalgia, when the world seemed to float on a cloud of pop tunes (the 5 was perhaps the most fun act since the “Fab 4”). But for those hoping to get much more depth into this “pop royalty”, well, the film’s story is too light and fluffy. It’s a surprise since that comes from the man behind the “down and dirty” TRAINING DAY (can it be 25 years now), Antoine Fuqua. This is truly sanitized and pretty “toothless”. Since it’s authorized by the Jackson estate, Michael is so angelic, he often appears otherworldly (that’s why he’s an alien in the first MEN IN BLACK). It’s almost “The Adoration of Michael” as we see countless scenes of him doing visits to kids’ hospitals and bonding with youngsters in his happy place, “Tom’s Toys” (we know its real name). And then there are scenes so sweet your molars might ache, as Michael immediately bonds with pet chimp Bubbles, who seems to have been transported from the CGI ape world from that SF franchise, along with a whole pixel menagerie. Perhaps this “scrubbing” was needed in order to showcase and promote the music catalog and appease the family. But not everyone was on board, as sister Janet is not only absent, she’s never mentioned, leaving La Toya to be his fawning lil’ sis’.Still, there are a couple of sequences that offer us a glimmer of a more interesting biopic, including the aforementioned “creation” of one of his greatest hits, “Beat It’, and the hiring of Branca (“He’s my guy.”). Also in the film’s plus side is the superb production design by Barbara Ling, the costumes by Marci Rodgers, and the entire srt department and makeup team, though Joe looks a bit rough as he’s “de-aged” in the mid-60s opening. Those wanting to bathe in the musical memories will be blissfully taken back to their youth, but those of us who recall the later controversies and tablod “fodder” will find little “substance” in this “puff pastry”. At the final fade-ot we’re teased with a possibel sequel. If so, let’s hope it has a lot more dramatic heft than the sparkly simplicity and “canonizing” of MICHAEL.


2 Out of 4

MICHAEL is now playing in theatres everywhere

YOU, ME & TUSCANY – Review

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With Spring in full bloom, are you hoping that love (at least on the big screen) is also blossoming? For those fans of romantic flicks with a healthy dose of comedy (maybe more swoony passion than yuks), 2026 hasn’t been much of a harvest. REMINDERS OF HIM really leans into melodramatic tragedy. And then there’s last week’s big release, THE DRAMA, which starts with the old reliable “meet cute” with lots of chemistry between the two leads, then takes a very sharp “turn” into the dark, almost “pitch black”, squirmy, sardonic. Where are the exotic locales, and the smouldering looks of desire between two likable, extremely photogenic actors? Well, right now. You can tag along, via the multiplex, to a far-off fantasy destination as the “seat mate” to YOU, ME & TUSCANY. Just be prepared for a “pasta-palooza”.


Ah, but the opening scene locale is right here in the States, the “Big Apple”. Lovely twenty-something Anna (Hallie Bailey) seems to “have it all” as she sashays through NYC. But we soon find out that all is not what it seems. She’s adrift, making a meager living as a housesitter. Her plans to be a chef were squelched when her mother passed, and she couldn’t graduate from a swank culinary college. Luckily, her BFF Claire (Aziza Scott) can score her a room at the high-end hotel where she works. At their bar, Anna strikes up a conversation with a charming Italian visitor named Matteo (Lorenzo de Moor). Over many drinks, he tells her that he travels the globe, while leaving his family’s opulent Tuscan villa empty. Anna mentions that she and Mom had planned an Italian trip and still has the unused airline ticket. Matteo tells her that she must make the trip soon. When jet lag gets the better of him, Anna does a “phone drop’ and gets the pics of his “crib”. Of course, she heads to Tuscany without a plan. And it’s the time of the big Summer festival, so every room is booked. Aha, since Matteo’s place is empty, why not “crash’ for a couple days. Anna finds the house keys and, after a night’s slumber, does some “exploring”. She finds a gorgeous ring…and it’s stuck on her finger. As she tries to remove it, she’s “caught” by Matteo’s Mama (Isabella Ferrari) and Nonna (Stefania Casini), who have dropped by to clean the place. As Anna sputters an explanation, they spot the ring. She must be his fiancée! Anna goes along with the “fib” in the hope she can sneak out of town soon and fly back home. But things get complicated when the family warmly embraces her (this means Matteo will finally return to them). And then things get “super-complicated” when Anna meets Matteo’s dashing, gorgeous wine-making brother/cousin Michael (Rege’-Jean Page). Should she risk sticking around and hope that she’s not exposed as a fraud? Oh, but there’s a real spark with that “grape-grower.”


I think I alluded to the charm and “pleasant presence” of the two leads earlier. Getting most of the screen time (well, it’s really her story) is the bubbly Bailey, who easily gets the audience on her side despite some questionable decisions as Anna. She’s adept as the “straight” to many of the often silly supporting players, while showing her budding attraction to the splendid Page, whose engaging smile often masks the hurt of loss and loneliness. Of course, he’s initially brash and caustic to Anna when they meet, but the “icy wall” slowly melts away. Much of the cast is there to “punch up” the comedy, and though often they “land” a few. The best “boxer” might be Scott, who’s the “sounding board” for Anna’s ideas while trying to “ground her” while playfully tossing the “B word” (y’know, the lady canine). Matteo is an engaging “cad” thanks to the character choices from de Boor. The first ‘local” in Anna’s “corner” is a most helpful taxi driver played with an endearing sense of fun by Marco Calvani. And then there’s the “familia”. Ferrari warmly embraces Anna, almost from the start, while Casini elicits laughs with her suspicious glances and feisty spirit. Stella Pecollo really “goes for it” as the bubbly free-spirited Francesca, quick with a slapstick leer. Grounding them all is the stern, stoic patriarch played by the intimidating Paolo Sassanelli.


Guiding this group is director Kat Corio, a TV vet who last scored in features with the J. Lo vehicle MARRY ME. This is a bit of a step up from the ludicrous premise of that one, but she often hits the comedy beats too hard with this, leaning in hard with mugging clos-ups and clumsy physical schtick. She does better in the quieter scenes of Anna falling for Michael, although Corio uses the tired cliche of the leads bonding during a long montage, their dialogue replaced by a forgettable pop tune. Ah, well, the target audience for this isn’t looking for realism, but fantasy fluff. And it’s got that to spare, along with the dazzling location and drool-inspiring cuisine (Matteo’s family runs the big restaurant). So, we’ve got both travel and food “porn” here. And lots of cute, colorful sitcom tropes. especially middle-aged lady tourists leering at a shirtless Page (as Slappy Squirrel used to say< “Now, that’s comedy”). Really, this is a pasta-fueled big -budget expansion of so many basic cable TV flicks (minus the holiday themes) that coast on the locales and the charm of the leads. Fans of this kind of “comfort food” will certainly feel full afterward, while anyone looking for anything more substantial will be famished by the “lighter than air” frivolity of YOU, ME & TUSCANY.

1.5 Out of 4

YOU, ME & TUSCANY is now playing in theatres everywhere

THE SUPER MARIO GALAXY MOVIE – Review

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April brings those showers, which may bring May flowers, and bring big box office returns for the movie studios. That’s because one of Pixar’s biggest rivals, Illumination Animation, is joining them in getting a two-month head start on the race for the usual Summer cartoon feature crown. Before Ryan Gosling blasted into space, Pixar’s HOPPERS ruled the multiplex. Now this new flick isn’t another entry in Illumination’s almost unlimited franchise DESPICABLE ME, nor those MINIONS. The studio has acquired some notable IPs, mainly the literary library of Dr. Seuss. But its biggest “get” was the deal with Nintendo, which spawned a worldwide ticket-buying tsunami almost three years ago. And so it’s no huge surprise that those heroic pumbers and their pals have returned in THE SUPER MARIO GALAXY MOVIE. Game on…

This one begins in a different world as Princess Rosalina (voice of Brie Larson) is getting the glowing star-like creatures called Lumas ready for bed (after a story, of course). But the “quiet time” is shattered by the arrival of a hulking robot/tank outside the castle. After a valiant effort, Rosalina is captured by the operator of the “war machine”, Bowser, Jr. (Benny Safdie). But one of the frightened Lumas manages to escape. Meanwhile, in the Mushroom Kingdom, those Brooklyn-born brother plumbers, Mario (Chris Pratt) and Luigi (Charlie Day), are “on call”, along with a new assistant, the green baby-dinosaur-like creature Yoshi (Donald Glover), who can swallow almost anything and discharge it through his body in an egg. Mario’s a bit preoccupied since the big birthday celebration for Princess Peach (Anja Taylor-Joy) is later that day (he wants to give her a parasol and …his heart). The party is crashed by the escaped Luma, who tells them of the attack by Bowser’s son. Peach decides to mount a rescue of her “long lost” sister (they separated when Peach was a toddler), but they’ll need to bring along an unlikely ally, the now imprisoned and minaturized Bowser, Sr. (Jack Black). But can he really be trusted? And can this motley crew, including the mushroom Toad (Keegan Michael-Key), find Rosalina before Bowser, Jr. drains her of her magic energy, despite the addition of a new ally, the swashbuckling space pilot Fox McCloud (Glen Powell) and his flying squad?

Well, as is said with many sequels and franchise installments, if you enjoyed the first one, you’ll probably like this one (I suppose you could also say that about fast food spots, really). I wish I could work up more enthusiasm (mine is easy to “curb”), but I haven’t been part of Mario’s world since dropping many, many quarters in various arcade devices right after college (you can probably guess the year). And this flick feels as though you’re standing over somebody’s shoulder who is very…uh… proficient with the joystick (I’m stifling a “heh. heh.”) But then the youngsters love to watch countless streaming videos of folks racking up the big “scores’ on the games. So, this will easily satisfy the legions of fans, but there’s little to hook those “uninitiated”. Mind you, from an animation aficionado’s viewpoint, the look of the movie is pretty spectacular, packed to the brim with colors and bursting effects that seem to break out of the big screen. The script is just so-so, with most of the best lines going to Black and Safdie as the “Bowser bunch”. The returning voices are on the same level as the 2023 original. The new additions aren’t given much of a chance to shine, as Larson is in her MCU mode, while Powell is a more energetic “space jockey (think a younger “harrier” Han Solo). There are a couple of “name” cameos (Luis Guzman and Issa Rae), but I was pleased about a few cartoon voice vets who scored big roles, namely Kevin Michael Richardson as the wizard-like Kamek. The same trio of directors also returns, stuffing the film to the brim (and spilling over a bit) with settings and side characters, some extremely sweet (my teeth) and cute, from the popular game series, so the wee ones will be engaged, while the near-nonstop bouncing and frenetic stunts might pummel the “civilians” into slumber. I can respect the craft, though it all feels like an effort to re-energize the “brand” while not trying to expand its scope. But why am I kvetching, since it should swiftly zip past the billion-dollar box office mark, with another epic already being planned? Still, it would be nice if it grabbed us in the “feels” like those “returning soon” toys and those HOPPERS. While those die-hard players will give it unlimited stars, I can only muster up…

2 Out of 4

THE SUPER MARIO GALAXY MOVIE is now playing in theatres everywhere

REMINDERS OF HIM – Review

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And now, borrowing from the sports world, here’s a fairly remarkable literary/cinematic “hat trick”. For the third year in a row, the multiplex becomes a “book club” with the new movie adaptation of a novel by Colleen Hoover. She’s the best-selling author of IT END WITH US (released in 2024, though the legal theatrics seem to drag on and on and…) and last year’s regrettable REGRETTING YOU. Perhaps Ms. Hoover wants to be as prolific in the 2020’s as Nicholas Sparks was for the first two decades of this century, though she got a lot of typing ahead of her. The results of these movie interpretations have been mixed (US) to downright scathing pans (YOU). So will she and the filmmakers hit that cinema “sweet spot” with REMINDERS OF HIM (Hoover has a thing with title pronouns)? Okay, here goes…chapter one…


Actually, the story’s opening is a return, or a homecoming. Keena Rowan (Maika Monroe) takes a taxi into the picturesque village of Paradise, Wyoming. Well, this is after the driver pauses for her to uproot one of those roadside memorials. She is able to rent a room at the somewhat squalid Paradise Hotel after putting up a big deposit, because the landlady tries to give everyone a “second chance” (and a kitten). Yes, Keena has just been released from prison. This makes her employment search even more difficult. Cut to our introduction to Ledger Ward (Tyriq Withers), a former pro-footballer (let go by the Broncos after his arm “blew out”) who also returned to Paradise to run a bar. He lives across the street from old friends Grace and Patrick Landry (Lauren Graham and Bradley Whitford), who are raising their late son’s adorable five-year-old daughter Diem (Zoe Kasovic), almost like an adored niece to him. After a day “pounding the dusty pavement”, Keena is stunned that the old bookstore/ coffee is now a “watering hole” owned by, yup, Ledger. The two exchange a bit of flirty banter while she exits through the back door. She’s stunned again by the sight of a battered orange pickup truck. It’s then that its owner, Ledger, discovers that Keena is the former girlfriend of his deceased BFF, Scottie Landry (Rudy Pankow). Ledger had loaned his truck to him during his short NFL stint. Naturally, the banter soon ends. The next morning, he’s gobsmacked when he sees her marching toward the Landry house to finally meet her daughter. Yes, she had been sent up the river after that fatal crash (the courts determined that she was driving under the influence) while only a few weeks pregnant. Soon after giving birth, the baby was taken away to Scotty’s folks. Ledger prevents her from making a scene, but is a bitter reunion inevitable (it’s a tiny town)? And what will become of the blossoming attraction between the duo connected by tragedy?

Can it really be a dozen years since Ms. Monroe appeared on my “radar” in the indie horror gem, IT FOLLOWS? Oh yes, and she’s been fairly busy in genre films, whether it’s more horror like last year’s LONGLEGS, or thrillers like (again, 2025) the remake of THE HAND THAT ROCKS THE CRADLE, or sci-fi with that silly INDEPENDENCE DAY sequel (whew). She can do wonders with very little in the way of a script, and here she proves more than up to the task of carrying a romantic drama. We see how life has battered Keena through Monroe’s down-turned gaze and her deliberate body language and slow gait. But when Keena begins her quest to reunite with her baby, Monroe is energized and dynamic, then gives way to a “softer side” as Keena cautiously lets love back into her heart. Here’s hoping for an even greater variety of lead roles for her. Withers weathers (see what I did) last year’s dreadful horror/sports mash-up mess HIM, to become a strong, complex lead as Ledger, a man trying to deal with his own past issues while being stretched in a dozen different directions at once by the people he cares so deeply about, but still full of charm and grit. Almost as much of it as Pankow as the doomed and endearing Scotty. As his folks, Whitford, as “Nono” Landry, is trying to leave his loss behind until Keena pops back. Ditto for Graham, as his still-healing wife, as she tries to protect her granddaughter, now the only physical part of her only child. Much has been made of the screen debut of country crooner Lainey Wilson, who does well in the small (only a few minutes) role of Keena’s boss/buddy. Amid the turmoil, Monika Meyers provides some comic relief as Keen’s special needs co-worker/ neighbor, Lady Diana.


With her second theatrical feature film, director Vanessa Caswill keeps the pace flowing, though she leans heavily into prolonged close-ups to convey the budding attraction (and they are attractive) of the principals. Plus, she makes great use of the stunning visuals with Canada (again) subbing for its southern neighbor. But then there’s the script, which hammers the dramatic conflicts, veering into melodrama, and gives way to cloying heart-tugging. frequently in the dialogues with Diem and the earlier-mentioned Diana, going to the “cute well” till it’s nearly dry. I did find it interesting that Hoover, adapting her novel with Lauren Levine, opted to leave the big city, lush settings of US and YOU to focus on those struggling to get by, though the under-constructed home of Ledger seems far too opulent. Still, fans of her work will probably be pleased while the rest of us ponder just how this “basic cable TV’ terajerker “escaped” into the multiplex (those literary roots, I suppose). But the potent chemistry between the engaging Monroe and Withers smooths out much of the potboiler tropes of REMINDERS OF HIM (sound of paperback closing).


1.5 Out of 4

REMINDERS OF HIM opens exclusively in theatres on Friday, March 13, 2026.

EPiC: ELVIS PRESLEY IN CONCERT – Review

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You’d think that Aussie director Baz Luhrmann would’ve had his fill of “the King” after making his big-budget Oscar-nominated biopic of ELVIS nearly four years ago. And you would be so wrong. And Presley fans (and scores of fanatics), along with general movielovers are all the richer for it. Turns out that Baz wanted access to all the footage from the two Elvis concert films from the early 70s, and was probably gobsmacked by the 68 boxes of 35mm (and some 8mm) film delivered from deep within the vaults of Warner Brothers. We do get an overview of the man’s life and career, but the main focus is on the legendary performing tenure begun in 1969 at the International Hotel in Las Vegas. All the hi-tech cleaning and polishing only add to the legend, and truly earn the main title of EPiC: ELVIS PRESLEY IN CONCERT. Lace up those blue suede shoes…

The taut ninety-minute documentary/concert deftly combines both cinema elements. Baz assembles little “sidebars” that pop up almost like chapter bookends here. There’s a section devoted to his adored “Mama”, initial cultural impact (an explosion almost) with a TV preacher’s warning of the “beat” that summons Satan, his Army stint, the “Colonel”, his romances (yes, Priscella’s there), and many other milestones. Plus, there’s a montage of his often silly (“See Elvis karate chop a tiger!”) later movies that prompted the big 1968 “comeback” TV special. But the real “meat” is the preparations for the big Vegas concert with several unlikely tunes that were considered. It’s interesting to hear the King’s take on a couple of Beatles tunes, along with a Simon and Garfunkel classic. And yes, he’s in excellent “voice”, this being some of his most polished vocal stylings. The rehearsals and preparation scenes build to the big Vegas opening, in which Elvis almost “reinvented” himself and began his new era of live-performance spectacles.

For some viewers, this new reworking of long-thought lost footage will reinforce their perception of this icon, while for the unfamilar much of this may be a revelation or a discovery. We see long hours in minimal facilities to tweak the sound, in order to go beyond the “flash and glitter”. Oh, but there is plenty of that, though. His gaudy, often loud fashion ensembles are on full display, making us think of how it’s the male peacock who attempts to dazzle the ladies. Dazzle is a restrained turn for Elvis’ magnetic appeal to the hordes of enraptured women fans of every age. He is their idealized lover, even if there’s a hint of danger. One great bit has Elvis zeroing in on one of his most prominent female backup singers, which inspires both fear and quivering desire. That’s just one of the scenes of his “clownin””, as we witness him cracking up over his persona. There’s a darkness to one of the “jokes” as Elvis inserts some drug references to one of his tunes, strange since he’d get a “drug buster badge” from then President Nixon less that a decade before he was felled by his addiction. Ah, but that feels like the distant future as we see the celeb-packed audience at that first Vegas concert. Why, he’s visited in his dressing room after the show by Sammy Davis, Jr. and Cary Grant! Oh, to be a fly on the wall to hear what they discussed, or at least to have better microphones trained on them. This is also an incredible time capsule of that time when beehive hairdos (or don’ts) ruled the skies, probably blocking a lot of the audience, who “dressed to impress”, perhaps to garner a glance or a quick smooch from their idol (he does love to wander through the smothering crowds). Yes, these are fun, happy snippets of kitsch, but there’s still some tragedy as Elvis mentions his interest in touring the world, though he would never venture beyond North America. My only complaint about Baz’s passion project is that some songs are cut short in order to avoid a long running time for the IMAX venues. Yes, I wanted more, but what’s there is really great. Oh, and don’t leave when the end credits begin. There’s a brief shot of E flanked by his “Memphis Mafia” as he briskly strolls down the hotel staff corridor past their cafeteria. In his bright blue jumpsuit, he looks like he popped in from Mount Olympus, making us wonder how this rock and roll deity existed on this planet with us. Sure, the music is still wonderful, but the whole mystique is what makes this time-traveling trip so memorable in the truly EPiC: ELVIS PRESLEY IN CONCERT. And yes, sadly, Elvis has left the building…

3.5 Out of 4

EPiC: ELVIS PRESLEY IN CONCERT is now playing exclusively on IMAX screens. It expands to theatres everywhere on Friday, February 27, 2026

WICKED: FOR GOOD – Review

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


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

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

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


3 Out of 4


WICKED: FOR GOOD is now playing in theatres everywhere

BLACK PHONE 2 – Review

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Hey, Halloween’s just a couple of weeks away, Hollywood studios! So where’s the new spooky, scary flicks? Well, we’ll have to wait another week or so for the new version of Mary Shelley’s classic, so how about a sequel to one of the surprise horror hits from four years ago? And it’s from the classic “monster-maker”, Universal by way of the “ghouls” that dwell in the Blumhouse. Concerned about the number in its title? Perhaps knowing that they got “the band back together”, namely the cast along with the directors and co-writer, should erase your worries. What’s that ringing noise? Do you dare to pick up the receiver and answer the call of BLACK PHONE 2?


It all actually starts with a flashback set in the late 1950s. A teenager trudges through the snow to a desolate telephone booth, somewhere in a frigid forest clearing. After a very odd, even cryptic conversation, the story springs forward to 1982 Colorado. Just outside the high school, a young man is viciously pummeled by Finn Blake (Mason Thames). Luckily, his sister Gwen (Madeleine McGraw) pulls him off the lad. Despite being the young hero who ended the murderous reign of “the Grabber”, Finn is still challenged by bullies. But that’s not their only problem. Though papa Terence (Jeremy Davies) is finally sober, Finn is now the substance abuser, numbing his damaged psyche with bags of weed. Yet somehow he’s alert enough to stop Gwen from her dangerous sleepwalking excursions. Yes, she’s having visions again, this time of three boys murdered in the cold white woods. Could this be the spirit of their nemesis? Gwen’s dreams lead the duo to look into getting jobs at the Christian church “winter camp” called Alpine Lake. Luckily Gwen’s “wannabe BF” Ernesto (Miguel Mora) agrees to drive them there during a blizzard. At the camp’s front gate, they’re met by the horse “wrangler” Mustang (Arianna Rivas) and her father, the supervisor Armando (Demian Bichir). He tells them that other new workers called ahead and cancelled due to the fierce storm. But the trio can stay in the cabins until the roads are cleared. Gwen’s nightmares start up as things get even more weird for Finn. He answers the “out-of-order” payphone and speaks to the Grabber (Ethan Hawke) before seeing the horned, masked demon himself. Soon, Gwen’s visions give her a portal into the fiend’s deadly origins at the camp. Can the Blakes guide the campers in their mission to stop the Grabber and send him back to Hell?

Though he’s prominently featured in the marketing, the participation of Mr.Hawke raised some questions. Since the Grabber is usually masked up, or seen in various stages of gnarly wounded decay, Hawke is really delivering more of a vocal performance. It doesn’t help that the glimpses of him as the magician/balloon twister at the wheel of that old black van are that of a different actor (but then they’re part of Gwen’s visions). Mind you, Hawke delivers a threatening growl, but I recalled the rumors about the 1940s Mummy movies “starring” Lon Chaney, Jr. As for the other “originals”, the very busy Thames (this is the middle of his three 2025 flicks) makes a steadfast horror “hero” as the young man who is paying the mental “price” for his victory over evil. The memories (and grass) have dulled his eyes, but a return match seems to “jump start” his fighting spirit. That, and in protecting his adored lil’ sis’ played with equal parts sass and snark, with a touch of trembling vulnerability, by McGraw. She somehow can make most of her clunkier put-downs (this from a 15 year-old) work. Davies is also strong as a man struggling to rectify his past behavior and reconnect with the kids that will soon drift away from the nest. Mora also provides a good connection to the first flick, while scoring some chuckles as he pines for Gwen. The most compelling new character may be the grizzled Armando, played with a gravitas and protective charm by the always watchable Bichir ((love when he scolds Finn over his “goodie bag”).

Returning to the director’s chair is Scott Derrickson who co-wrote the new script with C. Robert Cargill, based on Joe Hill’s 2004 short story. I will give them kudos for not returning to that dingy basement (it does make a cameo) for a new rash of abductions and escape attempts. Though the first entries had supernatural elements, this one truly goes “all in” allowing for lots of creative effects, some CGI and many practical make-ups (even a bit of puppetry, I’m guessing). But once the Blakes get to their new setting, the story becomes fairly repetitive as Gwen drifts off to sleep in order to be menaced by the Grabber before Finn arrives just in time. And many set pieces are also derivative, as though we’re watching a late 80s Freddy Krueger knock-off set near the Overlook from THE SHINING (the red-coiled space heaters do give the cabin interiors a Hellish glow). The need for new scares and gross-out clutter up the big finale showdown as the “camper’s quest’ finally limps to a frozen finish. The fans have the original will probably enjoy seeing the “OG” cast, but for few new fans will want to jump in that icy glass booth for BLACK PHONE 2.

1.5 Out of 4

BLACK PHONE 2 is now playing in theaters everywhere