Film Review: ‘Hypnotic”

 

  • HYPNOTIC
  • Starring: Ben Affleck, Alice Braga
  • Directed by Robert Rodriguez
  • Rating: R
  • Running time: 1 hr 33 mins
  • Ketchup Entertainment
Mix in one part “Inception,” one part “Dr. Strange,” and two parts “Firestarter” and you will have director Robert Rodriguez’s “Hypnotic.” Headlined by Ben Affleck, who sadly doesn’t play the caped crusader, “Hypnotic” is supposed to be an action thriller with a bit of mystery. However, the first half of it feels like a small budget B-movie with a cast who are only in it to earn a paycheck or have joined the ranks of Nicolas Cage and play in movies no one sees in theaters. There is a cool twist in the story but it’s almost impossible to maintain interest by the time it arrives.
Having suffered the recent loss of his daughter in a brazen, daylight kidnapping, and the subsequent end of his marriage, Austin police detective Danny Rourke (Affleck) is undergoing therapy so he can return to active duty. After he is cleared, his partner Nicks (JD Pardo, “Mayans M.C.”) informs him of a tip about an upcoming bank robbery. During their surveillance, Rourke notices a man later to be known as Dellrayne (William Fichtner) and pursues him as chaos erupts all around them.
A confrontation between the reveals to Rourke that Dellrayne has some sort of hypnotic ability to make people to do whatever he wants and to bend reality itself. Convinced that Dellrayne is behind his daughter’s disappearance, Rourke enlists the aid of psychic medium Diana Cruz (Alice Braga, “I Am Legend”) who drops nuggets of info to Rourke about hypnotic abilities and the danger of Dellrayne who is allegedly the most powerful one of them all. Somehow, Rourke’s daughter is tied into it all but there are a lot of puzzle pieces Rourke must put together first.
Thankfully, “Hypnotic” is only 93 minutes long. The first half lacks intrigue, suspense or much in the way of entertainment value. It does contain cliches, stiff dialogue delivery, and uninteresting characters. Rodriguez waits way too long to introduce his twist, which is unfortunate because the film might have been much better if he had devoted more time to the story’s real secrets.
Affleck is serviceable in his role but gives off the appearance of someone just going through the motions. Worse still, he lacks any chemistry with Braga. Fichtner is okay as the villain although his character is poorly developed.
Overall, “Hypnotic” may hypnotize you into going to sleep.
“Hypnotic” receives one-and-a-half stars out of five.

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Film Review: “Plane”

  • PLANE
  • Starring: Gerard Butler, Mike Colter
  • Directed by Jean-Francois Richet
  • Rating: R
  • Running time: 1 hr 47 mins
  • Lionsgate
Action films are often a dime a dozen. They are often predictable with an abundance of character cliches involving both good and bad guys. Guns have unlimited ammunition. The bad guys are generally worse at hitting their targets than stormtroopers from “Star Wars.” You get the gist. With one of the more unimaginative titles in recent memory, “Plane” doesn’t disappoint as it checks off all the boxes for the type of film just described.
Starring Gerard Butler as Capt. Brodie Torrance, a former Royal Air Force member who became a commercial airline pilot, “Plane” takes us to Singapore where a Trailblazer Airlines flight is leaving with a scant number of passengers. We get plenty of ominous signs that trouble is on its way – there is a terrible storm they will have to fly over; a menacing looking passenger is in handcuffs on his way to stand trial for murder in Canada; etc. To add a pinch of sympathy to Capt. Torrance, we discover he is a recent widow, and he is desperate to see his daughter, whom he hasn’t seen in a long time.
Shockingly, lightning hits the plane but Capt. Torrance miraculously lands the plane on a small road on a small jungle island. Without a way to contact the outside world while be stranded in a lawless place that is run by armed thugs, Capt. Torrance enlists the help of Louise Gaspare (Mike Colter, “Luke Cage”), a former member of the French Foreign Legion and who is the one facing a murder charge, to find a way to save the helpless passengers before they fall victim to a ruthless local warlord.
If you have seen Butler in any other action movie, then you know what you will get with his role in “Plane.” The one wrinkle is that he not the story’s alpha male. That belongs to Colter’s shady character, who turns out to be able to run faster than a jet airliner as it’s speeding down a dirt road. The supporting cast members offer nothing fresh or exciting as they are too a dime a dozen in a script that is about as imaginative as a root canal. The action itself is stereotypical and makes me pine for the silliness of an “A-Team” episode from the 1980s.
Overall, “Plane” is one ride you should jump out of before it ever leaves the ground.
“Plane” receives one star out of five.

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Film Review: “Knock at the Cabin”

 

  • KNOCK AT THE CABIN
  • Starring: Dave Bautista, Jonathan Groff
  • Directed by M. Night Shyamalan
  • Rating: R
  • Running time: 1 hr 40 mins
  • Universal Pictures
“The Sixth Sense.” “The Village.” “Glass.” These are but a few of the great suspense films that writer/director M. Night Shyamalan has crafted over the years. Of course, there have been some flops too like “The Happening.” Still, Shyamalan has consistently been one of the most creative and thought-provoking filmmakers of the 21st century. His most recent endeavor, “Knock at the Cabin” is an intriguing piece of work that ranks near the to tier of titles in his body of work.
Based upon the 2018 novel “The Cabin at the End of the World” by American author Paul G. Tremblay, “Knock at the Cabin” takes us to a small, remote cabin where a little girl named Wen (Kristen Cui in her motion picture debut) is collecting grasshoppers. Out of nowhere she is approached by Leonard (Dave Bautista, “The Guardians of the Galaxy”), a giant of a man who has a gentle disposition about him. As he tries to make friends with the skeptical Wen, three other strangers – Redmond (Rupert Grint, “Harry Potter” movies), Sabrina (Nikki Amuka-Bird, “The Outfit”), and Adriane (Abby Quinn, “Landline”) –carrying bizarre weapons draw closer.
Scared, Wen races back to the cabin to find her dads – Eric (Jonathan Groff, “The Matrix Resurrections”) and Andrew (Ben Aldridge, “Pennyworth”) – and warn them about the scary people approaching their house. Eric and Andrew’s efforts to keep the quartet out of the cabin are in vain as they soon find themselves tied up.
What transpires from that point is nothing short of bizarre as Leonard calmly describes how all four of them have been receiving visions about the end of the world. The only way to stop the impending biblical apocalypse is for one of them to willingly sacrifice a member of their family. Otherwise, Eric, Andrew and Wen will be doomed to be the only people left alive on the planet. Andrew is convinced it’s all a scam, but a concussed Eric is not so sure. This leads to a grippingly suspenseful series of events that will leave you on the edge of your seat.
For starters, Shyamalan shows once again that he is among the best filmmakers around. His style continues to be fresh, imaginative, and entertaining. He also knows not to let his stories get too long in the tooth. Other highlights include an almost shocking performance by Grint as man filled with malice and hate; a wonderful breakout role by Cui; and a dominant performance by Bautista. The latter continues to be a genuine treat to watch on the silver screen in every part he plays. His range as an actor keeps growing and he is the true star of this film.
Overall, “Knock at the Cabin” is terrific entertainment and should be on your short list of things to watch.
“Knock at the Cabin” receives three-and-a-half stars out of five.

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Film Review: “Glass Onion: A Knives Out Mystery”

  • GLASS ONION: A KNIVES OUT MYSTERY
  • Starring: Daniel Craig, Edward Norton
  • Directed by Rian Johnson
  • Rating: PG-13
  • Running time: 2 hrs 19 mins
  • Netflix
The recipient of an Oscar nomination for Best Adapted Screenplay, “Glass Onion: A Knives Out Mystery” was a critical success while commercially that’s left up in the air since Netflix only gave it a limited, brief theatrical release before streaming it exclusively. For yours truly, “Glass Onion” did not deserve the Oscar nomination like its predecessor did. Writer/director Rian Johnson’s effort is predictable and uninspired. While Daniel Craig is again glorious in his role and the star-studded cast is entertaining, particularly with Edward Norton and Dave Bautista, the story itself lacks the sense of mystery the original had. Many critics often cited all the movie’s star cameos as positive points as to why you should see the film, but even a cameo by the ghost of William Shakespeare doesn’t necessarily mean any given film is good. The overuse of cameos is just lazy filmmaking.
In brief, for those who have perhaps yet to see it, “Glass Onion” takes place during the COVID-19 pandemic on an island retreat off the coast of Greece. Billionaire Alpha technology owner and narcissist Miles Bron (Edward Norton) invites five friends – Alpha head scientist Lionel Toussaint (Leslie Odom Jr.), Connecticut governor Claire Debella (Kathryn Hahn), fashion designer and model Birdie Jay (Kate Hudson), internet influencer Duke Cody (Dave Bautista), and Alpha co-founder Andi Brand (Janelle Monae) – to enjoy a murder mystery weekend on his island. The great, famous detective Beniot Blanc (Daniel Craig) also joins them even though Miles did not send him an invitation but assumes one of his friends did it as a joke.
Unsurprisingly, Benoit solves Miles’s “mystery” within in a matter of moments. However, Benoit warns Miles that his life is in danger as it is revealed that each person there has a motive to kill him. When one of the guests keels over dead then the real mystery only deepens, unless you the viewer have already figured out who the real evildoer is, and it doesn’t take a world-renowned detective to do so.
I will leave the synopsis at that as I do not want to spoil it for anyone who hasn’t seen the film yet. Of course, for those who haven’t I would recommend that you don’t and instead watch the far superior original again, or perhaps for the first time. Yes, Craig is charming, and his character is easily on par with such entertaining detectives as Agatha Christie and Sherlock Holmes. He certainly doesn’t disappoint. It also never ceases to impress me just how good an actor Bautista, who made a name for himself in professional wrestling entertainment, has become. He is a joy to watch. The rest of the cast deliver well enough performances, but they are not memorable. Yes, “Glass Onion” received an Oscar nod, but that doesn’t mean it deserved it, at least in this critic’s humble opinion. Like “Everything, Everywhere All at Once,” it was thoroughly overrated film.
Overall, “Glass Onion” is a one-layer onion that will make you cry over how paper thin it is.
“Glass Onion” receives two stars out of five.

 

 

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Film Review: “Renfield”

 

  • RENFIELD
  • Starring: Nicholas Hoult, Nicolas Cage
  • Directed by Chris McKay
  • Rating: R
  • Running time: 1 hr 33 mins
  • Universal Pictures
Currently in theaters and available on streaming is the Nicolas Cage foray into comedy horror titled “Renfield.” While Cage is an absolute delight as Dracula, “Renfield,” which is told from the viewpoint of Dracula’s human assistant, does not quite live up to the standard set by the 2014 classic “What We Do in the Shadows.” It does have moments of genuine levity, but it also falls flat in others and a performance by Awkwafina in a supporting role is nothing short of annoying.
“Renfield” opens with some creative, black-and-white recreations of scenes from 1931’s “Dracula” with Cage supplanting Bela Lugosi as Count Dracula and Nicholas Hoult supplanting Dwight Frye as Renfield. It is a wonderful way by director Chris McKay (“The Tomorrow War,” “The Lego Batman Movie”) to present a quick backstory before the story moves closer to present day. An attack on Dracula by vampire hunters, and his subsequent assistance from Renfield, who gains some of his master’s powers by eating insects, reveals just how much the Count needs his servant as well as how manipulative he is of him.
Finding refuge in an abandoned building in New Orleans, Renfield seeks out new blood for his master as he recovers from the last attempt to destroy him. Wanting to avoid killing innocent people, Renfield attends a group counseling session for people who are being controlled by others. He then seeks out these “bad” people and delivers them to Dracula for food. However, Dracula grows tired of this and wants a busload of cheerleaders instead.
Tired of being under Dracula’s thumb, Renfield begins to branch out on his own and even attempts to court a New Orleans traffic cop (Awkwafina). Amid all this, they become embroiled in a fight to bring down a notorious and ruthless gang in the city, which turns the story into a complete mess as it runs off the rails. “Renfield” goes from being creatively funny to nothing less than dull and uninspired.
Cage’s performance is the strongest suit for this film. It’s campy at times but always entertaining. Hoult is a good counterpart to Cage yet he and McKay fail to delve much into the insanity that would seep into the mind of anyone who had been harvesting victims for a vampire for decades. Hoult and Awkwafina have zero chemistry, and the latter fails to bring any comic relief to the table. In fact, it’s painful to watch.
Overall, “Renfield” has some good moments and it’s great to see Cage in a major motion picture again, but it’s only worth your time if you have nothing else to do.
“Renfield” receives two stars out of five.

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Film Review: “A Man Called Otto”

 

  • A MAN CALLED OTTO
  • Starring: Tom Hanks, Mariana Treviño
  • Directed by Marc Forster
  • Rating: PG-13
  • Running time: 2 hrs 6 mins
  • Sony Pictures
There are only a small handful of thespians who could read the proverbial phonebook and somehow make it entertaining. This is applicable to Tom Hanks whose body of work speaks for itself. His newest work, “A Man Called Otto” may not be among the best films he has ever done, but it is an emotional drama with characters that feel like real people whom virtually anyone can identify with.
A remake of a 2015 Swedish film “A Man Called Ove,” which in turn was based upon a 2012 novel of the same name by Swedish author Fredrik Backman, “A Man Called Otto” begins in the winter of 2018-19 and is set in Pittsburgh, Pennsylvania. Otto Anderson (Tom Hanks) is the embodiment of what a curmudgeon is – he’s quick to call people idiots, he’s rude to everyone, and he prefers to be alone. Otto is also fastidious about rules and regulations, and he sees the world in black and white.
Otto’s behavior is rooted in part by the fact that his beloved wife has recently passed away and the company he worked his whole life for has forced him into retirement. Feeling that he has no purpose in life anymore, Otto decides it is time to take his own life.
Prior to attempting to hang himself, Otto becomes sidetracked when he sees his new neighbors, Marisol (Mariana Treviño, 2018’s “Overboard”) and Tommy (Manuel Garcia-Rulfo, 2016’s “The Magnificent Seven”) trying to parallel park with a trailer. It infuriates him so badly that he marches out and parks their vehicle himself before marching back inside his home to resume his suicide attempt, which fails.
Otto, who always lived with an enlarged heart, isn’t done with trying to kill himself, but he gradually becomes more involved and hence attached to Marisol and her family as well as some of his neighbors. It ultimately leads to some genuine, heart-warming, and tear-jerking poignant moments in the film.
Hanks, who took on a slightly gaunt appearance for the role, is as brilliant as ever with the portrayal of a man in psychological despair. I still regard him as his generation’s Jimmy Stewart. He has an everyman quality about him that makes it easy for people to identify with his characters. His primary counterpart in the film is Garcia-Rulfo who delivers a strong supporting performance as a woman’s whose generosity and kindness compels her to develop a relationship with Otto despite his gruffness. Garcia-Rulfo’s emotional range is superb, and she shares great chemistry with Hanks.
Director Marc Forster (“Christopher Robin,” “World War Z”) maintains a nice, even pace throughout the film’s running time as he infuses the story with a sense of realism. He times out well a series of flashbacks to Otto’s younger days when he and his wife, Sonya (Rachel Keller, “Legion”) first meet, date, get married, and experience joys and tragedies. The younger version of Otto is played by Hanks’s son, Truman whose only other big screen role was a small part in 2020’s “News of the World,” which also starred his father. Keller delivers a sweet performance, but Truman comes across as a little wooden on the silver screen.
Overall, “A Man Called Otto,” available on streaming services, is a wonderful little drama, but just make sure you have a tissue box handy.
“A Man Called Otto” receives three-and-a-half stars out of five.

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Film Review: “Avatar: The Way pf Water”

 

  • AVATAR: THE WAY OF WATER
  • Starring: Sam Worthington, Zoe Saldana
  • Directed by James Cameron
  • Rating: PG-13
  • Running time: 3 hrs 12 mins
  • 20th Century Studios
When the director James Cameron’s “Avatar” was released in 2009 yours truly opinioned that while it was a visually stunning, epic popcorn movie, it was in essence a spin on 1990’s “Dances with Wolves,” albeit one on steroids. Under its gloss it spoke to anti-imperialist themes and the conquering of native peoples all in the name of greed. The recipient of four Oscar nominations and one win for Best Achievement in Visual Effects, “Avatar: The Way of Water,” which will be available June 7 on streaming.
The original was set in the year 2154 when all of Earth’s natural resources had been depleted. The Resources Development Administration (RDA) showed up on the moon of Pandora to mine a valuable mineral needed for humanity’s continued sustainability. Sixteen years after he helped repel the RDA’s invasion, Jake Sully/Na’vi (Sam Worthington) is now chief of the Omatikaya clan along with having a family with Neytiri (Zoe Saldana).
Their peaceful lives come to an end as the RDA arrives with a new invasion and plans to colonize, this time headed by the ruthless General Frances Ardmore (Eddie Falco). To enhance their chances to defeat Na’vi’s clan, the RDA employs recombinants implanted with the memories of deceased human soldiers including those of the tree hating Colonel Miles Quaritch (Stephen Lang). After a human boy is captured by Colonel Quaritch that proves to be his long-lost son, Na’vi and his family are forced to flee to Pandora’s eastern seaboard to ensure his clan’s safety.
Upon their arrival, Na’vi’s family seek refuge with the Metkayina clan, who reluctantly accept them in. Their haven is only temporary as Colonel Quaritch, with the help of his son, begins learning how to adapt to his surroundings, which leads to a relentless campaign to find Na’vi and destroy him.
That is a brief, cliff note version of the story without giving much away because the full story takes so long to get through that people have celebrated a couple of birthdays while watching the film. Visually it’s just as stunning if not even more so than the original. The story, which could be called “Dances with Wolves 2,” is entertaining although pacing is sluggish at times and requires caffeine and sugar to get through. The bringing back of Colonel Quaritch is okay as Lang plays a superb villain, but it demonstrates a sense of laziness with inability to create alternatively diabolical evildoer. Of course, if what seems like a 52-hour movie isn’t enough entertainment then no fear, there are three more sequels to be released beginning in 2024.
Overall, “Avatar: The Way of Water” is a terrific popcorn flick, that is if you have an entire weekend free to watch it.
“Avatar: The Way of Water” receives three stars out of five.

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Film Review: “The Pope’s Exorcist”

  • THE POPE’S EXORCIST
  • Starring: Russell Crowe, Daniel Zovatto
  • Directed by Julius Avery
  • Rating: R
  • Running time: 1 hr 13 mins
  • Lionsgate
Nominated for 10 Academy Awards, the 1973 supernatural horror film “The Exorcist,” starring Max von Sydow and Ellen Burstyn, is regarded by many as a true, cinematic classic. The newest entry in the demon possession genre, “The Pope’s Exorcist” is not so much. It is loosely based on two books – 1990’s “An Exorcist Tells His Story” and 1992’s “An Exorcist: More Stories” by Italian priest, Father Gabriele Amorth (1925-2016) who claimed to have performed tens of thousands of exorcisms during his career. Filled with cliches and horror scenes too reliant on over-the-top special effects rather than true psychological terror, “The Pope’s Exorcist” should probably be exorcised from theaters for everyone’s well-being.
Set in 1987, “The Pope’s Exorcist” takes us to a small Italian village where Father Gabriel (Russell Crowe), the Pope’s personal exorcist, drives a demon out of a man and into a pig, which is subsequently shot dead. The incident gets Father Gabriel, a practical man with a sense of humor, in trouble with a Catholic Church tribunal who questions him for acting without permission. There is a sense that there are forces within the Church working against Father Gabriel, but this aspect of the story is inexplicably dropped and not further developed.
Meanwhile, a recently widowed mother (Alex Essoe, “Doctor Sleep”) and her two children – a traumatized son, Henry (Peter DeSouza-Feighoney) and an angst-ridden, rebellious, moody teenage daughter (isn’t that how all teenage girls are portrayed in horror films?), Amy (Laurel Marsden) – have traveled to Spain to move into a spooky old castle that’s undergoing renovations. Shockingly enough (insert sarcasm), strange things start happening and Father Gabriel, under direct orders by the Pope (Franco Nero, “John Wick: Chapter 2,” “Django Unchained”), comes to the rescue aboard his motor scooter.
Assisted by a local priest, Father Esquibel (Daniel Zovatto, TV series “Station Eleven,” “Penny Dreadful: City of Angels”), Father Gabriel encounters a demon possessed Henry as the two priests must overcome their own sins to defeat evil.
Directed Julius Avery, who brought us the forgettable 2018 film “Overlord” about a bunch of American soldiers fighting Nazi zombies in World War II, “The Pope’s Exorcist” is a rather silly film that lacks thrills, chills, or even mild goosebumps. Fear is replaced by a few laughs and sheer boredom. Crowe is entertaining in the role and seems to be having a good time with it. There is also somehow one good, albeit brief scene, when Crowe’s character first encounters the possessed boy. The remaining time is just unimaginative schlock.
Overall, say a prayer to give you the strength to not watch this film.
“The Pope’s Exorcist” receives one star out of five.

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Film Review: “65”

 

  • 65
  • Starring: Adam Driver, Ariana Greenblatt
  • Directed by Scott Beck and Bryan Woods
  • Rating: PG-13
  • Running time: 1 hr 33 mins
  • Sony Pictures
A cross between “Jurassic Park,” “Predator,” and every other science fiction flick where a human, with or without companions, somehow ends up stranded on an alien planet, “65” is a forgettable foray into subgenre that has become as lifeless as the void of space. Adam Driver, who has a wide spectrum of genres to his acting credits, delivers a solid performance, but it’s not nearly enough to overcome the shear boredom that comes with watching this film.
On the fictional planet of Somaris, a pilot named Mills (Driver) is reluctant to leave his family behind to go on a two-year space expedition. However, the payment he will receive for doing it will save his ill daughter’s life. While his passengers are asleep in cryostasis chambers, Mills’s ship encounters an unexpected asteroid field. Extensive damage causes the ship to crash land on an uncharted planet – Earth approximately 65 million years ago when dinosaurs were the top of the food chain.
All the ship’s passengers are killed except for one – a young girl named Koa (Ariana Greenblatt, who played a younger version of Gamora in 2018’s “Avengers: Infinity War”) who speaks a different language than Mills. With a giant asteroid on a collusion course with Earth, Mills must traverse hostile terrain with Koa to reach an escape pod that has the potential of getting them off the planet in time.
There is nothing that is all that thrilling or exciting about “65.” The story gives a good motivation for Mills to want to stay alive and the initial premise seems like it could have some promise. However, everything that’s done in “65” has been done a million other times. Thankfully it’s only 93 minutes long, but in reality, it feels like it’s twice that long, although not as long as “Avatar.” It does have plenty of scary looking dinosaurs but the mystique of seeing these extinct species on the silver screen evaporated a long time ago.
Overall, “65” is perhaps a good film to fall asleep to on a rainy, Sunday afternoon where there is absolutely nothing else to do and football isn’t on.
“65” receives one star out of five.

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Film Review: “She Said”

 

  • SHE SAID
  • Starring: Carey Mulligan, Zoe Kazan
  • Directed by Maria Schrader
  • Rating: R
  • Running time: 2 hrs 9 mins
  • Universal Pictures
There are films made which serve an entertainment purpose only. You get a few laughs, some thrills, or maybe a couple tears. Occasionally, a film is made that reaches a level of importance that causes it to be something every person should see. “She Said,” currently available on streaming but was released last November in theaters, is one such film. Detailing how two “New York Times” reporters were able to bring down one of the biggest figures in the film industry and sparking a revolution, “She Said” is absolute classic that belongs in the same breath as “All the President’s Men” and “The Post.” The fact it was snubbed at the Oscars in favor of a silly film about time travel, is a complete travesty of epic proportions and shows just how ridiculous the once king of award shows has become a joke. And a bad one at that.
This biographical drama takes back to 2017 when “New York Times” reporter Jodi Kantor (Zoe Kazan, “The Big Sick”) is tipped off that actress Rose McGowan is about to make some serious allegations about sexual misconduct and assault involving Miramax chief, Harvey Weinstein. Kantor also learns of similar sickening incidents involving actresses Ashley Judd and Gwyneth Paltrow. However, no one wants to speak on the record out of fear for their careers. To help get others to talk on the record, Kantor recruits fellow “New York Times” reporter Megan Twohey (Carey Mulligan, “Promising Young Woman”).
While juggling the demands of being mothers and aided by the unquestioning support of their husbands, Kantor and Twohey set about on an arduous task that requires patience, diligence, and tenacity from both as they struggle to get women from Weinstein’s past to speak on the record. However, little by little they inch closer to their ultimate story that causes 82 brave women to come forward with horrific allegations against a monster who landed a 23-year prison sentence because of their voices.
Not only should have “She Said” been nominated for best picture, among many others, but it should have also given nods to Kazan and Mulligan who are nothing short of spectacular with their inspiring performances. Hats off to them and director Maria Schrader for infusing their characters with genuine realism. While they pour everything into the challenge of getting their story right, both are humanized by showing the effects the stress of the task at hand has on them personally and with their families. Kudos also to Ashley Judd for playing herself and re-living on the screen the pain she went through at the hands of Weinstein.
Overall, “She Said” is a borderline cinematic masterpiece and is a work that every single person, minus small children, should see to help appreciate the beginnings of the Me-Too movement.
“She Said” receives four-and-a-half stars out of five

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Film Review: “The Little Mermaid” (2023)

  • THE LITTLE MERMAID
  • Starring: Halle Bailey, Jonah Hauer-King
  • Directed by Rob Marshall
  • Rating: PG
  • Running time: 2 hrs 15 mins
  • Walt Disney
With its origins in the 1837 story of the same name by Danish author Hans Christian Andersen (1805-75), who also created “The Princess and the Pea” and “The Snow Queen” among others, the 1989 animated film “The Little Mermaid” became a classic in the Disney library. It is one of many that parents everywhere have probably seen a million times. To cash in even more money, Walt Disney in its infinite wisdom has created a live action version of this beloved musical fantasy. The magnitude of this underwhelming achievement can be summed up in one word: meh.
This overly long, uninspiring cinematic punishment has a simple premise. Ariel (Halle Bailey), the youngest of several princesses/daughters of the protective King Triton (Javier Bardem), has a fascination/obsession with the surface world. Even though her father reminds her that it was surface dwellers who killed her mother, Ariel remains undeterred to learn as much about them as possible.
Ariel’s fascination turns into infatuation when she saves Prince Eric (Jonah Hauer-King) from drowning near his island nation. Watched from afar by the sea witch Ursula (Melissa McCarthy), who is also King Triton’s banished sister, Ariel is manipulated and tricked by her aunt who desires to possess her siren song. It is left up to Ariel’s friends – Sebastian (Daveed Diggs) the crab, Flounder (Jacob Tremblay) the fish, and Scuttle (Awkwafina) the dimwitted Northern Gannet – to make sure a romance blossoms between Ariel and Prince Eric, and thereby thwart Ursula’s schemes.
“The Little Mermaid” is one of the most uninspiring flicks in recent memory and is emblematic of Hollywood’s problem with coming up with any new or inspiring content. Just look around to see that the 23rd installment of “Fast and Furious” and the 25th of “Transformers” are coming out this year. Director Rob Marshall (“Mary Poppins Returns,” “Chicago”) has fallen into a trap of serving unoriginal content and covering with fancy special effects and pretty costumes. All that’s left now is for Walt Disney to make sequels entitled “The Littler Mermaid” and “The Littlest Mermaid.”
I would make comments about the acting performances, pacing, action, etc. but it is so dull and unwatchable that there really is no point. The only exception would be that this version of “The Little Mermaid” is probably a smidge dark for your littlest ones.
Overall, if you go to the movie theater, go watch something else. Anything else. Please.
“The Little Mermaid” receives one star out of five.

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Film Review: “The Banshees of Inisherin”

 

  • THE BANSHEES OF INISHERIN
  • Starring: Colin Farrell and Brendan Gleeson
  • Directed by Martin McDonagh
  • Rating: R
  • Running time: 1 hr 54 mins
  • Searchlight Pictures
A recipient of nine Academy Award nominations, including Best Picture, Director, and Actor, “The Banshees of Inisherin,” currently available on multiple platforms after being released in the United States last September, is a dark comedy/drama with well-crafted lines of dialogue and excellent acting. It also provides some interesting insight into Irish culture. However, while not as high on the overhyped scale as “Everything, Everywhere All at Once,” “Banshees” remains a long-winded affair that has the pacing of molasses that can lead to a feeling of outright boredom.
Set on the fictional Irish island of Inisherin, “Banshees” takes place in 1923 towards the end of the Irish Civil War. We know that fiddler Colm (Brendan Gleeson) and his drinking buddy Pádraic (Colin Farrell), a bit of a dullard, have been lifelong best friends. When we meet them, Colm, without any warning or explanation, has decided he no longer wants anything to do with Pádraic. This turns the latter’s life upside down as he struggles to figure out why his friend has discarded him.
Pádraic repeatedly attempts to understand why Colm has ended their friendship, even though Colm tells him that he wants to be remembered for something and has been wasting time with dull conversations with Pádraic. Eventually, Pádraic’s dogged determination leads to Colm threatening to cut off his own fingers if Pádraic doesn’t leave him alone, which he incredibly follows through with. It’s all a weird series of events that include Pádraic’s sister, Siobhán (Kerry Condon, the voice of Friday from “Avengers: Infinity War” and “Avengers: Endgame”) leaving for the mainland after getting tired of their senseless feud, something I wanted to do as well while watching it.
English Director Martin McDonagh, who wrote “Banshees” as well as “Three Billboards Outside Ebbing, Missouri,” created dialogue that’s masterfully delivered by co-stars Gleeson and Farrell. The accents are not so thick that the actors cannot be understood, but what is not understandable is how overly drawn-out the story is. It’s a one-trick pony that gets old halfway through at the latest as the story leads to nowhere. Essentially, it’s easy to sympathize with Colm.
Great performances and beautiful shots of Irish countryside aside, “Banshees” is an overhyped film that probably require a pint to help get through it.
“The Banshees of Inisherin” receives two-and-a-half stars out of five.

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Film Review: “SISU”

 

  • SISU
  • Starring: Jorma Tommila, Aksel Hennie
  • Directed by Jalmari Helander
  • Rating: R
  • Running time: 1 hr 31 mins
  • Lionsgate
If “John Wick” and “Nobody” had a baby, and Quentin Tarentino served as the surrogate mother, then its name would be “Sisu.” Bloody, grotesque, gritty and violent, “Sisu” is everything you could ask for in a film in which a multitude of Nazis are killed in a multitude of ways. Its story, set against the backdrop of the waning days of World War II in Finland, is elegant in its simplicity. However, while it may have its element of fun, the film is nothing we have not seen before.
During the early years of World War II, Finns fought alongside Germans against the Soviet army, which became known as the Continuation War. This changed in September 1944 when an armistice between Finland, the Soviet Union and the United Kingdom brought this part of the conflict to an end. As part of the agreement, Finland was required to launch what became known as the Lapland War. From September to November 1944, Finland launched a military campaign against retreating German forces in the country’s northernmost area. Within this context we have “Sisu,” a word that has not literal English translation but is akin to a grim determination against adversity.
Gold prospector Aatami Korpi (Jorma Tommila, “Rare Exports”), with only his faithful dog and horse, is alone in the barren Lapland wilderness. Wanting nothing to do with the ongoing conflict, he digs pit after pit trying to strike it rich until one day, he hits the motherload. With a large amount of gold nuggets in his saddlebags, Aatami sets out on a long ride to the nearest town to cash in.
Unfortunately for Aatami, or perhaps more so for the Nazi soldiers, he encounters a 30-man platoon led by SS commander Bruno Helldorf (Aksel Hennie, “Headhunters”). The Nazi officer lets Aatami pass without harm as he is more interested in joining the rest of the German army in Norway. However, when Aatami later encounters a small, second group of soldiers on the same trail, and kills them all after they try to take his gold, Bruno turns his men around to find out what the commotion is about.
Bruno’s chase of Aatami becomes an obsession as he realizes the Finn’s gold haul could be his ticket to escape the gallows once the war is over. The violence only escalates as we learn that Aatami was once a member of Finland’s special forces and was credited with killing hundreds of Soviet soldiers. Bruno and his men soon discover what sisu means.
Finnish writer and director Jalmari Helander (2010’s “Rare Exports”) has created a fun, albeit violent work of cinema set during a little-known period of World War II history. It does get ridiculous by the end and is often more unbelievable than watching John Wick survive a fall from a multi-story building. Tommila delivers solid, near-silent performance, but it is something we have seen multiple times from actors Clint Eastwood to Keanu Reeves. Hennie provide an interesting performance as a German officer who has resigned himself to his fate only to have a light at the end of the tunnel fall into his lap. Yet, even his character does not separate itself from the plethora of other Nazi officers seen depicted on the silver screen.
Overall, if you want to watch an almost equally violent World War II flick with a much better story and acting, then find “Inglourious Basterds” on your streaming service and watch it instead.
“Sisu” receives two-and-a-half stars out of five.

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Film Review: “Guardians of the Galaxy: Volume 3”

 

  • GUARDIANS OF THE GALAXY: VOLUME 3
  • Starring: Chris Pratt, Bradley Cooper
  • Directed by James Gunn
  • Rating: PG-13
  • Running time: 2 hrs 30 mins
  • Marvel Studios
To be blunt, “Guardians of the Galaxy: Volume 3” is not only by far the most brilliant film in the “Guardians” trilogy, but it is also one of the best films to be released within the Marvel franchise. A stellar piece of filmmaking by director James Gunn, “Guardians” contains a surprising amount of emotional depth mixed in with the terrific humor we have come to expect from the series. It also doesn’t disappoint with its entertaining action sequences and wonderful soundtrack.
Gunn’s endeavor included tying up multiple character story arcs while emphasizing those of Peter Quill/Star Lord (Chris Pratt) and Rocket (voiced by Bradley Cooper). As for the latter, “Guardians” starts off with taking us back to when Rocket was a baby raccoon and was forced to endure horrible scientific enhancements, something that was alluded to in the first “Guardians.” These were performed at the direction of the High Evolutionary (Chukwudi Iwuji, “John Wick: Chapter 2”), a prototypical mad scientist who goes from simple instability to complete insanity as he attempts to create a perfect lifeform. (In many respects, he is far dastardlier than Thanos or any other villain our Marvel heroes have faced on the silver screen.)
The movie’s current timeline takes place a few years after the events of “Endgame” with Peter still desperately mourning the loss of Gamora (Zoe Saldana). It’s to the point where he will eventually drink himself to death if something doesn’t give soon. He is temporarily distracted when Rocket is gravely wounded by the almost childlike Adam Warlock (Will Poulter, “We’re the Millers”), a creation of the Sovereign who want justice because Rocket stole from them. The powerful High Evolutionary has other plans and forces the Sovereign leader, a creation of his, to retrieve Rocket so he can examine his brain.
With the help of the Ravagers and a reluctant, alternate version of Gamora, the Guardians, including Drax the Destroyer (Dave Bautista), Nebula (Karen Gillan), Groot (voiced by Vin Diesel), and Mantis (Pom Klementieff), go on a quest to save Rocket’s life and put an end to the High Evolutionary’s madness. During their adventures, they still manage to work as a dysfunctional team with Peter trying to come to terms with why the “new” Gamora won’t give him the time of day, not to mention coming to a reckoning with the past he left behind on Earth.
Plenty of heartstrings are pulled within Rocket’s gut-wrenching backstory and will certainly cause a few watery eyes in the theater. Credit to Cooper’s great voice work as he gives the pain Rocket goes through a tangible, almost haunting quality. Pratt delivers his best to-date performance as Peter/Star Lord undergoes true growth as a character. (This contrasts with Thor devolving into buffoonery and Peter Parker never growing at all.) Lastly, I would be remiss if I did not mention Iwuji who succeeds in not going over the top with his performance. His character’s cruelty and madness are disturbing to say the least, and Iwuji pulls it off fantastically, even when he is spitting as he screams and rants.
This last incarnation of the “Guardians” team we have become accustomed to succeeds beyond all expectations by delivering a story that is entertaining in every way possible. Whereas “Wakanda Forever” restored faith in Marvel films being great again, after a long period of meandering, “Guardians 3” reinforces that faith. (No offense against the last “Ant-Man” film but it was merely a cute popcorn flick that lacked gravitas in comparison.)
Overall, this movie is a thrill ride of emotions, adventure and some songs that will stick in your head for days to come.
“Guardians of the Galaxy: Volume 3” receives four-and-a-half stars out of five.
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Film Review: “The Whale”

 

 

  • THE WHALE
  • Starring: Brendan Fraser and Hong Chau
  • Directed by Darren Aronofsky
  • Rating: R
  • Running time: 1 hr 27 mins
  • A24
A box office star in the 1990s and into the 2000s, Brendan Fraser seemingly disappeared in recent years even though he continued to find work. Of course, this thread was discussed ad nauseum during the months leading up to the recent Academy Awards where Fraser’s years of hard work paid off with his own golden statue. It was much deserved for Fraser’s memorable role in the depressing drama “The Whale” is not only the best performance of his career but one of the greatest ever captured in cinema.
Now available everywhere, “The Whale,” based upon a 2012 play of the same name, revolves around Charlie (Fraser), a morbidly obese English instructor who teaches online writing courses with the camera turned off. A complete recluse, his only friend and caregiver is a gruff nurse named Liz (Hong Chau, “The Menu”). She repeatedly tries to get Charlie to see a doctor for his congestive heart failure, but it’s clear early on that he wants to die. His reasoning, though, is a mystery until later in the story.
On one random day, he is visited by Thomas (Ty Simpkins, “Iron Man 3,” “Jurassic World”), a young Christian missionary who tries, unsuccessfully, to convince Charlie that his soul needs saving. What Charlie wants to save instead is his relationship with his estranged and moody teenage daughter, Ellie (Sadie Sink, “Stranger Things”). She wants nothing to do with him because Charlie had abandoned her and her mother (Samantha Morton) to be with another man.
Knowing that death is coming, something he seems to welcome, Charlie bribes Ellie to start visiting him by promising to help her with schoolwork and the prospect of $120,000 going into her bank account. For her part, Ellie is asked not to tell her mother about her visits. As his health deteriorates more rapidly, Charlie’s desire to salvage his relationship with Ellie intensifies.
Directed by Darren Aronofsky (“The Wrestler,” “Pi”), “The Whale” often feels too much like a stage play and it comes off disjointed at times as a result. Aronofsky gets the most out of his cast, yet the story is a little too blah, which matches the overall feel of the film. All quibbles aside, what must be looked upon with awe is Fraser’s unforgettable performance. Forget about his wearing a 300-pound suit to reflect his character’s obesity. What’s important is how tragically sad and depressed his self-loathing character is. Fraser makes his character’s despair and desires tangible to the viewer, allowing us to easily become emotionally invested into Charlie. Without his towering performance, “The Whale” would have been something long forgotten about by now.
Overall, “The Whale” is watchable because of Fraser’s one-for-the-ages performance.
“The Whale” receives three stars out of five.

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