Author: Michael D. Smith

 

• 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.

 

 

• SENTINEL
• Starring: Jason R. Moore, Michael Pare
• Directed by: Stefano Milla
• Rating: Unrated
• Running Time: 1 hr 30 mins
• American Widescreen Pictures

 

With all the feel of a bad video game from 2005, the new science fiction film “Sentinel” may be one of the worst movies to be released in the 21st century. Its special effects are so terrible that even a first grader using some glue, paper, scissors, and a few markers could have created something better. The costumes are cheesy, the dialogue is wooden, and the acting is subpar. There is not one redeemable quality about it. Even the music is bad.

 

“Sentinel” begins in the year 2155 when an alien invasion wipes out most of humanity after arriving on Earth via a multi-dimensional portal. Those who managed to survive were miners working in a colony on the dark side of the moon. Decades later, scientists utilizing DNA technology, select three hand-picked soldiers – Damon Singleton (Jason R. Moore, “The Punisher” TV series), Jarrod Williams (Neil Cole), and Robin Hunters (Ellie Patrikios) – to send back to Earth to work with any human resistance that may be left and end the alien presence.

 

Of course, things go haywire as the three soldiers find themselves scattered and unable to communicate with one another. On top of that, they come face to face with zombie-like creatures and a seemingly invincible adversary called the Sentinel who guards the portal. Can the three heroes find any humans to help defeat the Sentinel with their stoic looks and their laser tag attire stolen from a pizza parlor? Oh, and there is also a subplot on the moon where the miners’ President (Michael Pare, “Eddie and the Cruisers”), who has a terrible mustache, seems to be involved in a conspiracy. And the moon scenes look like a poor man’s version of “Blade Runner” and “Total Recall”.

 

I have been reviewing movies since the early 1990s and “Sentinel” is the first film that made me want to claw my eyeballs out. I’m not sure if even copious amounts of alcohol would make this absolute waste any better. I could actually feel my IQ dropping as I watched it. It’s a time suck of epic proportions.

 

Overall, “Sentinel” should earn every Razzie Award possible.

 

“Sentinel” receives zero stars out of five.

 

• ATLAS
• Starring: Jennifer Lopez, Simu Liu
• Directed by: Brad Peyton
• Rating: PG-13
• Running Time: 1 hr 58 mins
• Netflix

 

It used to be a parade of various alien invaders from which humanity was always trying to avoid annihilation. While that concept still seems to be a popular one, it has had an increasing amount of competition from the world of artificial intelligence, whose roots go back to “Terminator”. The newest addition into this foray of the potential eradication of the human species is the Jennifer Lopez vehicle, “Atlas.” With a decent storyline, credible special effects, and a couple of talented supporting cast members, “Atlas” comes close to being a watchable science fiction film. However, it is ruined in large part by Lopez’s over-the-top, melodramatic acting that ranges from being annoying to being laughable.

 

A brief set-up lets us know that in the future, an AI being named Harlan (played too stoically Simu Liu, “Shang-Chi and the Legend of the Ten Rings”) has decided that humanity needs to be cleansed and its survivors can then live in a paradise alongside other AI beings. (Sounds a little bit like Thanos.) After a failed AI rebellion leaves three million people dead, Harlan flees Earth aboard a fancy rocket ship.

 

Fast forward 28 years later when Atlas Shepherd (Jennifer Lopez), whose mother was a pioneering leader in AI technology until she was murdered by Harlan, is assigned to question an AI associate of Harlan’s. She learns Harlan’s off world location and begs to go on the combat mission to capture him. While the commanding officer, Gen. Jake Boothe (Mark Strong, “Sherlock Holmes”), is willing, the mission commander, Col. Elias Banks (Sterling K. Brown, “Black Panther”) is adamant against the idea. That is until he inexplicably changes his mind.

 

Atlas, who has no combat training and has a mistrust of all things AI, soon finds herself in the Andromeda Galaxy where a trap has been laid for the combat operation. She soon finds herself all alone having to rely on the very AI that she is so mistrustful of. All the while, Harlan, who has known Atlas since she was a little girl, is determined to capture her for intel that she has in her head so he can return to Earth.

 

Directed by Brad Peyton (“San Andreas,” “Rampage”), “Atlas” probes the potential dangers of AI in an interesting way while also displaying its potential benefits, even if that is mostly military related. The special effects are entertaining enough, but at times it feels like a rip-off from “Avatar”. A big scientific plot hole is that the story doesn’t explain how a combat ship is able to travel from Earth to the Andromeda galaxy at the snap of a figure. This is a head scratcher considering that even at the speed of light it would take 2.5 million years to get there.

 

The real damage to “Atlas” comes from Lopez. It is impossible to take her seriously as her emotional range vacillates wildly as she does a copious amount of pouting, crying (without shedding tears), screaming, and yelling. She plays Atlas as so emotionally unstable that there is no believable way for her to be allowed to go on the mission. Of course, some of this can be blamed on Peyton who either couldn’t or wouldn’t try to reel her in.

 

Overall, AI needs to deem “Atlas” as unworthy and terminate the film with extreme prejudice.

 

“Atlas” receives one ★ out of five.

 

• KINGDOM OF THE PLANET OF THE APES
• Starring: Owen Teague, Freya Allen
• Directed by: Wes Ball
• Rating: PG-13
• Running Time: 2 hrs 25 mins
• 20th Century Studios

 

Originally intended to not be a franchise reboot, “Kingdom of the Planet of the Apes” becomes just that and I’m not so sure it is a good thing. The original rebooted trilogy of films – 2011’s “Rise of the Planet of the Apes” followed by 2014’s “Dawn of the Planet of the Apes,” and 2017’s “War for the Planet of the Apes” – were all critically praised, financially successful and each received Oscar nominations involving visual effects. It all ended with a truly satisfactory ending to Caesar’s journey. However, sometimes well enough can’t be left alone and this is at least partly true for “Kingdom.” While it does have an interesting storyline, it starts off sluggishly and ends with more questions than answers.

 

Set many generations in the future after the events involving Caesar, “Kingdom” introduces us to the new ape protagonist, Noa (Owen Teague, “It”). A member of an ape clan that trains eagles, Noa and his friends live in a time when the ruins of human cities have become overtaken by nature and the wisdom of Caesar’s teachings have been almost forgotten. A brutal attack on his clan by a much stronger rival leaves Noa alone, putting him on a quest to bring his friends back home. Along the way he runs into a friendly Orangutan named Raka (Peter Macon, “The Orville”) who reveals to him the lost knowledge of Caesar. They also pick up a lost female human name Mae (Freya Allan, “The Witcher”) who seems different than other humans that predominately wild and dumb. Eventually, Noa discovers that his clan has been enslaved by Proximus Caesar (Kevin Durand, “X-Men Origins: Wolverine”), a theatrical ape obsessed with gaining technology he believes is stored in an underground bunker.

“Kingdom” is uninteresting in its initial scenes, resulting in the wish that more editing had occurred in post-production. It almost feels like watching a montage from “Avatar.” Originality what? The story only becomes intriguing once the intrepid Noa begins his quest to save his friends. Raka turns out to be a much more captivating character, albeit a short-lived one. What really draws you in is the tension between Noa and Mae whose agenda begs the question if apes and humans can ever coexist in peace.

 

Overall, “Kingdom” is visually stunning as the technology to create its ape characters only gets better with time. While its ending poses the basis for a new storyline, it doesn’t have the same creative or enthusiastic vibe as the first three films.

 

“Kingdom of the Planet of the Apes” receives ★★★ out of five.

 

 

 

• LATE NIGHT WITH THE DEVIL
• Starring: David Dastmalchian, Laura Gordon
• Directed by: Cameron and Colin Cairnes
• Rating: R
• Running Time: 1 hr 33 mins
• IFC Films

 

I tend to stay away from so-called horror films. I regard them as mundane with over-the-top scare tactics that are silly and scripts that were probably written in crayon. I still believe that last great horror film was “The Blair Witch Project” for its use of psychological terror, but that’s a discussion for another day. However, the newest entry into the genre, “Late Night with the Devil,” elicited my intrigue because it stars one of Kansas City’s own – David Dastmalchian. Inventive. Creative. Genius. Creepy. Terrifying. Those are all adjectives that can apply to this terrific piece of cinema.

 

The great Michael Ironsides lays the groundwork for the story with a voiceover narration that introduces us to late night talk show host, Jack Delroy (Dastmalchian), who has connections to a mysterious place in the California woods called “The Grove” where the rich and powerful meet and hold secret rituals. We learn that from humble beginnings, Jack’s show, “Night Owls”, becomes a strong contender to Johnny Carson’s “Tonight Show.” As the years pass, though, “Night Owls” begins to slide in the ratings. At his lowest point, Jack’s wife, Madeleine (Georginia Haig, “Once Upon a Time”) dies from cancer.

 

After a month-long hiatus, which involved a trip to The Grove, Jack returns to his late-night gig. Desperate to save his show, Jack, in 1977, devises a Halloween show that will feature a teenage girl named Lilly (Ingrid Torelli, “Five Bedrooms”) who is supposedly possessed, and her doctor, June Ross-Mitchell (Laura Gordon, “Saw V”). Jack also brings onboard a questionable psychic and a professional debunker who is skeptic of anything paranormal or supernatural. Things start taking a turn for the worse during the show, but Jack is determined to forge ahead so he can beat Carson.

 

Similar to “The Blair Witch Project,” the premise of “Late Night with the Devil” is that it’s a documentary complete with the “real” footage of the Halloween broadcast of “Night Owls” and other, never-before-seen footage caught by other cameras. Dastmalchian is nothing short of brilliant in the lead as a man so desperate to be number one that he will do anything to achieve it. Jack is not a bad man, but he makes bad choices that Dastmalchian does a superb job in showing how much of a toll it ends up taking on him.

 

The story is like a slow boil and by the time the terror begins you are completely hooked. There are few special effects in the film, which was clearly made on a small budget. What there is could have been toned down a smidge at it does become a little too typical. Nevertheless, “Late Night with the Devil” will leave you on the edge of your seat.

 

Overall, you probably should not watch “Late Night with the Devil” right before you go to bed.

 

“Late Night with the Devil” receives ★★★1/2 out of five.

 

• UNFROSTED
• Starring: Jerry Seinfeld, Jim Gaffigan
• Directed by: Jerry Seinfeld
• Rating: PG-13
• Running Time: 1 hr 33 mins
• Netflix

 

The year 1963 was a pivotal moment in modern American history. The Cold War ran hot with the Soviet Union and the Civil Rights movement was in full gear. It was also time when Kellogg and Post cereal brands were competing with one another not to be the first to land on the moon, but the first cereal company to create a toaster friendly pastry for breakfast. Decades later, enter comedic legend Jerry Seinfeld with his funny take on that race in his feature film directorial debut, “Unfrosted.”

 

Overflowing with so many cameos that it’s impossible to count them all, “Unfrosted” is loosely based on the true story of how the Post brand announced it had a product called “Country Squares” in development and Kellogg’s hurried response to come up with what became known as “Pop-Tarts.” Seinfeld stars as Bob Cabana, a senior ranking member of the Kellogg’s staff and right-hand man of Edsel Kellogg III (Jim Gaffigan). Their archnemesis from across the parking lot in Battle Creek, Michigan is none other than Marjorie Post (Amy Schumer). Always placing second behind Kellogg’s, Marjorie is depicted as a ruthless corporate boss willing to do anything to get a leg up on the competition, including stealing company secrets.

 

It’s all quite silly of course as every character is portrayed as being clueless to one degree or another. The writing is tongue-in-cheek with plenty of satire to go around. Seinfeld does a marvelous job of corralling a ton of comedic talent and turning it all into cohesive chaos. He plays off Gaffigan and his other main co-star, Melissa McCarthy, who plays a NASA scientist that joins forces with Cabana, with absolute ease. It looks almost effortless as there are plenty of genuine laughs to be had. I would be remiss if I did not mention the absurdity that Hugh Grant brings as a struggling Shakespearean actor who thinks he is God’s gift to the mascot world with his role as Tony the Tiger.

 

“Unfrosted” can be a bit disjointed and a little too campy for its own good, but its laughable absurdity falls into the same level of genius as “The Death of Stalin” and “What We Do in the Shadows.” Come on, a milk man delivery service is likened to a secret, organized crime ring. Seinfeld’s effort is not Shakespeare, nor does it have some hidden agenda. Overall, “Unfrosted” may be simple but it is coated with plenty of sugary sweet laughs.

 

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

 

 

 

• THE BEEKEEPER
• Starring: Jason Statham, Jeremy Irons
• Directed by: David Ayer
• Rating: R
• Running Time: 1 hr 45 mins
• Amazon MGM Studios

 

Jason Statham is one of the best action movie stars that has ever been on the silver screen. However, not all his movies are necessarily the greatest of quality. Unlike 2021’s brilliant “Wrath of Man,” Statham’s newest endeavor “The Beekeeper,” which is now available on streaming services, is perhaps one of his worst. Poorly written, acted, and directed, “The Beekeeper” tastes more like vinegar than honey.

 

Eloise Parker (Phylicia Rashad) is a retired educator who has developed a friendly relationship with her neighbor, Adam Clay (Jason Statham) who happens to be a beekeeper. A phishing scam robs Eloise of all her money. Despondent, she takes her life, but Adam is initially blamed for it by Eloise’s daughter, FBI Agent Verona Parker (Emmy Raver-Lampman). Inexplicably, Raver-Lampman plays the scene with same depth of emotion as a stack of firewood.

 

Of course, since he is being played by Statham, Adam is not all that he appears to be. He is instead a trained killing machine known as a beekeeper. Through his contacts, Adam finds out where the call center is that ripped off Eloise, and countless other victims, and burns it to the ground while kicking butt. Meanwhile, Agent Verona drowns herself in alcohol.

 

Like a terminator, Adam begins killing his way to the top of the beehive, which in this case appears to be Wallace Westwyld (Jeremy Irons), a former intelligence chief hired long ago by a powerful political figure to protect her family’s company name and keep her son out of trouble. Wallace calls in favors, including former Navy SEALS, to stop Adam, who often manages to pull a Neo by dodging hundreds of rounds of ammunition.

 

The impetus for “The Beekeeper” is timely as increasing numbers of elderly people are taken advantage of by unscrupulous people, leaving them destitute. While Statham is consistent and Irons is okay as the main villain, the film lacks talent, among other things, to make it an entertaining action flick. The action is too choreographed with graphics thrown up on the screen that reminiscent of something you would have seen in a 1970s TV series.

 

Overall, “The Beekeeper” is flat out boring, even though it does toss out a somewhat surprising twist towards the end. It would be more fun to throw oneself on top of a beehive than to watch “The Beekeeper.”

 

“The Beekeeper” receives a half star out of five.

 

• THE MINISTRY OF UNGENTLEMANLY WARFARE
• Starring: Henry Cavill, Alan Ritchson
• Directed by: Guy Ritchie
• Rating: R
• Running Time: 2 hrs
• Lionsgate

 

Being a historian, I cringe when a film starts off with the words “based on a true story” or “inspired by true events” flashing across the silver screen before the movie starts. Typically, these films generate a misleading presentation of historical events and therefore distort the perception of what the reality of the situation really was. While British director Guy Ritchie’s new World War II action flick “The Ministry of Ungentlemanly Warfare” begins with one those aforementioned statements, it’s clear from the start that this work of historical fiction does not take itself too seriously. While based on the 2014 book “Churchill’s Secret Warriors: The Explosive True Story of the Special Forces Desperadoes of WWII” by British author Damien Lewis, Ritchie focuses on taking us on a genuine thrill ride with a few laughs mixed as a plethora of Nazis are shot to pieces.

 

In late 1941, Great Britain was nearing a breaking point as Nazi Germany was repeatedly bombing its capital of London and its supplies being cut off by Nazi submarines. Desperate to put an end to the blockade, Brigadier General Colin “M” Gubbins (Cary Elwes), with the secret backing Prime Minister Winston Churchill (Rory Kinnear), enlists Major Gus March-Phillips (Henry Cavill) who is played as a bit of troublemaker that has a problem with authority. Gus knows he is the one holding the chips so he can select the members of his small team that is assigned the task of destroying an Italian supply ship at the Spanish island of Fernando Po, which would be a critical blow to Nazi submarines in the Atlantic. However, fearing such a mission might jeopardize Spain’s neutrality, there are those within Churchill’s government and military that are against the mission.

 

With the help of Danish officer Major Anders Lassen (Alan Ritchson, “Jack Reacher”) and others, Gus, who is portrayed as having a good time while killing Nazis, goes on an action-packed adventure that is not as dark as some of Ritchie’s previous films like “Snatch” or “Wrath of Man.” “Ministry” is more like the romp that was the two Sherlock Holmes films. Cavill is a delight to watch as he has a talented supporting cast around him, particularly in the form of Ritchson who plays Lassen as a pure killing machine complete with a bow and arrow.

 

One irony is that the main Nazi antagonist is played by German actor Til Schweiger. His character, Heinrich Luhr takes sadistic pleasure in killing Jews. A far cry from his role as the Nazi killer Sgt. Hugo Stiglitz in 2009’s “Inglourious Basterds.” His diabolical performance demonstrates his reputation as being arguably the best actor in Germany.

 

Overall, “Ministry,” while far from being historically accurate, does provide some great popcorn entertainment while also shedding some light on a mission that was only declassified after the turn of the century.

 

“The Ministry of Ungentlemanly Warfare” receives ★★★ out of five.

• GODZZILLA x KONG: THE NEW EMPIRE
• Starring: Rebecca Hall, Brian Tyree Henry
• Directed by: Adam Wingard
• Rating: PG-13
• Running Time: 3 hrs 25 mins
• Warner Bros.

 

This will date me, but when I was in grade school the teachers would sometimes give us a free Friday afternoon by showing us black and white films on a 35 mm projector. And sometimes, those films involved Godzilla, which everyone found mesmerizing even though the special effects were cheesy by today’s standards. My fascination with mega monster movies continues to this day. It was reenergized by the 2014 film “Godzilla,” which contained a terrific cast, good character development, and an entertaining story to go along with its visual effects. Several chapters later we have “Godzilla x Kong: The New Empire,” which is the opposite of what I just wrote. With a few of the main characters returning from 2021’s “Godzilla vs Kong,” this newest incarnation is indicative of multiple series that may start out strong but quickly being to limp along with little to no redemptive value.

 

To be succinct, three years after the events of “Godzilla vs. Kong,” Godzilla lives on the Earth’s surface protecting humanity from other, not so nice mega monsters. Conversely, Kong lives in Hollow Earth, which allows for a sort of truce between the two. Dr. Ilene Andrews (Rebecca Hall) becomes concerned when her adopted daughter, Jia (Kaylee Hottle), the last known member of the Iwi tribe from Skull Island, begins to have weird dreams and begins drawing three triangles. Meanwhile, the Monarch corporation begins noticing that Godzilla is preparing himself for something that is coming, presumably a big bad mega monster. It all leads to a Temple of Doom type discovery involving a prophecy and an angry, giant orangutan with a glowing crystal thing that controls a mega monster who spews freezing breath.

 

It has reached a point that the Godzilla movies moving forward should just forego having any human characters and just have the mega monsters in them. Kong especially can communicate everything we need and can do it better than the actors and actresses in the film. It would be more entertaining than the complete lack of anything resembling character development or arcs. Stylistically, “The New Empire” is crowd pleasing fun and the battles remind me of the ones I used to watch in black and white long ago. However, it’s not enough to keep this particular film from being almost ridiculous, which is not helped by a main antagonist who is almost laughable compared to Godzilla and Kong.

 

Overall, “Godzilla x Kong” may be good to munch popcorn along to but that’s about it.

 

“Godzilla x Kong: The New Empire” receives ★ out of five.

 

 

• CIVIL WAR
• Starring: Kirsten Dunst, Wagner Moura
• Directed by: Alex Garland
• Rating: R
• Running Time: 1 hr 49 mins
• A24

 

In a time when America is more divided politically since before the 20th century, the near dystopian future of “Civil War” seems like an all too scary proposition of a possible reality. However, the film’s brilliance is derived from largely staying away from the weeds of political discourse and instead focuses on the impact the story’s bloody conflict has on the people – specifically the journalists who try to cover it. With brilliant cinematography, “Civil War” captures the horrors of war through a rarely used perspective. A perspective that is shown in a profound way by talented cast headlined by a standout performance by Kirsten Dunst.

 

Like Morpheus from “The Matrix,” who tells us they know little about mankind’s fall, we only get to know scant pieces of information why America has become engulfed by a civil war. What we do know is that the dictator-like, third term President of the United States (Nick Offerman) started America’s downfall with a series of actions, few of which we are privy to, but one does stand out – launching air strikes against American civilians.

 

Legendary war photojournalist Lee Smith (Kirsten Dunst) and her colleague, Joel (Wagner Moura, “The Gray Man”) are determined to drive to D.C. to interview the president, although it’s clear that Lee has become exhausted by covering the worst of humanity. They are warned of the dangers of doing so by Sammy (Kansas City, Missouri native Stephen McKinley Henderson, “Dune: Part One,” “Fences”), a longtime journalist with “The New York Times”. Lee and Joel do not heed his advice, but they end up complicating their journey further by allowing Sammy to join them for a ride to the front lines as well as a young, aspiring photojournalist named Jessie (Springfield, Missouri native Cailee Spaeny, “Pacific Rim: Uprising,” “Priscilla”), who happens to be from Missouri.

 

During their several hundred-mile journey, the quartet encounters several scenes of carnage during which Jessie earns her red badge of carnage, in a manner of speaking. Ultimately, it is through their eyes and lenses that we see America’s second civil war in both haunting black-and-white and bloody color images. It’s a unique perspective and a bold one as writer/director Alex Garland, who also wrote 2014’s brilliant “Ex Machina” and 2002’s “28 Days Later,” stayed away from making political stances that could have enraged one side or the other in society and instead chose to focus on the depravity that humanity is sometimes capable of.

 

Dunst is tremendous as her feelings of exhaustion are tangible just by the thousand mile look in her eyes. Moura is a nice counterpart to her as he demonstrates a solid handle on a wide range of emotions, especially those that are more visceral. And Spaeny shows that she is an up-and-coming star who is going to be gracing the silver screen for a long time to come. Lastly, it should be noted, to tamper the enthusiasm of his fans, that Offerman is barely in the film despite the prominence of his name. He is more heard than seen to put it in simple terms.

 

Overall, “Civil War” is one film not to be missed.

 

“Civil War” receives ★★★ out of five.

 

 

• SPACEMAN
• Starring: Adam Sandler, Carey Mulligan
• Directed by: Johan Renck
• Rating: R
• Running Time: 1 hr 47 mins
• Netflix

 

It has been a long time since his days starring in such notable comedies as “The Waterboy,” “Billy Madison,” and “Happy Gillmore.” However, what has always been the real strength of Adam Sandler’s talents is his ability to do drama. Whether it was in “Punch-Drunk Love” or “Reign Over Me” or “Uncut Gems,” Sandler has demonstrated a terrific ability to delve into all the nooks and crannies of a character without having to be silly. His dramatic brilliance is able to shine once more in the new, slow-paced and somewhat dull sci-fi film “Spaceman.”

 

A mysterious pink cloud, named Chopra, has entered our solar system just beyond Jupiter. Visible in the day and nighttime sky from Earth, a solo space mission has been organized by the Czech government to gather particles from Chopra and return them back to Earth for study. One step ahead of a South Korean ship sent to do the same thing, Czech astronaut Jakub Prochazka (Sandler) is six months into his mission and his sense of loneliness threatens to overwhelm him. What makes matters worse is that his pregnant wife, Lenka (Carey Mulligan) has decided to divorce him just as he is on the precipice of the greatest achievement in human space exploration. Concerned that her deep space “Dear John” letter to Jakub will shatter what’s left of his mental stability, flight commander, Commissioner Tuma (Isabella Rossellini) decides to withhold the message in the hopes she can convince Lenka to change her mind.

 

Meanwhile, Jakub struggles to keep his sanity as he gets closer to Chopra without any word from his wife. It is at his most vulnerable that he encounters a spider-like, telepathic alien onboard his ship that he eventually calls Hanus (voiced by Paul Dano, “The Dark Knight”). Intrigued by this lonely human, Hanus begins to poke and prod at Jakub’s memories to figure him out. This ranges from examining the consequences of Jakub’s father being murdered because he had been an informant for the Communist government of Czechoslovakia to why Jakub pushed away Lenka.

 

To say that “Spaceman” is slow would be an understatement and it may serve to drive away some viewers’ interest after just a few minutes into the film. The actual science the film appears a little iffy, especially considering why in the world would such a long mission be attempted with just one astronaut. And unfortunately, the supposed climax of reaching Chopra is more like a whimper than a bang.

 

Another detriment to the film is the monotone voice work by Dano as Hanus. It’s like listening to HAL 9000, but not as sinister. There is a sense of mystery about Hanus that provides a little intrigue because it is seemingly impossible for the creature to have gotten on the spaceship. As for Sandler, he exhibits sheer brilliance as he pulls us into his character’s self-imposed loathing and despair. However, while he does not share a lot of scenes with Mulligan, their shared chemistry is a little flat.

 

Overall, “Spaceman” has some pretty visual effects and a couple of extraordinarily good emotional moments that will pull at the heart strings. Yet, it’s still not enough to make the film more than something average.

 

“Damsel” receives ★★1/2  out of five.