Starring: Kevin Singh, Claire Theobald and Donovan Workun
Directed by: Simon Glassman
Rated: Unrated
Running Time: 99 minutes
Yellow Veil Pictures

Our Score: 3.5 out of 5 Stars

Having worked in local news, I’ve always appreciated the “can-do” spirit of local advertisers. Whether it’s pure DIY ingenuity by a tiny agency doing its best, or the awkward business owner subbing in for a slick national spot, there’s a charm to it. Enter “Buffet Infinity,” a VHS-style collage of local news, ads, and a story that feels easy to explain, yet strangely hard to fully convey.

As the film begins, we’re introduced to this unnamed town through a string of commercials. A pawn shop where the owners seem to enjoy filming more than selling, an insurance company with one of the dimmest spokespersons imaginable, a sandwich shop hyping its homemade sauce, and then there’s Buffet Infinity. At first glance, it’s just a buffet with a few items and low prices. Nothing suspicious…except for a monotone voiceover that feels more like bored improvisation than bored script reading.

But things begin to spiral as local news teasers and segments weave into the mix. It becomes clear that Buffet Infinity is more than a flashy new business. It’s an all-consuming presence that may be tied to strange disappearances, biblical shifts in nature, and possibly even a cult.

“Buffet Infinity” feels reminiscent of Panic Fest’s “VHYes,” but where that film leaned into a straightforward ghost story within the VHS chaos, this one uses sketch comedy to build something more layered. Absurdity reigns supreme as Buffet Infinity evolves from mundane burgers and salads to offering global cuisine and a sandwich that rivals the Tower of Babel. But underneath the jokes is a sharp critique of corporate expansion.

What makes the film work is how it forces you to piece together its story through seemingly trivial segments. Even the dull lawyer’s commercial plays a role. Slowly, the horror reveals itself: a force that enters a community, consumes it, overwhelms local competition, and then pretends it’s always belonged. Growing up, that force might have been Walmart. Today, it could be data centers, taxpayer-funded entertainment districts, or the endless spread of Amazon warehouses.

“Buffet Infinity” is an indie, anti-consumerist comedy that feels as old as Reaganomics but as current as Silicon Valley branding. It uses retro aesthetics for laughs while delivering a story about very real, very modern anxieties. Not every segment lands, and it can take a bit to find its rhythm, but its originality carries it. And when it hits, especially with the Buffet Infinity ads themselves, it’s an absolute riot.

Starring: Mercedes Mason, Rob Huebel and Barbara Crampton
Directed by: Ed Dougherty, Brea Grant and Chelsea Stardust
Rated: NR
Running Time: 104 minutes

Our Score: 4 out of 5 Stars

“Parasite,” “The Big Short,” “Sorry to Bother You,” “The Menu,” and “Glass Onion” all take aim at late-stage capitalism. Enter “Grind,” the first horror anthology built around the gig economy, one of the many aftershocks of that same system. As a former and current gig worker, I can say “Grind” is not only sharp in its critiques, but so inventive in its structure that it stands as one of the better original anthologies of this century.

Like some of the “V/H/S” entries and films such as “Scare Package,” there is clear connective tissue throughout. Every story links to the next or feeds the larger world, rather than settling for the lazy anthology formula of stitching together vaguely similar shorts. “Grind” creates a living, breathing universe for its stories to inhabit, allowing even the weaker entries to feel like added flavor rather than dead space.

Without walking through every segment beat by beat, “Grind” opens in an Amazon-style warehouse run by the sinister DRGN Corp. Workers whisper about an ominous punishment for anyone who falls behind schedule, setting up the film’s larger framing device. One employee lags while searching for a lamp for influencers, which segues into a story about social media influencing as the newest frontier of multi-level marketing, pyramid schemes, and general nonsense.

That eventually morphs into a DoorDash-style segment about a driver who simply cannot resist a rising payout. From there, the film shifts into one of its strongest chapters: a man desperate to break into DRGN’s corporate ranks, only to learn that a $175,000 salary means spending endless hours, days, and maybe years moderating grotesque social media content. It says a lot about what modern labor asks people to stomach. The movie then moves into a story about coffee shop workers unionizing under the DRGN umbrella before circling back to the warehouse and its mysterious punishment system.

At no point does “Grind” run out of steam. Each segment has its own spin on horror and comedy. Some lean darker, like the content moderation story, while others embrace absurdity, such as the delivery driver whose tip keeps rising as the requests become more deranged. Barbara Crampton shines in the MLM chapter, Rob Huebel is a blast as a DRGN liaison, and the supporting cast is stacked with memorable turns from Jessika Van, Vinny Thomas, and Christopher Marquette.

What makes “Grind” work is that it targets a labor system becoming deeply embedded in modern life. Instead of forcing horror onto these jobs, it uncovers the horror already inside them. With a game cast, sharp writing, and a rare talent for making an anthology feel cohesive, “Grind” has the potential to become a franchise in the spirit of “Creepshow.”

• MICHAEL  (2026)
• Starring:  Jafar Jackson, Nia Long and Colman Domingo
• Directed by:  Antoine Fuqua
• Rated:”  PG 13
• Running time:  2 hrs 15 mins
• Lionsgate/Universal

Our score:  2.5 out of 5

I don’t envy Jaafar Jackson.

His dad is Jermaine Jackson, and he looks and sounds uncannily like his uncle Michael. He can replicate the King of Pop’s dance moves, but the movie where he plays Wacko Jacko constantly feels like listening to an indifferent cover band playing his hits.

Screenwriter John Logan, who gave us Martin Scorsese’s The Aviator, struggles to tell viewers something they don’t already know about Michael Jackson. That’s almost impossible because so much of his Jackson’s was in front of cameras and microphones. As a result, Michael plays more like a PowerPoint presentation than an actual movie.

It’s not exactly a secret that his early success with the Jackson 5 denied him a childhood and friendships with others his age or that his father Joseph (Colman Domingo) was an abusive stage parent who could have given the Beach Boys’ Murray Wilson a run for his money.

Domingo is grossly overqualified to play such an overbearing heel, but the script never asks him to do anything else. Considering the nuanced performance he gave as civil rights pioneer Bayard Rustin, it’s shame to waste his skills on such a monotonously beligerernt role.

After all, you don’t have to work too hard to make a child beater unlikable.

Similarly, other essential figures in Jackson’s like merely appear. Nia Long doesn’t make much of an impression as his mother, other than providing the emotional support Joseph doesn’t. Motown patriarch Berry Gordy, who brought the Jacksons’ music to the world, and producer Quincy Jones who helped shape Jackson’s distinctive groove are reduced to walk ons.

Mike Myers plays CBS Records honcho Walter Yetnikoff the same way he played the record company flack in Bohemian Rhapsody, but he seems to be the one person enjoying himself in this enterprise. Yetnikoff was instrumental in ending MTV’s ridiculous exclusion of black artists, so this brief scene brings some welcome levity and purpose.

Director Antoine Fuquoa has made countless music videos but recreating the magic of Michael Jackon’s output is a lost cause. CBS Records spared no expense on what they shelled out for the clips that promoted “Thriller,” “Beat It” and other hits. His videos were events, so that MTV even announced when “Thriller” would be broadcast.

Director John Sayles who made music videos once lamented that many simply said that point of them was to show that if one became a rock star one could see lots of models in their underwear. Jackson’s videos were far slicker and more sophisticated. The budgets on the Bruce Springsteen videos Sayles shot were bigger than the ones for some of the movies he made.

Fuquoa doesn’t appear to have access to the excess that Micheal and Yetnikoff could summon so easily in the 1980s. The musical numbers here lack the energy and the gravity defying wonder of Jackson’s peak. If you wonder why people cared about this guy who spoke with such a high-pitched voice, go to YouTube and watch the videos for his hits. Seeing him dominate the camera while other performers were simply standing and strumming will be a treat.

Frankly, if you want to learn why his music, his stage act and his videos were so revolutionary, check out Spike Lee’s Bad 25, which expertly dissects the album and shows how he pieced it together through multiple overdubs and a careful ear for detail. Hearing characters in Michael casually discuss tunes that would be classics shortchanges them and the process it took to make them special.

At 2 hours and 15 minutes, Michael manages to feel both rushed and bloated. It’s light on the euphoria of his triumphs and misses the moments that made his human. There’s no discussion of his faith as a Jehovah’s Witness or the charges of child molestation. I can see wanting to celebrate the art not the terrible things he might have done, but much of the content of Michael is downright dull and about as imaginative as a conversation with ChatGPT.

Michael’s fight for control of his music has been copied and pasted from previous biopics (A Complete Unknown, etc) and lacks any real tension. Even if you’ve never heard a note of his music, you already know what’s going to happen.

In the end, no matter how valiantly Jaafar Jackson performs, the film that surrounds him feels more like a tomb than a tribute to his late uncle. There is little to justify leaving home for replicas of videos that will look better on your TV.

On a scale of zero to five, “Michael” receives ★★ ½

• MICHAEL  (2026)
• Starring:  Jafar Jackson, Nia Long and Colman Domingo
• Directed by:  Antoine Fuqua
• Rated:”  PG 13
• Running time:  2 hrs 15 mins
• Lionsgate/Universal

Our score:  4 out of 5

September 21, 1984.  RFK Stadium, Washington D.C.  That night my then girlfriend, myself and 89,998 other people waited anxiously.  The show, referred to as “The Victory Tour,” featured the Jackson brothers from Gary, Indiana.  But the one person everyone was there to see was the man who had taken the music world by storm.  His name was Michael.

A well-crafted, but sanitized look at the King of Pop, “Michael” tells the familiar tale of a young man touched by talent and the people that would take advantage of it.  Even if you’re just a casual fan, you know a lot of what the film tells you.  Father Joe Jackson, played by Colman Domingo in an award worthy performance, is a bastard.  Tough and seemingly uncaring, Joe groomed his boys to become the musical stars they became, discipling them with a whipping when they did not please him.  Mother Katherine was a saint…the voice of reason and compassion in the family.  And then you have sister LaToya and the brothers:  Jermaine, Tito, Marlon and Jackie.  Unexplainedly missing:  daughters Janet and Rebe and little brother Randy.  And then there’s Michael!

The nephew of the late star (he’s the son of Jermaine), Jafar Jackson becomes Michael Jackson before our eyes.  He not only has the look but the voice and the moves as well.  An amazing breakout performance.  The supporting cast is also strong, including Miles Tenner as Michael’s promoter, Larenz Tate as Motown founder Berry Gordy and Mike Meyers, who has found a second career playing pushy record company executives.  Special shout-out as well to young Juliano Valdi, who plays Michael as a child.

The film was produced in association with Jackson’s brothers and children, so it’s more like a musical love letter then an in-dept look at his life.  We get the familiar:  Michael never really being able to be a child, his love for animals and their friendship and, of course, his music.  Several major parts of his life are recreated, including the shooting of the “Beat It” and “Thriller” videos as well as the 25^th Anniversary Motown Special.  And here is where the movie excels.  If you’re a fan of the music, you will not be disappointed here.

On a scale of zero to five, “Michael” receives ★★★★

Starring: Brendan Kelly and Kaitlyn Boye
Directed by: Brendan Kelly and Kaitlyn Boye
Rated: NR
Running Time: 89 minutes

Our Score: 4 out of 5 Stars

Meta narratives are fertile ground in horror, from “Scream” to “Cabin in the Woods” to “One Cut of the Dead.” While “Break a Leg” is in strong company, it does something I haven’t really seen since “Birdman.” Its meta commentary is focused less on genre itself and more on acting, ambition, and the people chasing both.

Aspiring actor Patrick (Brendan Kelly) is thrilled to land an audition for a play directed by a legendary and infamous stage auteur. But when he arrives, the director is nowhere to be found. Instead, he’s greeted by Molly (Kaitlyn Boye), a disgraced former child star who is also auditioning for the same role. Their early awkward friendliness soon turns into distrust when they realize the director may not be coming at all. Even worse, they appear to be trapped inside the theater.

The film rests almost entirely on its two leads, which works because Kelly and Boye also wrote and directed the movie. Wearing multiple hats clearly benefits the project, allowing them to fully explore their ideas about performance, ego, insecurity, and the strange emotional warfare that can come with creative ambition. They dissect the craft through their characters’ clashing perspectives, while the structure of the story, the gradual revelations about the unseen director, and the escalating chaos all feel like a polished statement about their relationship with acting itself.

There are several scenes that feel drawn from real-world experience, whether it’s one character delivering a monologue, the two verbally sparring at high speed, or one pushing the other’s creative and mental limits. By placing all of this inside a horror framework, the film gets to play with reality in clever ways. Are they actually trapped in a theater? Is the director really there? Is some unseen force manipulating them? Is anyone ever truly in control? That final question becomes the film’s sharpest trick, especially as the last act pushes you to reflect on your own life, whether you’re an artist or not.

“Break a Leg” could have used a bit of trimming, but it makes strong use of its simple setting and premise, crafting a bloody, eerie, and imaginative bottle thriller. Kelly and Boye are not only the selling point, they’re the glue holding everything together. Their chemistry is immediate and infectious. You won’t mind being trapped in the room with them, though you may not like the skeletons they uncover.

Starring: Michael Johnston, Inde Havarette and Cooper Tomlinson
Directed by: Curry Barker
Rated: R
Running Time: 108 minutes
Focus Features

Our Score. 4.5 out of 5 Stars

Butterflies. It’s that feeling you get when you’re smitten. Maybe you find purpose, meaning, and reason. Maybe you find your partner in crime. Maybe you find your little food critic. Or maybe you find yourself trapped in a psycho-excessive, sleep paralysis nightmare of a toxic relationship that feels more like a 21st-century cautionary tale than hyper-realistic reality.

Well, that’s “Obsession,” a film that’s been stuck in my head like a fresh…well…obsession. Bear (Michael Johnston) is doing a pathetic man’s version of Nathan Fielder’s “The Rehearsal.” He’s practicing pickup lines with a waitress who is clearly hoping the tips outweigh the effort. Bear’s goal is winning over Nikki (Inde Havarrette), whom he believes is his soulmate, even though they’ve only bonded as co-workers and at half-hearted trivia nights with two other co-workers. He apparently thinks he’s collected enough platonic points to cash in for a real relationship.

He’s rehearsing because Nikki decides she needs a change, which means a new job that puts her platonically out of Bear’s range. So he tries to flirt…and it fails spectacularly. Like starting a diet on edibles at Golden Corral. But Bear happens to possess a magic willow wish that is every bit as hokey as it sounds. He picked it up while buying Nikki a small gift at a hippie shop. In a moment of desperation, he snaps it in half and wishes that she loves him more than anything else in the universe. Bear may not realize how big the universe is, or how horrific Nikki’s devotion is about to become.

“Obsession” isn’t breaking much new ground. At its core, it’s an old-fashioned monkey paw story built around the warning to be careful what you wish for. What elevates it are Johnston and Havarrette. Johnston is as pathetic as Bear sounds, writhing in every inch of uncomfortable sweat his character creates. Havarrette, meanwhile, makes Nikki almost supernaturally haunting. She lingers in dark corners watching Bear sleep, her silhouette slithering through rooms like something both wounded and predatory. She is absolutely iconic. As the film builds toward its climax, it keeps teasing that it’s about to go for the jugular, and eventually it does.

The other thing “Obsession” nails is how toxic relationships begin subtly before spinning into emotional violence. Through evolving set pieces, Nikki becomes more manipulative and controlling, while Bear refuses to take responsibility for the chaos he created, choosing emotional regression over growth. The film balances comedy and tension flawlessly, capturing the manic swings of a relationship on fire. One moment Bear seems willing to endure Nikki forever. The next, Nikki seems willing to stay with Bear only if he’s dead and festering.

There’s a reason Curry Barker is already being linked to a remake of “The Texas Chainsaw Massacre,” and it’s “Obsession.” This film is wild, vicious, and gripping. It puts you in the front row for the yin and yang of abuse and power. Heavy subject matter aside, it’s a roller coaster of emotions that absolutely kills with a midnight crowd.

Starring: Midori Francis, Madeleine Madden and Danielle Macdonald
Directed by: Natalie Erika James
Rated: R
Running Time: 112 minutes
IFC Films

Our Score: 3 out of 5 Stars

Medical student Hana (Midori Francis) is determined to get to 60 kilograms, or 132 pounds for us Americans. She basically starves herself, pushes through a grueling multi-week fitness program, and generally seems miserable on her weight-loss journey. We’re not quite sure what is driving her to these extremes when she runs into an old high school acquaintance. That former classmate used to be morbidly obese, but is now almost unrecognizable to Hana. Her former classmate’s secret? She basically claims it’s a magic pill.

And just like Jack and the Beanstalk, it works. Hana, now deeply curious, analyzes the pill and discovers it contains phosphates, chemicals … and human ashes. She knows what everything else is and its impact, but it’s the human ashes that have her questioning, not only if it’s the key ingredient, the consequences. But she also really, really wants to lose weight. If human ashes are the key, surely Hana won’t mind continuing this new weight-loss regimen as a med student. Especially when a whale-sized cadaver arrives and no one notices a few ribs missing.

As a mix of “The Substance” and “Thinner,” “Saccharine” swings from comical body horror to unnerving possession tropes. There’s a lot going on here, and the film never quite finds a delicate balance between its many ideas. As mentioned earlier, we never fully understand what drives Hana to such horrific extremes. Is it love? Social media? Parenting? Bullying? Societal pressure? It’s all piled onto the movie’s plate, but it never takes the time to savor the bites. That being said, Francis does a fantastic job of savoring every scene she’s in.

Francis fully commits to Hana’s shocking transformation alongside the increasingly spiritual and supernatural developments bubbling beneath the surface. The obese corpse haunts her from afar even; its presence ranges from uncomfortable chuckles to genuine winces. The overweight specter hangs over nearly every scene, though I wish I had a stronger grasp of the Eastern influences at play. There are clear Buddhist and other religious images throughout, but they often feel buried beneath the film’s many competing ideas.

In the age of GLP-1s, and with my own struggles with weight over the years, “Saccharine” feels timely even when it’s a bit of a mess. For a film inherently about excess, it could use some trimming. Still, Francis helps smooth over many of the rough spots, and when Hana is alone in her apartment after dark, the movie usually delivers a freaky good time.

“Groove” is a film that really came and went in 2000. Directed by Greg Harrison, this hip at the time, druggie, rave film, which appealed to a limited audience. I honestly haven’t thought about this film in over 25 years, not sure why its getting a 4K release but here we are.

Official Premise: You are invited to the hottest party of the year. GROOVE is the hip, hilarious hit of the 2000 Sundance Film Festival that has audiences and critics raving from coast-to-coast. As the sun goes down on Saturday night, rave kids Colin and Harmony take their relationship to the next level, veteran clubgoer Leyla surfs the Internet for a lift to the rave and workaholic David just wants to make it home in one piece. By sunrise, romances ignite, hearts break and lives are changed forever.

The 2160p transfer is good for the indie film, I mean it looks better than VHS, obviously that’s what I saw it on last. It comes from a scan of the film’s original camera negative. Music is very important in the film and the DTS-HD Master Audio 5.1 track works well.

Special features are surprisingly decent. There is an audio commentary track with writer/director/editor Greg Harrison, producer Danielle Renfrew, and cinematographer Matt Irving, four featurettes including deleted scenes and a music video included. The set also comes with a digital HD code, which is a nice bonus.

Tennessee Williams 4-Film Collection is one of the latest in the Warner Archive Collection. It continues the trend of filling up your library of classic films, without killing your wallet. It includes the following films Baby Doll (1956) / Cat on a Hot Tin Roof (1958) / Sweet Bird of Youth (1961) / A Streetcar Named Desire (1951). If you are a Tennessee Williams fans, this is a great collection of his body of work.

Official Premise: From the pen of one of the 20th century’s greatest playwrights comes a collection of four stage adaptations with this TENNESSEE WILLIAMS 4-FILM COLLECTION. Marlon Brando and Vivien Leigh lead the cast in the unforgettable A STREETCAR NAMED DESIRE, Paul Newman and Elizabeth Taylor create screen electricity in CAT ON A HOT TIN ROOF, and Newman co-stars with Geraldine Page in the poignant SWEET BIRD OF YOUTH. Karl Malden and Eli Wallach give supersuperb performances under the direction of Elia Kazan as Carroll Baker plays the titular role in BABY DOLL.

The 1080p transfers are solid on this older films, nothing short of near perfect presentations. The aspect rations range from 2.35:1 on Sweet Bird of Youth, 1.85:1 on Baby Doll, 1.78:1 on Cat on a Tin Roof, and lastly 1.37:1 on A Streetcar Named Desire. The stays the same on each release and delivers the goods with it’s DTS-HD Master Audio 2.0 Mono track.

Nothing really special in the special features department except for Streetcar. Baby Doll includes a 2006 featurette and trailer. Tin Roof features a solid commentary track by Donald Spoto. There is also a DVD quality short featurette. Sweet Bird only features two short featurettes and a trailer. Streetcar features solid extra including a commentary track, a feature length documentary that aired on PBS and narrated by Eli Wallach, six featurettes, outtakes, and trailers included.

This new 4K release is timed to coincide with Moneyball’s 15th anniversary. Like I said this is a 4K UHD release but this film doesn’t have a new HDR grade or even a Dolby Atmos remix attached. Other than a native 4K upgrade in video, this release is same as previous ones.

Official Premise: Oakland A’s general manager Billy Beane (Brad Pitt) challenges the system and defies conventional wisdom when his is forced to rebuild his small-market team on a limited budget. Despite opposition from the old guard, the media, fans and their own field manager (Philip Seymour Hoffman), Beane – with the help of a young, number-crunching, Yale-educated economist (Jonah Hill) – develops a roster of misfits and along the way, forever changes the way the game is played.

There is a digital copy included as well a new slipcover based on one of the original posters. The special features are the same as previous releases also there are some deleted scenes, five featurettes and a trailer included. Unless you’ve never owned this film at home, this is a real skip for me.

Lucifer: The Complete Series covers all six seasons of this sleek and polished series. Even though the Vertigo comic book that it is based on remains more expansive, the television series earned its place through character-driven storytelling and emotional fullness. This show was canceled originally and fueled by devoted fans who brought it back. Tom Ellis’ portrayal of the title character became iconic and grew separate from the comic interpretation.

Official Premise: Bored and unhappy as the Lord of Hell, Lucifer Morningstar abandoned his throne and retired to the city of Angels where he has teamed up with LAPD detective Chloe Decker to take down criminals. Charming, charismatic and devilishly handsome, Lucifer has a way of manipulating people into confessing their deepest, darkest secrets, which helps Detective Decker deliver justice!

The 1080p transfers in 1.78:1 aspect ratio looks solid. The audio track, DTS-HD Master Audio 5.1, is solid as well but could have been a little bit better for this show. Over three hours of special features are ported over from previous season releases including Character profiles, featurettes, Comic-Con panels, and gag reels. Sadly there is no digital copy included as well. If you don’t already own the seasons on DVD/Blu-ray, this would be for you, if you already do then skip this for sure.

Bringing the steamy trilogy of films together including the first film, ‘Fifty Shades of Grey’, which was directed by Sam Taylor-Johnson, while the second and third installments, ‘Fifty Shades Darker’ and ‘Fifty Shades Freed’, were directed by James Foley. The trilogy was based on the popular novels by E. L. James, The films star Dakota Johnson as Anastasia Steele, playing opposite Jamie Dornan’s Christian Grey. Never got into the hype of these films. The books were so different and unique and this feels just like a regular movie with typical sex. Never raises the bar.

Series Premise: Ana (Dakota Johnson) is an inexperienced college student tasked with interviewing enigmatic billionaire Christian Grey (Jamie Dornan). But what starts as business quickly becomes an unconventional romance. Ana soon finds another side to Christian as she discovers his secrets and explores her own dark desires. What results is a thrilling romance as Christian and Ana test the limits of their relationship.

There are two cuts included in this release: Theatrical and Unrated in this six-disc set (three 4K UHD discs and three Blu-ray discs). A Digital Code, redeemable via Movies Anywhere, is also included. The 1080p transfers on Blu-ray are on point but the 4K 2160p transfers don’t really overly wow. I mean they are good but not better than the Blu-ray. The DTS:X Master soundtrack is, like the video quality, perfectly decent but doesn’t feel different from the soundtrack in the previous Blu-ray release. 

The special features though are a different shade. They definitely don’t disappoint. There are roughly 15 featurettes spread out over the three sets. There are a ton of deleted scenes as well as music videos. There is also a 360 degree tour of Christian’s apartment that is pretty cool. Includes plenty of content with E.L. James discussing the books and the film adaptations.

• PROJECT HAIL MARY
• Starring:  Ryan Gosling, Sandra Huller and James Ortiz
• Directed by:  Phil Lord and Christopher Miller
• Rated:  PG 13
• Running time:  2 hrs 36 mins
• Amazon Studios/MGM

Our score:  5 out of 5

There’s a great line in “The Hunt for Red October” where Jack Ryan, after having given a briefing to the powers that be, mumbles to himself “next time Jack, write a G.D. memo.”  I’m guessing high school teacher Ryland Grace (Gosling) never saw that film.

Beautifully shot, with a true stand-alone performance from Gosling, “Project Hail Mary” tells the story of the possible threat to Earth from an unknown subject and the mission to prevent it from happening.  Grace is a one-time, and disgraced, former NASA employee, whose name is well known in the scientific world, just not for anything good.  Now teaching high school science, Grace is approached by a former colleague to discuss the current situation and ask for his assistance.  Grace looks forward to the day when everyone involved is trained and he can just walk away.  But, as often happens, fate steps in and soon Grace finds himself with a new, but unusual, friend.

Leave it to the team behind the amazing “The Lego Movie” to create a film as exciting as “Star Wars” and as beautiful as “2001.”  The film is buoyed by an award-worthy performance from Gosling who, with the exception of some flashback scenes, pretty much carries the film.  I was going to say “carries the film alone,” but Dr. Grace makes a friend with the oddly shaped alien he names “Rocky.”  As voiced by Mr. Ortiz, Rocky is a friendly type who has been trying to get back to his family for years.  Creating a device to let both understand each other, Grace and Rocky seem resigned to their fate as they both work to solve their mutual problems.

Visually the film is stunning, with the filmmakers using the opportunity to show places in the galaxy never before portrayed on screen and using their imagination to make them extraordinarily wonderful.  The script, by Oscar nominee Drew Goddard (“The Martian””) and the book’s author, Andy Weir, is both dramatic and funny, with nary a false note on either side.  The musical score, by Best Song Oscar nominee Daniel Pemberton, is the perfect accompaniment for the on-screen adventure.

I know the year is young but I’m sure by year’s end “Project Hail Mary” will still be considered one of the year’s best.

On a scale of zero to five, “Project Hail Mary” receives ★★★★★ 

Warner Archive Collection brings us Broadway on the Big Screen Collection, which includes six musical favorites that weren’t featured in previous sets. We get 1954’s Brigadoon, 1955’s Guys and Dolls, 1957’s The Pajama Game, 1958’s Damn Yankees, 1962’s Gypsy, and 1971’s The Boyfriend. This is a pretty solid collection of musicals spanning over the years and includes all the great including Cyd Charisse, Doris Day, Frank Sinatra, Gene Kelly.

Synopsis: 6 big stage musical favorites are brought together for this dazzling collection of musical favorites. Frank Loesser’s GUYS AND DOLLS starring Marlon Brando and Frank Sinatra, Rosalind Russell and Natalie Wood star in GYPSY, the dynamic choreography of Bob Fosse adds zing to Doris Day in THE PAJAMA GAME and Gwen Verdon in DAMN YANKEES, Gene Kelly and Cyd Charisse shine in Lerner and Loewe’s BRIGADOON, and Ken Russell’s wild imagination creates an homage to the genre as Twiggy stars in THE BOY FRIEND.

The technical specs vary on each of these releases but generally I would give them a pretty solid 4/5 score. The 1080p transfer are crisp and captures the musicals colors very well. It would have been nice to have seen a bump in the audio tracks but we are still given a decent DTS-HD Master Audio 2.0 Mono track for each film. In terms of special features, there is some but not much included from previous releases of these films.

Brigadoon includes some deleted scenes and trailer included. Guys and Dolls features a bit more including a few featurettes including, From Stage to Screen and focused individual Musical Performances. The Pajama Game goes back to deleted scene and trailer. Damn Yankees includes two trailers. Gypsy includes two deleted scenes and trailer and The Boyfriend features a Vintage Featurette called All Talking . . . All Singing . . . All Dancing.