Author: Michael D. Smith

• 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.

• DAMSEL
• Starring: Millie Bobby Brown, Robin Wright
• Directed by: Juan Carlos Fresnadillo
• Rating: PG-13
• Running Time: 1 hr 50 mins
• Netflix

So many fairy tales contain damsels in distress who end up having to be rescued by some handsome prince or noble knight. The new Netflix fantasy tale “Damsel” attempts to put that tradition on its head by having the endangered female lead save herself rather than someone else doing the job. However, the movie falls rather flat with old video game visual effects, almost non-existent character development, and little to no suspense. It is more like the viewer is the one in distress and therefore needs to be rescued.

After a brief introduction to allegedly the last dragon in existence, the story travels centuries into the future where we go to a kingdom that is nothing more than a barren, cold wasteland. It is there that Elodie (Millie Bobbie Brown, “Stranger Things”) demonstrates that she is much more rough and tough than your normal princess. While she is not keen on the idea, she goes along with her parents (Ray Winstone and Angela Bassett) plans to marry her off to a faraway prince, which will mean a replenishment of gold in the unnamed kingdom.

After a long voyage, Elodie and her family arrive at a lush and prosperous kingdom ruled by the rather callous and forceful Queen Isabelle (Robin Wright) and her husband, who is given almost nothing to say. Elodie gets to meet her future husband, but everything feels awkward and not quite right. The reason for this is that during a weird, “Eyes Wide Shut” type of mountain ceremony, Elodie is tossed into a deep hole as a sacrifice to the dragon (Shohreh Aghdashloo). The reason for this is straight out of a below average Dungeons & Dragons role playing campaign.

Brown burst onto the scene with her role as the heroine, Eleven on “Stranger Things” and while she certainly has a bright future in cinema, “Damsel” is a waste of her talents. Her director falters with pacing and he asks Brown to do too much whimpering and screaming after initially presenting as tough and determined. The supporting cast are forgettable, and Wright’s performance is just an amalgamation of every evil queen stereotype from Disney. Worse, the dragon is a bad rip-off of “Lord of the Rings.”

Overall, “Damsel” may be one of the most boring films you could see all year. 

“Damsel” receives ★ out of five.

• DUNE: PART TWO
• Starring: Timothee Chalamet, Zendaya
• Directed by: Denis Villenueve
• Rating: PG-13
• Running Time: 3 hrs 26 mins
• Legendary Pictures

Rare is the film that achieves cinematic perfection. It takes a uniquely superb combination of writing, acting, directing, and cinematography, among other things, to pull it off. Having exceeded all expectations with 2021’s “Dune,” which received 10 Academy Award nominations and won six including Best Cinematography and Best Visual Effects, director Denis Villenueve’s follow-up, “Dune: Part Two” exceeds its much-praised predecessor, a rare feat in the world of cinema.

Based upon the 1965 novel by the late American author Frank Herbert (1920-86), for which he was a co-winner of the Hugo Award for Best Novel, “Dune: Two” is the second half of the original book, the first installment of what became the “Dune Chronicles.” The story picks up on the desert planet of Arrakis where Baron Harkonnen (Stellan Skarsgard), who had the help of Padishah Emperor Shaddam IV (Christopher Walken), has solidified his rule after wiping out House Atriedes. Or at least that’s what he thinks.

The Fremen, the native blue-eyed population of Arrakis, suspect Paul Atreides (Timothee Chalamet) and his Bene Gesserit mother, Jessica (Rebecca Ferguson) as spies despite the endorsement of Stilgar (Javier Bardem). Paul goes on to endure many trials to prove that he is worthy to fight alongside the Fremen, which earns the respect and love of Chani (Zendaya). Some, like Stilgar, believe Paul is the Chosen One while others are skeptical, like Chani. Meanwhile, Jessica, who is pregnant, must drink the Water of Life, which is poisonous for males and the untrained, to become the Fremen’s new Reverand Mother, or religious leader. After this process, Jessica and her unborn daughter begin to make maneuvers to ensure Paul is indeed accepted as the Chosen One by all Fremen and therefore lead them into an open revolt against the Harkonnen rather than just hit-and-run guerrilla warfare.

That is a bare bones description of the script for it can be complicated, but in a fantastic, sophisticated type of way. Intelligent. Brilliant. Imaginative. Those are all words that can be used to describe Villeneuve’s adaptation. Brimming with much more suspense than the first part, “Dune Two” is a Harvard-educated roller coaster which stimulates both the mind and the senses. Chalamet burns up the screen with his ferocity while Zendaya infuses her character with a tangible sense of independence. The other supporting cast members are delightful, especially Austin Butler (“Elvis”) as the Baron’s new favorite nephew. Visually, the film is nothing short of stunning as it blows the doors off anything to have hit the silver screen since the first “Dune.”

Overall, “Dune: Part Two” is one of the greatest achievements in film this century and surely there will be plenty of anticipation for “Dune Messiah.”

“Dune: Part Two” receives ★★★★★ out of five.

• KILLERS OF THE FLOWER MOON
• Starring: Leonardo DiCaprio, Lily Gladstone
• Directed by: Martin Scorsese
• Rating: R
• Running Time: 3 hrs 26 mins
• Paramount Pictures

“Killers of the Flower Moon” is one of the most audacious, sprawling epics director Martin Scorsese has ever created. With 10 Oscar nominations under its belt, including Best Picture, Director, and Actress, “Flower Moon” is a film every American should see to get a better understanding of the atrocities that have committed upon Native peoples. (Ideally, Americans would also go out and do research on their own to learn more.) Compelling and revolting at the same time, Scorsese’s work is filled with unforgettable performances, terrific dialogue, and wonderful homages to the Osage people of Oklahoma.

The story’s details are mostly common knowledge at this point so, in brief, it is based upon the praised, groundbreaking 2017 historical work “Killers of the Flower Moon: The Osage Murders and the Birth of the FBI” by American journalist David Grann. The book detailed the multiple murders of Osage people in Osage County, Oklahoma during the 1920s as part of a scheme orchestrated by cattleman William King Hale (Robert De Niro) to gain access to their oil headrights. A key part of this was Hale’s nephew, Ernest Burkhart (Leonardo DiCaprio) marrying Mollie Kyle (Lily Gladstone in a performance for the ages) so that Hale could eventually get access to her family’s wealth, which was done by methodically killing off her relatives one by one. The scheme begins to unravel after an agent (Jesse Plemons) with the Bureau of Investigation, the forerunner of the F.B.I., arrives in the area to investigate the murders.

A common criticism of “Flower Moon” is its length and its supposed slow pacing. Perhaps it’s the age-old beauty-in-the-eye-of-the-beholder thing, but to chop anything out of this story would have been a disservice to the Osage people, with whom Scorsese reportedly worked extensively with to get his film as accurate as possible. It’s impressive that he got in as much detail as he did, although it does, like even the best historical films do, take bits of dramatic license here and there. Now, could it have been told more from an Osage point of view rather than focusing more on Hale and Ernest, probably, but this dark story does a wonderfully nuanced job of delving into the complexities of Ernest and Mollie’s relationship.

It may sound ageist, but Scorsese unfortunately adhered more towards loyalty to his usual stable of actors rather than getting his story even more accurate. DiCaprio, who was 46 during production, is not believable as someone who just returned from World War I, especially since the real Ernest was 27 at the time. While Gladstone, who should be a lock to win an Oscar for Best Actress, is similar in age to Mollie, 78-year-old DeNiro was portraying someone who was 45 in 1919. Still, the two veteran actors’ performances are strong enough to overlook this disparity.

Overall, while you may have to put it on pause to go to the bathroom at some point, “Killers of the Flower Moon” is too important of a story about a dark chapter in America’s history to be missed or overlooked.

“Killers of the Flower Moon” receives four-and-a-half stars out of five.

• BOB MARLEY: ONE LOVE
• Starring: Kingsley Ben-Adir, Lashana Lynch
• Directed by: Reinaldo Marcus Green
• Rating: PG-13
• Running Time: 1 hr 47 mins
• Paramount Pictures

Nearly 42 years after his death, Reggae music pioneer Bob Marley (1945-81) continues to be legend of near-mythical proportions on a global scale. The only child from a brief marriage between a middle-aged, white British plantation overseer and an 18-year-old black Jamaican girl, Marley grew up in poverty and was bullied because of his mixed ethnicity. Despite this, he went on to have a life that Jim Morrison would have quipped was good enough to have a movie based upon it. Unfortunately, while it contains a near-Oscar worthy performance by British actor Kingsley Ben-Adir (“Secret Invasion,” “One Night in Miami”), “Bob Marley: One Love” falls far short of being a triumphant biopic.

With the involvement and oversight by members of his family, “One Love” delves into a specific timeframe of Marley’s life from his rise to global fame following an assassination attempt in late 1976 to his triumphant return to Jamaica in 1978 to perform the “One Love Peace Concert”. The film, directed by Reinaldo Marcus Green (“King Richard,” “Monsters and Men”), mistakenly does not provide much detail about Marley’s previous 30 years of life other than some repeated imagery that implies a sense of isolation and abandonment within the famed singer. The decision to fly through his trials and tribulations as a young man significantly weakens the sense of his ultimate triumph.

“One Love” tries to prevent the complicated marriage between Rita (played wonderfully by Lashana Lynch, “The Woman King,” “No Time to Die”) and Bob in some meaningful way, yet it too is glossed over with their underlying problems just briefly hinted at. Yes, there is a big scene involving them arguing but its impact is insignificant.

The highlights of “One Love” include Ben-Adir’s performance and, of course, its music. The soundtrack alone is worth the price of admission and should serve to continue to perpetuate Marley’s legacy. However, it you want to know the man on a more in-depth and intimate level, I would highly recommend the 2012 documentary, “Marley.” It is a riveting and detailed account of his life and music from his humble beginnings to his musical triumph to his untimely death.

On a scale of zero to five, “Bob Marley: One Love” receives ★★

• AQUAMAN AND THE LOST KINGDOM
• Starring: Jason Momoa, Patrick Wilson
• Directed by: James Wan
• Rating: PG-13
• Running Time: 2 hrs 4 mins
• Warner Bros. Pictures

After lots of lows and some highs, the DC extended universe of films is ending with its 15th and final installment in the form of “Aquaman and the Lost Kingdom.” Currently in theaters, “Lost Kingdom” ends the franchise on a solid note with two hours of pure popcorn fun. While Jason Momoa is no Laurence Olivier or Sidney Poitier, he does not pretend to be and instead infuses a genuine enthusiasm into a performance which does not require a lot of range. Bolstered by some enjoyable supporting performances, fun action, and few laughs, “Lost Kingdom” is an improvement over the first “Aquaman”.

Voiceover narrations are often so dullish that they impair a film’s progression, which is the case in the beginning with “Lost Kingdom.” Momoa provides a reflection of where his character of Arthur Curry/Aquaman has been over the past few years, and it comes across as stilted. Regardless, we learn that Aquaman has married Mera (Amber Heard) and had a son while at the same time trying to lead a double life as a reluctant king of Atlantis.

Concurrently, we see that David Kane/Black Manta (Yahya Abdul-Mateen II) is still hell bent on avenging the death of his father no matter what the cost. Amid his quest, Black Manta, with the assistance of a marine biologist, stumbles across an ancient Atlantean artifact in the form of a black trident. Like something out of a D&D game, the trident possesses Black Manta and its trapped creator, who resembles the King of the Dead from “Lord of the Rings: Return of the King,” offers Black Manta glorious purpose if he frees him.

Black Manta’s subsequent actions with other forms of ancient technology threaten to destroy the Earth’s environment. To prevent it, a war with the surface world, and save his family, Aquaman must turn to his imprisoned, disgruntled brother, Orm (Patrick Wilson) for help.

For someone who has been a fan of at least some of the DC movies, or the Zack Snyder universe, it is a bit sad to see the unfinished storylines come to an end. It is at least going out on a decent note as “Lost Kingdom” provides a fun way to spend just over two hours at the movie theater. There are several laughs to be had throughout its running time with plenty of action, albeit nothing we have not seen before, and decent enough special effects. The thing about “Lost Kingdom” is that it does not take itself too seriously, which would have caused it to be a complete dud if it had.

Abdul-Mateen II stands out once again as a man so blinded by rage and revenge that he become something less than human. Wilson is also fantastic with some great comic relief with good timing in support of Momoa. Overall, “Aquaman and the Lost Kingdom” is a nice swan song to a franchise that had its fair share of severe ups and downs.

“Aquaman and the Lost Kingdom” receives ★★½ stars out of five.

• OPPENHEIMER
• Starring: Cillian Murphy and Emily Blunt
• Directed by: Christopher Nolan
• Rating: R
• Running Time: 3 hrs
• Universal Pictures

The Academy Awards ceremony is several months away, but a serious contender is already in theaters now – Christopher Nolan’s “Oppenheimer.” Based upon the Pulitzer Prize-winning 2005 biography “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer” by American novelist Kai Bird and the late historian Martin J. Sherwin, “Oppenheimer” is an important work of cinema about a figure most Americans don’t know. Led by a fantastic performance by Cillian Murphy (“Inception”), seamless direction by Nolan, and a three-hour story that doesn’t waste a second of our time, “Oppenheimer” is a diligent drama that also manages to generate some suspense.

The story takes us back to 1929 when Oppenheimer was just a young, anxiety-riddled physics student. After earning his physics doctorate in Germany, he returns to the U.S. to teach quantum physics, initially in California. It is during those pre-war years that Oppenheimer develops ties to the Communist Party via an on-and-off relationship with a female party member and later his future wife, Katherine (Emily Blunt) an ex-Communist herself. Despite these associations, which were dangerous to have in America at the time, Oppenheimer is recruited by U.S. Army General Leslie Groves (Matt Damon) to lead the Manhattan Project, a top-secret initiative to build an atom bomb before the Nazis.

Once he sees the destruction wrought by the dropping two atom bombs on Imperial Japan, Oppenheimer becomes a vehement opponent of a nuclear arms race. His past interactions with the Communist Party, and his personal dalliances make good cannon fodder for slighted U.S. Atomic Energy Commission member Lewis Strauss (Robert Downey, Jr.) to go after when he seeks out to ruin the “father of the atomic bomb.”

Nolan, who adapted the novel into screenplay form, does not waste a moment of our time with a fairly accurate story that is always moving forward. The pacing never wavers, and Nolan keeps it basic without a lot of special effects. Even though we know how the experiment is going to turn out, it is still terrifying, for example, when Oppenheimer and his crew realize there is a slim chance that their bomb may spark cataclysmic destruction on a global scale.

Murphy delivers a complex performance of a man who raised to the pinnacle of fame only to see himself crashing to earth. Blunt as his alcoholic wife shares some good moments with him with Downey, Jr. arguably delivering the best performance of his career.

Overall, “Oppenheimer” is a satisfying movie that is educational, enlightening, and entertaining.

“Oppenheimer” receives four stars out of five.

• MISSION IMPOSSIBLE: DEAD RECKONING PART ONE
• Starring: Tom Cruise and Hayley Atwell
• Directed by: Christopher McQuarrie
• Rating: PG-13
• Running Time: 2 hrs 43 mins
• Paramount Pictures

Unlike other tired movie franchises that never seem to end, think “Transformers” and “Fast and Furious,” the “Mission Impossible” series, which began way back in 1996, has bucked the trend and has continued to not only stay fresh with each passing installment, but it has managed to find a way to get better. “Mission Impossible: Dead Reckoning Part One,” the seventh installment involving secret agent Ethan Hunt, more than lives up to the hype with lots of great action, tremendous stunts, suspense, and a solid storyline that provides a cautionary tale about the dangers artificial intelligence could hypothetically pose to humanity.

The seemingly ageless Tom Cruise, in the wake of the wildly successful “Top Gun: Maverick,” is in top form as IMF secret agent Ethan Hunt, who is tasked with a new mission if he chooses to accept it. This time, he is asked to retrieve half of a key from his ally, sometimes romantic interest, and former British agent Ilsa Faust (Rebecca Ferguson). He soon learns that both halves of the key are desired by every nation on Earth as it could possibly lead to controlling an artificial intelligence called Entity, which has gone rogue much to the detriment of every network on the planet.

Ethan believes Entity is uncontrollable and vows to destroy it. To do this, he assembles his team including Ilsa, Luther Stickell (Ving Rhames), and Benji Dunn (Simon Pegg). A highly skilled pickpocket and thief named Grace (Hayley Atwell, “Captain America: The First Avenger”) stumbles upon Ethan and gets pulled into their high stakes’ gambit. Ethan’s principal opponent, besides the George Orwell-type A.I., is an old nemesis of his named Gabriel (Esai Morales, “La Bamba”) who once played a pivotal role in Ethan becoming an IMF agent and is now aligned with Entity.

Directed by Christopher McQuarrie (“Mission Impossible: Fallout,” “Jack Reacher,” “The Way of the Gun”), who’s no stranger to Cruise, has crafted a wild roller coaster ride that is absolutely perfect for summertime entertainment. McQuarrie’s craftmanship leaves us wanting more, which is a good thing since “Dead Reckoning” is split into two parts with the second half to be released next year.

Cruise once again shows that he is arguably the last true movie star. The kind of star that harkens back to a bygone era when one name across the top of the movie poster could ensure its success. His skills as an actor have never been better as he seems to elevate the rest of the cast that surrounds him. Of course, it doesn’t hurt that the film’s brilliant story taps into the fears of what an A.I., that doesn’t value human life, could be capable of.

Overall, “Mission Impossible: Dead Reckoning Part One” is one of the two best movies of the summer season (the other being “Guardians of the Galaxy Vol 3”).

“Mission Impossible: Dead Reckoning Part One” receives four stars out of five.

• INDIANA JONES AND THE DIAL OF DESTINY
• Starring: Harrison Ford and Mads Mikkelsen
• Directed by: James Mangold
• Rating: PG-13
• Running Time: 2 hrs 34 mins
• Walt Disney Studios

Sometimes things should be just left alone. Like a hornets nest or steaming pile of dog poop. This is also applicable to the entire “Indiana Jones” franchise after “Raiders of the Lost Ark” made its mark. Sure, 1989’s “Last Crusade” was fun with the late Sean Connery as Indy’s father, but the rest of the films have been forgettable to say the least. They are akin to staring at the sun because in an instant you realize it was a mistake to look. I wish I could say “Indiana Jones and the Dial of Destiny” was some superb sendoff to Harrison Ford’s iconic character. Unfortunately, it contains retread villains, a lackluster storyline, and a bow at the end that is too neatly tied.

With special effects to make Harrison Ford look young again, “Dial of Destiny” takes us back to 1944 during the Allied liberation of Europe. One more time Indiana has been captured by Nazis who are desperate to get away with their loot before the Allies take it from them. One Nazi officer has a fascination with the holy Lance of Longinus artifact, which he believes Hitler will use to turn the war around. Jones, aided by Oxford archeologist Basil Shaw (Toby Jones, “Captain America: The First Avenger”), is also in pursuit of it. However, the real prize as it turns out is half of Archimedes Dial, a mechanical, astronomical calculator designed to find fissures in time. Something that is highly prized by Nazi astrophysicist Dr. Jurgen Voller (Mads Mikkelsen).

Fast forward to 1969 New York City where we find a much older and depressed Indiana getting ready to retire from his professorship. His marriage to Marion is in tatters and no mention of his son, Mutt is made initially. Enter Helena Shaw (Phoebe Waller-Bridge, “Fleabag”), the daughter of his late friend Basil who pulls a reluctant Indiana into a race to complete the Archimedes Dial before Dr. Voller, who helped the United States develop its space program, can find it, and rewrite the history of World War II.

That’s all you will get of out yours truly. What I can say is that while it’s fun to watch Ford don the Indiana fedora again, the story is about as tired as his character. The initial 30 minutes or so is fun-filled popcorn entertainment, but it becomes boring. Unlike finding the Holy Grail, the so called “Dial of Destiny” is less exciting than finding what the prize is in a box of Crackerjacks. There are multiple characters from Indiana’s past who make what are glorified cameos, but these do little to improve the story. Mikkelsen, who has a unique skill to bounce between good and bad guys, is perhaps the lone bright spot with a truly villainous performance. Other than that, the remaining performances are either lackluster or annoying.

Overall, “Indiana Jones and the Dial of Destiny” should have destined for the straight-to-dvd bin at your local convenience store.

“Indiana Jones and the Dial of Destiny” receives two-and-a-half stars out of five.

• OPERATION FORTUNE: RUSE DE GUERRE
• Starring: Jason Statham, Aubrey Plaza
• Directed by Guy Ritchie
• Rating: R
• Running time: 1 hr 54 mins
• Lionsgate

• CHAMPIONS
• Starring: Woody Harrelson, Kaitlin Olson
• Directed by Bobby Farrelly
• Rating: PG-13
• Running time: 2 hrs 4 mins
• Focus Features