• A COMPLETE UNKNOWN
• Starring: Timothée Chalamet and Edward Norton
• Directed by: James Mangold
• Rating: R
• Running Time: 2 hrs 41 mins
• Searchlight Pictures

Our Score:  4 out of 5

Nominated for eight Academy Awards, including Best Motion Picture of the Year and Best Performance by an Actor in a Leading Role (Timothée Chalamet), “A Complete Unknown” is a superb biopic that can be discussed in the same breath as “Bohemian Rhapsody”, “Walk the Line”, and “Ray” to name a few. Much credit goes to director and co-writer James Mangold for crafting such an engrossing film even though the central character, while legendary, is not the most likable guy in the world. Chalamet, who already had a great career ahead of him thanks to roles in “The King” and the “Dune” flicks, delivers a nuanced, career-defining performance that cements him as being one of the best cinematic actors alive.

Born Robert Allen Zimmerman, a 20-year-old Bob Dylan (Chalamet) arrives in New York City in 1961 after hitchhiking from Minnesota. With only his guitar and duffel bag, Dylan seeks to visit his musical idol, Woody Guthrie, who is slowly dying from Huntington’s Disease. When he finds the hospital Guthrie is at, Dylan performs a song he wrote just for him in front of Guthrie and fellow folk musician Pete Seeger (Edward Norton). It’s a pivotal moment as Dylan manages to impress both men. Afterwards, Seeger takes Dylan under his wing and helps him get the gigs he needs to start a career.

As his career starts, Dylan meets a girl named Sylvie Russo (Elle Fanning) and charms her enough that they begin a romantic relationship, which falters because of Dylan’s aloofness and his reluctance to share anything about his past. While Sylvie is away in Europe, Dylan encounters fellow folk singer/songwriter Joan Baez (Monica Barbaro, “Top Gun: Maverick”) and a subsequent tumultuous relationship unfolds. The film also delves into Dylan’s increasing feelings of being pigeonholed as one specific type of singer. His sense of diminishing freedom as an artist causes him to rebel against everyone’s expectations, including Seeger, who sees Dylan as the savior of folk music. Encouraged by Johnny Cash, Dylan gets some mud on the carpet by going electric with his music.

Chalamet’s portrait of Dylan is an immersive experience as he displays a similar talent to disappear into a character like the great Daniel Day-Lewis. Whether it was “The King”, “Dune” or “Wonka”, Chalamet has a knack for pulling us into his performances and not letting us go. Of course, the Academy Award-nominated Norton is spot on with his role as he plays Seeger as a man desperate to have Dylan be a folk messiah only to end up driving him away. Barbaro, also an Academy Award nominee, is nothing less than a revelation while Fanning brilliantly infuses her character with a sense of tragic resignation.

“A Complete Unknown” is a lot to take in, but Mangold keeps a steady pace by not doing a lot of jumping forwards and backwards. He ensures the music selection speaks for the times and for what the characters are going through, and the costume designs perfectly capture the period of 1961-67. It’s all part of a grand movie watching experience anyone, especially Dylan fans, are sure to love.

“A Complete Unknown” receives ★★★★ out of five.

In the openng moments of Kraven the Hunter, the titular Kraven (Aaron Taylor-Johnson) comments on his character’s existence in light of the myths told about him throughout the years. “There’s an ounce of truth in every myth,” he says as he stabs a crime lord in the neck with a large tiger’s tooth. Here he’s talking about himself being a very real entity chasing down evil-doers, but the same can be said of the film itself. The inclusion of the famous Spider-Man villain has been in the works since the canceled fourth Sam Raimi film, and every iteration of the superhero franchise has tried to find a way to fit him in at some point. After nearly two decades of discussions and more than two years of delays on this particular film, many thought the film itself was just a myth and might never be released. The first footage was shown at CinemaCon in April 2022, and we are finally getting the full motion picture. Sony has announced that the Spider-Man Universe (SSU) will come to a close with Kraven the Hunter being the last installment. Save for the box office success of some of the Venom films these expanded stories from the world of Spider-Man have been critical and commercial failures at the Box Office. However this film may work better as a digital and disc release. This film boasts an amazing cast featuring Aaron Taylor-Johnson, Academy Award winners Ariana DeBose and Russell Crowe, Alessandro Nivola, and Fred Hechinger, who is having one hell of a year in front of the camera. This is his fifth film to be released in 2024. Unfortunately, it feels like these actors are in completely different movies. There’s no chemistry or even tone symmetry to suggest they read the same script or got the same direction from J.C. Chandor. To the film’s credit, it does deliver on some of its promises. Its gore and swearing content are much higher than your average superhero outing, and these aren’t used for laughs or self-aware gags like many other Marvel films (like Deadpool). This is simply a part of the film and enhances the action significantly. If your main character is going to have super speed and strength and have his DNA infused with a lion’s, you’d imagine he might inflict more devastation on his enemies from sheer brute force. Another bright spot of Kraven is its relatively insular story. The characters span the globe in a cat-and-mouse game but are only after each other. It’s refreshing for the stakes to be lowered from world-ending destruction, with no mystical MacGuffin to keep out of the wrong hands. It’s Kraven against his enemies, culminating in a climax proportional to the stakes. Kraven’s biggest issue is that it does nothing to make its main character interesting enough to care about. Is he materially that different from Jared Leto’s Morbius? They appear to come into similar powers, involving the fusion of their blood with that of an animal. A common failure exists in the characters of Kraven, Morbius, and even Madame Web: the absence of their comic book counterpart, Spider-Man. It’s very difficult for any of these characters to stand alone without him, yet Kraven the Hunter should be the most viable. He’s by far the more widely known of the three, yet he comes away from this film somehow being the least interesting. Yet as for the film itself, I was thoroughly entertained. Aaron Taylor-Johnson is upstaged by the always brilliant Christopher Abbott as “The Foreigner,” a man who has been chasing The Hunter for years after an altercation with his family. Every time he appears on screen the film finds some sense of footing that it lacks when he is absent, and forces audiences to ask the question if he would have been better off being the main villain instead of Alessandro Nivola’s Rhino. Abbott brings a level of mystery and enigmatic power that is intoxicating, and it’s a shame we won’t get more of this character going forward. The death of the SSU comes with a whimper, with minuscule successes that can’t overcome major technical and writing issues. It does feel like Kraven the Hunter was dumped at the latest date they could muster and is being hung out to dry by the studio as they look to return to the well with a mainline Spider-Man picture in the coming years. After years of planning, delays, and reshoots, it’s hard to find much positive to take away from this movie and it’s unfortunate to see Aaron Taylor-Johnson be let down by Marvel yet again after his short-lived time in the MCU a decade ago. 

Kraven The Hunter comes to Blu-Ray in its original 2.39:1 with a fetching transfer that is no slouch even knowing that there is a 4K version on the market. While certainly not as flawless as the 4K UHD likely is (it was not made available to me for review), there is a stellar amount of depth and clarity to the picture with discrete details coming through clearly. There is some inventive production design featured in the film along with loads of special effects which you can really take in with this transfer. There are numerous landscapes presented here with each location providing something exciting to explore. 

This Blu-Ray release boasts a DTS-HD 5.1 Master Audio track that kicks into gear when it needs to. This disc brings these thrilling moments to life with a depth and clarity of sound that is just perfect. As the action ramps up, the sounds of crashing through objects and other raw effects flow out of your side and rear speakers. Each sound is precisely placed with perfect spatial awareness. The track engages all of the active channels with panning effects and sounds of chaos that really makes you feel like you are in the thick of the action.

Kraven the Hunter largely suffers the same fate as most of the other Sony universe Spider-Man spinoffs. Kraven has such potential on film, yet there seems to be very little passion or vision behind the camera to make it all amount to something. The ridiculous amount of bad ADR is enough to know how little most cared to get this right for fans. Movies are made in the editing room, but you cannot completely manufacture a movie out of nothing but alternate dialogue. That being said, the level of hate for this one is slightly outsized. It is not good, but there are cool things we can appreciate amongst the mediocrity. Most of the ensemble is very talented and free from blame. Hopefully this character can get justice in the future. Sony Pictures Home Entertainment has released a Blu-Ray featuring an excellent A/V presentation and a fine selection of special features. If you are a fan of the film and are capable, you might want to spring for the 4K UHD Blu-Ray but this Blu-Ray is rock solid. 

MOVIE ⭐️⭐️⭐️

SOUND ⭐️⭐️⭐️⭐️

PICTURE ⭐️⭐️⭐️⭐️

EXTRAS ⭐️⭐️⭐️

• NOVOCAINE
• Starring:  Jack Quaid, Amber Midthunder and Ray Nicholson
• Directed by:  Dan Berk and Robert Olsen
• Rated:  R
• Running time:  1 hr 50 mins
• Paramount

Our score:  3.5 out of 5

One of the greatest bad ass characters in movie history was Mr. Joshua, played by Gary Busey in “Lethal Weapon.”  Willingly holding his arm over a direct flame and not flinching…it still makes me grimace.  Meet Nate Caine (Quaid).  He makes Mr. Joshua look like a wimp.

Packed with humor and over the top violence, “Novocaine” is an ultra violent, ultra funny film ostensibly about a man following his heart.  Nate is a quiet guy who earns his money as the assistant manager of a local bank.  While running a morning meeting he can’t help but notice a new teller named Sherry (Midhunder) as she comes in late.  Afterwards she apologizes and offers to take Nate to lunch.  He finally agrees but is surprised when Nate only orders a milkshake.  She offers him a bite of her pie but he refuses, explaining that he was born with a condition that prevents him from feeling any kind of physical pain.  He can’t eat solid foods because he could inadvertently bite his tongue and bleed to death.  Things are looking up for Nate.  Until they aren’t.

It’s hard to put a label on this film.  Yes, it’s violent.  Yes, it’s action packed.  Yes it’s funny.  But it’s neither a horror, action or comedy film.  It’s the rare combination of all three.  The story moves along quickly, carried on the shoulders of the film’s three leads, two of them (Quaid and Ray Nicholson) the sons of Hollywood’s most acclaimed actors Dennis Quaid and Jack Nicholson (their mothers aren’t too shabby either – Meg Ryan and Rebecca Broussard, respectively).  Both have a fine screen presence.  Quaid is quite likable.  Nate would be the perfect “every man” if not for his little issue.  As chief bad guy Simon, Nicholson sends chills down your spine with only a glance and a comment.  As Sherry, Ms. Midthunder is both sweet and sour, hiding a secret that gives the film its genuine tension.

The action scenes are top notch, if not a little over the top.  I mean, sure you can’t feel someone smash your head into a wall but you should at least stumble a little, right?

If you need to jump start your spirits this week then I recommend seeing “Novocaine.”  It’s Pure Adrenaline!

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

LET’S TALK JAWS LIVE!, co-hosted by our own Mike Smith, will be traveling to Amity as the first official event of the Martha’s Vineyard Museum’s Amity Homecoming Weekend, held in partnership with the Vineyard Gazette, June 19-22, 2025 on Martha’s Vineyard to celebrate the 50^th Anniversary of the motion picture JAWS.

LET’S TALK JAWS LIVE!...LIVE! will record their popular Youtube show in front of a live audience on Thursday, June 19^th beginning at 2:00 p.m.  Besides hosts Jane Jones Clark, Nate Jones and Michael Smith, scheduled special guests will include Jeffrey Kramer, Joe Alves and Dennis Prince.  The performance is a benefit for the Martha’s Vineyard Museum.  Tickets are $65.00, which includes live audience seating, a ticket to the Museum’s “Jaws at 50: A Deeper Dive” exhibit and a special MV Museum commemorative item.

For tickets and more information, please click HERE.

 #LetsTalkJawsLive

 #Jaws50MV

#AmityHomecoming

#MarthasVineyard #MVM

Anora, a low budget independent film from one of my favorite film companies, NEON, took home the Best Picture Oscar at the 97^th Academy Awards, held this past Sunday night.

Nominated for six awards, the film won five.  Besides Best Picture, Anora won for Best Actress (Mikey Madison) and Best Direction, Screenplay and Film Editing. What’s even more remarkable is that the last four awards were won by one person, Sean Baker.  In doing so, Mr. Baker ties Walt Disney for most Oscar wins by one person in one ceremony.

Adrien Brody was named Best Actor for the second time in his career for his work in The Brutalist while the Latvian film Flow took home the prize for Best Animated Feature.   Emilia Perez, which led all films with (13) nominations, only won two awards – Best Supporting Actress for Zoe Saldana and Best Song for “El Mal.”   Kieran Culkin was named Best Supporting Actor for his work in the film A Real Pain.

1^st time host Conan O’Brien was funny and comfortable throughout the evening, though I found the fact that he felt the need to highlight the 20^th Anniversary of Kill Bill and ignore the 50^th Anniversary of JAWS unconscionable.  Maybe the Academy will remember ROCKY next year!

Here is a complete list of winners:

Best picture

• “Anora”

Best actress

• Mikey Madison, “Anora”

Best actor

• Adrian Brody, “The Brutalist”

Best supporting actor

• Kieran Culkin, “A Real Pain”

Best supporting actress

• Zoe Saldaña, “Emilia Pérez”

Best director

• Sean Baker, “Anora”

Best cinematography

• “The Brutalist,” Lol Crawley

Best animated feature

• “Flow”

 Best animated short

• “In the Shadow of the Cypress”

Best costume design

• “Wicked,” Paul Tazewell

Best original screenplay

• “Anora,” Sean Baker

Best adapted screenplay

• “Conclave,” Peter Straughan

Best makeup and hairstyling

• “The Substance”

Best film editing

• “Anora,” Sean Baker

Best production design

• “Wicked,” Nathan Crowley, Lee Sandales

Best original song

• “El Mal,” “Emilia Pérez” (Clement Ducol, Camille & Jacques Audiard)

Best documentary short

• “The Only Girl in the Orchestra”

Best documentary feature

• “No Other Land,” Basel Adra, Hamdan Ballal, Yuval Abraham & Rachel Szor

Best sound

• “Dune: Part Two”

Best visual effects

• “Dune: Part Two”

Best live-action short

• “I’m Not a Robot”

Best international feature\

• “I’m Still Here,” Walter Salles (Brazil)

Best original score

• “The Brutalist,” Daniel Blumberg

• FLIGHT RISK
• Starring: Mark Wahlberg and Michelle Dockery
• Directed by: Mel Gibson
• Rating: R
• Running Time: 1 hr 31 mins
• Lionsgate

Our score: 0.5 out o 5

The singular risk about watching “Flight Risk”, is that you may walk out of the theater or switch the channel before it is over. The action, all contained aboard a single engine plane high above the mountains of Alaska, comes across as staged and too choreographed. Its script, which has an interesting concept, is choppy with a minimal amount of suspense. On top of that, the acting is worse than over-the-top, which is surprising considering that Mel Gibson, who has a pretty decent track record, is the film’s director.

The premise of the story takes us to a remote town in Alaska where Winston (Topher Grace, “Heretic”), an always nervous accountant for a crime syndicate in New York City, is hiding to stay alive. His time on the run is short-lived when he is apprehended by Deputy U.S. Marshal Madolyn Harris (Michelle Dockery, “The Gentlemen”, “Downton Abbey”), whose shaky career could be redeemed by bagging someone willing to testify against the syndicate.

Before she can haul him back to New York City, Harris must charter a private plane to fly her and Winston to Anchorage. The overly chatty pilot, who calls himself Daryl Booth (Mark Wahlberg), gives himself away as a hitman assigned to kill both Harris and Winston. A fight breaks out between the two, which threatens to kill them all as gunfire and flare guns don’t do well on aircraft.

Dockery is unbelievable as a U.S. Marshal. Her character fails to follow any semblance of law enforcement procedure as Dockery herself gives the impression that she is just going through the motions. Grace adds nothing as plays his character as if he is the grownup version of his role from “That 70s Show”. Last but not least, Wahlberg sneers, glares, and spouts off vaudeville type laughter while trying to play a bad guy. None of it works.

There is a little sense of suspense and mystery generated towards the end as Dockery speaks with her superiors over the radio, and when she tries to land the plane. Otherwise, that’s about all the good there is to say about this wretched waste of time.

“Flight Risk” receives a ½ Star out of five.

• A REAL PAIN
• Starring: Jesse Eisenberg and Kieran Culkin
• Directed by: Jesse Eisenberg
• Rating: R
• Running Time: 1 hr 30 mins
• Searchlight Pictures

Our score:  4 out of 5

Nominated for two Academy Awards, including Best Performance by an Actor in a Supporting Role (Kieran Culkin) and Best Original Screenplay (Jesse Eisenberg), “A Real Pain” is an intelligent, emotional film with one of the two or three finest individual performances for the 2024 cinematic year. While Eisenberg, who successfully wears three hats for this film, is terrific in his own right, Culkin is nothing less than magnetic in his role as a free-spirited young man who in one moment can be endearing and the next moment be irritating. Great chemistry, superb dialogue and a moving story make for a movie that is a real treasure.

Worried that he is not going to make it to John F. Kennedy International Airport on time, or that his first cousin, Benjamin “Benji” Kaplan (Culkin) may not make it either, David Kaplan (Eisenberg) is more than a little relieved, and perhaps a bit shocked that Benji is already waiting on him. After the recent passing of their beloved grandmother, who was a Jewish immigrant from Poland, the formerly close cousins decided to take a Jewish heritage tour to her ancestral homeland.

Although they were joined at the hip when they were kids, David has become a family man with a career while Benji remains a pot-smoking, free-spirited drifter without a filter. He criticizes David for becoming essentially boring and predictable. This causes friction between the two and several uncomfortable situations within their tour group as Benji’s outbursts become heated at times. Benji is a lot to take for everyone involved, especially for David who feels sorry for him. However, everyone seems appreciative of Benji’s honesty in the long run.

Culkin a whirling dervish of emotions throughout the film and he pulls it off spectacular fashion. Under Eisenberg’s skillful direction, Culkin is as equally endearing and maddening to the audience as he is to David. I was almost thankful for the film’s relative short running time because it proved to be a draining experience, but not in a negative way. Culkin and Eisenberg share great chemistry with one another as believable family members.

Eisenberg’s best work as director comes during a powerful, somber scene when the tour group visits Majdanek, the site of Nazi concentration camp during World War II. The dialogue is scarce as he lets the imagery of the well-preserved site speak for itself. It’s easy to see that the actors at this point are not acting but rather reacting in a very human way to the absolute tragedy that occurred there.

Overall, “A Real Pain” is a fantastic cinematic experience that reminds you how great the artform can truly be.

“A Real Pain” receives ★★★★ out of five.

I’ve always viewed director/writer Robert Eggers as an “anti-Wes Anderson.” Whereas Anderson’s movies are often light and playful, Eggers’ films are black-and-gray edifices that feel like they’re sitting on my chest as I watch them. That’s not a negative thing, of course. There are a wide variety of movies out there, and I appreciate all kinds of genres. I suppose a good way to look at Eggers and Anderson is salt versus sweet, and how sometimes those things can actually go together well. Anyone up for a double-feature of Nosferatu and The Royal Tenenbaums?

Okay, with that out of the way, yes, Eggers’ latest movie is another tour de force, a remake of the 1922 silent film Nosferatu: A Symphony of Horror, which was, of course, loosely adapted from Bram Stoker’s 1897 novel Dracula. That book is now in the public domain, but I appreciate Eggers’ desire to craft a horror movie not beholden to most moviegoers’ idea of who Dracula is. Set in 1838, Nosferatu follows the trials and tribulations of Ellen (Lily-Rose Depp) and Thomas Hunter (Nicholas Hoult), who are recently married and live in Wisburg, Germany. Determined to curry favor with his employer, Herr Knock (Simon McBurney), he accepts an assignment to travel to Transylvania and complete the sale of an old mansion in Wisburg to a man known as Count Orlok (Bill Skarsgård). Orlok is, of course, a creepy, shadowy presence who has a supernatural effect on Thomas. The young man manages to escape and Orlok sets out for Wisburg in his coffin, which is aboard a ship whose crew is also unknowingly bringing plague rats with them. Meanwhile, Ellen is suffering from seizures and somnambulism, thanks to a psychic pact she unwittingly made with Orlok when she was younger. Her doctor, unable to figure out a cure for what ails her, decides to ask for the advice of his old mentor, Professor Albin Eberhart von Franz (Willem Dafoe), who is well-versed in the mythology surrounding Nosferatu. As the plague infects Wisburg and Orlok infects the mind of Herr Knock, Thomas and his friend Friedrich (Aaron Taylor-Johnson) work with von Franz to devise a plan for getting rid of the vampire once and for all.

Nosferatu is certainly worthy of all the accolades it has received, which include four Academy Award nominations, albeit of the technical variety. It’s a worthy update to F.W. Murnau’s Expressionist classic. This Blu-ray edition of the movie comes with a code for a digital copy and a nice batch of extras, including an extended cut of the film that adds four minutes to the runtime. That extra footage is also available in the form of three deleted scenes. The bonus features kick off with a commentary track with Eggers that does a good job of digging into the making of the film. I always appreciate highly skilled filmmakers who have a very specific sense of style and enjoy talking about their work, like Eggers. Universal has also provided a making-of split into six parts that run about 38 minutes total. The big takeaway from them is the fact that Eggers, unsurprisingly, tries to capture as much as he can in-camera, but, of course, digital effects were still required to fill out many scenes (Just as Francis Coppola did with his Bram Stoker’s Dracula). The Blu Ray picture and sound are quite outstanding! Which showcases the cinematography of Jaron Blaschke. I’d be very interested to see what Eggers comes up with next.

Movie ⭐️⭐️⭐️⭐️

Picture ⭐️⭐️⭐️⭐️

Sound ⭐️⭐️⭐️⭐️⭐️

Extras ⭐️⭐️⭐️⭐️

• THE APPRENTICE
• Starring: Sebastian Stan and Jeremy Strong
• Directed by: Ali Abbasi
• Rating: R
• Running Time: 2 hrs 2 mins
• Briarcliff Entertainment

Our score: 3 out of 5

Nominated for two Academy Awards including Best Performance by an Actor in a Leading (Sebastian Stan) and Supporting Role (Jeremy Strong), the biographical drama “The Apprentice” is so unflattering that it the current president threatened a lawsuit to stop its release before last year’s election. Its story is as dirty and disgusting as its realistic depiction of a blighted, crime-ridden New York City in the 1970s. What makes it so impactful, though, are the incredible, even transcendent performances by Stan and Strong. If all you thought Stan could do was play a guy with a metal arm, then you are sadly mistaken.

The film takes us on a thirteen-year journey starting in 1973 that spans the rise of a young Donald Trump (Stan, “The Falcon and The Winter Soldier”) who we find is struggling to get out from under the thumb of his domineering father, Fred Trump, Sr. (Martin Donovan, “Tenet”). It is in a dimly lit nightclub/restaurant where attorney Roy Cohn (Strong, “The Gentlemen”, “Molly’s Game”) spots an ambitious Trump sitting alone. Cohn, who had a significant role in the 1951 espionage trial of Julius and Ethel Rosenberg, and their subsequent execution, has a no-holds barred, take-no prisoner mentality with little patience for anything or anyone he deems unpatriotic.

Cohn takes Trump under his wing and gets his family out of a legal jam involving accusations of racist landlord practices. It’s the start of a partnership and friendship that shapes Trump’s view of himself, business and the world around him for years to come. It also impacts his eventual marriage to his first wife, Ivana (Maria Bakalova, “Borat Subsequent Moviefilm”), presented as a tragic figure because of the way she is treated by her husband. Trump absorbs three rules from Cohn that become his guiding principles: always attack, never admit wrongdoing, and always claim victory, even if defeated.

While probably still a lightning rod for Trump supporters and non-supporters alike, “The Apprentice” stands out because of its performances by Stan and Strong, with a nice supporting role as well by Bakalova. It exposes the underbelly of New York when it was rundown, corrupt and gangsters had equal notoriety at celebrities. The evolution of the Trump character in the film is a fascinating yet sad thing to watch unfold, even if the camera work is choppy. It’s certainly not a flick for kids and it may leave you feeling kind of gross when it’s over.

“The Apprentice” receives ★★★ out of five.

• CAPTAIN AMERICA: BRAVE NEW WORLD
• Starring: Anthony Mackie, Harrison Ford
• Directed by: Julius Onah
• Rating: PG-13
• Running Time: 1hr 58 mins
• Walt Disney Studios

Our score:  3.5 out of 5

After the disaster of the Kang Dynasty saga, which was put to bed in the “Loki” season two finale and verbally reduced to ashes by “Deadpool & Wolverine”, Marvel Studios has moved on with their next phase, kicked off by its newest endeavor “Captain America: Brave New World”. A solid, standalone effort that isn’t about saving the galaxy or planet Earth, “Brave New World” brings multiple loose ends to a close and ties them all together in what amounts to a political thriller. Anthony Mackie solidifies himself as the new Captain America via a good script and supporting cast.

Several months after being elected to the highest office in the land, President Thaddeus “Thunderbolt” Ross (Harrison Ford), a former U.S. Army general and U.S. Secretary of State who has had a long-standing hatred of the Hulk and for the Avengers overall, sends Sam Wilson (Mackie), aka Captain America, and U.S. Air Force 1st Lieutenant Joaquin Torres (Danny Ramirez, “The Falcon and The Winter Soldier”), aka The Falcon, to Mexico to prevent the sale of a new element – adamantium.

Although a criminal known as Sidewinder (Giancarlo Esposito) escapes, the mission is successful enough for Wilson, Torres and Isaiah Bradley (Carl Lumbly, “The Falcon and the Winter Soldier”) to be invited to the White House. Bradley, who received a dose of super soldier serum before becoming a Korean War hero, spent 30 years in prison where he was experimented on by the U.S. government. So, when he tries to assassinate President Ross, everyone is quick to judge him because of his past mistreatment.

President Ross severs ties with Captain America because he is determined to exonerate Bradley. Captain America and The Falcon are alone in their mission as President Ross’s top security advisor, Ruth Bat-Seraph (Shira Haas, “Broken Mirrors”), a child of the infamous “Red Room” where Black Widows were trained, is just as determined to thwart their plans. However, they are all being manipulated by Samuel Sterns (Tim Blake Nelson, “The Incredible Hulk”), a cellular biologist who developed super intelligence after being contaminated by Bruce Banner’s blood in “The Incredible Hulk”. It all leads to a climatic confrontation between Captain America and the Red Hulk.

Mackie does a great job portraying his character’s struggles of being the new Captain America, something that happens in the comics. He still doesn’t believe he is worthy enough to fill Steve Rogers’s shoes, but he ends up learning he doesn’t have to. Mackie’s greatest strength is making us root for his character who, unlike Rogers, lacks super strength or speed. He is just a man, albeit one who has fought Thanos. His co-star Ford clearly embraces the character originated by the late William Hurt. It’s easy to see he has fun with the role, and it is a departure from some of his past roles. Ford deftly navigates his character’s complexities as Ross’s overarching goal is to win back his estranged daughter, Betty.

The action is what you would come to expect from a Marvel film, only this time it’s wrapped up in political intrigue rather than in bickering gods from another realm or the attempted takeover by a mad Titan. One of its greatest strengths is that the story ties up loose ends that have been dangling since “The Incredible Hulk” was released seventeen years ago. Not only that, but these threads end up pointing towards how this newest phase will unfold in coming years. The story also ties into events from the much-maligned “Eternals” with multiple references to previous Marvel flicks like “End Game” and “Black Widow”.

Perhaps Marvel fatigue does exist. Perhaps everything prior to and including “End Game” is viewed with rose colored glasses. The secret to the Avengers’ success in the comic world is that it has always been ever-changing. Its membership has changed numerous times over the years, with even Wolverine counted among its members. I get that it’s disappointing to see someone like Chris Evans or Scarlett Johansson move on, but it would get stale if the cast and characters never changed. Furthermore, the physical demands on some of them get harder as they get older and thus, you can’t blame them if they have decided if they have had enough.

With that said, you should give “Brave New World” and Anthony Mackie a chance.

“Captain America: Brave New World” receives ★★★ ½ out of five.

Starring: Jenna Kenall, Hannah Alline and Natasha Halevi
Directed by: Zeshaan Younus
Rated: NR
Running Time: 71 minutes
Ethos Releasing

Our Score: 1.5 out of 5 Stars

It took me a while to figure out why “The Buildout” wasn’t clicking with me. On paper, it has a lot going for it: two strong lead performances, a mysterious cult with bonus UFO potential, and a vast desert setting filled with existential emptiness—a playground for a horror fan’s imagination. But it’s not that I dislike character studies. It’s that for me to enjoy one, the characters need to actually be interesting.

This low-budget indie follows Dylan (Hannah Alline) and Cameron (Jenna Kenall) on a sort of re-bonding trip into the Southern California desert. Dylan is set on joining a cult, while Cameron tags along as emotional support for the motorcycle-bound pilgrimage into the unknown. The extra bizarre caveat? Despite embarking on this trip together, the two haven’t spoken in years—ever since the death of Cameron’s sister. With a setup like that, “The Buildout” has plenty of backstory to sink its teeth into. But it never really does.

From a setting perspective, we should feel a creeping sense of isolation, of impending doom. Instead, the desert ends up as little more than a silent backdrop, lacking presence or atmosphere. The cult, which may or may not have some otherworldly connection, never feels as ominous as the word “cult” would imply. In fact, when we finally meet them, they’re about as forgettable as the latest conspiracy theory making rounds on social media. And while Dylan and Cameron’s personal revelations feel genuine, they’re overshadowed by the film’s disjointed execution. The result is two stories—one about fractured friendships, one about a shadowy belief system—that feel fundamentally incompatible.

As much as I wanted to enjoy it—especially since it touches on universal anxieties about friendship and how it evolves over time—I just never felt invested. Not because the themes weren’t compelling, but because the film itself didn’t seem invested in telling a fully realized story. The subject matter is fascinating, but “The Buildout” only engages with it on a surface level. And while complex questions don’t always require answers, it’s frustrating when a film doesn’t seem to answer any of the ones it presents. Which makes me wonder if we’ve been handed a sandwich with nothing between the bread.

Starring: Krsy Fox, Jon Sklaroff, and Elizabeth Caro
Directed by: Spider One
Rated: NR
Running Time: 105 minutes
Shudder

Our Score: 2 out of 5 Stars

I’ve been following Spider One’s directorial career since he debuted “Allegoria” at Panic Fest. It’s been an interesting journey, marked by a slow yet confident evolution—not necessarily for Spider One, but for Krsy Fox, who has appeared in every one of his films so far. While she’s been integral to his prior work, “Little Bites” is a tour de force simply for her performance alone. Unfortunately, everything else seems stuck in a rut.

“Little Bites” follows single mom Mindy (Fox), who allows a demon-vampire creature (Jon Sklaroff) to bite, nibble, and drain her of her blood and flesh in an effort to distract him from the fresh meat that is her 10-year-old daughter. The daughter is safely at grandma’s, so most of the film’s runtime is spent with Mindy and an indie-looking Nosferatu. Their interactions aren’t just a series of repeated feastings; the creature mentally and emotionally abuses Mindy on top of the physical harm. The film is a blunt metaphor for parenthood—how parents keep their own personal demons at bay while raising children. But despite all the visual meat being devoured on screen, there isn’t much meat on the script.

For a film that pushes close to two hours, it’s hard to justify some of the vignettes that pop up throughout. A child protective services worker (played by the magnificent Barbara Crampton) makes a visit for no apparent reason, as does horror icon Heather Langenkamp, in a scene that feels equally unnecessary. The only encounter that really works is when Mindy brings a man (Chaz Bono) back to her home to appease the ever-thirsty vampire. But even that scene doesn’t land as well as it could, because the film’s themes are so blunt and obvious that they invite scrutiny. It led me to wonder whether the narrative and direction were akin to a dog chasing a car—running full speed toward something without really knowing what to do once it catches it.

While “Bury the Bride” was a tight thrill ride, “Little Bites” feels more like a bloated episode of “Tales from the Crypt”—without the satisfying twist or payoff. Because the film is so personal to Spider and Fox (it’s literally about raising their daughter), I wondered if it was harder for them to be as self-critical in the editing process as they were with their previous films. Like his prior work, there’s a lot to admire and enjoy, but “Little Bites” is disappointing because it feels like a strong, powerful film is buried within its meandering narrative. It could have been another progressive step forward for Spider, but it never finds its footing.

That said, as I mentioned at the start, Fox delivers a performance that deserves serious attention. Her horror acting chops are on full display, and without her, the film might have been a complete disaster.

Beverly Randolph played Tina in the 1985 cult classic The Return of the Living Dead. She comes together with Media Mikes to discuss to reflect on the 40th Anniversary of film and also discuss returning to the franchise in Linnea Quigley’s Trash’s Revenge!

Check out the campaign for Trash’s Revenge now, which is currently crowdfunding: https://cinebacker.com/product/trashs-revenge-rotld-universe/

Also check out the website below to find out where the cast is appearing and to get awesome signed stuff from her and the cast of ROTLD!: https://rotldoriginals.com/

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

Our Score:  .5 out of 5

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

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

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

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

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

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