Tag: Universal Pictures

DROP – Review

Ah, at the start of Spring what’s more romantic than a first date? Well, at least there’s the possibility of romance. Yes, that initial meeting is often the start of a cinema love story, or often a comedy (including lotsa’ ‘rom-coms”). But that’s not the case with this week’s new release from the folks at Blumhouse (that should give you a huge hint). In this flick, the jitters of a dinner with a new “potential” turns into outright terror when the evening’s intimate meal is “cyber-hijacked” by an evil manipulator. The couple at the center of this thriller barely make it to the appetizer before the “meet cute” gives way to suspense when some deadly messages begin to DROP.

This story actually starts with a scene full of violence and terror, though it’s unclear about its “placement” in the tale. Is it a “flash-forward” or “flashback”? That’s revealed soon as the film does a jump cut to the present, where a young widowed mother named Violet (Meghann Fahy) works as an online therapist. When the live streaming “video session” is complete, she begins to prepare for her big evening, her first real date since her spouse passed. Her adorable six-year-old son Toby (Jacob Robinson) helps her pick out an outfit, but that’s scrapped when Violet’s kid sister Jen (Violett Beane) arrives to babysit. Finally, her “ride service’ arrives to take Violet to Chicago’s “hot” new dining experience, a “sky high” rooftop restaurant named “Palate”. Her date’s a bit late, so Violet hangs out at the bar, meeting a nebbishy middle-aged man also on a blind date named Richard (Reed Diamond), Cara (Gabrielle Ryan), the friendly bartender, and the sleezy “piano man” Phil (Ed Weeks). Luckily, Violet can see what’s going on at home through a streaming app of her many security cameras. At last, her date arrives, a hunky photojouralist named Henry (Brandon Sklenar). Things are going well until Violet’s phone “blows up” with “airdropped” adamant demands that she “play a game”. Henry takes a look at her phone, but can’t locate who is sending the “drops” (it has to be someone close by). After a few more “aggressive nudges” the unknown “player’, he (or she) shows her the live streaming feed inside her home. In a room away from Jen and Toby is a person dressed in black holding a gun. Then the “phone fiend” ups the “ante”. Do what he commands, tell nobody, or her sis and son will be executed. Violet’s date has turned into a tormenting “trap” as she must choose between aiding a murderer (yes, Henry’s the target) in order to save the lives of her family.

Much like most first-date flicks, everything rests with the casting of that dating duo. Both stars really support this unique concept, though most of its “weight” is shouldered by the talented Ms. Fahy. Honestly, I wasn’t familiar with her work on several popular cable and streaming TV shows, but she certainly makes her mark as a real movie star with her compelling take on the thriller genre heroine lead. Fahy has terrific comic timing and charming warm rapport with her on-screen son and sis (kudos to Ms. Beane, who’s full sweet sibling snark). The Violet character becomes anxious and more than a bit twitchy as she begins the long wait at the “foo-foo” eatery. This is followed by some sunny “patter” with Henry until the “game” kicks in. Fahy shows us, through her darting eyes and tight body language, that Violet is terrified, but is calling on every brain cell to find a way through this cyber “quicksand”. At every twist and turn, Fahy has the audience right with her. As Henry, the date, Sklenar doubles down on the rugged cowboy charm we saw in THIS ENDS WITH US (where he was really under-utilized), as he woos Violet with his self-depreciating humor, while trying to be sensitive to her history (naturally, they had chatted online). Then he is a tad thrown off by Violet’s dashing about while glued to her phone and offers to call off the Dinner (though we see his disappointment mixed in his bewildered eyes). The “bar mates’ are also very good, from the awkward Diamond, to the encouraging Ryan, and the “skeevy” smarm of Weeks (much as his role in the very-missed “The Mindy Project”). But the real supporting actor MVP may be the engaging, over-enthusiastic Jeffrey Self as the first-night waiter Matt, who seems more interested in stories about his Second City improv class than in selling the “specials”. Now there’s some superior comic relief.

This is directed by horror veteran Christopher Landon, who takes a break from the supernatural elements of his previous works (including the HAPPY DEATH DAY flicks) to give us a grittier modern tech ode to the high-concept “Hitchcock-ian” suspense drama. Part of the credit must be shared with the screenwriting team of Jillian Jacobs and Chris Roach, who deftly mixed rom-com cliches with whodunits, while making satiric jabs at snooty eateries (the hostess podium is at the end of an intestine-like tunnel). And though most of the action takes place on the dining floor, Landon makes lots of creative visual choices to illustrate Violet’s torment. The messages to her float above her head, and in one sequence, the walls of a bathroom stall become the security cam images of her home. Plus the action is sometimes slowed to crawl in order to prolong the tension, and make us ponder what our actions would be. It’s a pretty polished “nail-biter’ until the troublesome third act, as the story takes a brief turn into DIE HARD-style chaos and dives into several “home invader” tropes while really over-playing the “child-in-jeopardy” manipulation. Luckily, the film is shot superbly, with an unfamiliar view of the “Windy City” (could it actually be Louisiana or…Ireland) and has a taut score by Bear McCreary. You might consider this to be a modern tech-savvy take on the classic “B” pictures of yore, though few recent thrillers have as many interesting ideas and talented leads like DROP.

3 Out of 4

DROP is now playing in theatres everywhere

LOVE HURTS (2025) – Review

February has finally arrived, the month of romance with that big holiday for sweethearts almost “smack dab” in the middle. And naturally, the Hollywood studios are certainly ready to cater to the big occasion, perhaps making a trip to the cinema a fitting finale to an evening of bubbly, flowers, and swanky dinners. Now this year they’re not content to merely release a “swoony” romance or even a riotous “rom-com”. No, moviemakers are mixing things up with the two big releases this weekend. One adds elements of horror flicks and thrillers in HEART EYES. In another section of the multiplex is this “high-concept hybrid” which sprinkles in some “mushy stuff’ with a a fast and frenetic action crime thriller. And with all the roundhouse kicks and furious fists, it’s clear, and not an understatement, that LOVE HURTS.

The opening scene of the story takes us to suburban Milwaukee, where a lovely dark-haired woman exits a bus, whips out a big marker, and quickly vandalizes an ad on the bus stop bench. Getting the black ink embellishments is the image of the top salesman for Frontier Reality, Marvin Gable (Ke Huy Quan). Back at his own modest home, he whips up some Valentine’s cookies to dole out at an open house in a fairly new subdivision. He’s a bit annoyed by one of his defaced signs, but carries on, extolling the house to several possible buyers. A bit later he heads back to headquarters and checks in with his bored assistant Ashley (Lio Tipton). Ducking into his office, Marv is punched by someone in the shadows. When he comes to, Marvis is surprised to see an old “frenemy” the poetic knife-wielding assassin known as “The Raven” (Mustafa Shakir). Turns out that Marv was a former “enforcer” for a criminal gang run by his own brother, “Knuckles’ (Daniel Wu), who now believes that a former accountant named Rose, who embezzled several million dollars from him, is still alive. Since Marv was supposed to have eliminated her years ago, Raven wants Marv to reveal Rose’s hiding place. The surprised Marv gets the upper hand, dashes away to a model home, and is beset by two goons, Otis (Andre Eriksen) and King (Marshawn Lynch), sent by Knuckles’s new “right-hand man”, Merlo (Cam Gigandet). This new battle is soon halted by the arrival of the “lady in question”, the “back from the dead” Rose (Ariana DeBose). So, just why did Marv spare her life (the holiday is a big hint)? And can the duo, despite Marv’s “new persona” survive the henchman hordes dispatched by the enraged Knuckles? Could this be a new “Valentine’s Day massacre” for the 21st century?

In his first feature film outing (and first lead role) since his Oscar win for EVERYTHING EVERYWHERE ALL AT ONCE, Quan is a delirious delight as the sweet, “mild-mannered” realtor who transforms into a whirling dervish of destruction. His mix of expert comic timing and physical prowess. much as with Jackie Chan and even going back to the silent clowns, Chaplin, Keaton, and Lloyd, make his milquetoast Marv a most unlikely action hero. Quan somehow balances his furious fighting with a kind and gentle demeanor that earned him so many fans during that 2023 awards season. Speaking of trophies, the actress who handed him the gold (a year after she received her own), DeBose makes Rose an enigmatic but playful femme fatale, as she draws the audience to her, perhaps to ponder and solve the mystery of this “lady on the run”. Her ultimate pairing with Quan is worth the wait as DeBose becomes his guide and coach, inspiring Marv to be his “true self”. But it takes their combined skills to confront the revenge squads sent out by Knuckles played with a banal, casual cruelty by the unpredictable Wu. Tipton excels as the emotionally numb Ashley (a spin on Aubrey Plaza in TV’s “Parks and Recreations”), earning laughs and pathos when the brooding killer poet played with dark intensity by Shakir ignites a spark of passion buried deep within her. There’s also comic chaos generated by the other main baddies, Gigandet, Eriksen, and the rampaging “human bulldozer” King played with good humor by former pro footballer Lynch. But the biggest comic support can be found in the smaller supporting roles of the captured crooked “bean-counter” given lots of manic energy, though he’s mainly taped into a chair by the the superb Rhys Darby, and the simple, but warm-hearted “good ole’ boy” boss of Marv played by Quan’s GOONIES pal Sean Astin, a nice guy scooped up in this underworld war.

And speaking of firsts, this is the first directing job for stunt coordinator Jonathan Eusebio, Perhaps this cemented a “simpatico” bond with his leading man since Quan was himself a “fall guy” for many years. And this accounts for the very creative fight sequences, full of energy and great wit, as Marv tries to quickly assess the situation and use all manner of nearby household items for defense and attack (staplers can inflict pain and block lots of deadly blades). Eusebio has a good visual eye, especially in an early variation of the montage, as prospective clients change as Marv strolls from room to room in the model house. The location work is also tops with Manitoba subbing very well for Milwaukee. Plus he expertly guides the cast as the script goes from slapstick romp to deadly sibling showdown. The biggest problem may be with the abundance of stunt scenes as they feel like “plate-spinning” as the story nears the big reveals and the finale. Thankfully the filmmakers probably realized this since the flick clocks in under ninety minutes (no need for a BRUTALIST intermission). Action fans will get their needed “fix” without feeling as though they’ve taken too many rapid kicks to the noggin. As I mentioned earlier, the pairing of Quan and DeBose makes an inspired couple of pain-relievers to ease the sting and aches when LOVE HURTS.

2.5 Out of 4

LOVE HURTS is now playing in theatres everywhere

WOLF MAN – Review

Alright, now it’s feeling a bit more like January. I’m not referring to the frigid temps and formidable snowbanks. No, I’m talking about seasonal movie releases, since the first month of the new year is generally the time for horror flicks…of varying quality (often seen as a “dumping ground”). Mind you, for every M3GAN there are a couple of NIGHT SWIMs. Well, now one of the major studios (and a rising upstart production house) join forces to put a new spin on a ninety-year-old classic cinema creature. Yes, it’s the newest collaboration between Blumhouse and Universal (whose “fright fests” began a century ago). Oh, this is not an attempt to “jumpstart” their proposed “Dark Universe” concept (Dr. Frankenstein couldn’t revive it with any amount of lightning after that Tom Cruise reboot of THE MUMMY). They’ve tossed the idea of a shared continuity like the MCU in favor of stand-alone re-imaginings, as with the well-received 2020 take on THE INVISIBLE MAN. And so, they’ve tasked the same filmmaker to put the “bite” on moviegoers with a similarly named, but very different breed of WOLF MAN.

After a brief prologue concerning Native American legends of infected feral men, we’re taken to a desolate ranch/farm in Oregon. A survivalist single father takes his eight-year-old son on a hunting excursion in the deep woods near their home. Dad tries to get young Blake to focus and be aware of the dangers prior to them spotting a deer. When the duo separate, Blake gets the buck in his sights, he also sees something walking on two legs. Luckily his Pop returns, scoops him up, and the two scamper up a tree’s deer blind. Luckily the loud growling beast finishes the buck, then departs. Later that night, Blake listens in on his father speaking to a friend via the short-wave radio, saying that he’s sure he saw the “man-beast of the woods”. Thirty years later, Blake (Christopher Abbott) is living in a big city, San Francisco. He’s a stay-at-home dad (technically a writer in between gigs) tending to his adorable six-year-old daughter Ginger (Matilda Firth) while workaholic journalist wife Charlotte (Julia Garner) pursues her next “scoop”. During a tense dinner, Blake opens up a special delivery package that contains the deed to his father’s estate, along with a set of keys. It seems that his long-missing dad has finally been legally declared dead. Blake convinces Charlotte that a Summer extended trip to the old homestead in Oregon will be a great way for the trio to reconnect, as Ginger tends to bond more with him. They rent a big truck to empty the old place and eventually end up on a dirt road in the forest. Luckily an old childhood pal spots Blake and offers to ride along as a guide to his former home. With only a mile left, something on two legs appears in front of the vehicle, causing it to careen down a hill and onto a tree. Their guide tumbles out before a clawed hand smashes the window and cuts Blake’s arm. The trio finally scampers away to the old house, before their attacker catches up to them. But they’re far from safe as Charlotte realizes that Blake’s wound is having a strange effect on him. Soon mother and daughter will have to fight for their lives against the terror outside and the mysterious changes happening to Ginger’s adored daddy.

Headling what is basically an intimate “three character story”, Abbott in the title role evokes great empathy and pathos as Blake, who mixes the tragic persona of Lon Chaney, Jr.’s Larry Talbot from the 1940s fright flicks, with the struggles of a 21st century family man. As several commenters have pointed out, he shares the frustrations and gradual dark descent of Jack Torrance of THE SHINING (both are blocked writers), but Abbott conveys Blake’s rebellion against his own past, mainly the brutal demands of his loner father. He’s determined to be a warm loving papa, though his passion for protecting often recalls his own traumatic childhood. Plus Abbott shows us how Blake is working to repair the strains on his relationship with Charlotte, to patch the cracks in their marriage. This gives an added heartbreak to the ravages of his “sickness”. As the matriarch, Garner is the hyper-focused careerist (insisting she takes her work call at the “sacred” dinner table), but lets her emotional “walls” soften as Blake convinces her to adjust her priorities to repair their growing “rift”, though the wilderness trek may be a way for Blake to compensate for his home-based family role (rather than the more breadwinner out in the “world”). Firth is achingly sweet and adorable as the bouncy, precocious Ginger who may be the cliched “daddy’s girl”, though she is mature enough to process the often adult explanations provided by her parents. Yes, she’s often put in peril in order to “up” the suspense, but Firth makes Ginger more than the “rescue bait”. There are also a couple of dark sinister turns by Sam Jaegar as Blake’s off-kilter kin in the flashback, and Benedict Hardy as the creepy dead-eyed “watcher in the woods” who aids the family on their way to their possible doom.

In his return trip into “Univeral monster-land”, director Leigh Whannell puts another interesting modern spin on those late show “creature feature” tropes, thanks to the screenplay he co-wrote with his wife Corbett Tuck. Perhaps this accounts for the deep dive into the aspects of the family dynamic, while THE INVISIBLE MAN explored a dating break-up that goes beyond toxic. Mind you, Whannell heaps on the chills in the opening hunting sequence via his expert use of ominous noises (big kudos to the sound design team) and allowing us to peer through the rifle’s “site”. Then after the big time “jump” he’s putting us right inside a marriage that may be in its last gasps (plenty of those later). And though much of the action does take place in “the great outdoors”, Whannell makes the forest a bit claustrophobic as the tall trees become almost prison bars to keep the trio trapped. And that’s definitely the vibe in Blake’s creeky creepy family home, which seems “stuck in “pre-Y2K paranoia”. The filmmakers toss out the “werewolf” rules and legend early on because the beasts roam in daylight with a full moon having no effect. And the “transformation” here is more gradual, although claws and fangs extend, the whole “hirsute” cliches are somewhat turned on its “pointed” ear. And bravo for committing to practical make-up effects for the most part (a welcome new “trend” in last year’s films). However, some CGI is used with great creativity and skill when Whannell shifts around the camera giving us a POV through Blake’s degenerating diseased senses, making her family into glowing-eyed aliens. That terrific sound team returns to provide a sense of Blake’s enhanced hearing (a spider on the wall has an elephant’s tread), which makes speech garbled (ditto for his verbal attempts). There are some “jump scares”, happily kept to a minimum, and some squirmy gory moments (oh, that gnarly arm). In all this film is an interesting exploration of the man-into-beast campfire tales, mixed with family dramatics, though it’s diluted by an ending that feels drawn-out and flat, culminating in a final shot that’s quite anti-climatic compared to the tension of waiting for dawn to break. But it’s the strong lead performances that put the needed “bite” in WOLF MAN.

3 out of 4

WOLF MAN opens in theatres everywhere on Friday, January 17, 2025

DESPICABLE ME 4 – Review

As we approach the big extended (four days) holiday weekend the big Summer movie season dashes past its halfway point with a new entry in a fourteen-year-old film franchise. No big surprise, but this one is hoping to “ride the wave” generated by a sequel that caused an unexpected near-seismic tsunami at the box office, only a few weeks ago. Oh, did I mention that both flicks are animated? Yes, INSIDE OUT 2 exceeded all the financial forecasters to be the first billion-dollar movie of 2024. So, will “lightning strike” again, as this is the first installment of the series in seven years, not counting a couple of prequel spin-offs. Perhaps Gru and his gang, including lotsa’ manic Minions, can lure some families at the multiplex away from another visit in Riley’s noggin with DESPICABLE ME 4.

The story does start with the “DM’ himself, Gru (voice of Steve Carell) as he attends, with a trio of Minions, a class reunion at his old “alma mater”, Lycee Pas Bon. But he’s not there to “catch up’, rather he’s on a mission for the Anti-Villain League (ATL) to capture an old classmate and rival, Maxime Le Mal (Will Ferrell). When he receives a special award, Maxime reveals that he has harnessed the power of cockroaches, even fusing parts of them into his body, to make himself an unstoppable mastermind. This nearly derails Gru’s plans to arrest him until his backup ATL team arrives. Soon Gru is back home with his loving family: wife Lucy (Kristen Wiig), daughters Margo (Miranda Cosgrove), Edith (Dana Gaier), Agnes (Madison Skyy Polan), and baby son Gru Junior. But just as things are getting back to normal they get a surprise visit from the ATL director Silas Ramsbottom (Steve Coogan) who tells them that Maxime, with the help of his GF Valentina (Sofia Vergara) has busted out and is on his way for revenge. The family Gru is quickly whisked away to a new locale with new identities as part of a protection “program”. While all but three of the Minions are taken to the secret ATL lab, the family is sent to cozy suburban Mayflower. Gru tries to become friends with snooty neighbor Perry Prescott (Steven Colbert), which leads to his association with his pre-teen daughter Poppy (Joey King). She recognizes him as a former super-villain and threatens blackmail unless he aids her in a high-risk “heist”. Meanwhile, at the lab, five of the Minions are chosen for a special experiment to give them super powers (flying, strength, laser-ray eye, etc.) creating the Mega-Minions. All this as Maxime and Valentina track down their prey. Can Gru and his family triumph over their bug abilities and weapons or will Gru Jr. become Maxime’s new son?

The veteran voice cast reunites to bring plenty of star power to their now-familiar roles. Carell brings a lot of energy and his expert comic timing to Gru’s endearing accent (perhaps near Boris Badenov’s hometown). Wiig is the most prominent of the SNL vets as the perky affable Lucy with a “sing-song” TV sitcom housewife delivery. The other big “get” has a connection to her and to Carell with the introduction of the new “big baddie” Maxime voiced by SNL icon and that ANCHORMAN himself, Ferrell, who seems to be enjoying his over-the-top French accent. Vergara is a good bored, petulant vamp as Valentina. And Coogan has the right tone of cultured stuffiness as Silas. Oh, there are two more TV vets involved. Lariane Newman, an OG SNL founder, is the angry matron Melora while current SNL “mimic marvel” Chloe Fineman is the bubbly Southern belle next door, Patsy. Colbert is pure waspy privilege as her hubby Perry. King affects a nice snarky “mean girls” riff as their daughter Poppy. And kudos to the mix of new and veteran voices as the daughters.

The director’s chair is shared by Chris Renaud (the man behind so many Illumination flicks) and Patrick Delage (in his feature debut). Perhaps this team-up happened to somehow shoehorn the three (maybe more) plot elements into a coherent and cohesive film. And they don’t really get there as the plot will suddenly stop any momentum to “switch over” to “story B” (hey, we need some Minion slapstick) dividing our focus. Maybe another “pass” was needed on the script from Mike White ( a lauded live-action scribe) and one of the original DM writers, Ken Daurio. Another stumble is the lack of a really interesting villain in Maxime, whose “reason for revenge’ via a cutesy flashback, isn’t that engaging. Plus the script “falls back” on too many pop culture riffs and “shout outs” topped by a “burn” on the live-action superhero “tentpoles”. Yes, over-powered heroes causing havoc trying to help is as old as the concept (“Snafuperman” and “Stuporduck” shorts from the 40s and 50s). The scenic backdrops are very colorful and dynamic, but the character design is often derivative with almond-shaped heads, big “floopy” hair, and spindly legs that shouldn’t support the bulky torsos (and what’s with Maxime’s puffy “hotel carpet” coat). By the time the film lumbers along to its “city demolition” climax, we’re exhausted despite its 95-minute runtime. Hardcore fans of the series will be happy to have the old gang back complete with lots of Minions schtick as they spew gibberish while bouncing about, but after seeing the superb sequel from Pixar last month maybe the Gru family and friends (and fiends) should retire into cinema “witless protection” after squandering the comic talent ‘at the mike” in DESPICABLE ME 4.

2 Out of 4

DESPICABLE ME 4 is now playing in theatres everywhere

MONKEY MAN (2024) – Review

Since we’re now into the slow slide from Easter/Spring Break into the Summer cinema season, how about an MMA-style action thriller full of fights and daring escapes? Oh, you say we just had that in the remake of ROAD HOUSE just a couple of weeks ago. Well that flick, despite the director’s protests to the press, bypassed the multiplex and went right to a streaming service. And this new release almost went the same route until an Oscar-winning filmmaker saw it, bought it, and helped prep it for a wide theatrical debut. Oh, and speaking of debuts, this is the first feature directed by the star of a Best Picture Oscar winner over a dozen years ago. Yes, he was the lead in that, and he’s in the lead here as the mysterious avenger who is known as the MONKEY MAN. And no, he’s not another comics-based hero.

Rather, his moniker is based on mythology. In the flashback opening sequences, a young mother and her six or seven-year-old son enjoy the peaceful countryside as she tells him of the Indian animal deity Hanuman AKA the “monkey god”. Flash forward to now in an underground mixed martial arts “fight club” somewhere in bustling Mumbai. One of the brawlers is a lanky fellow wearing a rubber simian mask, along with a filthy tank top and sweatpants. Moments after being introduced by the preening ring MC “Tiger” (Sharlito Copley), the Monkey Man (Dev Patel) is pummeled by “King Cobra”. On his way to the locker room, he endures the taunts of a connected “hustler” named Alphonso (Pitobash). MM who also uses the name Bobby tolerates him since he’s part of his master plan to get a job at the exclusive VIP club where Alphonso works. His boss is a cruel mistress named, naturally, “Queenie” (Ashwini Kalsekar). With the aid of several “street people” Bobby gets her wallet, only to return it to her. Instead of a cash reward, Bobby asks for a job in the kitchen. With an assist from Alphonso (he bets on Monkey Man to take a “dive”), Bobby becomes a server in the ultra-exclusive top floor “playpen” where Queenie provides beauties trafficked from around the globe to international “high rollers”. At last, Bobby spots his reason for being there, his “target” a corrupt sadistic police captain named Rana (Sikandar Kher). Seeing him unleashes many painful childhood memories from Bobby’s time in that forest with his mother. Eventually, Bobby saves up to buy a gun, and then figures out a way to get it past the many security “checkpoints”. So does his revenge scenario play out as planned, or will Rana survive and exact his own vengeance?

Building upon the fighting skills he used six years ago in THE WEDDING GUEST, Patel proves more powerful than his tall, slender physique would suggest. In his bouts, we see, despite the mask, a man in a near-constant panic as he struggles in the opening matches. And that same emotion is echoed in the big high-rise throwdown when things go more than a bit “sideways”. That’s not to say that Patel’s often stoic Bobby is all furious fists and feet. His downturned eyes hint at the heavy weight of family tragedy that almost forms a dark cloud over him. He’s not full of 80s action star quips and snark, and barely makes any human connections. Luckily he does befriend one of the “menu women”, a haunted beauty named Sita played with gentle power by Sobhita Dhulipala. Well, Bobby also connects with a hungry “alley pup’, which brings some extra pathos. And the laughs are provided by a talented trio, Pitobash is a motor-mouthed wiseguy whose bravado distracts from his own tragic past. Kalsekar is a foul-mouthed mini-tornado of disdain and abuse (toward her “staff”). And Copley is the ultimate hammy, and quite swarmy, host as he plays to the crowds while insulting the real “talent”. They’re all an amusing counterpoint to the sneering Kher who makes Rana a great villain more than worthy of our hisses and boos.

Yes, as I alluded to earlier, Patel is making his feature film directing debut while also producing and contributing to the script. And what an ambitious undertaking as he’s in nearly every scene with most consisting of very intense fight choreography (and Patel did take his “lumps” via broken bones and even an eye infection). Aside from the stunts, he creates a great gritty atmosphere as we get “down and dirty” on those dusty streets where denizens scramble for space. One memorable image is Patel’s Bobby in the center of dozens of people “sardine-style” as they try to sleep under a nosy auto overpass. These scenes are in great contrast to the gorgeous flashbacks of a forest paradise (that waterfall). But soon we’re back on the move, as Patel often uses a POV angle to place us right in the mayhem as he ramps up a big pursuit that even takes a second to inject some satire (window jumps are tough). And sure, it’s in the JOHN WICK “wheelhouse” with one bit of dialogue referencing the series. Though this is unique as it hooks us with the fairy-tale legends and the political backdrops. Yes, there’s something of a lull between the two major action “set-pieces” in which we get more backstory and the obligatory “training montage”, but the wait is more than worth it as the finale is truly epic Patel is a terrific physical actor and shows us that he’s a filmmaker to watch (just like the flick’s “savior” Jordan Peele) with the fighting fable of MONKEY MAN.

3 out of 4

MONKEY MAN is now playing in theatres everywhere

KUNG FU PANDA 4 – Review

Since we’re nearly into Spring Break season for students, the studios are gearing up to release some sequels (usually a Summer staple). I suppose you could consider last weekend’s DUNE: PART TWO a sequel, though it’s really the conclusion of the original story. Ah, but this weekend’s big studio release is the latest entry in a “tentpole”, a franchise that’s now a teenager (sweet sixteen). Plus it’s an “all-ages” series with a”PG” rating that parents are always searching for (he’s been MIA at the multiplex for eight years now). It’s not from the “Mouse House”, but rather their biggest animation rival for a time. And this was the character they created that truly worked for me (I’m not a fan of the look of the big green ogre’s exploits). Watch out, and hold on to your snacks, as Master Po is back, and hungry as always, in KUNG FU PANDA 4. Skadoosh!!

This new adventure begins with a “call back” of sorts when some hard-working mineral minors are menaced by an old foe who should be chilling in the afterlife. Cut from the prologue to the happy patrons of the noodle shop run by Mr. Ping (voice of James Hong) and Li Shan (Bryan Cranston) who are thrilled to meet the Dragon Warrior himself, Po (Jack Black). But the festivities are cut short by a surprise visit from Master Shifu (Dustin Hoffman). It seems that it’s time for Po to step up into the role of the spiritual leader of the valley creating the need for a new DW. Auditions are held, but Po isn’t quite ready to decide. Things get more complicated when he stops a skilled “sneak thief, a fox named Zhen (Awkwafina) from looting the Jade Museum. After she’s handed over to the jailer, those miners, from the opening scene, arrive to beg for help. Po is baffled that an old foe is back until Zhen mentions that this is the work of the shape-shifting master criminal The Chameleon (Viola Davis). Naturally, Zhen can lead Po right to her. The fox is put into his custody and soon the duo are on the way to her hometown, the bustling Juniper City. Along the way, they must hire a boat to take them across the vast sea. Unfortunately, the captain of such a vessel, is at a truly dangerous “dive bar”, the “Happy Rabbit”. But the danger really kicks (get it) in J.C. as they earn the wrath of the local police while trying to enlist the aid of Zhen’s old cohorts in the “Den of Thieves”. And with Ping and Li only a few hours behind him, can Po keep them all out of danger and defeat the devious, cunning Chameleon, or will his new temporary partner (the “Furious Five” are all battling evil elsewhere) pull a “fast one” on the lovable ursine?

So how can an actor be so energetic in a role he’s been “voicing” since 2008? Answer me that, Mr. Black! Perhaps that’s a big part of the near-universal appeal of the panda named Po. But it’s not all “hollerin’ and whoopin’ it up”, as Black shows us the sweet side of the bear, even giving us a touch of the caring teacher. That’s especially the case in his scenes with Zhen, whose streetwise, fast-talkin’ delivery comes from the very busy Awkwafina (this is her second Dreamworks character). Her wisecracks and “burns” keep pace with the fox’s manic slapstick, although we get some dramatic shading in the big finale. And the two are a terrific team, almost matched by Hong and Cranston as the two bickering but united “daddies”, an animalized “odd couple”. Well, there’s a third papa if you consider Hoffman’s Shifu who is still a perfect peeved straight man, er…red panda, to the exasperating Po. The story also benefits from a couple of inspired new voice actors. Ke Huy Quan is quite engaging as Zhen’s former “father figure” Han, the armadillo-like (a Sunda pangolin to be precise) who rolls about the underground lair of the underworld. It’s been said that a great villain reflects on the hero, and Davis is a treat as the regal, silky, sneering Chameleon who imbues venom into every command and taunt.

Making this sprawling action/fantasy yarn proved to be a task for two terrific directors, Stephanie Stine and Mike Mitchell, who deliver the comedy and the pathos with equal aplomb. The staging of the stunt setpieces is truly amazing, defying gravity and using it as another threat, as in the big brawl in the pub teetering on the edge of a cliff overlooking the sea (one character even asks, “Who thought this was a good location?”). The directing duo also guided an army of tremendous artisans in the look of the environments (Juniper City dazzles above and below ground) and the design of the new characters from shifty alligators to snarling wolves and even a trio of sadistic bunnies (shades of that white rabbit that bedeviled those Holy grail seekers). I was especially impressed by the constant flow of Juniper City foot (well paw and claw) traffic. The artistry is enhanced by a clever script that sports a few wild twists and a big finale that salutes the previous big-screen epics. Sure, some will be missing the “Furious Five”, but those returning characters and the new friends and enemies more than “take up the slack”. If desired this is a great send-off for the series, even as the end credits hint at a possible new direction(s). If we return to the Valley of Peace, audiences will be “pleased as Po” if they’re as well done (ala Ping’s noodles) as KUNG FU PANDA 4.

3 Out of 4

KUNG FU PANDA 4 is now playing in theatres everywhere

ARGYLLE – Review

L to R: Henry Cavill, Dua Lipa, and John Cena in ARGYLLE, directed by Matthew Vaughn

It feels as though there are one, or two, films that want to “push” against the standard movie-releasing rules as January slowly (with those recent temps it feels like crawling) gives way to February. The big splashy noisy action blockbusters are supposed to be waiting in the wings for the warmer times, but since this is from “Marv maverick” Matthew Vaughn, of course it’s not going to adhere to anyone’s rules. The guiding force behind the KINGSMAN and KING’S MAN franchises (and a pivotal entry in the X_MEN multiverse) attempts to get another series going by mixing in a bit more comedy and even a touch of romance and fantasy as he hopes we will be swept up in the world of ARGYLLE.


And just what does the title mean? In the first few minutes we learn that it’s the moniker of a globe-trotting “super-spy” (Henry Cavill), who favors a velvet suit rather than the patterned sweaters. When we meet him, he’s trying to capture a sultry blonde assassin, Lagrange (Dua Lipa). And with the help of his “muscle” Wyatt (John Cena) and computer whiz Kiera (Ariana DeBose), it’s “mission accomplished”, until they learn that their target was actually working with their boss in “the agency’. But then Argylle’s narrative voice segues into a woman’s voice, that of Elly Conway (Bryce Dallas Howard) who is reading the last line of her newest espionage thriller (the fifth in a series of best sellers) at her local bookstore in Colorado. From there it’s back to her quiet country home on the lake, buffeted by the mountains, as she finishes the sixth book, aided by her constant companion, a Scottish Fold cat named Alfie. The still night is interrupted by a “face-time” call from Elly’s mom Ruth (Catherine O’Hara) who isn’t pleased with the draft of the new tome. Agreeing that it needs a new chapter for a better ending, Ruth says that she’ll fly out for a visit. But Elly throws her a curve by boarding a Chicago-bound train. As the train departs, she’s joined by an off-putting scraggly fan named Aidan (Sam Rockwell) who explains that he’s a real spy and that Elly’s books have real-life counterparts. Elly scoffs until Aidan saves her from the countless skilled killers in the passenger car. As they escape, Aidan tells her that she must finish the new story, in order to thwart the forces that want to silence the duo forever. Somehow Elly’s creations are indeed true, and the reclusive writer must call upon her inner agent Argylle to survive.

As the timid and awkward “future cat lady” Elly, Howard displays the full range of her acting prowess, jumping right from comic annoyance to stark skittish terror to reluctant daredevil (hey she could wear high heels and evade dinosaurs in a recent trilogy) as the “normal” plunged into this “netherworld”. She’s certainly the heart of this flick as the vulnerable author turned adventurer. It helps that her guide is the ultra-cool and wacky Aidan played with “loosey-goosey” charm to spare by the always interesting “wild card” Rockwell, a nice “switcheroo” on the cliffhanging hero. More like the cliche is Cavill as the “fictional” gentleman agent who seems to have everything under control, especially his razor-sharp “buzz” haircut. He’s a fun parody in the opening sequences and it’s always a treat to see him “pop in” for a few seconds to assure Elly as she sees him in a mirror before “blinking” him back into her brain. Bryan Cranston appears to be having lots of fun putting his own spin on the arch-enemy “mastermind” role of Ritter, head of the “Division”. O’Hara flexes her considerable comic “chops”‘ as Elly’s “hovering” and way too helpful mother (a twist on her HOME ALONE icon). Though they’re featured heavily in the marketing, Lipa (who sizzles on screen), DeBose, and Cena really have slightly elongated “cameos’ as the novel’s femme fatale, and sidekicks, respectfully. Much the same can be said of Sofia Boutella as the “Keeper of Secrets” and particularly Samuel L. Jackson in a role that’s an affable, amiable “Nick Fury-lite”.

Vaughn gives the opening Bondian set-piece a real “sugar rush” jolt of giddy energy pouring on his hyper-stylized campy stunt flourishes. It almost makes us wish that he could bring that wild whimsey to a full-on spy satire ala the OSS-117 series (or another try at GET SMART). Then he switches gears into a manic spin on ROMANCING THE STONE with Elly and Aidan having a definitely deadly “meet cute”. Unfortunately, the script from Jason Fuchs begins piling on the double and triple crosses, attempting to dazzle us with its clever twists, but often coming off as illogical with characters changing behaviors “willy nilly”, with situations triggering responses that should’ve occurred earlier (not wanting to spoil). It wears us down long before the big third act stunt-heavy finale (paired with lotsa’ pop tunes) that has nearly five near-conclusions with a truly colorful showdown that would be sumptuous at a couple of minutes but comes off as self-indulgent “showboating” at nearly ten minutes. Luckily Vaughn (who has been de-clawed much like Alfie in order to get a more all-ages friendly PG-13 rating) keeps the comic close-ups of the obviously CGI kitty cat limited (it seemed like the trailers were “pushing’ it relentlessly), but the whole thing feels incredibly bloated at 139 minutes (didn’t FAST X teach us anything about action’thriller editing being needed). A dreary mid-credits bonus scene teases a follow-up, but this initial effort’s exhausting pacing and cliched “master plan” may make this the first and final mission for the mildly amusing agent ARGYLLE.

2 Out of 4

ARGYLLE is now playing in theatres everywhere

NIGHT SWIM – Review

You know might feel really great, and completely relaxing, after surviving the often stressful end-of-the-year holidays? Why a refreshing dip in the pool of course! Oh, but you’re not near an indoor facility, so you’ll have to wait out the long frigid winter until the temps are near ninety or so. Well, how about making a virtual splash at the multiplex? And this “cement pond” doesn’t shut down with the sunset. But doing “laps” alone in the fluorescent lit waters can be pretty spooky. And that’s the inspiration for the first new horror flick of 2024, which may just make you “swear off” any notions about taking a NIGHT SWIM. Marco…Marco…


This tale of soggy terror begins with a flashback to the early 1990s. Late one night a girl of eight or nine spies her ailing brother’s motorboat doing circles in the deep end of the family pool. When she can’t raise her folks, the youngster decides to try and “fish” it out with the cleaning scoop, causing her to fall in, and disappear…and we’re in the present day. Former pro baseball player Ray Walker (Wyatt Russell) is checking out a possible new home with wife Eve (Kerry Condon) along with kids Izzy (Amelie Hoeferle) and Elliot (Gavin Warren). They’re not impressed with the “accessible” (Ray’s sidelined due to MS) townhouse that their real estate agent has shown. But on the drive home, they spot a gorgeous two-story house with a big swimming pool. Thinking the pool will be great for his physical therapy, Ray, along with Eve, makes an offer…which is quickly accepted. After they’ve unpacked, the family begins fixing up the pool until an odd dark brown bile oozes out of the drain. A “home aquatic ” expert informs them that a natural spring is just under the pool floor, and his crew can fix any potential seepage issues. Soon after the whole family enjoys the relaxing waters until…the weirdness really begins. Cider, the family cat, vanishes leaving his kitty collar floating under the diving board. Then Ray begins having memory flashes while underwater which leads to his health miraculously improving. But when things take an ugly turn at a big neighborhood pool party, Eve does some digging. She learns of the young girl in the flashback, and of other disappearances over the previous seventy or so years. Will her family become the latest victims in the pool’s twisted history?

Following up her stellar work in 2022’s THE BANSHEES OF INISHERIN (she won a coveted St. Louis Film Critics Assoc. award), Condon provides a strong family matriarch, who’s ready to do the research and the legwork to get to the bottom (or deep end) of this mystical pond. Her Eve wants to be encouraging to her family, especially her stricken hubby, while trying to keep the peace, especially with her squabbling siblings. Condon even gets a chance to hone her action “chops” in the truly breathtaking finale. She’s a good parental partner with Russell, who gets to show his easy-going warmth as the father who may need as much nurturing as his kids. Ray’s frustrated as he recalls his “glory days’ until something “in the water” gives him renewed hope. And Russell builds on Ray’s underdog status making his turn to his darker impulses in the third act terrifying and heartbreaking. Hoeferle is quite effective as the big sister yearning to pursue a first love, while uneasy about her new surroundings and those eerie nights practicing for the school’s Christian swim team. As the somewhat timid and awkward kid brother, Warren projects a real vulnerability as he struggles to follow in his dad’s cleats and navigate his new environs. The film also sports a couple of nifty supporting turns by Nancy Lenehan as the loopy, clueless real estate agent and Jodi Long as the creepy, nearly unhinged former owner of the house.


Expanding on his 2014 short of the same name director and co-writer (with Rod Blackhurst) Bryce McGuire strives to establish an engaging family dynamic to fuel the story’s moments of deadly danger and mystery. Unfortunately, the domestic sequences feel sluggish, making viewers frustrated as they wait for another spooky “soaking” of suspense. The pacing also lets us ponder the more absurd and illogical aspects of the plot. The opening incident happened thirty years ago and nobody in the neighborhood, or the suburb, remembers. Wouldn’t the police, or at least one of the former owners, have shut down the pool after so many have vanished? Then the pool’s loopy secret is slowly revealed with elements of the 80s COCOON along with some biblical riffs. Finally, the last act payoff is amped up with another scary-possessed parent targeting the kids (done more effectively in last year’s EVIL DEAD RISE). Plus many of the terror “shocks” feel “watered-down” to get an inclusive PG-13 rating (maybe an unrated home video version is in the works). Ultimately the movie upholds a tradition of starting the new movie year with a “quick buck” chiller to fill the multiplex at post-awards time (at least last January’s M3GAN had a sly satiric bent). It’s an easy cliche, but NIGHT SWIM just doesn’t float, but slowly sinks. Alright, everybody out of the pool…


1.5 Out of 4

NIGHT SWIM is now playing in theatres everywhere

MIGRATION – Review

It’s the big holiday weekend, and for many families, it’s the perfect time for a big getaway. Oh, we’re not talking about a brief trek “over the river and through the woods”. Nope, how about a big excursion like the McCallister clan in the original HOME ALONE (Paris, sheesh somebody’s doing well)? Come to think of it, it’s strange that the Grisswalds don’t travel anywhere in CHRISTMAS VACATION, though Cousin Eddy drops in from afar. But I digress. Now if that’s what human families do, then how about animal families? To be more specific, those “fine feathered” families. Now in this new animated feature, it’s not ‘”yuletime”, but the temps are starting to fall prompting those web-footed folks to join a big southbound MIGRATION.


Oddly enough this story begins, actually, during storytime. Papa of the Mallards, Mack (voice of Kumail Nanjiani) relates a cautionary fable of ducks leaving the safety of the nest and flying to their doom to his kids, free-spirited pre-teen Dax (Casper Jennings) and sweet adorable baby sister Gwen (Tresi Gazal), all while mom Pam (Elizabeth Banks) rolls her eyes. She thinks that they should “expand their horizons” well past the comfy confines of the bucolic pond near Moose Lake in New England. Then, almost on cue, a flock of migrating ducks drops in for a brief respite. Of course, Dax falls for a cute duckling gal. After they leave, the family puts pressure on Mack, and…he gives in. They’ll catch up with the flock and join them on their journey to sunny Jamaica. And thanks to the pleading of Gwen, grumpy, sloppy old Uncle Dan (Danny DeVito) will also make the trip. The quintet takes to the skies and …heads in the wrong direction. After a detour to a dank swamp that’s home to a spooky but friendly heron named Erin (Carol Kane), the Mallards nearly fly right into the skyscrapers of NYC. There they encounter the boss of some hungry pigeons, Chump (Awkwafina), who, after a near rumble, takes them to a bird that can guide them to the Caribbean. Unfortunately, the exotic Delroy (Keegan-Michael Key) is locked up in a cage in the office above a trendy restaurant. Can they evade the knife-wielding chief and get back en route to paradise? Or will their final stop be inside a hot oven, covered not in suntan lotion, but in orange sauce?

Unfortunately, as with many major animated releases, the celebrity voice cast seems to be a big marketing point. Luckily there are several assured comic voices in use here. Nanjiani excels when Mac is in full over-protective panic mode. DeVito is perhaps our most endearing screen (big and small) grouch. Key is a bombastic delight as the ecstatic bird so far from home. There’s also some funny vocal work from David Mitchell as the yoga instructor/ rec-director of a place that seems like a spa retreat for ducks. Kane brings her zany quirk to the long-limbed Erin. Now, I’m a big fan of Awkwafina (she’s great in the underrated QUIZ LADY), but I’m wondering if she may want to take a voice-over “time out” as this is her eighth feature film (unless she’s hoping to follow in the legacy of the late great June Foray). Ah, but the look of the film is its real “selling point”. The backdrops are full of dazzling primary colors (those rich greens of the forest) in nature which make a terrific contrast with the looming dark canyons of the city and the stunning neons of its trendiest eatery. The character designs are also superb, making each duck unique, and giving some other fowl (Erin, Deroy) a nice “spindly” look as though their limb are bendable plastic tubing. But my favorite design may be the mute villain, the too-cool, muscle-bound, “fully-tatted” chief (love the diamond-shaped shades and the long platinum ponytail with gold hoops). Extra kudos for working in some terrific 2D-style animation in the movie’s “bedtime story” opening prologue. It’s just a shame that the story is not as unique. It’s an air-and-land riff on FINDING NEMO, as the Mallards encounter a new danger and learn lessons in teamwork and understanding others. The tiniest of moviegoers may be enthralled by the bouncy birds, manic action, and eye-popping backdrops, but this family’s not quite a “duck dynasty” in this occasionally amusing MIGRATION.


2.5 Out of 4


MIGRATION is now playing in theatres everywhere

TROLLS BAND TOGETHER- Review

Though the end of the year is mainly the mainstay of serious and somber award-seeking films, there’s almost always room for family-friendly flicks. After all, there has to be a break from all the hectic holiday preparations, and what better way to relax than getting off your feet in one of those swell reclining plush multiplex chairs? So, the “mouse house” will arrive shortly with a slick fantasy fable, but how about their “major ‘toon rival”? Well, the fine folks at Dreamworks are completing a trilogy begun seven years ago when they put a new spin on a beloved baby boomer toy. Much of that spin involves music, as the lil’ critters interpreted classic (and some brand new) pop tunes. This makes their third outing feel a bit foreshadowed as those TROLLS BAND TOGETHER.

This new outing begins with a flashback to the final performance of the huge Troll boy band BroZone. After an attempt at the “perfect harmony”, the quintet went their separate ways. And now we’re back in that Troll kingdom nestled deep in the forest. Things are more hectic than usual as Queen Poppy (voice of Anna Kendrick) and “maybe” BF Branch (Justin Timberlake) are helping with the big wedding of Bridget (Zooey Deschanel) to the Bergen King Gristle (Christopher Mintz-Plasse). Just after the “I do’s” a stranger disrupts the proceedings. It’s none other than John Dory (Eric Andre), singer and manager of BroZone who’s also Branch’s big bro! What? Branch was part of that supergroup and was then known as “Baby Branch”! And what has prompted this reunion? It seems that brother Floyd has been kidnapped by the current “red hot” singing duo, sibs Velvet (Amy Schumer) and Veneer (Andrew Rannells). They’re keeping Floyd inside a near-unbreakable glass cage to “drink in” his musical talent. Ah, but his prison can only be shattered by that ole’ perfect harmony. Yup, it’s time to get the band back together, so the trio hit the road, along with Tiny Diamond (Kenan Thompson) to find brothers Spruce and Clay to save Floyd before his singin skills are completely drained.

The returning voice actors slip back into their established roles as though nary a day has gone by since the previous flick three years ago. Timberlake has a bit of renewed energy as he appears to be having loads of fun by satirizing his own boy band past while trying to deny his attraction to Poppy. As usual, Kendrick brings lots of energetic show-tune spirit to her and gets a chance to shine after meeting her new surprise BFF (and perhaps a tad extra) Viva who is given equally frenetic vocal life by pop singing sensation Camila Cabello (and they’re another terrific song duo). Much of the flick’s laughs are provided by SNL vet Thompson who peppered the story with snarky asides as TD (who still looks like Will Ferrell’s Harry Carey to me). His comic delivery is matched by the story’s villainous twosome with Schumer delivering her insults with a hissing sneer while Rannels conveys a sweaty desperate need to serve her as her bumbling bro. The movie also has a major role for the comic ‘force of nature” Andre but aside from being the “big boss” (and very bossy), he’s given little to do as Dory.

The directing duo of Walt Dohrn and Tim Heitz keeps the pace at a fever pitch while tossing in a near-endless stream of music standards and original melodies. And like the previous films, you could almost get a visual sugar rush from the candy-coated color spectrum paired with the shimmering “sparklies”. The CGI is top of the line, though they don’t take as many stylistic chances as Dreamworks’ Puss In Boots flick from a year ago. Happily, some classic 2D animation from Titmouse Studios sneaks in with some knowing psychedelic nods to Peter Max and that YELLOW SUBMARINE. Sure, the trolls are still “homely/cute” as they bounce into the camera for tight close-ups, but the filmmakers do a deep dive into some classic animation icons of the last century. With their rubbery limbs and big eyes, Velvet and Veneer could’ve sung with Betty Boop or Flip the Frog in the 1930s. And then there are the natives of Vacay Land who recall a Muppet spin on Dr. Seuss. Much of this is merely a bonus bit of fun for the adults as the kids are mesmerized by the catchy songs and bombastically energetic lil’ critters. It’s a haphazard plot structure (the Bergens have little to do), but adults can zone out (but try not to snooze) as those TROLLS BAND TOGETHER.

1.5 Out of 4

TROLLS BAND TOGETHER is now playing in theaters everywhere