Author: Michael D. Smith

 

• YOU’RE CORDIALLY INVITED
• Starring: Will Ferrell, Reese Witherspoon
• Directed by: Nicholas Stoller
• Rating: R
• Running Time: 1 hr 49 mins
• Amazon MGM Studios

Our Score:  .5 out of 5

 

You are cordially invited to not watch “You’re Cordially Invited”. Released on Amazon Prime Video, this Will Farrell/Reese Witherspoon comedic vehicle is an outright disaster of Hindenburg proportions. Writer/director Nicholas Stoller (“Get Him to the Greek”, “Forgetting Sarah Marshall”) has helmed a comedy that is choppy, poorly acted with a dullish and predictable script, and has characters that are either annoying or are stereotypes from a myriad of other bad comedies. While there are inevitably a couple of laughs to be had, Farrell continues a streak of rather underwhelming comedies. Witherspoon’s effort appears forced at times while having about as much chemistry with Farrell as there is water in the Mojave Desert.

 

Jim (Farrell) is a widowed father who has raised his daughter, Jenni (Geraldine Viswanathan, “Blockers”) since she was six years old. To describe him as overattentive, smothering, and too apologetic would be an understatement. Margot is a never-been-married, childless TV producer in Los Angeles who keeps her family in Atlanta at a distance, emotionally speaking, except for her bubbly younger sister, Neve (Meredith Hagner, “Joy Ride”).

 

Worlds collide when Jim and Margot, unbeknownst to one another, call a small resort on Palmetto Island, Georgia to schedule Jenni and Neve’s wedding day. The double-booking leads to an uncomfortable circumstance since the venue is too small for two weddings. At first, Jim and Margot are able to work everything out, but personality conflicts, jealousies, and pettiness lead to disaster for both weddings.

 

The family of Margot and Neve was apparently crafted to appear as a quirky bunch of characters that we are supposed to find amusing. Instead, they are boorish cardboard cutouts. The fake townspeople of Mel Brooks’s Rock Ridge had more personality. Jenni’s wedding party consists of some of the most annoying, idiotic, non-funny characters ever assembled for a comedy flick.

 

Witherspoon is just not funny, and Farrell is reduced to wrestling an animatronic alligator in a tuxedo to generate laughs, a gimmick that doesn’t work. Their pairing is awkward while the story is about as predictable as knowing the sun is going to come up tomorrow. Cameos by Peyton Manning and Nick Jonas are, for lack of a better word, weird and poorly utilized. Overall, decline this wedding invitation and watch something that is entertaining instead like “Dune 2” or paint drying.

 

“You’re Cordially Invited” receives a half star out of five.

 

• CONCLAVE
• Starring: Ralph Fiennes, Stanley Tucci
• Directed by: Edward Berger
• Rating: PG
• Running Time: 2 hrs
• Focus Features

 

Our Score:  4.5 out of 5

 

Nominated for eight Academy Awards, including Best Motion Picture of the Year, Best Performance by an Actor in a Leading Role (Ralph Fiennes), and Best Performance by an Actress in a Supporting Role (Isabella Rossellini), “Conclave” is one of the best films to grace the silver screen this past year. Its dialogue is nothing less than superb and its overall screenplay is almost flawless. The stellar cast rises to the occasion at every mesmerizing moment during this somber, tense drama.

 

In the wake of the pope’s death from a heart attack, British Cardinal Thomas Lawrence (Fiennes), the dean of the College of Cardinals with liberal views about the church’s future, convenes a conclave in Vatican City. Cardinals from around the world arrive for the secluded, secretive meeting. Four leading candidates emerge – liberal-minded American Cardinal Aldo Bellini (Stanley Tucci), socially conservative Nigerian Cardinal Joshua Adeyemi (Lucian Msamati), moderate Canadian Cardinal Joseph Tremblay (John Lithgow), and staunch traditionalist Italian Cardinal Goffredo Tedesco (Sergio Castellitto, “The Chronicles of Narnia: Prince Caspian”).

 

Trembly and Tedesco are both power hungry, although the former is more about subterfuge while the latter wears his feelings on his sleeve. Adeyemi and Bellini are more reserved and humbler about their ambitions. It’s a political minefield that Lawrence, who struggles with his faith and is adamant that no one should vote for him during the process, must make a delicate dance to get through. Further wrinkles include the unexpected arrival, via Afghanistan, of previously unknown Mexican Cardinal Vincent Benitez (Carlos Diehz), a back-and-forth relationship with Sister Agnes (Rossellini), the headstrong nun who oversees the cardinals’ accommodations, and a suicide bombing.

 

Watching “Conclave” is like savoring a finely aged red wine. It’s the kind of film that sticks with you long after viewing it. The political intrigue and infighting during the papal election process are mesmerizing to view. Each actor/actress deliver pitch perfect performances as they navigate the story’s twists and turns. While the climax has been enjoyed by some and hated by others, it is certainly something you won’t see coming. Fiennes is unforgettable with a brilliant performance of a man who is resolute yet conflicted. He absolutely deserves to win Best Actor. Overall, “Conclave” is one you should catch on streaming before the Oscar ceremony.

 

“Conclave” receives ★★★★ ½  out of five.

 

 

 

• SEPTEMBER 5
• Starring: Peter Sarsgaard, Jeff Magaro
• Directed by: Tim Fehlbaum
• Rating: R
• Running Time: 1 hr 35 mins
• Paramount Pictures

Our Score:  4 out of 5

 

Nominated for Best Original Screenplay at this year’s Academy Awards’ ceremony, “September 5” is an important and tragic historical drama detailing the massacre of Israeli athletes during the 1972 Summer Olympic games in Munich, West Germany. Told from the viewpoint of an ABC sports broadcast team, “September 5” is a haunting tale, told with quick pacing by director Tim Fehlbaum (“The Colony”), that still resonates today as humanity cannot seem to break the endless cycle of violence caused by terrorism.

 

Crammed inside a tight control room in Munich, the production staff of ABC Sports attempt to control chaos as split-second decisions are constantly being made to keep up with various sporting events. ABC Sports President Roone Arledge (Peter Sarsgaard, “The Batman”) and control room head Geoffrey Mason (John Magaro, “The Many Saints of Newark”) work tirelessly to ensure its all as seamless as possible. Athletic competition begins to take a backseat during the early morning hours of September 5, 1972, when shots ring out in the Olympic village as a Palestinian terrorist group takes several Israeli athletes hostage.

 

When it becomes clear that an unprecedented crisis is unfolding, Arledge and Magaro do their best to manage the chaos while broadcasting the situation live to the world. Not only do they have to keep a diverse group of people working together, even though women are relegated to secondary roles, but Arledge and Magaro must also maintain high standards of journalism even if they are just sports people. All the while, a series of mistakes by everyone involved, including the ABC crew, leads to a disastrous conclusion.

 

Like “Civil War” in which the story of war, albeit a fictional one, is told through the eyes of journalists, this film’s viewpoint is an intriguing one as well. We see the story unfold much like viewers did in 1972 – helpless to do anything about it and yet unable to pull our attention away from it. Archival footage is blended in with rich dialogue, solid ensemble acting, and an accurate depiction of historical complexities to bring back to life a sobering event that, much like the Holocaust, should never be forgotten.

 

“September 5” receives ★★★★ out of five.

 

 

 

 

• NOSFERATU
• Starring: Lily-Rose Depp, Nicholas Hoult
• Directed by: Robert Eggers
• Rating: R
• Running Time: 2 hrs 12 mins
• Focus Features

 

Our Score:  2 out of 5

 

Nominated for four Academy Awards including Best Achievement in Cinematography and Best Achievement in Costume Design, “Nosferatu”, the latest remake of the 1922 classic “Nosferatu: A Symphony of Horror”, is a vampire flick with more yawns than frights. It meets the eye test for plenty of horrific visuals punctuated by great period costumes. However, it is about as terrifying as watching an episode of the PBS series “This Old House”. The film’s pacing is a bit awkward and its cast, while obviously talented, does not do anything to leave an indelible impression.

 

Sometime during the 1810s, a young, disturbed girl named Ellen (Lily-Rose Depp, “The King”) cries out for a supernatural being to prevent her from being lonely, but it ends up awakening a supernatural creature who makes her pledge herself to him. Fast forward to 1838 when Ellen, who is plagued by nightmares, and her husband, Thomas Hutter (Nicholas Hoult, “Mad Max: Fury Road”) are living in the fictional town of Wisborg, Germany.

 

Desperate to make a better life for Ellen, Thomas takes on a commission offered by his eccentric employer that takes him to Transylvania where he meets Count Orlok (Bill Skarsgard, “It”), a sinister recluse whom the locals fear. It is not long before Count Orlok sets sail to Wisborg and in the process kills the entire crew and unleashes the bubonic plague upon the city. Ellen tries to resist him, which results in Count Orlok threatening to kill Thomas and the entire town if she does not repledge herself to him. Aided by a Swiss scientist (Willem Dafoe) who is an expert in the occult, Thomas sets out to confront Count Orlok and save his wife.

 

To be blunt, if you want to watch a horror film that will scare you, then I would recommend “The Exorcist”, “The Blair Witch Project,” or even 1992’s “Bram Stoker’s Dracula” starring Gary Oldham. While it looks creepy, “Nosferatu” is more window dressing than substance. Skarsgard is unrecognizable but his version of the character is somewhat boring, and the violence is gratuitous at best. Get some garlic and holy water and keep this vampire flick at bay.

 

“Nosferatu” receives ★★ out of five.

 

• WICKED
• Starring: Cynthia Erivo, Ariana Grande
• Directed by: Jon M. Chu
• Rating: PG
• Running Time: 2 hrs 40 mins
• Universal Pictures

Our Score:  3.5 out of 5

 

Nominated for 10 Academy Awards, including Best Motion Picture, Best Performance by an Actress in a Leading Role, and Best Performance by an Actress in a Supporting Role, “Wicked” delivers a wickedly good time for young and old alike. Wonderful visual effects, fantastic costume designs, and an imaginative script all serve to breathe new life into the world of Oz. It is all topped off with a pair of superb performances by Cynthia Erivo as Elphaba, the eventual fabled “Wicked Witch of the West”, and Grammy Award-winning singer Ariana Grande as Galinda, the future “Good Witch of the East”. Their chemistry is nothing short of mesmerizing on the silver screen, which is only enhanced by their powerful vocals.

 

After the Wicked Witch of the West has been killed by a bucked to water tossed on her, the citizens of Oz celebrate with joyful abandon as Galinda watches on. When questioned if she was a friend with the now deceased witch, Galinda reveals they did indeed know each other and she goes on a journey down memory lane to explain what happened. Their relationship began when they attended school at Shiz University where they also became roommates. Initially, they hated one another as Galinda was intent on being Miss Popular while Elphaba, due to her green skin, remained an outcast.

 

The two eventually become friends and it because of that friendship, the first Elphaba has ever experienced outside of the bond with her sister, that Elphaba takes Galinda with her to the city of Oz to meet the wizard (Jeff Goldblum), who has summoned her after hearing about her natural talents as a witch. Secrets are revealed and unsavory motivations come to light that end up testing the two ladies’ friendship. It all sets the stage for a “Wicked” sequel that will tell the second half of the story adapted from the stage musical by Stephen Schwartz.

 

Erivo (“Harriet”, “Bad Times at the El Royale”) provides a tangible sense of isolation within her character, causing Elphaba to be a much more sympathetic individual that one could imagine, that is if they have only seen the 1939 classic film. In it, the witch is abstract villainy and wholly unsympathetic. It is quite the opposite in this film as Erivo infuses her with a wide range of emotions, enough to cause the viewer to forget about all preconceived notions. Grande demonstrates just how powerful her vocal range while also proving she has acting chops, which are obviously good enough to get an Oscar nod. While Goldblum and the remaining cast with all the effects are great, it is “Wicked’s” two leading ladies who cast a spell over the audience.

 

“Wicked” receives ★★★½  out of five.

 

 

 

• KRAVEN: THE HUNTER
• Starring: Aaron Taylor-Johnson, Russell Crowe
• Directed by: J.C. Chandor
• Rating: R
• Running Time: 2 hrs 7 mins
• Sony Pictures

Our score: 2.5 out of 5

 

Available on streaming platforms, “Kraven: The Hunter” was without a doubt, based upon its overall box office numbers and poor ratings, a bomb at the box office. It could, in fact, be argued that it may have landed with a larger thud upon Earth than the asteroid that wiped out the dinosaurs. However, yours truly has a somewhat more positive take on it even if it is just putting lipstick on a pig. Aaron Taylor-Johnson (“Avengers: Age of Ultron”, “The Fall Guy”, “Bullet Train”) delivers a solid performance and Academy Award winner Russell Crowe is entertaining as his ruthless father. The action is fun, and the story is watchable. The problem with it, and every other live action Sony film that is supposed to be a part of the Spider-Man universe is the complete lack of any tie-in to Spider-Man himself. More on that later.

 

For apparent majority of human beings who have not seen “Kraven: The Hunger” yet it begins with Russian Serge Kravinoff (Taylor-Johnson) and his meek half-brother, Dmitri (Fred Hechinger) being pulled out of their private school by their ruthless, cold-blooded father Nikolai (Crowe) to be trained to take over his criminal empire. While on a hunting trip in Tanzania, Sergie is fatally injured during a lion attack and is saved because of a mysterious potion given to him by a young girl named Calypso.

 

Sergie soon discovers he has developed incredible powers because of this experience, but instead of becoming his father’s heir, he runs off into hiding in the Russian wilderness. Years pass and Sergie, who now goes by the name of Kraven, has become a vigilante who sets out to kill the world’s worst bad guys. Still, Kraven is unable to escape his past when mercenaries kidnap his brother for a ransom to be paid by Nikolai, who refuses. It’s up to Kraven then to save his beloved brother before his abductors kill him, which leads to a lot of action that anyone is sure to enjoy

 

That is the shorthand recounting of the film, which is certainly better than “Morbius” and “Madame Web”. The common fatal thread with all of them, including the “Venom” trilogy to an extent, is that they don’t tie in together hardly at all much less to Spider-Man, the main protagonist of Sony’s franchise. What Sony has failed to understand is that not only is the web slinger probably the most popular character in the Marvel universe, but also no one cares to see standalone films about each of his greatest enemies. The brilliance of the Infinity Saga was that every film was tied together without the need for full movies dedicated solely to bad guys. At this point, it’s hard to say if even a fourth, live-action Spider-Man with Tom Holland will save Sony’s endeavor to create a universe of its own.

 

“Kraven: The Hunter” receives ★★ ½  stars out of five.

 

 

• THE WILD ROBOT
• Starring: Lupita Nyong’o, Pedro Pascal
• Directed by: Chris Sanders
• Rating: PG
• Running Time: 1 hr 42 mins
• Universal Pictures

Our Score: 3 out of 5

 

Nominated for three Academy Awards – Best Original Score, Best Sound, and Best Animated Feature Film – “The Wild Robot” is a wonderful film the entire family can enjoy, especially the little ones. Based upon the 2016 novel of the same name by American author Peter Brown and the first of a trilogy, “The Wild Robot” contains beautiful, animated imagery, well-written dialogue, and plenty of fun animal characters. What it does not contain is anything that is original. The story is reminiscent of every other animated feature like “WALL-E” or any cinematic work involving a robot who goes on an adventure that leads to them developing human emotions. Yawn.

 

Much like the Mayflower, a violent storm blows a cargo ship off course and in the process its ROZZUM robots, designed to do tasks humans don’t want to do, are lost at sea to later be washed up on an uninhabited island. When ROZZUM 7134, or Roz (Lupita Nyong’o, “Black Panther”, “Us”), is the sole robot to survive intact. She is soon accidentally activated by wild animals who are terrified of her as she believes her mission is to help them with their tasks. Even after learning animal languages, Roz can’t seem to fit in.

 

Without any task to fulfill, Roz attempts to contact the company who made her, but a lightning strike prevents her from accomplishing it. The failed attempt leads to her crushing a bird’s nest and the subsequent adoption of a young gosling named Brightbill (Kit Connor). Her only help comes in the form of a fox named Fink (Pedro Pascal), who initially wants to eat the gosling. From there, Roz develops an identity of her own, which runs contrary to her programming. This in turn sets up a “dramatic” confrontation with the heartless, villainous company that built her when they reach her location.

 

Don’t get me wrong, “The Wild Robot” is a story any age can enjoy. It’s filled with laughter, action, and a few tears. The voiceover work by Nyong’o is delightful as she does a brilliant job with infusing life into her character, who goes from zero to hero. Pascal, known best for his more serious roles, is perfect as the film’s comic relief. Still, “The Wild Robot” is nothing that has not been seen before a million times. Entertaining? Yes. Creatively original? No. It becomes almost forgettable after watching it, unless, of course, your five-year-old insists that you watch again for the 98th time.

 

“The Wild Robot” receives ★★★ out of five.

• GLADIATOR II
• Starring: Paul Mescal, Denzel Washington
• Directed by: Ridley Scott
• Rating: R
• Running Time: 2 hrs 48 mins
• Paramount Pictures

 

Our score:  4 out of 5

 

One of the best sequels to be released in movie theaters since “Godfather II”, the long-awaited follow-up to 2000’s “Gladiator” has everything you could want in a cinematic experience and then some. Terrific direction by Ridley Scott, glorious cinematography by John Mathieson, an entertaining script and superb acting all help to turn the silver screen golden. While Scott has taken some liberties with facts, he again manages to still blend in historical characters with fictional ones without making a mess of things as most directors of historical fiction do.

 

For those who haven’t seen it yet, to which I would ask, “What are you waiting for?”, “Gladiator II” is set 16 years after the events of its predecessor. The Roman Empire is now ruled by twin emperors – Geta and Caracalla. (Fact check – they were not twins as depicted in the film.) Both are unstable by any definition of the word as they have an unquenchable thirst for more territory. General Acacius (Pedro Pascal) has helped to facilitate that win many successful campaigns, but much like General Maximus, he has grown weary of combat.

 

During one of these campaigns, General Acacius leads an invasion of a North African country where Lucius, the son of Lucilla (Connie Nielsen) and grandson of murdered Emperor Marcus Aurelius, is living under an assumed name. He is captured after the battle and turned into a gladiator by conniving stable master Macrinus (Denzel Washington) who promises Lucius the opportunity to kill General Acacius.

 

Just as visually stunning as the original with fantastic costume designs, “Gladiator II” has a captivating story that has a seamless, natural transition from the ending of “Gladiator”. Pascal is the breakout performer of the year after several smaller roles in his young career. He makes the movie his own with a ferocious acting performance that warrants at least the consideration to be nominated. Washington is equally grand in his supporting role which also deserves golden statue talk. It never gets old to see Washington in a not-so-heroic role.

 

There are a couple of scenes with speeches that are a little hokey, but overall, it’s a fantastic work that captures the absolute insanity that was sometimes Rome.

 

“Gladiator 2” receives four stars out of five.

 

• BEETLEJUICE BEETLEJUICE
• Starring: Michael Keaton, Winona Ryder
• Directed by: Tim Burton
• Rating: PG-13
• Running Time: 1 hr 45 mins
• Warner Bros Pictures

 

Unless you have been trapped aboard a space station high above Earth over the past week-and-a-half, you are probably aware that the long-awaited sequel to the 1988 hit “Beetlejuice” has been making a killing at the box office. Perhaps even with the success of “Beetlejuice Beetlejuice” you are still on the fence about taking the time to see it. So, yours truly is here to give you a nudge in the direction of your nearest movie theater.

 

There is nothing deeply intellectual or anything that will enlighten the soul in director Tim Burton’s sequel. It is pure popcorn entertainment and nothing else as it never takes itself seriously. What’s even better is there way more screen time for the movie’s namesake.

 

In a nutshell, Lydia Deetz (Winona Ryder) is now a supernatural talk show host under the close eye of her producer/boyfriend, Rory (Justin Theroux). Soon after being freaked out by seeing Beetlejuice in the audience, she learns from Delia (Catherine O’Hara) that her father has died. After picking up her estranged daughter, Astrid (Jenna Ortega), who doesn’t believe in ghosts, from a boarding school, Lydia returns to the house in Winter River where she grew up. In short order, Beetlejuice begins to make his presence known as he still desires to marry Lydia, which would also save him from the vengeful wrath of his ex-wife (Monica Bellucci).

 

“Beetlejuice Beetlejuice” can be characterized as cheesy, silly comedy with a sprinkle of dark humor tossed in. It maintains the same tone as the original just without all the explanation it took to get things going when it was Alec Baldwin and Geena Davis’s turn as the doomed married couple of Winter River. (Neither of course are in this sequel but the story does allude to why they are gone.) Keaton is on his A-game with some great comedy and terrific lines that will be quoted 30 years from now. Burton did the right thing by exploring the relationship dynamic between all three generations of women. However, it never gets too serious.

 

Overall, if you are looking for some good laughs in a short amount of time, then this sequel is a great escape from reality.

 

“Beetlejuice Beetlejuice” receives ★★★1/2 out of five.

 

• BIONIC
• Starring: Jessica Cores, Bruno Gagliasso
• Directed by: Afonso Poyart
• Rating: Unrated
• Running Time: 110 minutes
• Netflix

 

The cinematic exploration of the potential negative consequences of A.I. are nothing new in cinema, but neither are stories involving bionically enhanced humans. Lee Majors in the ‘70s era TV series “The Six Million Dollar Man” is the first one that comes to mind. The new Brazilian science fiction film “Bionic,” set in the year 2035, attempts to explore what the negative fallout could be if amputees, who became that way by accident or on purpose, had essentially superhuman strength and speed with new, computerized appendages. In the case of “Bionic,” it tackles this scenario via the sports world and how fully natural athletes would do against unfair competition. Sometimes “Bionic” is successful with this endeavor, but often it sputters and stumbles as it fails to cross the finish line.

 

The story revolves around a pair of Brazilian sisters born of a superstar track and field mother who dies when they are young. The oldest sister, Maria (Jessica Cores) has all the potential to become a superstar in her own right. However, her dreams are dashed with the arrival of bionic limbs, which turns her younger sister, Gabi (Gabz) into an international superstar. Records are broken right and left as natural athletes are left eating dust. Eclipsed by her sister, Maria is left feeling bitter. Enter Heitor (Bruno Gagliasso), a man of dubious character who is not afraid to rob and steal his way to riches. Charismatic, he uses his charms to convince Maria to help him steal a bunch of high-powered microchips that are implanted in the brain to sync it up with any bionic parts that are added. The sibling rivalry between the two girls becomes worse as the story moves along, putting the lives of their stereotypical, overbearing coach of a father and their brother in jeopardy.

 

Stylistically, “Bionic” is often eye pleasing, but icing alone does not make a cake. The competition portion of the story is laughably bad while the supposed good characters become increasingly unlikable as it progresses. There is little to no suspense in what is supposed to be an action sci-fi film with a climax so bad that it ruins anything that was positive. The post climatic scene at the end is even worse, leaving me with the thought of, “Did I just watch this?”.

 

Overall, “Bionic” is about it $5,999,999 less than Lee Majors.

 

“Bionic” receives ★ out of five.

 

Version 1.0.0

 

• IF
• Starring: Ryan Reynolds, Cailey Fleming
• Directed by: John Krasinski
• Rating: PG
• Running Time: 1 hr 44 mins
• Paramount Pictures

 

It’s rare to find a film that an entire family of all ages can sit down and enjoy in a darkened theater. “IF” happens to be one of those rarities. A blend of computer animation and live action, “IF,” written and directed by “The Office” alum John Krasinski, is an emotionally intoxicating story brimming with poignant moments that will inspire both smiles and tears. Its lead, Cailey Fleming (“The Walking Dead”, “Peppermint”) is delightful on the silver screen supported fantastically by Ryan Reynolds.

 

It begins with 12-year-old Bea (Fleming) moving into her grandmother’s (Fiona Shaw) New York City apartment while her dad (Krasinski) waits in a local hospital to have what we presume is a heart surgery of some type. (All that is said is that her dad has a “broken heart”.) What makes it doubly hard for Bea is that her dad is in the same hospital where her mother died apparently from cancer a few years earlier.

 

One evening, Bea is out after dark buying a charger for her camcorder when she sees an odd creature, who looks like something from a 1940s cartoon, going into her grandmother’s apartment building. The next day, she sees it again only this time talking with a man named Cal (Ryan Reynolds) who is trying to bring back an emotional, sometimes clumsy, large purple creature named Blue (Steve Carell) to the apartment building.

 

When the curious Bea makes contact with Cal, she learns he is working with imaginary friends, or IFs, to find them new kids after the children they were with previously have grown up and forgotten about them. Reluctantly, Cal allows Bea to help him, but it proves be a daunting task for them both, especially after they try to reunite the IFs with their now grown-up kids.

 

“IF” pulls at every possible heart string and will leave you feeling warm and fuzzy when you leave the theater. Krasinski does a perfect job of not getting bogged down in the details of what his character’s illness is or its aftermath, thus not making it more of a scarier situation than what it needs to be for young kids. Reynolds delivers a terrific, yet subdued performance that allows Fleming to be the film’s brightest star. Fleming gives a good balancing act with an age where kids are in that gray area of still being regarded as a kid but on the verge of being a “grown-up” teenager. Mix in some great character voices and outstanding cinematography by legendary cinematographer Janusz Kaminski (“Schindler’s List,” “Saving Private Ryan”) and you have an outstanding family film.

 

Overall, there are not ifs, ands, or buts about it, “IF” is wonderful film by any definition.

 

“IF” receives ★★★★ out of five.

 

• COLORS OF EVIL: RED
• Starring: Jakub Gierszal, Maja Ostaszewska
• Directed by: Adrian Panek
• Rating: Unrated
• Running Time: 1 hr 51 mins
• Netflix

 

“Colors of Evil: Red”, now streaming on Netflix, is an intriguing Polish crime drama based upon the first book in a trilogy written by Polish novelist Małgorzata Oliwia Sobczak. (The second book is “Black” and the third is “White”.) Relying more on drama than action, “Colors of Evil” is an intelligent piece of writing. It’s a dark, unsettling tale of femicide set in a seedy, Polish underworld where illegal drugs, alcohol, and human sex trafficking run rampant. Solid performances with some twists and turns in the plot make it a watchable film.

 

The story’s crux begins when the nude body of a female bartender is discovered on a lonely stretch of beach bordering the Baltic Sea in Poland’s TriCity area, which is composed of the coastal cities of Gdansk, Gdynia, and Sopot. A haunting mutilation of the corpse is reminiscent of a similar murder from several years earlier. Local prosecutor Leopold Bilski (Jakub Gierszal, “Dracula Untold”) is the only one who seems to care about getting to bottom of the case, that is until the dead bartender’s mother, Judge Helena Bogucka (Maja Ostaszewska) inserts herself into the investigation at great peril to her life.

 

The dogged Leopold begins connecting dots that lead him to the seedy seaside club where the judge’s daughter worked. He uncovers how at least one other girl from the club ended up dead in a similar manner and that it is operated by a sadist crime boss. No one is safe as the investigation reaches its climax, but Leopold proves himself to be in the same vein as Inspector Morse and other great fictional detectives.

 

Director Adrian Paneka (2018’s “Werewolf”) effort, while entertaining, can be a smidge predictable at times and a little too formulaic. Stylistically, “Colors of Evil” has a subdued texture with flashes of darkness horrible enough to dispel any doldrums at least temporarily. Gierszal is a fine lead who should only grow further in the role if the rest of the trilogy is indeed produced.

 

Overall, “Colors of Evil: Red,” presuming you don’t mind subtitles or English dubbing, is a good detective story but not quite great.

 

“Colors of Evil: Red” receives ★★1/2 out of five.

 

• IN THE LAND OF SAINTS AND SINNERS
• Starring: Liam Neeson, Kerry Condon
• Directed by: Robert Lorenz
• Rating: R
• Running Time: 1 hr 46 mins
• Prodigal Films Limited

 

Ever since 2008’s “Taken,” Northern Ireland native Liam Neeson has been a staple of action flicks. Now in his early 70s, he is still doing them but in the vein of tough characters who are starting to walk off into the sunset. He continues that trend with “In the Land of Saints and Sinners,” now available on streaming services, a marvelous work on his part in a film with a gripping, complex story brimming with tragedy.

 

Under the employ of local crime boss Robert McQue (Colm Meaney, “Star Trek: Deep Space Nine” TV series), Finbar Murphy (Neeson) is a World War II vet who made a living for many years as a contract killer, something he is quite good at. It is the era known as the Troubles, a violent conflict between loyalists and nationalists in Northern Ireland, and the bloodshed of a bombing gone terribly wrong spill into the peaceful village that Finbar lives in and uses as his base.

 

Four members of the Irish Republican Army, led by Doireann McCann (Kerry Condon, “The Banshees of Inisherin”), a ruthless, domineering personality, seek refuge in Finbar’s village to lay low and to make plans to launch more bombings. After his most recent killing, Finbar has decided to give up his life as a contract killer, much to McQue’s dismay and that of a younger protégé, Kevin Lynch (Jack Gleeson, “Game of Thrones”). However, his attempt to live a life of peaceful tranquility comes to a crashing halt after a violent encounter he has with Doireann’s volatile brother.

 

“Saints and Sinners” is one of Neeson’s best performances in recent memory. You can see the burden of what he has methodically been doing over the years on his face without him having to say a word. You can also see the longing in his eyes of wanting to live a different life, but in the end, he still does what must be done with grim determination. His interaction with Gleeson, who is perfect as a cocky young man with dreams of going to California, provides some great moments in the film as well.

 

Director Robert Lorenz (“Trouble with the Curve”) manages the story’s flow and pacing with good skill while setting its tragic circumstances against a beautiful Irish countryside backdrop. It would be fitting if it were to be the end of Neeson’s run as an action star.

 

Overall, “Saints and Sinners” is akin to an old Western with an aging gunslinger who just wants to be left alone but his past choices make that impossible.

 

“In the Land of Saints and Sinners” receives ★★★ out of five.